Settin' The Pace

Jazz saxophonist John Coltrane's album Settin' The Pacewas originally released in 1961. Coltrane had recorded some unissued recordings while under the label Prestige, after his fame grew and he was no longer with the label they used these recordings and released albums without Coltrane's approval. This was one such album. The decision to release this album now is to a certain extent determined by economic considerations, but it also happens to throw light on certain aspects of the jazz business which warrant discussion. Had the album been released at the time it was recorded it would have reached the small nucleus of Coltrane followers then active, and of the rest been largely ignored…

This is John Coltrane from the period when he was a member of Miles Davis' legendary 1950s quintet, accompanied by fellow quintet members Red Garland and Paul Chambers. This is Coltrane in a relaxed bop mode, making some swinging, relaxed jazz in the vein of Sonny Rollins and Stan Getz (the latter in his more boppish mode). This is not the fire-breathing saxophonist of the mid-'60s, but a player who was beginning to push against the boundaries, all the while playing with thoughtful, imaginative lyricism. It's a set of little-known pop tunes of the era, with the exception of Jackie McLean's "Little Melonae." Anyone who likes the mainstream jazz of the '50s, or Miles' music of that time, or Coltrane fans who want to hear their idol in an easygoing context, should pick this up.

Recorded in Munich, Germany, in 1965, the three tracks that make up The Trance come from the same session that produced the invigorating Booker Ervin/Dexter Gordon tenor battles, Settin' the Pace. These remaining tracks feature Ervin's sole tenor on two of his compositions, the blues "Groovin at the Jamboree" and the haunting 19-minute title track, dedicated to the late bassist George Tucker. Also included is the standard "Speak Low," also clocking in at 19 minutes. Admittedly, tracks that long can get tiresome quickly in the wrong hands. Fortunately, Ervin's inspired exploratory tenor flights are consistently stirring, punctuated with piercing blues. The Trance delivers further documentation of Ervin's endless tenor inventiveness…

Taken from three separate sessions from 1945-'47, Dexter Rides Again showcases prime bebop sides Gordon cut for Savoy. His unique adaptation of Charlie Parker's alto conception to the tenor saxophone is displayed throughout, revealing a mix of fluid, hard-toned lines and a vibrato-heavy and vaporous ballad sound. And while Gordon's ballad mastery would come to the fore on his come-back albums for Blue Note in the '60s, the tenor saxophonist primarily sticks to up-tempo material here, a standard for most bebop sets. Abetted by a collective cast including the fine, yet rarely heard trumpeter Leonard Hawkins, baritone saxophonist Leo Parker, pianists Tadd Dameron and Bud Powell, and drummers Max Roach and Art Blakey, Gordon is in top form on a typical collection of self-penned, utility tunes, dispensing of involved head statements in favor of solo space…

A Classics collection of tenor saxophonist Dexter Gordon, 1947-1952 features some of the mellow jazzman's most identifiable recordings from that period. Beginning with an extended version of "The Duel," the disc also includes Gordon's epic tenor battle with Wardell Gray on "The Chase."

15 original albums with Dizzy Gillespie, Fats Navarro, Buck Clayton, Freddie Hubbard, Charlie Parker, Gene Ammons, Wardell Grey, Melba Liston, Ben Webster, Duke Ellington, Bud Powell, Hampton Hawes, Billy Higgins, Max Roach, Billy Eckstine and Herbie Hancock, among others…

Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on Blue Train - Coltrane's only collection of sides as a principal artist for the venerable label. The disc is packed solid with sonic evidence of Coltrane's innate leadership abilities. He not only addresses the tunes at hand, but also simultaneously reinvents himself as a multifaceted interpreter of both hard bop as well as sensitive balladry - touching upon all forms in between. The personnel on Blue Train is arguably as impressive as what they're playing. Joining Coltrane (tenor sax) are Lee Morgan (trumpet), Curtis Fuller (trombone), Kenny Drew (piano), Paul Chambers (bass), and Philly Joe Jones (drums)…