Each album newly remastered from the original master tapes. The set containing these five classic, influential John Coltrane albums: Africa/Brass (1961), Live At The Village Vanguard (1961), Coltrane (1962), Duke Ellington & John Coltrane (1962), Ballads (1962). If you like jazz and you don't own this then your a mug. Coltrane plays like a nutcase on this record. Coltrane is undoubtedly the scariest pair of lungs to ever touch a Sax. The whole album drags every emotion from your soul and creates something which will either make musicians hesitant to pick up their instruments or forever play with an unimaginable, inexplicable love for this insane thing called music.
The fifth and final volume in Universal's massive John Coltrane: The Impulse! Albums in the Originals series, contains five recordings, all issued posthumously between 1970 and 1973. Two of these, Transition and Sun Ship, feature Coltrane's classic quartet with McCoy Tyner, Jimmy Garrison, and Elvin Jones. Of the remaining albums, two are live recordings – Live in Seattle and Concert in Japan – the remaining one being the infamous Infinity.
Packaged together in this five-disc box set from Verve/Hip-O-Select, these titles represent the albums Impulse issued following John Coltrane's death in 1967, and remain some of the most controversial in his catalog (numerous critics thought – and many still do – that dubious choices were made in assembling them).
This second volume in Universal/Impulse's reissuing of the albums of John Coltrane contains some choice titles. For those who love the early Impulse Trane, there is certainly something here for you in the John Coltrane and Johnny Hartman collection of ballads. There's also the excellent quartet era with Live at Birdland, Crescent, and the seminal A Love Supreme, the record that changed everything ever after for him. In addition, there is the 1963 album Impressions, a compilation of sorts. There is a long quartet selection called "Up 'Gainst the Wall" (1962), a beautiful but brief "After the Rain" with drummer Roy Haynes sitting in for Elvin Jones from 1963, the title cut, and opening number "India," recorded with Eric Dolphy on bass clarinet and Reggie Workman as an additional bassist.
The superb 2016 six-disc John Coltrane box set The Atlantic Years: In Mono brings together most of the legendary jazz musician's Atlantic albums into one package, restored to their original mono sound. Beginning in 1959, Coltrane's Atlantic years were a transformative time for the saxophonist, during which he furthered his modal explorations and began incorporating aspects of the avant-garde, a vital combination that he would later bring to its pinnacle on his 1965 Impulse! classic, A Love Supreme. Included here are the landmark albums Giant Steps (1960), Bags & Trane (1959) with vibraphonist Milt Jackson, Olé Coltrane (1961) featuring trumpeter Freddie Hubbard, Plays the Blues (1960), and Coltrane's collaboration with maverick pocket trumpeter Don Cherry, The Avant-Garde (1966). Also included is a 32-page book featuring photos by Lee Friedlander and liner notes by writer Ashley Kahn.
Here it is: eight CDs worth of John Coltrane's classic quartet, comprised of bassist Jimmy Garrison, pianist McCoy Tyner, and drummer Elvin Jones, recorded between December of 1961 and September of 1965 when the artist followed his restless vision and expanded the band before assembling an entirely new one before his death. What transpired over the course of the eight albums and supplementary material used elsewhere is nothing short of a complete transfiguration of one band into another one, from a band that followed the leader into places unknown to one that inspired him and pushed him further. All of this transpired in the span of only three years.
This Savoy double CD brings together in one package all of the label's sessions led by Harden, a talented young musician who turned up briefly, disappeared and is presumed to have died in the 1960s. It includes several alternate takes, giving ample evidence of his attractiveness as a player. He wrote all the pieces, which are more substantial than the on-the-spot "compositions" of many Savoy sessions of the '50s. Sometimes playing trumpet and sometimes rotary valve flugelhorn, he was capable of range, power and bursts of speed, but he built many of his solos on a base of restraint, lyricism and a certain wistfulness.