Podcasts about Jimmy Garrison

ERIC REED “OUT LATE” New York, c. 2024Glow, Shadoboxing, Out lateNicholas Payton (tp) Eric Alexander (ts) Eric Reed (p,comp) Peter Washington (b) Joe Farnsworth (d) JOHN COLTRANE QUARTET “CRESCENT” Englewood Cliffs, NJ, April 27, 1964Crescent, Wise one, Bessie's bluesJohn Coltrane (ts) McCoy Tyner (p) Jimmy Garrison (b) Elvin Jones (d) PASQUALE GRASSO “FERVENCY” New York ?, c. 2024Sub city, Milestones, Bean and the boys, Bags' groovePasquale Grasso (g) Ari Roland (b) Keith Balla (d) Continue reading Puro Jazz 28 de mayo, 2025 at PuroJazz.

ERIC REED “OUT LATE” New York, c. 2024Glow, Shadoboxing, Out lateNicholas Payton (tp) Eric Alexander (ts) Eric Reed (p,comp) Peter Washington (b) Joe Farnsworth (d) JOHN COLTRANE QUARTET “CRESCENT” Englewood Cliffs, NJ, April 27, 1964Crescent, Wise one, Bessie's bluesJohn Coltrane (ts) McCoy Tyner (p) Jimmy Garrison (b) Elvin Jones (d) PASQUALE GRASSO “FERVENCY” New York ?, c. 2024Sub city, Milestones, Bean and the boys, Bags' groovePasquale Grasso (g) Ari Roland (b) Keith Balla (d) Continue reading Puro Jazz 28 de mayo, 2025 at PuroJazz.

This week's show features many early Paul Motian recordings and influences (Warne Marsh, Bill Evans, Tony Scott, Moondog, Lee Konitz) interspersed with Joe Lovano's 2019 release Trio Tapestry (with Marilyn Crispell & Carmen Castaldi). With readings from the archive.Set List: https://jazzcloset.blogspot.com/2025/04/something-old-something-new-012119.htmlPhoto: Bill Evans, Jimmy Garrison?, Paul Motian location and date unknown photographer unknown ©Paul Motian Archive

Have Giant Steps and Meditations scared you away from John Coltrane? Join us on the other side of the Trane tracks with what might be the best trio of albums ever dropped in the same year. We're talking 1963 Coltrane—at his most accessible (dare we say smooth?) yet still cutting straight to the truth. From the GRAMMY hall-of-famer Ballads to his legendary Impulse! sessions with Duke Ellington and Johnny Hartman, enter the perfect gateway into Coltrane's world. We break down his honest melodies, the masterful support from McCoy Tyner, Elvin Jones, Jimmy Garrison (and more), and quibble with certain Rudy Van Gelder… choices… Whether you're Coltrane-curious or already converted, this episode has something special for your ears.Link to Spotify playlistTry OS Membership today! → https://osjazz.link/aboutLooking to drop a question? Want to listen to the audio pod? Look no further!https://youllhearit.com/

JOEL FRAHM TRIO “LUMINATION” New York, May 9, 2023The nurse is in, Loomie nation, Vesper flightsJoel Frahm (ts) Dan Loomis (b) Ernesto Cervini (d) ALICE COLTRANE “A MONASTIC TRIO” New York, January 29, 1968Gospel trane, I want to see you, Oceanic beloved (1)Alice Coltrane (p,harp) Jimmy Garrison (b) Rashied Ali (d) Pharoah Sanders (bells) BEN WENDEL “UNDERSTORY: LIVE AT THE VILLAGE VANGUARD” New York, November 4-6, 2022Proof, Jean & RenataBen Wendel (saxes,effects) Gerald Clayton (p) Linda May Han Oh (b,vcl) Obed Calvaire (d) Continue reading Puro Jazz 20 de diciembre, 2024 at PuroJazz.

JOEL FRAHM TRIO “LUMINATION” New York, May 9, 2023The nurse is in, Loomie nation, Vesper flightsJoel Frahm (ts) Dan Loomis (b) Ernesto Cervini (d) ALICE COLTRANE “A MONASTIC TRIO” New York, January 29, 1968Gospel trane, I want to see you, Oceanic beloved (1)Alice Coltrane (p,harp) Jimmy Garrison (b) Rashied Ali (d) Pharoah Sanders (bells) BEN WENDEL “UNDERSTORY: LIVE AT THE VILLAGE VANGUARD” New York, November 4-6, 2022Proof, Jean & RenataBen Wendel (saxes,effects) Gerald Clayton (p) Linda May Han Oh (b,vcl) Obed Calvaire (d) Continue reading Puro Jazz 20 de diciembre, 2024 at PuroJazz.

ORNETTE COLEMAN “THE SHAPE OF JAZZ TO COME” Hollywood, CA, May 22, 1959Lonely womanDon Cherry (cnt) Ornette Coleman (as) Charlie Haden (b) Billy Higgins (d) JOHN COLTRANE “ASCENSION” Englewood Cliffs, N.J., June 28, 1965Ascension (Edition I – Part 1)Freddie Hubbard, Dewey Johnson (tp) John Tchicai, Marion Brown (as) John Coltrane, Pharoah Sanders, Archie Shepp (ts) McCoy Tyner (p) Jimmy Garrison, Art Davis (b) Elvin Jones (d) CECIL TAYLOR “UNIT STRUCTURE” Englewood Cliffs, N.J., May 19, 1966StepsEddie Gale (tp-1) Jimmy Lyons (as-2) Makanda Ken McIntyre (as-3,oboe-4,b-cl-5) Cecil Taylor (p,bells-4) Henry Grimes, Alan Silva (b) Andrew Cyrille (d) ALBERT AYLER TRIO “SPIRITUAL UNITY” New York, July 10, 1964Ghosts (first variation)Albert Ayler (ts) Gary Peacock (b) Sunny Murray (d) PETER BROTZMANN OCTET “MACHINE GUN” Bremen, May, 1968Music for Han Bennink IPeter Brotzmann (ts,bar) Willem Breuker (ts,b-cl) Evan Parker (ts) Fred Van Hove (p) Peter Kowald, Buschi Niebergall (b) Han Bennink (d) Sven-Ake Johansson (d,perc) Continue reading Puro Jazz 16 de diciembre, 2024 at PuroJazz.

ORNETTE COLEMAN “THE SHAPE OF JAZZ TO COME” Hollywood, CA, May 22, 1959Lonely womanDon Cherry (cnt) Ornette Coleman (as) Charlie Haden (b) Billy Higgins (d) JOHN COLTRANE “ASCENSION” Englewood Cliffs, N.J., June 28, 1965Ascension (Edition I – Part 1)Freddie Hubbard, Dewey Johnson (tp) John Tchicai, Marion Brown (as) John Coltrane, Pharoah Sanders, Archie Shepp (ts) McCoy Tyner (p) Jimmy Garrison, Art Davis (b) Elvin Jones (d) CECIL TAYLOR “UNIT STRUCTURE” Englewood Cliffs, N.J., May 19, 1966StepsEddie Gale (tp-1) Jimmy Lyons (as-2) Makanda Ken McIntyre (as-3,oboe-4,b-cl-5) Cecil Taylor (p,bells-4) Henry Grimes, Alan Silva (b) Andrew Cyrille (d) ALBERT AYLER TRIO “SPIRITUAL UNITY” New York, July 10, 1964Ghosts (first variation)Albert Ayler (ts) Gary Peacock (b) Sunny Murray (d) PETER BROTZMANN OCTET “MACHINE GUN” Bremen, May, 1968Music for Han Bennink IPeter Brotzmann (ts,bar) Willem Breuker (ts,b-cl) Evan Parker (ts) Fred Van Hove (p) Peter Kowald, Buschi Niebergall (b) Han Bennink (d) Sven-Ake Johansson (d,perc) Continue reading Puro Jazz 16 de diciembre, 2024 at PuroJazz.

Saxophonist John Coltrane (born Sept 23, 1926), is widely regarded as one of the most important and influential musical voices of the 20th Century. His influence can't be overestimated; literally every musician who followed him has been shaped by his innovations and contributions to the music. A member of Miles Davis' first great quintet, Coltrane also played with Thelonious Monk, Dizzy Gillespie and many other jazz greats before forming his ground breaking quartet in 1960 with pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones. Together, this band reshaped the jazz landscape as none had before or since.

DAVID MURRAY QUARTET “FRANCESCA” Winterthur, Switzerland, c. 2023Francesca, Free MingusDavid Murray (ts,b-cl) Marta Sanchez (p) Luke Stewart (b) Russell Carter (d) ANDY MILNE AND UNISON “TIME WILL TELL” New York ?, c. 2023Purity of heart (1), Lost and found (2), Beyond the porcelain door (1,2)Ingrid Laubrock (ts-1) Andy Milne (p) Yoko Reikano Kimura (koto-2) John Hebert (b) Clarence Penn (d) PHILLY JOE JONES SEXTET “SHOWCASE” New York, November 17, 1959Battery blues, Joe's debut (bm out), Joe's delightBlue Mitchell (tp) Julian Priester (tb) Bill Barron (ts) Pepper Adams (bar) Dolo Coker (p) Jimmy Garrison (b) Philly Joe Jones (d) New York, November 18, 1959Gone, gone, goneBlue Mitchell (tp) Julian Priester (tb) Bill Barron (ts) Pepper Adams (bar) Dolo Coker (p) Jimmy Garrison (b) Philly Joe Jones (d,p-1) Continue reading Puro Jazz 25 de julio, 2024 at PuroJazz.

