Tag Archive for 'Jazz'

(Upcoming Release) Lost Coltrane Session from 1963 Will Be Released June 29th : A Deeper Dive

Impulse! Records is calling it “The Holy Grail of Jazz.”

On March 6, 1963, jazz sax legend John Coltrane brought his quartet with McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums to Rudy Van Gelder’s studios in Englewood Cliffs, NJ to record a session. The group was in the middle of a  two-week engagement at Birdland in New York City and getting ready to record the John Coltrane and Johnny Hartman album on the 7th. Apparently, the band came into the studio on the 6th with the intention to record an album, as the sessions show they recorded multiple takes of some songs as they refined the tracks. These sessions are now packaged with the help of Coltrane’s son Ravi and will be released in a single album release of selected takes and a two album deluxe release with additional takes as Both Directions At Once: The Lost Album on June 29th.

For some unknown reason these sessions never produced an album. The press release from Impulse! says, “The other non-original composition on the album is “Vilia,” from Franz Lehár’s operetta “The Merry Widow”. The soprano version on the Deluxe Edition is the only track from this session to have been previously released.” The Deluxe Edition also gives us no less than four studio takes of “Impressions” which would make its first official catalog release in 1963 on Coltrane’s second album on Impulse! of the same title as a live version from The Village Vanguard in 1961. During these March 6th sessions “Impressions” was called “Untitled Original Composition” but in fact, these are newer arrangements of the “Impressions” takes from June 20th, 1962. From the 1962 sessions, Take 2 was released on the 2001 Impulse! CD The Very Best of John Coltrane. Strangely, the version on Amazon has a totally different track listing than the one that matches the catalog number on discogs and doesn’t list that take of “Impressions” on it. But, the cover art pictured does show it.

But, the very exciting songs on this release are the brand new original compositions which only have working titles: the descriptively titled “Slow Blues” and two tracks identified only by their matrix numbers, “Untitled Original 11383 (Take 1)” and “Untitled Original 11386 (Take 1).”

The press release from Impulse! said the original master tapes had been destroyed because “Van Gelder wasn’t one for clutter.” Sax legend in his own right and labelmate on Impulse!, Sonny Rollins, pens the liner notes for this release. His Official Facebook page gives a slightly different take on the fate of the tapes saying, “The master tape left in the studio was lost, and it’s likely it was destroyed in the early 70s when the label, Impulse!, was trying to reduce storage fees.”

The tape that was used for this release was a copy on 1/4″ tape that producer Bob Thiele gave to Coltrane to take home. The New York Times reports that the tapes were recently discovered by the family of John Coltrane’s first wife Juanita Naima Coltrane.

According to a poster on Urban75.net, these tapes were part of a collection of tapes the family tried to auction off in 2005, but was blocked by Verve/Universal because they contained recordings that were recorded for Impulse! and as such weren’t owned by Coltrane. Musicologist and jazz historian Barry Kernfield had been hired to catalog the tapes for the auction by the auction house Guernsey’s who was doing a MASSIVE jazz auction including historical artifacts. An article Kernfield posted to his website details the effort:

In September 2004 the New York City auction house Guernsey’s asked me to serve as a historical consultant, cataloguer, and writer in preparation for its first jazz auction, to be held February 20, 2005, at the new jazz venue at Lincoln Center. The auction embraced materials from the estates of John Coltrane, Charlie Parker, Thelonious Monk, Benny Goodman, Eric Dolphy, and Gerry Mulligan, as well as items from Louis Armstrong in the possession of his manager Oscar Cohen (who became president of Associated Booking Corporation following Joe Glaser’s death in 1969), and various images and a trumpet from a living musician, Clark Terry.

Early in December 2004, as Guernsey’s head Arlan Ettinger related it to me, Naima Coltrane’s daughter Saida* (also known as Antonia Andrews) and Saida’s brother Jamail Dennis were delivering paper items to the auction house: musical manuscripts in John Coltrane’s own hand; a letter from Bill Evans to John Coltrane just after Evans quit Miles Davis’s sextet; a postcard from Wayne Shorter, in Marseilles, to Mr. and Mrs. J. Coltrane (“Europe is a drag. I mean really. Just another gig and a place to practise and/or rehearse.”); Shorter’s hand-drawn portrait of Davis; and so forth. At this point, Jamail said to Arlan, “Oh, we have some tapes. Would you be interested in them?” “TAPES?!,” replied Arlan.

