Interplay For 2 Trumpets And 2 Tenors (2016 Remaster) John Coltrane & Johnny Hartman
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- 3Light Blue07:53
- 4Soul Eyes17:33
Info for Interplay For 2 Trumpets And 2 Tenors (2016 Remaster)
This March 22, 1957 date is a variation on the time-honored blowing format producer Bob Weinstock shoe-horned John Coltrane into at the beginning of his Prestige recording contract. Coltrane had already garnered a variety of notices for his work with the Miles Davis Quintet, a body of work which was marked by his ever-expanding rhythmic and harmonic complexity, and melodic daring.
„Interplay For 2 Trumpets And 2 Tenors“ was presumably meant to ingratiate itself into the listening booths of more mainstream listeners, proving that the tenor virtuoso was in no way out of touch or incompatible with more traditional values. One of the most striking elements about the opening cut 'Interplay' is the fat ensemble sound of dual tenors and trumpets, and the apparent influence Coltrane was already wielding over his contemporaries. Given a superficial listening, Jaspar's tone and attack suggest the Coltrane method, and Trane's rhythmic restraint only lends to the bluesy ambiguity.
Pianist Mal Waldron really shines on „Interplay For 2 Trumpets And 2 Tenors“—as a composer, soloist and accompanist. He provides the conceptual glue that holds things together over the course of multiple choruses. Waldron was Billie Holiday's accompanist, and his sense of the appropriate is quite apparent behind Trane on 'Anatomy.' Waldron allows the action to come to him, never crowding the saxophonist, letting bassist Chambers and drummer Taylor carry the beat, as his rhythmic accents and voice leading keep the tune in everyone's mind. On 'Light Blue' he combines with guitarist Burrell to create a funky understated Basie groove, setting up the guitarist's solo with cool, sanctified ballad vehicle for Coltrane. Jimmy Heath's classic line 'C.T.A.' closes out the date with a jaunty, full-throttle Coltrane solo, as the tenorist slices and dices effortlessly through the changes.
„John Coltrane (tenor sax) resumed his association with Rudy Van Gelder's Prestige label on a late March 1957 'all-star' session alongside Idrees Sulieman (trumpet), Webster Young (trumpet), Bobby Jaspar (tenor sax), Kenny Burrell (guitar), Paul Chambers (bass), Art Taylor (drums), and de facto arranger/songwriter Mal Waldron. This interesting blend of instrumentalists lives up to its potential as well as the equally intriguing Interplay for 2 Trumpets and 2 Tenors (1957). In fact, the appropriately named 'Interplay' is up first with the melody extracting a feel that, while deeply entrenched in bop, has undeniable roots in Dixieland. Sulieman is exceptional with his melodic and thoughtful contributions, although it seems to be Coltrane who drives the theme the furthest. The tune's call-and-response structure doesn't fetter Coltrane as he pushes boundaries, pointing in the direction his music would continue to take. Kenny Burell gets some space to stretch out on the understated and refined cool of 'Anatomy.' After the horns collectively establish the midtempo groove, listeners are treated to sublime solos via the stringed mastery of both the guitarist's fluid fret runs and Chambers' warm and playful bowed bass. Waldron picks back up for a few bars before handing things over to the brass. Note Sulieman's focus and strength as his flurry is a perfect springboard for Coltrane's criminally short interjections. Just like its name suggests, 'Light Blue' presents the essence of the blues in a practically playful manner. After the short but sweet intro -- featuring some excellent comping by Burrell -- Waldron's presence evolves into weaving phrases clearly inspired by the guitarist. It is fascinating how Coltrane 'gets up to speed,' as if his portion is joined already in-progress and fully formed. The trumpets and tenor saxes collectively create a warm, intimate, and inviting harmonic embrace. Burrell is sublime, as are Waldon's accents to his detailed string work, while Young's muted sound conjures the cool and sweet of Miles Davis. Coltrane's confidence soars and his playing is unquestionably ahead of its time.“ (Lindsay Planer, AMG)
John Coltrane, tenor saxophone
Bobby Jaspar, tenor saxophone
Idrees Sulieman, trumpet
Webster Young, trumpet
Mal Waldron, piano
Kenny Burrell, guitar
Paul Chambers, bass
Art Taylor, drums
Recorded March 22, 1957 at Van Gelder Studio, Hackensack, NJ
Produced by Bob Weinstock
No biography found.