DAVID MURRAY QUARTET “FRANCESCA” Winterthur, Switzerland, c. 2023Francesca, Free MingusDavid Murray (ts,b-cl) Marta Sanchez (p) Luke Stewart (b) Russell Carter (d) ANDY MILNE AND UNISON “TIME WILL TELL” New York ?, c. 2023Purity of heart (1), Lost and found (2), Beyond the porcelain door (1,2)Ingrid Laubrock (ts-1) Andy Milne (p) Yoko Reikano Kimura (koto-2) John Hebert (b) Clarence Penn (d) PHILLY JOE JONES SEXTET “SHOWCASE” New York, November 17, 1959Battery blues, Joe's debut (bm out), Joe's delightBlue Mitchell (tp) Julian Priester (tb) Bill Barron (ts) Pepper Adams (bar) Dolo Coker (p) Jimmy Garrison (b) Philly Joe Jones (d) New York, November 18, 1959Gone, gone, goneBlue Mitchell (tp) Julian Priester (tb) Bill Barron (ts) Pepper Adams (bar) Dolo Coker (p) Jimmy Garrison (b) Philly Joe Jones (d,p-1) Continue reading Puro Jazz 25 de julio, 2024 at PuroJazz.

Estas dos palabras dan título a un álbum grabado por Ornette Coleman en doble cuarteto a finales de 1960 para el sello Atlantic. La obra —cuyo título completo es Free Jazz: A Collective Improvisation— rompe las estructuras previas del jazzy apunta a un paroxismo nunca escuchado._____Has escuchadoAscension - Edition I (1965) / John Coltrane. John Coltrane, saxofón tenor; McCoy Tyner, piano; Jimmy Garrison, bajo; Elvin Jones, batería; Archie Schepp y Pharoah Sanders, saxofón tenor; John Tchicai y Marion Brown, saxofón alto; Art Davis, bajo. Impulse (1987)Hello Chi (1970) / Art Ensemble of Chicago. Fontella Bass, voz; Lester Bowie, trompeta; Roscoe Mitchell, flauta y saxofón alto; Joseph Jarman, flauta y saxofón alto; Malachi Favors, bajo. FreeFactory (2010)Simple Like (1969) / Anthony Braxton. Leo Smith, trompeta y mult. instrumentos; Anthony Braxton, saxofón alto y mult. instrumentos; Leroy Jenkins, violín y mult. instrumentos; Steve McCall, percusiones. BYG Records (1969)Sunday Morning Church (2003) / William Parker. Billy Bang, violín; Hamid Drake, batería; William Parker, contrabajo. Thirsty Ear (2003)Truth Is Marching in (1966) / Albert Ayler. Albert Ayler, saxofón tenor; Don Ayler, trompeta; Michel Sampson, violín; Bill Folwell y Henry Grimes, bajos; Beaver Harris, batería. Impulse (1998)_____Selección bibliográficaANDERSON, Iain, This Is Our Music: Free Jazz, the Sixties, and American Culture. University of Pennsylvania Press, 2007BRADLEY, Francis R., Universal Tonality: The Life and Music of William Parker. Duke University Press, 2021CARLES, Philippe y Jean-Louis Comolli, Free Jazz: Black Power. Traducido por Juan Giner. Anagrama, 1973JENKINS, Todd S., Free Jazz and Free Improvisation: An Encyclopedia. Greenwood Press, 2004JOST, Ekkehard, Free jazz: une étude critique et stylistique du jazz des années 1960. Outre Mesure, 2002KOLODA, Richard, Holy Ghost: The Life & Death of Free Jazz Pioneer Albert Ayler. Jawbone Press, 2022MAZZOLA, Guerino y Paul B. Cherlin, Flow, Gesture, and Spaces in Free Jazz Towards a Theory of Collaboration. Springer, 2009ONSMAN, Andrys y Robert Burke, Experimentation in Improvised Jazz: Chasing Ideas. Routledge, 2019PARKER, William et al., Conversations. Rogueart, 2011—, Conversations II: Dialogues and monologues. Rogueart, 2015—, Conversations III: Dialogues and monologues. Rogueart, 2019—, Conversations IV. Rogueart, 2023PEYROU, Mariano, Free jazz: la música más negra del mundo. Anagrama, 2024RUSH, Stephen, Free Jazz, Harmolodics, and Ornette Coleman. Routledge, 2017SCHWARTZ, Jeff, Free Jazz: A Research and Information Guide. Routledge Music Bibliographies, 2018*SKLOWER, Jedediah, Free jazz, la catastrophe féconde: une histoire du monde éclaté du jazz en France (1960-1982). L'Harmattan, 2006SPICER, Daniel, Peter Brötzmann: Free-Jazz, Revolution and the Politics of Improvisation. Repeater, 2024STEINBECK, Paul, Message to Our Folks: The Art Ensemble of Chicago. The University of Chicago Press, 2017SZWED, John F., Space Is the Place: The Lives and Times of Sun Ra. Duke University Press, 2020TONELLI, Chris (Chris J.), Voices Found: Free Jazz and Singing. Routledge, 2019TOOP, David, En el maelström: música, improvisación y el sueño de la libertad antes de 1970. Caja Negra, 2018*WILMER, Val, As Serious As Your Life: Black Music and the Free Jazz Revolution, 1957-1977. Serpent's Tail, 2018 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

MIHO HAZAMA DANCER IN NOWHERE c. 2018Today, not today, Il paradiso del bluesJonathan Powell (tp,flhrn) Adam Unsworth (fhr) Steve Wilson (as,sop,fl) Ryoji Ihara (ts,cl,fl) Jason Rigby (ts-1,cl-1) Andrew Gutauskas (bar,b-cl) James Shipp (vib,guiro,shekere) Billy Test (p) Lionel Loueke (g-2) Tomato Akeboshi, Sita Chay (vln) Atsugi Yoshida (viola) Meaghan Burke (cello) Sam Anning (b) Jake Goldbas (d) Nate Wood (d-3) Kavita Shah (voice) Miho Hazama (cond,comp) JOHN MINNOCK MINNOCK SINGS SHIRE New York, julio del 2023What about today, AutumnJohn Minnock (vcl) David Liebman (sop) Mathis Picard (p) Sean Mason (p) Mark Lewandowski (b) Pablo Eluchans (d) ALICE COLTRANE THE CARNEGIE HALL CONCERT New York, February 21, 1971AfricaPharoah Sanders (ts,sop,fl,perc) Archie Shepp (ts,sop,perc) Alice Coltrane (p,harp) Cecil McBee, Jimmy Garrison (b) Clifford Jarvis, Ed Blackwell (d) Kumar Kramer (harmonium) Tulsi (tambora) Continue reading Puro Jazz 17 Mayo 2024 at PuroJazz.

MIHO HAZAMA DANCER IN NOWHERE c. 2018Today, not today, Il paradiso del bluesJonathan Powell (tp,flhrn) Adam Unsworth (fhr) Steve Wilson (as,sop,fl) Ryoji Ihara (ts,cl,fl) Jason Rigby (ts-1,cl-1) Andrew Gutauskas (bar,b-cl) James Shipp (vib,guiro,shekere) Billy Test (p) Lionel Loueke (g-2) Tomato Akeboshi, Sita Chay (vln) Atsugi Yoshida (viola) Meaghan Burke (cello) Sam Anning (b) Jake Goldbas (d) Nate Wood (d-3) Kavita Shah (voice) Miho Hazama (cond,comp) JOHN MINNOCK MINNOCK SINGS SHIRE New York, julio del 2023What about today, AutumnJohn Minnock (vcl) David Liebman (sop) Mathis Picard (p) Sean Mason (p) Mark Lewandowski (b) Pablo Eluchans (d) ALICE COLTRANE THE CARNEGIE HALL CONCERT New York, February 21, 1971AfricaPharoah Sanders (ts,sop,fl,perc) Archie Shepp (ts,sop,perc) Alice Coltrane (p,harp) Cecil McBee, Jimmy Garrison (b) Clifford Jarvis, Ed Blackwell (d) Kumar Kramer (harmonium) Tulsi (tambora) Continue reading Puro Jazz 17 Mayo 2024 at PuroJazz.

MCCOY TYNER TODAY AND TOMORROW Englewood Cliffs, NJ, June 4, 1963 A night in TunisiaMcCoy Tyner (p) Jimmy Garrison (b) Albert “Tootie” Heath (d) Englewood Cliffs, NJ, February 4, 1963 Three flowersThad Jones (tp) Frank Strozier (as) John Gilmore (ts) McCoy Tyner (p) Butch Warren (b) Elvin Jones (d) CHARLES LLOYD THE SKY WILL STILL BE THERE TOMORROW New York ?, March, 2023Defiant, tender warrior, Monk's dance, Booker's gardenCharles Lloyd (ts,fl) Jason Moran (p) Larry Grenadier (b) Brian Blade (d) PRINCE LASHA THE CRY! Continue reading Puro Jazz 23 abril 2024 at PuroJazz.

MCCOY TYNER TODAY AND TOMORROW Englewood Cliffs, NJ, June 4, 1963 A night in TunisiaMcCoy Tyner (p) Jimmy Garrison (b) Albert “Tootie” Heath (d) Englewood Cliffs, NJ, February 4, 1963 Three flowersThad Jones (tp) Frank Strozier (as) John Gilmore (ts) McCoy Tyner (p) Butch Warren (b) Elvin Jones (d) CHARLES LLOYD THE SKY WILL STILL BE THERE TOMORROW New York ?, March, 2023Defiant, tender warrior, Monk's dance, Booker's gardenCharles Lloyd (ts,fl) Jason Moran (p) Larry Grenadier (b) Brian Blade (d) PRINCE LASHA THE CRY! Continue reading Puro Jazz 23 abril 2024 at PuroJazz.

