192kHz]

Condemned by many critics as John Coltrane’s worst album, Om suffers only in comparison to the great works that preceded it. Also issued in 1965, Ascension had stunned the jazz world with the blunt force of its innovation – a swirling maelstrom of noise, it was an answer to the challenge that had been posed by Ornette Coleman’s Free Jazz several years earlier. For all the sonic assault that Pharoah Sanders and Coltrane mustered up on Ascension, however, it contained some surprisingly clear solos and had the feel of a well-thought-out interplay between all of the musicians on the date, including classic quartet members Elvin Jones, Jimmy Garrison, and McCoy Tyner. Om, in contrast, seems more like a pure release of energy. Expressions of sanity and organization by the rhythm section seem detached from the wall of sound that Sanders and Coltrane have erected. The best moments come when Coltrane breaks away from Sanders for solos – echoes of Love Supreme can be heard in the repetitive, circular themes. Regardless of its seeming chaos, this is a deeply spiritual work, and can be seen as a darker, more unhinged version of the invocations heard on that album. Indeed, Om resonates with passion and yearning, but has a frantic edge that suggests that opening up to all of that powerful spiritual energy might have been a frightening experience. The music isn’t perfect, as the thematic flow sometimes seems a bit segmented, and talented members of the band are relegated a little too far to the background (like McCoy Tyner, who nevertheless has a beautiful short solo around 13:30). Regardless, Om doesn’t deserve the dismissal it has been given by critics. It is an important work in the history of free jazz that opens up considerably by the end of its 29 minutes, revealing the expansive contents of a jazz master’s mind. AllMusic Review by Stacia Proefrock

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John Coltrane – Coltrane (First Trane) (1957/2019) [Official Digital Download 24bit/44,1kHz]

As a result of his exposure as a member of the Miles Davis Quintet, Prestige Records owner and producer Bob Weinstock offered Coltrane a recording contract. Dated April 9, 1957, it stipulated three albums per year at $300 per album. Coltrane had previously recorded as a sideman, and had co-led a session with Paul Quinichette released in 1959 as Cattin’ with Coltrane and Quinichette, but never as sole bandleader.

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John Coltrane – Coltrane ’58: The Prestige Recordings (2019) [Official Digital Download 24bit/192kHz]

Newly remastered by Paul Blakemore featuring 37 tracks: Coltrane’s breakout year, when his mature sound first grabbed ears and his own recordings began to sell consistently, was 1958. This release chronicles the exciting story session by session, featuring all 37 tracks Coltrane recorded as a leader or co-leader for the independent Prestige Records label in those twelve months. This collection captures him in creative high gear—developing the signature improvisational style that journalist Ira Gitler famously dubbed “sheets of sound.”

The timely release marks the 70th year since the founding of Prestige and comes just after the 60th anniversary of these recordings.

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Hank Mobley, Al Cohn, John Coltrane, Zoot Sims – Tenor Conclave (1956) [APO Remaster 2014] {PS3 ISO + FLAC}

These four sides should not be hard to locate, as the primary participants in this November 30, 1956, session have all issued them within their individual catalogs. However Tenor Conclave was first released as credited to the “leaderless” Prestige All-Stars — consisting of tenor saxophonists John Coltrane, Hank Mobley, Al Cohn, and Zoot Sims. Providing support are pianist Red Garland, bassist Paul Chambers, and drummer Art Taylor. The Mobley-penned title track commences the effort with the quartet of tenors showing off their stuff in high-flying style. It takes a couple of passes and somewhat of a trained ear to be able to link the players with their contributions, but as is often the case, the whole tends to be greater than the sum of the parts. After a brief introduction with all four rapidly reeling off short riffs, Mobley charges ahead into truly inspired territory. The midtempo take of “Just You, Just Me” keeps things lively with a light swinging pace that is custom-made for bringing the combo’s jocular side to the surface, particularly toward the end as they “trade fours,” with each tenor blowing four bars before passing the melody on. The other Mobley composition is “Bob’s Boys,” and by all accounts it is the most compelling piece on the outing. The blues-based tune rollicks as Coltrane, Mobley, Cohn, and Sims find themselves configured in a seeming myriad of sonic face-offs. Wrapping up Tenor Conclave is an ultra-cool and sophisticated “How Deep Is the Ocean?” Cohn commences the long and luscious reading with a subtle strength, suggesting the powerful undercurrent flowing throughout the number. Also, listeners are treated to what is possibly Garland’s finest interaction, leading right into Sims, Chambers, and finally a sublime Coltrane caboose. Continue reading →

John Coltrane – Afro Blue Impressions (1973/2013) [Official Digital Download 24bit/192kHz]

Concord Music Group will reissue a remastered and expanded edition of John Coltrane’s Afro Blue Impressions album on August 20, 2013. Enhanced by 24-bit remastering by Joe Tarantino, three bonus tracks, and new liner notes, the new reissue celebrates the 40th anniversary of Pablo Records, the jazz label founded by Norman Granz in 1973. Continue reading →

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John Coltrane – Om (1967/2017) [Official Digital Download 24bit/192kHz]

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John Coltrane – Coltrane (First Trane) (1957/2019) [Official Digital Download 24bit/44,1kHz]

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John Coltrane – Coltrane ’58: The Prestige Recordings (2019) [Official Digital Download 24bit/192kHz]

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Hank Mobley, Al Cohn, John Coltrane, Zoot Sims – Tenor Conclave (1956) [APO Remaster 2014] {PS3 ISO + FLAC}

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John Coltrane – Afro Blue Impressions (1973/2013) [Official Digital Download 24bit/192kHz]

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