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  Исполнитель(и) :
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  Наименование CD :
   Traneing In



Год издания : 1957

Компания звукозаписи : Original Jazz Classics

Музыкальный стиль : Hard Bop, Saxophone Jazz

Время звучания : 37:43

Код CD : GZS-1098 (0 10963 10982 5)

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Jazz (Saxophone - Bop)      

John Coltrane with the Red Garland Trio

Recorded in New York City; August 23, 1957.

Even with comparatively nominal experience in the role of bandleader, John Coltrane (tenor sax) ably commands the Red Garland Trio - consisting of Garland (piano), Paul Chambers (bass), and Art Taylor (drums) - through five selections on John Coltrane with the Red Garland Trio (1958). Here the players are given the perfect platform to demonstrate their respective versatility as performers, combo members, and for Coltrane, as a composer of the project's opener and title track "Traneing In," as well as the masterful "Bass Blues." The former is one of the tenor's best-known works as it not only bears his surname, but also exemplifies some of his trademark performance attributes - namely his abilities as an effective communicator and arranger. Garland takes the front end of the tune before yielding to Coltrane. Once Chambers gets in on the action, he lets loose with references to the children's seasonal favorite "Santa Claus Is Coming to Town" in the playful spirit of the moment. Conversely, the bassist's introduction to the earthy ballad "Slow Dance" begins with a brief excursion into formless dissonance that rapidly dissolves into a noir ballad that shimmers in Coltrane's refreshing, robust, and brisk lines. His domination is brief as Chambers, who is followed by Garland, become primary participants. The pianist's lush and richly appointed fills are comparable to that of Nat King Cole or even Erroll Garner with the rhythm section providing a textural balance. Coltrane's assertive original "Bass Blues" drives forward with the tenor remaining evenhanded, if not at times purposefully reserved. Less staid are Garland's limber blues runs as he frolics up and down the '88s. Chambers' contributions should not be overlooked either as his interminably cheerful bowing enhances the optimistic feel. Always a sucker for a love song, "You Leave Me Breathless" is nothing short of sublime and this rendition is unquestionably picture perfect and suitable for framing. Coltrane is charming and romantic, weaving his way through Chambers as Garland lightly prods him on. "Soft Lights and Sweet Music" is beauty and grandeur on a completely different strata. Listeners are served up a heaping helping of Coltrane and company at their bebop best. With his aim steadfastly fixed upon what amounts to research and development of his "sheets of sound," Coltrane unleashes a flood of notes without getting lost or bogged down, predicting the direction that his future sonic voyages would take.

All Music Guide

========= from the cover ==========

Ripping, soaring, hotly-pulsing, cooking, wailing, smoking, moving, grooving, cutting, riding, gliding, human-voiced, searching, searing, air-clearing, John Coltrane's tenor saxophone is one of the most exciting sounds to be heard in contemporary jazz. When he is swinging, which is most of the time, he has the power to lift your soul right out of your chair while your body remains seated though animated. That is Coltrane, the musician, on the stand.

Coltrane, the musician, off the stand, is a humble, genuinely modest, person who has come up through the ranks in the time-tested manner in which musicians used to establish themselves as individua stars before the advent of the recording deluge. He has played for some very gifted leaders: Dizzy Gillespie (1949-51), Miles Davis 1955-57) and Thelonious Monk 1957). This experience can't be Dought in a music school. It is the meat around the bone of jazz, near the marrow. Our younger jazzmen, even the most talented, have just gotten through the fat.

Trane is immediately recognizable by both his sound and style. His sound is very vocal-a human cry in the night; his style ranges from the excruciatingly, exhilarating intensity of rapid, exigent runs with their residual harmonic impact to fewer-noted sections of lyric beauty. He has drawn mainly from Dexter Gordon and Sonny Stitt with the underlying and overlapping figure of Charlie Parker also present and created something extremely personal. Thus far his singular approach has not invited imitation; it will inevitably, for better or for worse.

The same people who were slow to recognize the talent of Sonny Rollins also have been tardy with Coltrane but soon they will be fawning over Trane just as they do with the once vigorously scorned, Rollins. C'est la guerra de jazz ou l'essence du merde du taureau.

In this album Coltrane is in the company of three musicians with whom he has played many times before. Garland and Chambers, with Coltrane, were original members of the Miles Davis quintet that stayed together from late 1955 to midway in 1957. Taylor, who was with the group in the late summer of 1957 after Coltrane had left, has played with John on many other occasions. This includes a group with Garland and Donald Byrd that played around the New York area in the fall of 1957.

The Garland - Chambers -Taylor rhythm section, which, under the name of the Red Garland Trio, has independently recorded several successful albums for Prestige (A Garland Of Red, 7064; Red Garland's Piano, 7086; Groovy, 7113), is in fine form here.

Garland presents a happy amalgam of single-line and block-chord solo playing and is a highly complementary "comper." Chambers' clear-noted, big-toned bass is equally effective in support and solo while Taylor plays for the group in his light but toughly resilient manner.

The opener is a blues by Coltrane, entitled Troneing In, which attains a perfect groove as Garland sets the stage for Trane in a mood-dictating solo. Trane displays his most ingratiating characteristics in an extended solo. After Chambers' picked solo, Red and Trane return for second turns.

Slow Dance is a moody ballad by Alonzo Levister which is treated with understanding by Coltrane. Chambers (picked) and Garland have moving bits before Trane takes it out.