Grabación inédita en disco de un concierto de Alice Coltrane en el Carnegie Hall de Nueva York el 21 de febrero de 1971. Acompañada por los saxofonistas Pharoah Sanders y Archie Shepp, los contrabajistas Jimmy Garrison y Cecil McBee y los bateristas Ed Blackwell y Clkifford Jarvis, además de por Kumar Kramer (armonio) y Tulsi Reynolds (tanpura), escuchamos a la arpista y pianista en 'Journey in Satchinanada' y 'Shiva-Loka', de su autoría, y en 'Africa' del que fue su marido John Coltrane. Escuchar audio

MATTHEW SHIPP PIANO SONG Brooklyn, NY, April 5, 2016Links, Cosmopolitan, Silence of, Flying carpetMatthew Shipp (p) Michael Bisio (b) Newman Taylor Baker (d) ANGELIKA NIESCIER BEYOND DRAGONS Chicago, IL, March 17, 2023Oscillating madness, A dance, to never endAngelika Niescier (as) Tomeka Reid (cello) Savannah Harris (d) JOHN COLTRANE QUARTET NEW DIRECTIONS Englewood Cliffs, NJ, March 6, 1963One up, one down, Untitled original 11386John Coltrane (sop,ts) McCoy Tyner (p) Jimmy Garrison (b) Elvin Jones (d) Continue reading Puro Jazz 01 marzo 2024 at PuroJazz.

MATTHEW SHIPP PIANO SONG Brooklyn, NY, April 5, 2016Links, Cosmopolitan, Silence of, Flying carpetMatthew Shipp (p) Michael Bisio (b) Newman Taylor Baker (d) ANGELIKA NIESCIER BEYOND DRAGONS Chicago, IL, March 17, 2023Oscillating madness, A dance, to never endAngelika Niescier (as) Tomeka Reid (cello) Savannah Harris (d) JOHN COLTRANE QUARTET NEW DIRECTIONS Englewood Cliffs, NJ, March 6, 1963One up, one down, Untitled original 11386John Coltrane (sop,ts) McCoy Tyner (p) Jimmy Garrison (b) Elvin Jones (d) Continue reading Puro Jazz 01 marzo 2024 at PuroJazz.

Tonight's Jazz Feature celebrates the 97th Birthday Anniversary of John William Coltrane. Coltrane needless to say was one of the most iconic and influential saxophonists in contemporary Jazz and despite his short life which ended at age 40, he accomplished so much and left and enormous legacy. Tonight's Jazz Feature is the first official recording of Coltrane's "Classic Quartet" called "Coltrane". It was done over several sessions in April, June and November of 1962 and produced 5 selections. The "Classic Quartet" included McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums and of course, Coltrane on This album represents a formidable beginning of Coltrane's musical journey.. Tonight's Jazz Feature: the music of John Coltrane.

Maggie speaks with Grammy-winning music historian, journalist, producer, and educator Ashley Kahn about Evenings At The Village Gate: John Coltrane With Eric Dolphy, McCoy Tyner, Jimmy Garrison and Elvin Jones. In 1961, the John Coltrane Quintet played an engagement at the legendary Village Gate in Greenwich Village, New York.  Coltrane's Classic Quartet was not as fully established as it would soon become and there was a meteoric fifth member of Coltrane's group those nights— visionary multi-instrumentalist Eric Dolphy. Ninety minutes of never-before-heard music from this group were recently discovered at the New York Public Library for the Performing Arts, offering a glimpse into a powerful musical partnership that ended much too soon. In addition to some well-known Coltrane material (“My Favorite Things”, “Impressions”, “Greensleeves”), there is a breathtaking feature for Dolphy's bass clarinet on “When Lights Are Low” and the only known non-studio recording of Coltrane's composition “Africa”, from the Africa/Brass album. This recording represents a very special moment in John Coltrane's journey—the summer of 1961—when his signature, ecstatic live sound, commonly associated his Classic Quartet of '62 to '65, was first maturing and when he was drawing inspiration from deep, African sources— and experimenting with the two-bass idea both in the studio (Olé) and on stage. This truly rare recording of "Africa" captures his expansive vision at the time.Ashley Kahn is a Grammy-winning American music historian, journalist, producer, and professor. He teaches at New York University's Clive Davis Institute for Recorded Music, and has written books on two legendary recordings—Kind of Blue by Miles Davis and A Love Supreme by John Coltrane—as well as one book on a legendary record label: The House That Trane Built: The Story of Impulse Records. He also co-authored the Carlos Santana autobiography The Universal Tone, and edited Rolling Stone: The Seventies, a 70-essay overview of that pivotal decade. His latest book is entitled George Harrison on George Harrison: Interviews and Encounters. Source: https://www.allaboutjazz.com/evenings-at-the-village-gate-john-coltrane-impulse-records__14009Source: https://www.impulserecords.com/#/Source: https://tisch.nyu.edu/about/directory/clive-davis-institute/1417614318Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Support the show

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In this episode, I discuss legendary saxophonist John Coltrane with talented historians, writers, and, of course, musicians. One of those musicians, Charles McPherson, knew Coltrane personally. Coltrane's signature album A Love Supreme and his groundbreaking song "Giant Steps" are singled out for attention, and we talk about his classic quartet with Elvin Jones, McCoy Tyner, and Jimmy Garrison, as well as some of his other great bandmates, including Eric Dolphy, Pharoah Sanders, Rashied Ali, and Alice Coltrane. Coltrane's spirituality, its influence on his sound, and his passion and dedication to the horn permeate the interviews. Recommended listening:A Love Supreme                                              Blue TrainAfrica Brass                                                       ImpressionsGiant Steps                                                        MeditationsKulu Se Mama                                                  Black PearlsTransition                                                            Live at BirdlandDuke Ellington and John Coltrane     Interstellar SpaceBallads                                                                  Coltrane's SoundOut of This World                                          My Favorite Things 

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ELVIN JONES “PUTTIN’ IT TOGETHER”  – Englewood Cliffs, NJ, April 8, 1968Reza (1), Sweet little Maia (2) Joe Farrell (ts-1,sop-2) Jimmy Garrison (b) Elvin Jones (d) MARC CARY “FOCUS”  – Belmont, CA, 2006 Appointment in Ghana, Self preservation, A long walk home Marc Cary (p) David Ewell (b) Sameer Gupta (d,tabla) BEN WENDEL “THE SEASONS” […]

Tonight's Jazz Feature is part of this month's series of unissued or newly unearthed albums. This one falls into the latter category. People were aware this date took place as it was listed in discographies but only one tune was ever actually issued. John Coltrane's contract with Impulse Records included a clause that he would have private tapes of everything he recorded for the label. When he died in 1967 some tapes went to his first wife Naima and some went to his second wife Alice. When they passed away the estate was turned over to his son saxophonist Ravi Coltrane. Ravi unearthed this long forgotten and lost recording session by Coltrane's "classic" Quartet. In the Quartet were Coltrane on soprano and tenor saxophones, McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums. They were at their early peak on March 6, 1963 when this recording happened. Seven compositions will be heard, two are untitled originals by Coltrane. Two standards are included: "Nature Boy" by Eden Ahbez and "Vilia" by Franz Lehar. Three well known Coltrane originals make up the rest: "Impressions" and "One Up, One Down"and a "Slow Blues". This album is an amazing discovery worth your attention and is tonight's Jazz Feature.

Tonight's Jazz Feature is part of this month's series of unissued or newly unearthed albums. This one falls into the latter category. People were aware this date took place as it was listed in discographies but only one tune was ever actually issued. John Coltrane's contract with Impulse Records included a clause that he would have private tapes of everything he recorded for the label. When he died in 1967 some tapes went to his first wife Naima and some went to his second wife Alice. When they passed away the estate was turned over to his son saxophonist Ravi Coltrane. Ravi unearthed this long forgotten and lost recording session by Coltrane's "classic" Quartet. In the Quartet were Coltrane on soprano and tenor saxophones, McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums. They were at their early peak on March 6, 1963 when this recording happened. Seven compositions will be heard, two are untitled originals by Coltrane. Two standards are included: "Nature Boy" by Eden Ahbez and "Vilia" by Franz Lehar. Three well known Coltrane originals make up the rest: "Impressions" and "One Up, One Down"and a "Slow Blues". This album is an amazing discovery worth your attention and is tonight's Jazz Feature.

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JOHN COLTRANE PROGRAMA ESPECIAL No. 3 de 3: “ASCENSION” – Englewood Cliffs, N.J., June 28, 1965 Ascension Freddie Hubbard, Dewey Johnson (tp) John Tchicai, Marion Brown (as) John Coltrane, Pharoah Sanders, Archie Shepp (ts) McCoy Tyner (p) Jimmy Garrison, Art Davis (b) Elvin Jones (d) “INTERSTELLAR SPACE” – Englewood Cliffs, N.J., February 22, 1967 Jupiter […]

Un paseo por bajistas que van agregando color a la paleta del instrumento hasta llegar al gran Scott LaFaro, quien alcanza o ejemplifica una nueva dirección en la expresividad solista del mismo. Red Mitchell, Paul Chambers, Wilbur Ware, Mal Waldron, Niels Pedersen y Jimmy Garrison acuden a esta cita. Erratum: El bajista Sam Jones no es de la misma familia Jones que el baterista Elcin.