During the last three weeks of 2004 I had the unbelievable privilege of identifying and cataloguing the contents of digital copies of 35 reel-to-reel tapes, the contents of which proved to be mainly unreleased recordings by John Coltrane for Impulse! Records at Rudy Van Gelder’s studio in Englewood Cliffs, New Jersey, from 1962 to 1964. I submitted my essay to Guernsey’s the evening of January 2, 2005. Coincidentally the following morning Guernsey’s phoned to report that attorneys for the Impulse! label had just threatened a lawsuit if the reels were not withdrawn from the auction. This was done, and accordingly the essay that appears below was withdrawn from the auction catalogue.

His following list of the archive includes the session from 1963 that makes up Both Directions At Once, but also other interesting outtakes that we hope will also see the light of day. He lists recordings including “perfect 10-inch stereo copies of the master tapes of all six takes (four complete and two fragments) of the presumed lost sextet version of the first movement of A Love Supreme.” The presumed lost full sessions that produced the aforementioned John Coltrane and Johnny Hartman album (and without, apparently, the echo that was added to the original release), and lots of alternate takes of other Coltrane originals and rehearsals he taped at home. I’m guessing that the material for the 2015 “Super Deluxe Edition” of A Love Supreme came from this trove of tapes.

This release is for very good reason very exciting. The recordings capture Coltrane’s Quartet reaching the peak of their powers less than two years before his signature epic A Love Supreme. Looking over the details and listening to the track that is available now, it’s in my opinion a more complete release than the hodgepodge that the Impressions album was and while not as essential as his landmark releases, one that belongs in a collection, I think.

The deluxe vinyl version is really nice, with die cut jackets which expose the photos on the inner sleeves.

 

Upcoming Show: Rob Mazurek’s Starlicker Coming to Monk’s in Dubuque- New Album Plans

Starlicker photo by Alessandro Carpentieri

It is said that for most people, the music that defines them tends to be based on the music that they listened to in their teens and twenties. I’m not immune to this either– when I talk about about bands I really like, it is framed with a reference of 80’s New Wave, Punk, and College Rock (U2, R.E.M., The Cure…). This is possible, in my opinion, because most bands in the Indie or Alternative space are really building on or working from the same language of melody and structure that was in place in that time.

For most pop and rock music anyway, nothing is ever really new under the sun– to paraphrase Ecclesiastes 1:9.

When I was first introduced to Chicago instrumental band Tortoise in 1998 I heard something that– for me– was wholly new. Tortoise’s influences were clearly the great film soundtrack music of the past, but also a mix of jazz and krautrock and electronic music. It was exciting to hear what I felt to be new music and in typical fashion I dove headlong into Tortoise and bands related to Tortoise.

The jumping-off points for related Tortoise projects are many. Every member of Tortoise has other solo and band projects and quite a few of them in common. But, it is through guitarist Jeff Parker that I started exploring the very rich history of Chicago’s improvisational and free jazz scene. I’m still very much a novice in this space, and I come to it with almost no frame of reference which is both frightening and exciting. I did not listen to jazz in my teens and twenties and it is not music that was played around the house, so it is music that I have had to explore on my own, building a path one stone at a time.

From the stone of Jeff Parker, my next steps were Isotope 217 and Chicago Underground— both bands with cornetist Rob Mazurek. Rob is a very prolific artist whose catalog seems to grow by three or four releases every year. In 2009 Rob released sound is for seminal Chicago Jazz and Blues label Delmark. For sound is, Mazurek pulled together a quintet that was made up of his core collaborators: John Herndon of Tortoise, Matt Lux of Isotope 217, Josh Abrams of Town and Country, and Jason Adasiewicz of Loose Assembly. For me the album recalls a bit of the structured approach of Isotope 217 and some of the looser wanderings of Chicago Underground to great results as this is still an album I listen to with some frequency.

Starlicker is a new trio assembled by Mazurek which includes a subset of the Quintet– John Herndon on drums and Jason Adasiewicz on vibes. In November they did a quick run of dates in Spain, and are now in the middle of a quick tour of Midwestern shows that will wrap up on 1/26 at The Hideout in Chicago. They will take the band fresh from the tour to the studio where they will record sessions for an album that will likely come out on Delmark. This will be followed by a show on Friday, February 4th at Transistor.

Starlicker will be performing at Monk’s Kaffee Pub in Dubuque, IA (373 Bluff St., 563-585-0919)  tomorrow night (Tuesday, January 18th). There is no cover and starts at 9PM, and it is suggested that you get there early to be guaranteed a spot.

Here is some video shot of Starlicker from their November 11, 2010 appearance at Teatro Caja Blanca, Malaga Spain.

