John Coltrane - Traneing in & Dakar, 1957 (Remastered) (2025) Hi-Res

Dakar (1957) presents half-a-dozen numbers recorded April 20, 1957 by an ensemble credited as the "Prestige All-Stars." On the bandstand for this date are John Coltrane (tenor sax), Cecil Payne (baritone sax), Pepper Adams (baritone sax), Mal Waldron (piano), Doug Watkins (bass), and Art Taylor (drums). Although at the time these were considered "leaderless" units, upon hearing the interaction of the participants, modern ears might desire to qualify that statement.

The Latin-flavored title track "Dakar" finds Coltrane adapting his solo to faultlessly conform to Payne and Adams' comparatively fuller-bodied involvement. The brooding chord progressions take on dark overtones with Coltrane joining Waldron as they burst forth fuelled by the soulful brass section. "Mary's Blues" is a treat for sax lovers as Adams -- who penned the number -- almost immediately raises the musical stakes for Coltrane. The differences in their respective presentations offer a contrast that complements the cool refinement of Adams and Pepper when juxtaposed with Coltrane's frenetic flurries. Particularly engaging are the sequence of four-bar blasts from the horn players, just prior to Coltrane pushing the combo through their paces. On "Route Four" the strongest elements of each player surface, creating one of the platter's brightest moments. Right out of the box, Waldron unleashes line upon line of masterful lyricism. The driving tempo keeps the instrumentalists on their toes as Coltrane is sandwiched between the undeniably and equally inspired Payne and Adams. Here, the urgency of Coltrane's tenor sax clearly tests the boundaries of the Taylor/Watkins rhythm section. The moody and sublime ballad "Velvet Scene" is a Waldron composition containing some of the author's strongest individual involvement as he interjects his expressive keyboarding directly into the melody. If the album is flawed, that may well be due to Coltrane's inability to deliver during "Witches' Pit." Perhaps because he is the first soloist, there seems to be no immediate direction to his playing. In a highly unusual move, he simply trails off rather than concluding his portion with his usual command and authority. "Cat Walk" restores Coltrane's sinuous leads during a couple of jaunty double-time excursions that tread gingerly around the catchy tune. Jazz enthusiasts -- especially lovers of Thelonious Monk -- should easily be able to discern Adams' nod to "'Round Midnight."

For his second long player, John Coltrane (tenor saxophone) joined forces with his Prestige labelmate Red Garland (piano) to command a quartet through a five song outing supported by a rhythm section of Paul Chambers (bass) and Art Taylor (drums). The absence of any unessential instrumentalists encourages a decidedly concerted focus from Coltrane, who plays with equal measures of confidence and freedom. The Coltrane original "Traneing In" is a rousing blues that exemplifies the musical singularity between Coltrane and Garland. Even though the pianist takes charge from the start, the structure of the arrangement permits the tenor to construct his solo seamlessly out of Garland's while incrementally increasing in intensity, yet never losing the song's underlying swinging bop. Chambers then gets in on the action with an effervescent run that quotes the seasonal favorite "Santa Claus Is Coming to Town." The poignant "Slow Dance" is a dark ballad with a simple, refined tune that is established by Coltrane. He turns things over to Chambers, and then Garland -- whose respective style and grace are virtually indescribable -- before bringing it home with one final verse. "Bass Blues" is the second Coltrane-penned selection on the album. Right from the tricky opening riff, the slightly asymmetrical melody showcases Chambers' ability to mirror even the most intricate or seemingly improvised lines from Coltrane. The mid-tempo pace is a springboard for the tenor's spontaneous inventions as he interfaces with a rollicking and ready Garland alongside Chambers' unfettered bowing. "You Leave Me Breathless" provides everything that a love song should with long, languid runs by Coltrane, Garland, and what is arguably Paul Chambers at his absolute finest. Few passages can match the grace and stately refinement of the bassist as he pilots the proceedings behind Taylor's steady metronome and Garland's luminous, effective comps. John Coltrane with the Red Garland Trio (1957) draws to a close on the bebop lover's dream, a fast and furious interpretation of the Irving Berlin classic "Soft Lights and Sweet Music." Clearly Coltrane excels within this context, laying down his note clusters more rapidly than the listener can actually absorb them. These are clear demarcations pointing toward the remarkable sonic advancements Coltrane was espousing. And although it would be a few years before he'd make the leap into full-blown free jazz, the roots can clearly be traced back here.