"Music is Defined as Anything that is Beautiful, and What Makes Something Beautiful is Music"Our guest for this episode of MFM Speaks Out is free jazz bass master William Parker. Parker was born in the Bronx, New York City, and grew up in the Melrose housing project. His first instruments were the trumpet, trombone and cello. Parker had no formal training as a classical player, but in his youth studied with Jimmy Garrison, Richard Davis and Wilbur Ware.In the 1980s, he first came to public attention playing with Cecil Taylor. He has also performed and recorded with Peter Brotzmann, Derek Bailey, John Zorn, Hamid Drake, Anthony Braxton, Milford Graves, Oliver Lake, Daniel Carter, Billy Bang, Andrew Cyrille, Matthew Shipp, Roy Campbell, Warren Smith, Joe McPhee, Roscoe Mitchell, Jemeel Moondoc, Joe Morris, Steve Swell, David S. Ware, Leena Conquest, and many others. He also led several groups, such as the Little Huey Creative Music Orchestra and In Order to Survive.His discography is extensive, with dozens of albums as a leader and co-leader, and with the aforementioned artists. They received very favorable reviews from publications such as Downbeat, The Village Voice, The Wall Street Journal, Parker is a prominent musician in the New York City experimental jazz scene, where he leads a number of groups and is associated with the Vision Festival, organized by his wife, dancer / choreographer Patricia Nicholson. He is also a member of the Other Dimensions in Music cooperative, and co-founder of the musician's non-profit organization Arts For Art. He has performed at many prestigious venues and music festivals around the world. In addition to double bass, Parker also plays trumpet, tuba, bamboo flutes, shakuhachi, flute, double reeds, Kora, gembri, and donso ngoni.In 2006, Parker was awarded the Resounding Vision Award from Nameless Sound. In March 2007, his book of political thoughts, poems, and musicological essays, Who Owns Music?, was published by Buddy's Knife Jazzedition in Cologne, Germany.  In June 2011, Parker's second book, Conversations, a collection of interviews with notable free jazz musicians and forward thinkers, mainly from the African-American community, was published by RogueArt. Parker is frequently noted for his community dedication, mentorship, and status as "unofficial mayor of the New York improvisational scene." The Village Voice named him "the most consistently brilliant free jazz bassist of all time" and Downbeat has called him "one of the most adventurous and prolific bandleaders in jazz."Topics discussed:His beginnings as a musician and what led him to free jazz, his work with Cecil Taylor, Roy Campbell, Hamid Drake, Jimmy Garrison, and many others, his work and long association with Arts for Art (AFA), the Vision Festival, the Other Dimensions in Music Cooperative, AFA's kinship with other musician's organizations, his thoughts on hip hop, social media, and modern music technology, racism in America, the spiritual essence of music (especially free / improvised music), the future of free jazz, and his experience, thoughts, and advice about the political and economic climate of the the music business.Music on this episode:"Give Me Back My Drum""It's A Great Day to Be Dead""Canyons of Light"All Music by William Parker

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"Nancy (With the Laughing Face)" John Coltrane: Ballads (Impulse!, 1963) John Coltrane, McCoy Tyner, Jimmy Garrison, Elvin Jones. El tema es una composición de Jimmy Van Heusen. Tomajazz: © Pachi Tapiz, 2022 ¿Sabías que? La grabación de Ballads fue idea del productor Bob Thiele. Los temas, melodías populares, fueron elegidos por John Coltrane, porque eran unas composiciones que le gustaban. Salvo "It's Easy to Remember", el grupo no había tocado el resto de los temas del disco en directo. Tras la sesión de grabación no los volverían a tocar. Se cuenta que cuando Frank Sinatra escuchó la vesión de "Nancy (With the Laughlng Face)" mostró interés en contratar a Coltrane. En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos... https://www.tomajazz.com/web/?p=58774 Más información acerca de John Coltrane en Tomajazz https://www.tomajazz.com/web/?s=jazzx5+john+coltrane&submit=Search Más información sobre John Coltrane https://www.johncoltrane.com/ https://www.gettyimages.es/fotos/john-coltrane Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

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El 2 de octubre de 1965, John Coltrane tocó 'A Love Supreme' en el Penthouse de Seattle, en la última de las seis noches programadas en este local. Que lo hiciera es excepcional, porque rara vez interpretó la obra cumbre de su cuarteto clásico. 56 años después ve la luz una grabación que fue descubierta en 2015 por un saxofonista del área de Seattle. Este directo de Seattle es tan solo la tercera versión grabada de la que hay constancia, además de la de estudio del 9 de diciembre de 1964 y del concierto en el Festival de Antibes de julio de 1965 que se publicó en 2002. Es, además, más del doble de larga que la sesión de estudio, y la primera con una formación más amplia. A McCoy Tyner (piano), Jimmy Garrison (contrabajo) y Elvin Jones (batería) se unieron Carlos Ward (saxo alto), Pharoah Sanders (saxo tenor) y Donald Garrett (contrabajo). En los descartes de la sesión de estudio, Coltrane grabó un movimiento con Archie Shepp y Art Davis como invitados. En esta edición especial de 'Club de Jazz' escuchamos los cuatro movimientos de la suite tal y como sonaron aquella noche y explicamos los detalles detrás del descubrimiento y edición de este documento excepcional. Todo ello con la ayuda en la sombra de nuestro colaborador Fernando Ortiz de Urbina. Toda la información y derechos: http://www.elclubdejazz.com

CLÁSICO DE LA SEMANA. John Coltrane Quartet. Live at the Half Note: One Down, One Up, 1965. Dominik Wania. Lonely Shadows, 2020. JAZZ EN ESPAÑOL. Jeff Jerolamon Jazz Experience. Somebody's Gotta Do It, 2021. Jon Batiste. WE ARE, 2021. Dan Weiss Starebaby. Natural Selection, 2020.

CLÁSICO DE LA SEMANA. John Coltrane Quartet. Live at the Half Note: One Down, One Up, 1965. Dominik Wania. Lonely Shadows, 2020. JAZZ EN ESPAÑOL. Jeff Jerolamon Jazz Experience. Somebody's Gotta Do It, 2021. Jon Batiste. WE ARE, 2021. Dan Weiss Starebaby. Natural Selection, 2020.

Elvin Jones & Jimmy Garrison Sextet. Illumination, 1964. Rajiv Jayaweera. Pistils, 2020. Recuerdo a Bob Sands. Bob Sands Quartet. Jumpstart, 1998 Elephant9. Arrival of the New Elders, 2021. Massimiliano Génot - Emanuele Sartoris. Totentanz - Evocazioni Lisztiane, 2020.

Elvin Jones & Jimmy Garrison Sextet. Illumination, 1964. Rajiv Jayaweera. Pistils, 2020. Recuerdo a Bob Sands. Bob Sands Quartet. Jumpstart, 1998 Elephant9. Arrival of the New Elders, 2021. Massimiliano Génot - Emanuele Sartoris. Totentanz - Evocazioni Lisztiane, 2020.

Elvin Jones & Jimmy Garrison Sextet. Illumination, 1964. Rajiv Jayaweera. Pistils, 2020. Recuerdo a Bob Sands. Bob Sands Quartet. Jumpstart, 1998 Elephant9. Arrival of the New Elders, 2021. Massimiliano Génot - Emanuele Sartoris. Totentanz - Evocazioni Lisztiane, 2020.

Elvin Jones & Jimmy Garrison Sextet. Illumination, 1964. Rajiv Jayaweera. Pistils, 2020. Recuerdo a Bob Sands. Bob Sands Quartet. Jumpstart, 1998 Elephant9. Arrival of the New Elders, 2021. Massimiliano Génot - Emanuele Sartoris. Totentanz - Evocazioni Lisztiane, 2020.

John Coltrane'ın sahnede ve kayıtlarda en büyük destekçisiydi, hayatı boyunca kendi adına tek bir kayıt yaptı, 1963'de yayınlanan albümün adı "Illumination"dı, Dr. Hakan Rauf Tüfekçi Cazın Büyüsü'nde ABD'li kontrbasçı Jimmy Garrison'nın albümden şarkılar çalıyor.

Bu müzik ona babasından miras

John Coltrane (North Carolina 1926, New York 1967) fue un gran saxofonista tenor y soprano y uno de los innovadores claves en la historia del jazz. En "la década Coltrane-1955-1967) preside sobre los principales cambios en el jazz. El gran cuarteto con Elvin Jones, uno de los bateristas mas importantes del jazz y Mc Coy Tyner en piano, creando un "pulso" detrás de Trane. Jimmy Garrison y otros fueron los bajistas. En sus últimos 4 años Coltrane entra en su etapa mística y compone música de devoción: A love supreme, entre otras. Siempre rompiendo barreras llega a la atonalidad y el free jazz, coincidiendo en parte con el otro gran revolucionario de la década del 60, Ornette Coleman. Se casa con Alice Coltrane (arpista y pianista) y forma su grupo con ella y Pharaoh Sanders en tenor. Ambos tocan saxo sobresoplado y en el registro alto y esta música divide a la audiencia de jazz. Siguen las obras de devoción, Ascension, Meditation etc.  Muere a los 41, en San Francisco algunos lo declaran santo, y en los 70 la vanguardia del jazz sigue a Coltrane, como en los 80 a Coleman.

In this episode, Steve and Chuck welcome Elgineer Peter Zagare. Peter tells stories from the inside of the box office and beyond. Tune in and finally hear the true story of Peter lending jazz legend Jimmy Garrison his electric bass.