Coltrane's second blues of the set is played in unison with Paul Chambers' pizzicato bass and henceforth was named Bass Blues. Bright solos by Trane and Red precede an exceptional bowed solo by Paul.

The heretofore neglected You Leave Me Breathless is beautifully delivered by Coltrane with a good sense of drama in his use of the upper register. Garland and Chambers (picked) also solo.

The closer has everyone hanging on to the cliff by their nails. Soft Lights And Sweet Music, in this case, is more apt to mean the headlights of a Maserati and the music of wheels taking a curve. Coltrane and Garlana solo and then play at chasing one another.

{Baudelaire (Max, not Charles)}

- Ira Gitler (notes reproduced from Prestige 7123)

The Tragedy of Coltrane (1926-1966)

For the sensitive individual, especially the artist, seeking to shape a meaningful statement for a world that, generally speaking, doesn't want to hear one, living can often be a greater burden than dying. Our world is one that many of the finest creative people manage to leave early. Bix died at 28, Charlie Parker at 35. We have to be grateful that we had Coltrane so long: he made it to 40. What a musical intelligence was then lost!

John William Coltrane started his career like most great jazz artists, apprenticing himself in childhood to an art that even today offers little chance for formal study. He learned a bit at his father's knee, in Hamlet, North Carolina, a bit more in music schools.

His real schooling began at 19-on the job. He must have showed right from the start what sort of metal he was made of. At 21 he was already on tour with Eddie "Cleanhead" Vinson's band, one of the solidest of the rhythm-&-blues groovers. In the next dozen years he worked with some of the toughest men in the world-Johnny Hodges, Earl Bostic, Dizzy Gillespie, Miles Davis, Thelonious Monk, Tadd Dameron, "Philly" Joe Jones. He absorbed into the fabric of his soul also the lessons of Charlie Parker and Lester Young, of Sonny Stitt and Dexter Gordon, always forging and tempering his own personal metal.

In Trane's best work-and this album was made right in the center of his best period-you can hear some or all of those cats. Bird's fantastic searching and attack. Prez's understated tone, Earl Bostic's soaring mosaics of 8th- and 16th- notes adumbrating a large design (did you know the words "mosaic" and "music" had the same Greek root?), Monk's unhindered quest for the unex-pectable, Diz's swinging, stinging bite-but with a metamorphosing magic that is all Trane and all alone.

By the time Trane got into the studio to make this session, with musicians of the caliber of Garland, Chambers, and Taylor, he had really got himself together, with a touch of authority and a style that was to have no successful imitators; how do you imitate a man riding a hurricane? His power was like a storm, not something to be either contained or copied; what they call in show business a tough act to follow.

Ira Gitler, writing the notes for the original album when it was issued, aptly called Trane's sound "a human cry in the night." But it was a cry full of coherent design- to use the esthetician's jargon, "significant form." It came boiling up, in ever-fresh shapes, out of standard, recognizable material- the blues and songs jazzmen had traditionally taken as their texts, plus related "originals" that always maintained formal contact with the reality of other musical creators.

Listening to this album, you understand instantly why musicians like Miles and Thelonious sought out this towering genius to stand alongside and blow. With him is the hard-punching rhythm section he had often worked with in those days, which under the name of the Red Garland Trio had made several fine albums of its own for Prestige, three brilliant musicians, brilliantly equipped to frame Coltrane's unique gift. Lovers of great jazz everywhere in the world will gratefully salute Prestige's decision to make available once more this landmark in American music.

The Music

The title track, Coltrane's Traneing In, is a vibrant, swinging blues, that gives all four of these swingers a chance to show their stuff. Red is first, then Coltrane really stretches out in a manner that makes you thankful LP means "long playing", with showers of notes that shimmer like a Niagara in the sunlight. Then Paul Chambers lets us hear that soft, full penetrating tone, in a perfect solo, pizzicato; and after some further explorations by piano and tenor, the ensemble takes the theme out. Slow Dance composed by Alonzo Levister is a ballad, sensitively handled by Trane, then eloquently commented on by Paul and Red.

Side B again leads off with a (Coltrane) blues, played in unison with Paul Chambers' plucking of the theme, appropriately titled Bass Blues, reminiscent in spirit of the fantastic Jimmy Blanton/Duke Ellington duet from the early 40's, Plucked Again. Later in the track, Paul picks up his bow to play a final solo. You Leave Me Breathless stimulates Coltrane to some soaring obbligati, with effective replies from Red Garland and Paul Chambers, "plucked again."

The final track, ironically titled Soft Lights and Sweet Music...isn't.

Coltrane and Red Garland, first singly, then in a headlong duet, zip along at a mad pace that gives Arthur Taylor another opportunity to demonstrate one of the fastest and cleanest pairs of hands any jazz drummer this side of Buddy Rich ever dreamed of. Too much.

If you don't know this album, you don't know Coltrane. It's required reading.

- Ralph Berton (April 1969)


  Соисполнители :

Art Taylor (Drums)
Paul Chambers (Bass, Bass Guitar)


№ п/п

Наименование трека

Текст

Длительность

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   1 Traneing In         0:12:30 Coltrane
   2 Slow Dance         0:05:26 Levister
   3 Bass Blues         0:07:45 Coltrane
   4 You Leave Me Breathless         0:07:23 Coltrane, Freed, Hollander
   5 Soft Lights And Sweet Music         0:04:39 Berlin, Freed, Hollander

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 T   'щелкнуть' - переход к тексту композиции.

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