Starlicker Tourdates (from robmazurek.com)

Saturday January 15th at 8:00pm -1:00am
Al’s Loft Society, 119 Calhoun St. Cincinnati Ohio

Sunday January 16th at 10pm-1am
The Hungry Brain, Chicago

Tuesday January 18th, 9p.m.
Monk’s Kaffee Pub, Dubuque

Thursday January 20th, 8:30pm
Sugar Maple
441 East Lincoln Avenue
53207
Milwaukee, WI, US

Friday and Saturday January 21 and 22, 9pm – 1pm
Cliff Bell’s
2030 Park Ave.
Detroit Michigan

Wednesday January 26th, 10 pm – 1pm
Hideout Chicago

Friday February 4
Transistor
5045 N. Clark St. Chicago 8pm – 11pm

B-Sides in the Bins #30 – Chicago – 9/12/08

Jazz Record Mart, Chicago

My wife and a friend of hers wanted to go to Chicago for a Gluten-Free Cooking Conference. This left her friend Sharon’s husband Bob and I with lots of time on our hands. Bob Najouks is one of the Sunday morning jocks on Kirkwood College’s Jazz and Blues station KCCK, so I thought a trip to the infamous Jazz Record Mart was in order. I hadn’t been to JRM in over two years so it was time for me to come back and Bob had never been there!

This weekend was wet. Lots of rain dumping on Chicagoland from Hurricane/Tropical Storm Ike pulled out of the Gulf of Mexico. Friday was blessed with small spots of light-to-no rain so hoofing it around downtown was an okay proposition. Our plans after breakfast was to hit Jazz Record Mart, lunch, and then to hit the Art Institute of Chicago then call it a day.

Bob teaches sketching classes at Kirkwood currently, but– in addition to his radio gig– also is a freelance artist. In the early 60’s he did some cover art for Franz Jackson who passed away in May. JRM had a number of still-sealed copies of Good Old Days by Franz Jackson and the Original Jass All-Stars (Pinnacle Recordings: PLP 109) that Bob did the cover art for, which was a neat dose of kismet. Bob picked up a copy to play– he still had the original 1965 pressing of the album at home.

Gorilla – Deal With It (CD, Thrill Jockey, Thrill 003-2, 1993)($5.99) Interesting find. Not Jazz-related at all. The third release on Thrill Jockey from back in the day. The mailing address was New York, so this is before Bettina moved to her current Chicago digs. Seattle Grunge band, I guess. Sounds very early-Nineties. Kind of punk, kind of retro 60’s sound with organ. Not great, but not horrible, really. Mostly a collector piece for me. It would appear that while the CD for this is very much out-of-print, the LP is still available?

George Freeman – Birth Sign (CD, Delmark, DD-424, 1993)($13.99) My first non-Thrill Jockey related Delmark purchase. This was playing on the stereo in the store while I was checking out and I impulse-purchased. George Freeman is the guitar-playing brother of tenor sax player Von Freeman (apparently the more famous of the two). Birth Sign is his debut album. Great album of Hammond-B3 fueled jazz typical of the late 60’s.

John Coltrane – Blue Train (LP, Blue Note, BST-91577, 1993)($11.99) This is the CEMA/Capitol Special Products pressing of the seminal Blue Note release. I own this on CD as well. In fact, my CD pressing of this is on 24-karat gold UltraDisc II from Mobile Fidelity Sound Lab. This is the album that broke open the gates of jazz for me.

Jeff Parker – The Relatives (LP, Thrill Jockey, Thrill 129, 2005) ($12.99) Wow, a really cool and rare find! The vinyl for this release has been out-of-print for a while, as is usually the case from Thrill Jockey vinyl. According to the price sticker, this has been in the bin since its release. Jazz Record Mart carries most of the Thrill Jockey releases, but it seems that a lot of the clientèle there don’t follow this label, which accounts for the fact that this release is still in the bins. I saw a couple of other rare TJ releases as well. Maybe I’ll come for them later.

The Dave Brubeck Quartet – Jazz: Red Hot and Cool (LP, Columbia, CL 699, 1954) ($3.99) This is an upgrade for me. My first copy was in pretty good shape, but this one is in much better shape and comes with the original Columbia paper inner-sleeve! The record is in immaculate shape and the cover is also very beautiful. I had never noticed before today that the vivid photograph of a young Brubeck entertaining a young, smoking (literally) woman leaning on his piano was taken by none other than Richard Avedon! Avedon, who died in 2004, took some famous shots of the Beatles and Marilyn Monroe as well as the well-known picture of Nastassja Kinski with a python.

All-in-all a good trip and it was cool to be there with a jazz afficianado. Bob and I will be back, I think.

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