BENNY CARTER – FURTHER DEFINITIONS – New York, November 13 & 15, 1961 Honeysuckle rose, Body and soul, Crazy rhythm Benny Carter (as,arr) Phil Woods (as) Coleman Hawkins, Charlie Rouse (ts) Dick Katz (p) John Collins (g) Jimmy Garrison (b) Jo Jones (d) BARRY HARRIS – INTERPRETATIONS OF MONK – New York, 3 p.m., November […]

Sinéad O'Connor [00:28] "Jerusalem" Jerusalem Ensign VAS 1062 1988 More Ants on this track than you would think, and a Stiff Little Finger. Ministry [04:39] "Jesus Built My Hotrod (Short, Pusillanimous * So-They-Can-Fit-More-Commercials-On-The-Radio Edit)" Jesus Built My Hotrod Sire 0-40211 1991 IndustrioMetalBilly? Mike D'Abo [08:22] "King Herod's Song (Try It and See)" Jesus Christ Superstar Decca DXSA 7206 1970 Manfred Mann's front man handles King Herod on the original studio version. Joshua Mostel [11:25] "King Herod's Song" Jesus Christ Superstar MCA Records MCA2-11000 1973 Zero's son definitely plays it for laughs. The Jesus Lizard [16:10] "Bloody Mary" The Jesus Lizard Touch and Go T&G #43 1989 So, fun story. This is actually The Jesus Lizard's debut EP however I caught this record literrally at a CBGB's show where David Yow was flinging copies of this record off the stage. Kris Kristofferson [18:08] "Jesus Was a Capricorn (Owed to John Prine)" Jesus Was a Capricorn Monument KZ 31909 1972 Honor your influences. Joe Ely [20:37] "Suckin' on a Big Bottle of Gin" Joe Ely MCA Records MCA-837 1980 Definitely going to need some gin after all those religious tunes. A fine Butch Hancock number. John Coltrane and Johnny Hartman [23:53] "Autumn Serenade" John Coltrane and Johnny Hartman Impulse! AS-40 1963 Recorded on March 7, 1963 in Englewood Cliffs NJ with vocals by Hartman, tenor sax by Coltrane, McCoy Tyner on piano, Jimmy Garrison on double bass, and of course Elvin Jones on drums. Johnny Mathis [29:43] "Chances Are" Johnny's Greatest Hits Columbia CL 1133 1958 The one and only San Franciscan Johnny Mathis. One of my mother's favorite songs. Fun fact: Johhny Mathis and fellow Bay Area athlete Bill Russell vied against each other in the high jump during their high school years. Richard Harris [32:46] "Jonathan Livingston Seagull (excerpt)" Jonathan Livingston Seagull ABC/Dunhill Records DSD-50160 1973 Stoopit conformist seagulls all focused on food and fighting. Don't they know what it is to fly?! Spandau Ballet [37:12] "To Cut a Long Story Short" Journeys to Glory Chrysalis CHR 1331 1981 The debut albums from these London synth natives. This track made it to number 5 on the UK singles chart. Evidently this song was also Vince Clarke's inspiration for "Just Can't Get Enough". Terry Allen [40:31] "The Juarez Device/Dialogue: The Characters/A Simple Story" Juarez Fate Records 1394 1981 (original release 1975) Quite a tale, let me tell you. If this sounds like you kinda thing, definitely check this album out. Dalis Car [46:00] "The Judgement Is the Mirror" The Judgement Is the Mirror Paradox Records DOX 1-12 1984 What happens when you take one part of Bauhaus (Murphy) and one part of Japan (Karn) and stick them in a studio? You get a Captain Beefheart inspired name with a Brian Eno inspired sound. Siouxsie and the Banshees [50:36] "Spellbound" Juju PVC Records 8903 1981 The fourth studio album from Siouxsie and company. Their sound is wonderfully lifted by the guitarwork of John McGeoch. Harry Belafonte [53:53] "Jump in the Line" Jump Up Calypso RCA Victor LPM-2388 1961 Another one from my father's collection. Side two has a couple of other standout tracks including versions of "Monkey" and "Angelina". June Havoc [57:32] "Scene 1: Waterfront" June Havoc - The Record Acting Game Co-Star CS-105 1977 (original release 1958) Well, did you get the part? You're a shoe-in for Johnny. Music behind the DJ: "Come and Get It" by Terry Baxter and his Orchestra

ELVIN JONES – PUTTIN’ IT TOGETHER – Englewood Cliffs, N.J., April 8, 1968 Keiko’s birthday march (2), Jay-Ree (1), Gingerbread boy (1) Joe Farrell (ts-1,pic-2) Jimmy Garrison (b) Elvin Jones (d) DICK HYMAN PLAYS DUKE ELLINGTON – High School Auditorium, Santa Ana, CA, August 23, 1992 The clothed woman, I let a song go out […]

Esta semana, en una nueva sesión de Rebelión Sónica destacamos al quinteto A Love Supreme Electric, que el pasado 13 de noviembre lanzó el álbum “A Salvo Inspired by John Coltrane: A Love Supreme & Meditiations”, una recreación actual de los discos canónicos de John Coltrane, “A Love Supreme” (1965) y “Meditiations” (1966). El proyecto está integrado por músicos de importantes trayectorias de varias tradiciones musicales: el vientista Vinny Golia, el baterista John Hanrahan, el guitarrista Henry Kaiser, el tecladista Wayne Peet y el bajista Mike Watt. El álbum fue editado el 13 de noviembre a través del sello Cuneiform Records y, como decíamos, reinterpreta de manera libre los trabajos mencionados de Coltrane, “desde una variedad caleidoscópica de ángulos”. Kaiser, el teórico de facto del proyecto, decidió comenzar a recrear las canciones partiendo de la siguiente pregunta: “¿Qué pasa si “A Love Supreme” y “Meditiations” son dos partes de una sola expresión de un estado espiritual extático?”. El mismo Kaiser escribe en las notas del disco que, “sabía que Coltrane tenía la intención de que su suite ‘Meditations’ fuera una secuela espiritual de ‘A Love Supreme’”. Agrega que: “Después de haber tocado los dos discos uno después de otro, notamos que las dos piezas realmente encajaban para convertirse en una suite de dos partes, donde todas las secciones individuales informan, profundizan, hacen referencia cruzada y se expanden entre sí, tanto en el ámbito musical como en el spiritual”. Al final del programa, viajamos a la fuente misma, para escuchar una composición del disco “Meditiations”, que Coltrane registró con Pharoah Sanders, McCoy Tyner, Jimmy Garrison, Elvin Jones y Rashied Ali. Rebelión Sónica se transmite por radio Rockaxis, todos los miércoles a las 10, 17 y 23 horas -se repite los domingos a las 19-, con la conducción y curatoría de Héctor Aravena. A continuación, mira las carátulas de los discos que sonarán en el capítulo 41 de la temporada 2020 del programa.

Esta semana, en una nueva sesión de Rebelión Sónica destacamos al quinteto A Love Supreme Electric, que el pasado 13 de noviembre lanzó el álbum “A Salvo Inspired by John Coltrane: A Love Supreme & Meditiations”, una recreación actual de los discos canónicos de John Coltrane, “A Love Supreme” (1965) y “Meditiations” (1966). El proyecto está integrado por músicos de importantes trayectorias de varias tradiciones musicales: el vientista Vinny Golia, el baterista John Hanrahan, el guitarrista Henry Kaiser, el tecladista Wayne Peet y el bajista Mike Watt. El álbum fue editado el 13 de noviembre a través del sello Cuneiform Records y, como decíamos, reinterpreta de manera libre los trabajos mencionados de Coltrane, “desde una variedad caleidoscópica de ángulos”. Kaiser, el teórico de facto del proyecto, decidió comenzar a recrear las canciones partiendo de la siguiente pregunta: “¿Qué pasa si “A Love Supreme” y “Meditiations” son dos partes de una sola expresión de un estado espiritual extático?”. El mismo Kaiser escribe en las notas del disco que, “sabía que Coltrane tenía la intención de que su suite ‘Meditations’ fuera una secuela espiritual de ‘A Love Supreme’”. Agrega que: “Después de haber tocado los dos discos uno después de otro, notamos que las dos piezas realmente encajaban para convertirse en una suite de dos partes, donde todas las secciones individuales informan, profundizan, hacen referencia cruzada y se expanden entre sí, tanto en el ámbito musical como en el spiritual”. Al final del programa, viajamos a la fuente misma, para escuchar una composición del disco “Meditiations”, que Coltrane registró con Pharoah Sanders, McCoy Tyner, Jimmy Garrison, Elvin Jones y Rashied Ali. Rebelión Sónica se transmite por radio Rockaxis, todos los miércoles a las 10, 17 y 23 horas -se repite los domingos a las 19-, con la conducción y curatoría de Héctor Aravena. A continuación, mira las carátulas de los discos que sonarán en el capítulo 41 de la temporada 2020 del programa.

Welcome to a new edition of the Neon Jazz interview series with Veteran Jazz Drummer, Composer & Bandleader Franklin Kiermyer .. We caught up with him in May 2020 during the COVID-19 lockdown to discuss his life in music and the surreal world we are living in .. Originally from Montreal, Quebec, he came to prominence in the 1990s during his long residency in New York City. His work is inspired by a variety of spiritual musics including the late period of John Coltrane and his quartet of McCoy Tyner, Elvin Jones and Jimmy Garrison. His story is full of great tales. Enjoy….Click here to listen.Neon Jazz is a radio program airing since 2011. Hosted by Joe Dimino and Engineered by John Christopher in Kansas City, Missouri giving listeners a journey into one of America's finest inventions. Take a listen on KCXL (102.9 FM / 1140 AM) out of Liberty, MO. Listen to KCXL on Tunein Radio at http://tunein.com/radio/Neon-Jazz-With-Joe-Dimino-p381685/. You can now catch Neon Jazz on KOJH 104.7 FM out of the Mutual Musicians Foundation from Noon - 1 p.m. CST Monday-Friday at https://www.kojhfm.org/. Check us out at All About Jazz @ https://kansascity.jazznearyou.com/neon-jazz.php. For all things Neon Jazz, visit http://theneonjazz.blogspot.com/

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JACKIE MCLEAN SWING, SWANG SWINGING – Englewood Cliffs, N.J., October 20, 1959 Stablemates, I’ll take romance, 116th and Lenox Jackie McLean (as) Walter Bishop, Jr. (p) Jimmy Garrison (b) Art Taylor (d) ART BLAKEY – MOANIN’ – Hackensack, N.J., October 30, 1958 Moan n’, Come...

My guest was born near the Mason-Dixon Line but was close enough to Rock Creek Park that he sucked in all the sounds of Mid-Atlantic America. The bluegrass of Chubby Wise and Bill Monroe, the baselines of Richard Davis, Paul Chambers and Jimmy Garrison, the soul sanctification of Wilson Pickett and Sam Cooke and the Chuck Berry, Little Richard Rock beat. My guest studied and studied. By studying I mean on the bandstand. Getting comfortable expressing himself at times like a melodic instrument while still locking the groove. He flew on an Airplane to Wally Heider Studios where they cranked out albums with the cagey Grace Slick singing pop/psych lyrics over the undulating bass of my guest. His Crown of Creation was jettisoning Jefferson and forming Hot Tuna with the biophile Jorma Kaukonen. They play duo's or in trios or at The Fur Peace Ranch just being themselves and staying as grounded as possible. My guest is in the same master bass discussion as Leland Sklar, The Late Great Jack Bruce, Phil Lesh and Dave Holland.v Live from The UK Jack Casady welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

This week's episode is about bassist Jimmy Garrison.  It features music from his early days playing in some fantastic hard bop groups like those of Kenny Dorham, Ted Curson, and Jackie McLean, a track from his time in John Coltrane's Classic Quartet, and some exciting free jazz oriented tracks from later in his career.  Enjoy! Questions? Comments? Requests?  WNPMPod@gmail.com or find me on twitter @wednesday_jazz

STANDARD SEMANAL.- “Now´s the time” (Paul Williams-Art Blakey Quintet-Eddie Jefferson )JAZZ RECUERDO ANIVERSARIO.- Ted Curson - Plenty Of Horn (1961).-JAZZ ACTUALIDAD .- Esta semana tendremos a PERICO SAMBEAT-OFRENDA- PROG.Nº 666.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “Now´s the time” (Paul Williams-Art Blakey Quintet-Eddie Jefferson ) JAZZ RECUERDO ANIVERSARIO.- Ted Curson - Plenty Of Horn (1961).- Plenty of Horn es el álbum debut del trompetista estadounidense Ted Curson que se lanzó por primera vez en elsello Old Town en 1961. Track listing All compositions by Ted Curson except as indicated 1. "Caravan" (Duke Ellington, Irving Mills, Juan Tizol) - 2:59 2. "Nosruc" - 6:23 3. "The Things We Did Last Summer" (Sammy Cahn, Jule Styne) - 4:29 4. "Dem's Blues" - 3:45 5. "Ahma (See Ya)" - 4:24 6. "Flatted Fifth" - 3:37 7. "Bali Ha'i" (Oscar Hammerstein II, Richard Rodgers) - 4:00 8. "Antibes" - 5:07 9. "Mr. Teddy" - 5:15 Personnel[edit] • Ted Curson - trumpet • Eric Dolphy - flute (tracks 3 & 7) • Bill Barron - tenor saxophone (tracks 1, 2, 4-6, 8 & 9) • Kenny Drew - piano • Jimmy Garrison - bass • Pete La Roca (tracks 1, 2, 4, 8 & 9), Dannie Richmond (tracks 3 & 7), Roy Haynes (tracks 5 & 6) - drums Theodore Curson (3 de junio de 1935 - 4 de noviembre de 2012) fue un trompetista de jazz estadounidense. [1] [2] Curson nació en Filadelfia . [1] Se interesó en tocar la trompeta después de ver a un vendedor de periódicos tocar una trompeta de plata. [3] El padre de Curson, sin embargo, quería que tocara el saxofón alto como Louis Jordan . [3] Cuando tenía diez años, obtuvo su primera trompeta. [3] Asistió a la Granoff School of Music en Filadelfia. [4] A sugerencia de Miles Davis , se mudó a Nueva York en 1956. [1] Actuó y grabó con Cecil Taylor a finales de los años cincuenta y principios de los sesenta. [1] [5] Su composición "Tears for Dolphy" se ha utilizado en numerosas películas. [6] [7] [8] Era un rostro familiar en Finlandia, habiendo actuado en el festival Pori Jazz todos los años desde que comenzó en 1966. [2] En 2007, actuó en el baile del Día de la Independencia de Finlandia por invitación del presidente Tarja Halonen . [9] Un residente de Montclair, Nueva Jersey , [10] Curson murió allí el 4 de noviembre de 2012. [2] JAZZ ACTUALIDAD .- Esta semana tendremos a PERICO SAMBEAT-OFRENDA- Perico Sambeat tiene mucho nombre en la escena española, lleva mas de veinte discos como líder demostrando su valía y ha tocado junto a músicos de la talla de Brad Mehldau, Kurt Rosenwinkel, Tete Montoliu, Michael Brecker o Pat Metheny entre otros. Nosotros le venimos siguiendo a Perico Sambeat cuando podemos, y ahora nos alegramos de poder escuchar su última entrega ‘ Ofrenda’ donde se ha rodeado de un elenco de músicos de lujo. Son el pianista californiano afincado en Nueva York Danny Grissett, (Jeremy Pelt, Laïka Fatien), el bajista alemán de origen nigeriano Ugonna Okegwo (René Marie, Tom Harrell) y el batería neoyorkino E.J. Strickland (Herbie Hancock, Cassandra Wilson). Cuatro maestros que desde luego no tienen que demostrar nada y tan solo deben dejar que la música fluya para obtener un gran disco de jazz del bueno. El repertorio consiste en once temas que parecen ser del propio Perico Sambeat, el dato no aparece referenciado en el disco, y a mí me parece que cumplen con las expectativas. Jazz contemporáneo con muchos toques neoyorkinos y algo de sabor latino demuestran el gusto de Perico y su gente. Ya desde el inicial y elegante ‘Ofrenda’ que mezcla sabiamente el blues con lo latino con mucha soltura o ese pequeño homenaje a Coltrane que es ‘Dwarf Steps’ (pasos de enano) todo suena fluido y cálido. Hay sitio para baladas como ‘Majoun’, ‘Implorar’, con mucho sabor a jazz clásico estadounidense, o la final ‘Elegia’ un sentido mano a mano con Grissett. Entre los demás temas podemos hablar de la rítmica ‘Nigromante’ con mucho sabor latino, la nerviosa ‘Impasse’ o ‘Gateway’ que ya grabo junto a Joe Magnarelli. Otro buen disco de Perico Sambeat que no defrauda, te puede gustar mas en otras facetas, pero nunca baja el listón.

Today we begin to take some kind of measure of the impacts of the so-called novel coronavirus or COVID-19 in our communities. Throughout, we’ll be accompanied by “Love” and “Compassion,” two tracks from John Coltrane’s last recordings with McCoy Tyner, Elvin Jones, Jimmy Garrison. Recorded on September 2, 1965 and released in 1977 on the …

En el podcast JazzX5 escuchamos un adelanto de la grabación inédita de John Coltrane, Blue World, que se publicará el próximo 27 de septiembre de 2019. Por Pachi Tapiz. "Blue World". John Coltrane: Blue World (Impulse!) John Coltrane, McCoy Tyner, Jimmy Garrison, Elvin Jones Single adelanto de Blue World, grabación inédita de John Coltrane realizada en 1964 en el estudio de Rudy Van Gelder en Englewood Cliff, que se publicará por Impulse! el 27 de septiembre de 2019.  © Pachi Tapiz, 2019 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120

The third drummer/leader in this month's series is the redoubtable Elvin Jones. Elvin was one of the most unorthodox and innovative drummers in Modern Jazz History and he really became well known after spending the years 1960 through 1965 as an important part of John Coltrane's "classic quartet". After Coltrane and a short stint with Duke Ellington, Elvin led his own bands of various sizes but one of his finest ensembles was his Trio. It consisted of the versatile Joe Farrell on tenor and soprano saxophones and flute/alto flute and piccolo. Joe is a strong voice. On bass was Elvin's long time bandmate Jimmy Garrison. They gigged and did a couple of albums for Blue Note and tonight's Jazz Feature is the first one called "Puttin' It Together". The cohesion and the variety provided by the various horns played by Farrell make this an extremely satisfying group despite it's size. Seven tunes and seven different moods make up the date. Compositions by Garrison, Jones, Farrell and some standards make "Puttin' It Together" a wonderful musical experience. Check it out!

Something Old, Something New Paul Motian on recordings with Warne Marsh, Lee Konitz, Bill Evans, and more. Featuring Joe Lovano's new 2019 Album Trio Tapestry and Moondog recorded in 1956. Readings about playing with Bill Evans and Moondog from Motian's unpublished autobiography Set List: http://jazzcloset.blogspot.com/2019/01/set-list-012119.html photo: Bill Evans, Jimmy Garrison, Paul Motian ©Paul Motian Archive

This week's episode of WNPM is about the music of John Coltrane's quartet with McCoy Tyner, Jimmy Garrison, and Elvin Jones, featuring music from their albums A Love Supreme, Crescent, Live at Birdland, and more.  Also, I set up a Wednesday Night Prayer Meeting voicemail box to encourage some audience participation.  Questions? Requests? Comments? Suggestions for future shows? Call (424) 704-1666 and leave a message, or email WNPMPod@gmail.com

This album has been considered the "holy grail" of discoveries and just issued a few months ago. A n undiscovered recording session by John Coltrane's "classic quartet" at their peak. This session from March 6,1963 was never issued before. The reasons are long and complex but basically the session was done and forgotten during a very busy time in Coltrane's career. Gigs, concerts and other recording projects were happening at this time and as with all the recording sessions done for Coltrane's label, Impulse Records, he was given a tape to take home and assess and listen to in his own time. It was found in the possession of Naima's estate. Naima was Coltrane's first wife and she died in 1996. The tape was processed and programmed by Coltrane's son Ravi and issued to the public a few months ago. What a discovery! The Classic Quartet has John Coltrane on tenor and soprano saxophones and McCoy Tyner on piano, Jimmy Garrison on bass and the incredible Elvin Jones on drums. They are at their intuitive best here and they perform as one. There are seven tunes here, two are untitled Coltrane originals. Eden Ahbez' great composition "Nature Boy" is given a fine treatment and less challenging than his later 1965 version. "Vilia" by Franz Lehar is an unissued version with Coltrane on tenor saxophone. Then there is a great 12 minute blues proving Coltrane once again as a master blues player. Finally another Coltrane original called One Up, One Down closes the set. Sonny Rollins is quoted as saying that "this is like finding a new room in the great pyramid". That describes the music to a tee. Tonight's Jazz Feature "Both Directions at Once".

En HDO 435 escuchamos al completo la versión sencilla de la grabación inédita en estudio del 6 de marzo de 1963 de John Coltrane, publicada por Impulse! en 2018 con el título Both Directions At Once. The Lost Album. Acompañaron a Trane sus fieles McCoy Tyner, Jimmy Garrison y Elvin Jones. En cuanto a los temas interpretados están "Impressions" (un fijo en los directos de Coltrane, pero muy pocas veces grabado en estudio), "Nature Boy", "One Up, One Down", "Slow Blues", "Vilia" y los dos temas inéditos -y sin título- "Untitled Original 11383" y "Untitled Original 11386". Tomajazz: © Pachi Tapiz, 2018 HDO es un podcast de jazz e improvisación (libre en mayor o menor grado) que está editado, presentado y producido por Pachi Tapiz. Para quejas, sugerencias, protestas, peticiones, presentaciones y/u opiniones envíanos un correo a hdo@tomajazz.com.

PROGRAM NOTES In today's VINYL VIBRATIONS podcast, we explore jazz guitarist and composer Larry Coryell. INTRO TO  "LARRY CORYELL": Larry Coryell was born in 1943 in Galveston. He is an american jazz fusion guitarist. A long background as a musician, he played in local bands in Texas and later in the Seattle area.  He moved to NYC in 1965  - age 22 - and was part of Chico Hamilton's quartet. In the late 1960s he recorded with jazz vibraphonist great, great Gary Burton. He also played in the band Free Spirits.  He formed his own group, The Eleventh House, in 1973. Later in the 1970s  in 1979, Coryell formed "The Guitar Trio" with jazz fusion guitarist John McLaughlin and flamenco guitarist Paco de Lucia. Coryell's music combined influences and styles of rock, jazz and eastern. That eastern influence was not doubt a result of his interest in the spiritual leader Sri Chimnoy. Coryell's discography is impressive.  As leader, there are 36 albums, and as sideman, there are many other albums. This podcast follows Larry Coryell's work from a rich time in his younger years, 1968-1975, or from age 25-32, recording in New York City for Vanguard Apostolic, Mega records  and Arista. In today's podcast we will hear six of Larry Coryell's best !! Starting with… M1 Song Treats Style Album Lady Coryell M2 Song After Later Album Larry Coryell at the Village Gate M3 Song Further Explorations for Albert Stinson Album Fairyland M4 Song Low-Lee-Tah Album Introducing the Eleventh House w Larry Coryell M5 Song Pavane For A Dead Princess Album The Restful Mind M6 Song Level One Album Level One Album Artist Eleventh House featuring Larry Coryell   M1  Song Treats Style Album Lady Coryell. Album Artist Larry Coryell. Composer Jim Garrison   Larry Coryell was just 25 when this album was recorded in 1968. It is his first album as a leader.By now, LC had recorded two albums with vibraphonist Gary Burton, in his group The Free Spirits. Decades of collaboration would follow between LC and jazz-great Burton, king of the four-mallet style, on jazz vibes. And now in 1968, two more jazz masters are with Coryell  - - Jimmy Garrison on bass, and Elvin Jones on drums … guest artists on this album. Bassist and song composer Garrison played as a sideman with the John Coltrane classic quartet -- along with pianist McCoy Tyner and drummer Elvin Jones, from 1962-1967. Jimmy Garrison and Elvin Jones formed the "rhythm section" of the John Coltrane Quartet.  They gave bold physicality to Coltrane, due to the focused intensity of their rhythm section.   You will hear that focused intensity of the rhythm section on this song. This rhythm machine, plus Coryell's licks provide an outstanding TRIO performance. And there is a Milestone Event for Coryell …on this song, "Treats Style", Coryell takes his first guitar solo!! Larry Coryell's blues guitar signature is imitated but never duplicated, such as his solo here in TREATS STYLE.  This is great early LC, in his formative years, in the 1960s,   as jazz guitarist, composer, arranger and co-producer. The album was produced by David Weiss and LC. Treats Style, was composed by the bassist, Jimmy Garrison, who was 35 at the time of this album. By Vanguard Apostolic. Year 1969 Featuring the trio - - - Larry Coryell guitar Jim Garrison Bass Elvin Jones drums M2 Song After Later, Album Larry Coryell at the Village Gate, Album Artist Larry Coryell, Composer Larry Coryell, Year 1971, By Vanguard Recording Society Featuring Larry Coryell guitar Mervin Bronson bass Harry Wilkinson drums Larry Coryell is almost 28 at the time of this show at the Village Gate in NYC. After Later is a jazz-rock guitar instrumental, done, in 10/4 time. On this song we have the driven lead guitar jazz rock style of LC, with distortion and feedback effects. Some of that overdrive is the unique combination of LC's choice of what is typically a jazz guitar,

Tonight's Jazz Feature is our small celebration to Halloween as tonight is October 31st! Joseph Rudolph Jones aka "Philly Joe" a nickname he adopted to distinguish himself from the older Basie drummer Jo Jones. Philly Joe came to national fame as part of Miles Davis' "first great quintet" and became one of the most in-demand sideman and appeared on so many classic recordings in the 50s and 60s and beyond. He recorded some albums under his own name that may not be classics but are damn good! One of them is this date with tenor saxophonist fireball Johnny Griffin, trombonist Julian Priester and cornetist Nat Adderley who shines on this date. Tommy Flanagan is on piano and a young Jimmy Garrison is solid on bass. Four great tunes are featured for the band to stretch out on and the final fifth tune is called "Blues For Dracula". It's a slow blues with Philly Joe's voice overdubbed. Philly Joe does his best Bela Lugosi imitation and the slow blues turns into Blues For Dracula. Serious fun and a small tribute to Halloween. All in all a fine representative recording and a tribute to one of the most influential drummers in Modern Jazz.......Mr. Philly Joe Jones!

John Coltrane's "Classic Quartet" with McCoy Tyner on piano, Jimmy Garrison on bass and the incredible Elvin Jones on drums had reached a pinnacle of creativity when this concert was performed as part of an extensive European tour. Changes were afoot but during this period the band had reached a level of consistency and performance that was unequaled by any band of this instrumentation. They were captured here with good quality sound in performance before a worshipful German audience. The tunes include Coltrane's "Lonnie's Lament", "Naima", "Cousin Mary" and the fast abstract blues "Chasin' The Trane". The evening ends with the inevitable extended version of Rodgers and Hammerstein's "My Favourite Things" where Mr. Coltrane switches from tenor saxophone to soprano. This was one of Coltrane's "hits" and had to be played for every gig and concert. The piece evolved and became more interesting as time went on and this performance demonstrates the piece's evolution. Here then is the "Classic Quartet" at it's best.

Tonight(July 15, 2013)would have been the 90th birthday of one of the greatest drummers in Modern Jazz. Joseph Rudolph Jones aka "Philly Joe" Jones, who earned his place in Jazz history from his time with Miles Davis from 1952 to 1958. He appeared on albums led by himself and is a sideman on some of the most influential recordings in this music. Philly Joe's long and varied career in Jazz took him all over the world and he is to this day one of the most influential drummers in Jazz. He died fairly young from cancer on August 30,1985 at age 62. Tonight's Jazz Feature is one of his finest albums under his name called "Philly Joe's Beat" It is by his working band that he put together in 1960. It includes one of the few recordings by a great trumpeter named Michael Downs. On tenor saxophone is fellow Philadelphian Bill Barron. Walter Davis Jr. is on piano and the great Paul Chambers is on bass and of course Philly Joe on drums. The band is tight and well rehearsed and the tunes include 3 that Philly Joe played when he was with Miles Davis (Salt Peanuts, Dear Old Stockholm and Two Bass Hit) plus one by trumpeter John Hines called "Muse Rapture" and an original by bassist Jimmy Garrison called "Lori", one by Philly Joe called "Got To Take Another Chance" and finally a tune from early Modern Jazz by Dizzy Gillespie called "That's Earl Brother". this operation.Happy Birthday Mr. Jones...your beat goes on!

John Coltrane (el Padre) y Pharoah Sanders (el Hijo) purgan nuestros oídos en esta edición de "Club de Jazz" del 11 de julio de 2012. De Pharoah escuchamos su "Village of the Pharoahs" y de Coltrane su "Live at the Vanguard... again!" en el que participa el propio Sanders y músicos como Alice Coltrane (p), Jimmy Garrison (cb), Rashied Ali (bt). Se nos cuela Chavela Vargas con su "La luna grande", homenaje a Federico García Lorca. Descubrimos "Brooklyn Bazaar", primer trabajo del violinista francés Scott Tixier. Los "Ritmos Latinos" de Anxo nos proponen el "Cancionero de romances" de Joaquín Díaz. El "Jazz Porteño" de Alberto Varela nos presenta "Our song", trabajo del saxofonista Gustavo Musso. Y en el "Tren Azul" de Luis Díaz García más padres: los de la guitarra y el violín de jazz Eddie Lang y Joe Venuti. Toda la información y derechos: http://www.elclubdejazz.com

John Coltrane (el Padre) y Pharoah Sanders (el Hijo) purgan nuestros oídos en esta edición de "Club de Jazz" del 11 de julio de 2012. De Pharoah escuchamos su "Village of the Pharoahs" y de Coltrane su "Live at the Vanguard... again!" en el que participa el propio Sanders y músicos como Alice Coltrane (p), Jimmy Garrison (cb), Rashied Ali (bt). Se nos cuela Chavela Vargas con su "La luna grande", homenaje a Federico García Lorca. Descubrimos "Brooklyn Bazaar", primer trabajo del violinista francés Scott Tixier. Los "Ritmos Latinos" de Anxo nos proponen el "Cancionero de romances" de Joaquín Díaz. El "Jazz Porteño" de Alberto Varela nos presenta "Our song", trabajo del saxofonista Gustavo Musso. Y en el "Tren Azul" de Luis Díaz García más padres: los de la guitarra y el violín de jazz Eddie Lang y Joe Venuti. Toda la información y derechos: http://www.elclubdejazz.com

Pianist Walter Bishop Jr. was born in New York of West Indian parentage like many Jazz players (Sonny Rollins, Randy Weston,Arthur Taylor etc.) in 1927 and died in 1998. Bishop was the most swinging and hardest driving of the piano players who came out of the Bud Powell school of playing and there were many. Powell was to the piano what Charlie Parker was to the alto saxophone. Bishop was on the major league Jazz scene in New York from 1947 and played with Art Blakey, Miles Davis and was Charlie Parker's pianist from 1951 to Parker's death in 1955. Ironically Bishop never recorded an album under his own name until this one in 1961. It came out on a small independent label called Jazztime and was called "Speak Low". Walter Bishop displays his wares in fine fashion here with solid backing by Jimmy Garrison on bass and Granville (G.T.) Hogan on drums. The great Canadian Jazz icon Don Thompson told me back in 1961 to buy this album as he said "this is what a piano trio should sound like!" I agree and I think you will too!

This album aptly titled by Blue Note Records' owner Alfred Lion was called "Swing, Swang, Swingin'". "That's what the guys did and this was one of the most relaxed sessions I ever supervised". This was alto saxophone master Jackie Mclean's first quartet date for Blue Note, a label that he signed with in 1959 after several unhappy years with Prestige. Jackie was with BLue Note from 1959 to 1968 in a very good relationship with a label that saw him go through many alterations and advances of his style which was in early years heavily influenced by Charlie Parker (what alto saxophonist wasn't?). This date shows Jackie at his first level of maturity with added depth to his unique sound and a smoothing out of his ideas which flow much more easily. Most of all he sounds like no one else.....Jackie McLean had arrived. He picked his sidemen well in two old friends that he grew up with in the Sugar Hill area of Harlem in the persons of drummer Arthur Taylor and pianist Walter Bishop Jr. New to New York but with experience playing with Bill Evans, Tony Scott and Lennie Tristano was bassist Jimmy Garrison. Garrison went onto fame as the bassist with Coltrane's "classic quartet". The set consists of 5 standards all fairly common except Irving Berlin's "Let's Face The Music and Dance". Benny Golson's Jazz classic "Stablemates" gets a good reading and the set winds up with a good blues by Jackie called "116th and Lenox", depicting an important intersection in Harlem. As Mr Lion said they came and they did swing and swang and were swingin'! Happy Birthday this May 17th to Jackie Mclean....he would have been 79. Mr. Mclean passed away on March 31,2006.

Prince Lasha (William Lawsha) is the leader on this date and it features his close associate, alto saxophonist Sonny Simmons, one of the most distinctive voices on that horn. This album, done for the Contemporary label in November of 1962 and was their recording debut.It was called "The Cry!". Lasha (pronounced Lashay) and Simmons had struggled to get into Jazz clubs and perform their music and as it was a departure from the mainstream of the time it wasn't accepted with open ears. Lasha, from Fort Worth, grew up and went to school with Ornette Coleman and the music here reflects some of Coleman's influence. The compositions are all collaborations by Lasha and Simmons. Like Coleman's early recordings, no piano is used and the rhythm section here for most part is provided by two bassists and drums. Gary Peacock is one of the bassists and is very well known and the other is Mark Proctor. The creative drumming is by the unknown Gene Stone. Lasha, who plays flute throughout the session died last summer. He also played alto and baritone saxophones and a variety of clarinets, including the rare alto clarinet. Simmons is still with us and travels the world playing anywhere he can with a variety of players and is still a mighty voice on the alto saxophone. After this recording took place, Lasha and Simmons headed for New York and were embraced by John Coltrane and sat in with his band a lot. They recorded with Eric Dolphy and Herbie Hancock and did a great album with Coltrane's rhythm section of McCoy Tyner, Jimmy Garrison and Elvin Jones called "Illumination" on Impulse. They also embarked on separate careers but re-united off and on into the 1980's. "The Cry! was the debut for Prince Lasha and Sonny Simmons and it's a minor classic and very accessible and creative.

This album was aptly titled as 1965 was a year of transition for Mr. Coltrane. His musical vision was expanding and changing and even though some of the changes alienated his audience, they had to be made and Coltrane was compelled to follow his musical vision. Freer rhythmic feels and a more open tonality and an ever expanding range of ideas on his horn were very evident. The great milestone recording "A Love Supreme" was behind him and thoughts of expanding the instrumentation of the quartet were taking place. This recording finds him still with the 'classic" quartet with McCoy Tyner, Jimmy Garrison and Elvin Jones but new ideas are prevailing. The set opens with the lyrical and spiritual "Dear Lord" with Roy Haynes replacing Jones on this track. Next is a five-part Suite with Jones back on drums that reflects change. The crux of this set is the title track "Transition" which is one of the most intense pieces that this band ever played in the studio. With the playing of Transition we are aware that a change is about to come as this mighty piece seems to break through barriers and into a whole new musical realm. Transition is indeed an important milestone even though is was issued after Coltrane's passing in July 1967.

Trumpeter/composer Kenny Dorham (McKinley Howard Dorham) had a most frustrating career as he always seemed overshadowed by others. He was born in 1924 in Fairfield, Texas and died quite young of kidney failure in 1972 in New York at age 48. He was an accomplished, arranger/composer/pianist and singer but left his mark as one of the most distinctive voices of the trumpet. He emerged as a soloist in the 40's but was overlooked by the critics in favor of Dizzy, Fats and Miles. In the 50's the same happened to Kenny as the world was watching and listening to Chet and Clifford. The 60's were no better for Kenny as the Jazz folks were checking out Lee, Freddie, Woody and others. Kenny was an also-ran. Sad to say, now that he is gone, he has the respect and recognition that he deserved in his lifetime. Dorham is considered to be one of the major voices and is studied by all the young players today. This album is one of two recordings by Kenny's working group of the late 50's,early 60's. Kenny and the wonderful baritone saxophonist, Charles Davis are on the front line. A young Steve Kuhn is on piano. The bass chores are split between Jimmy Garrison and Edward "Butch" Warren and the solid drumming is by Arnold "Buddy" Enlow. The tunes are all Dorham arrangements and three compositions are his and the others three are by Monk, Brubeck and Frank Sinatra. "Jazz Contemporary" is a fine recording and should stand with many of Kenny Dorham's better known albums. It's a gem!

John Coltrane, McCoy Tyner, Jimmy Garrison and Roy Haynes at the Newport Jazz festival 1963.The 'classic' Coltrane Quartet with a difference and the difference is drummer Roy Haynes. Mr "Snap Crackle" Haynes brings a new rhythmic feel to the Quartet and changes everyone's approach to the music. This is great stuff....fresh and alive and vital.

Phillip Chapman Lesh (born March 15, 1940 in Berkeley, California) is a musician and a founding member of the band Grateful Dead; he played bass guitar in that group throughout their entire 30-year career. Lesh started out as a trumpet player with a keen interest in avant-garde classical music and free jazz; he also studied under the Italian modernist Luciano Berio (a classmate was the minimalist composer Steve Reich). While still a college student he met then-bluegrass banjo player Jerry Garcia. They formed a friendship and eventually Lesh was talked into becoming the bass guitarist for Garcia's new rock group, then known as the Warlocks. He joined them for their third or fourth gig (memories vary) and stayed until the end. Lesh had never played bass before joining the band, which meant he learned "on the job", but it also meant he had no preconceived attitudes about the instrument's traditional "rhythm section" role. Indeed, he has said that his playing style was influenced more by Bach counterpoint than by rock or soul bass players (although one can also hear the fluidity and power of a jazz bassist such as Charles Mingus or Jimmy Garrison in Lesh's work).