By Dee Dee McNeil
John Coltrane, tenor saxophone; McCoy Tyner, piano; Jimmy Garrison, bass; Elvin Jones, drums.
It seems that several tapes originating at the Rudy Van Gelder studios in Englewood Cliffs, New Jersey, have been recently re-discovered and resurrected. Among them is this classic John Coltrane recording session that was saved to analog tape in June of 1964. This was during a time when Coltrane’s spiritual recordings were soaring in popularity and transforming his career path, as well as the world of jazz. It was between his recording of the “Crescent” album and Coltrane’s super successful, “A Love Supreme.” The songs on this new project may be familiar, but the actual recordings have never been heard, in their entirety, before this release. The classic Coltrane band is in place, featuring all-stars, McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums. Of course, John Coltrane was on tenor saxophone and you will hear the legendary musicians playing “Naima,” a take One and take two exploration of this beautiful composition begins and ends this album.
This recording came about when filmmaker, Gilles Groulx, approached John Coltrane to score a French film titled, “Le Chat Dans le Sac,” (translated to The Cat in the Bag). No one was sure Coltrane would do it. Monsieur Groulx explained it was a love story, taking place in Montreal, Canada, with political undertones. The unexpected result of this request was that John Coltrane agreed and brought his band into the studio to revisit songs he had already recorded. Their session was recorded on quarter inch, analog, mono tape and mixed by Rudy Van Gelder. Groulx happily took the master to Canada to use in his film. The final film production only included ten minutes of Coltrane’s 37-minutes of recording time. Now, we can hear their entire session.
The title tune, “Blue World,” opens with Jimmy Garrison setting up the tempo and mood on his double bass, soon joined by the piano chords of McCoy Tyner and the skipping drum sticks of Elvin Jones, galloping across the piece with precision and inspired time. John Coltrane takes his stance into the spotlight with slow deliberation, making the tenor saxophone sing in only the way he can. Blasting into a crescendo ending, with Elvin Jones going wild on trap drums and the music building to a frenzied pitch, the finale of this song is dramatic. “Village Blues” is recorded three times and you will enjoy all three takes. Additionally, there is the “Like Sonny” composition and an over seven-minute rendition of “Traneing In.” The mix is crystal clear and the tracks are better than the original, previous recordings. They sound freshly improvised and crisp, like new money.
FRANCE LINE-UP: Louis Armstrong, trumpet/vocals; Jack Teagarden, trombone/vocals; Barney Bigard, clarinet; Earl Hines, piano; Arvell Shaw, bass; Sid Catlett, drums. GERMANY LINE-UP: Louis Armstrong, trumpet, vocals; Trummy young, trombone; Bob McCracken, clarinet/vocals; Marty Napoleon, piano; Arvell Shaw, bass; Cozy Cole, drums.
Imagine, stepping into a magical transformer and being whisked back in time. For a minute, just pretend you have entered a time machine. Moments later, you are sitting in a small jazz club in New Orleans, it’s 1946, and just mere feet away from your table, a young man, destined to become a living legend, is blowing his horn. Other’s on the scene are Jack Teagarden on trombone and Barney Bigard on clarinet. Crouched over the piano keys is Earl “Fatha” Hines. Arvell Shaw stands tall next to his double bass and Cozy Cole is slapping the trap drums. The leader, standing center stage in a dark suit and bow tie, is Louis Armstrong. The ensemble is performing together in preparation for a European tour.
It appears that eventual tour was recorded on February 22 – 23, 1948 during the Nice International Jazz Festival. It was recorded live at the famed Nice Opera House and also at the Titania Palast in Berlin, Germany. The group of musicians varies. Velma Middleton is featured, along with Louie, on vocals. Sometimes the dynamic Sid Catlett is the drummer and other times, it’s Cozy Cole. Earl Hines is the pianist in France and Marty Napoleon plays piano in Germany. But the steadfast trumpeter and star of this live production is Louis Armstrong.
This recording is part of Dot Time’s Legacy Series and these treasured tracks were recovered in forgotten, European archives of a live performance of Louie Armstrong and his All Stars in both Nice, France and later, in Germany, during a Berlin recorded broadcast on RIAS (Radio in the American Sector) files.
On the bluesy presentation of “Rockin’ Chair,” Jack Teagarden lends his smooth vocals to the mix, with Armstrong playfully answering him in his signature vocal style and adding a bit of comic relief during their duet. One thing I always admired about Louis Armstrong, (other than his amazing musical agility on his trumpet) was his penchant for entertaining. Sometimes musicians play only for themselves and each other, forgetting about the audience or having the attitude you can love it or leave it. Louie Armstrong knew that singing was a strong audience pleaser and always included this in his shows, as well as adding comedy relief. Louis Armstrong understood the importance of entertaining. The story goes that Armstrong’s manager at the time, Joe Glaser, told him before his European tour not to sing. He said they were all foreigners and didn’t speak any English. Armstrong nodded gravely, but as you hear, he paid absolutely no attention to Glaser’s instruction not to sing. In his own way, he was a serious activist, using music as his catalyst. He opened every concert singing Fats Waller’s poignant “Black and Blue” composition. It reflected the racism in America and always was received with marvelous applause and appreciation. You will hear his performance of that song on this album, along with the popular, “Sunny Side of the Street.”
He scats his way through “Them There Eyes,” as only Louie could do and I was intrigued with the blues song, “My Bucket Got a Hole In It,” featuring the boogie-woogie bass line I used to hear my own father play on our upright piano. Louis Armstrong then pays homage to his roots on “Way Down Yonder in New Orleans” and on “Mahogany Hall Stomp” the band has an on-stage jam session with Arvell Shaw making a strong statement on his bass and Barney Bigard swinging his clarinet solo boldly into the audience. Closing with “A Kiss to Build a Dream On,” Louis Armstrong leaves us a message from beyond this world and a promise, like a blown kiss, that love crosses all boundaries the same way great music does.
This amazing deluxe, seven-CD or 10-LP package of music reminds us that Nat King Cole was a piano master. This delicious compilation of Nat Cole’s early years, between 1936 to 1943, offers nearly 200 recorded tracks by the illustrious jazz musician before he ever signed with Capitol Records.
“This is a really important project for Resonance,” says co-president or the label, Zev Feldman. “We’ve done some pretty substantial packages over the years, such as our three-disc Eric Dolphy and Jaco Pastorius sets with 100-page booklets, but this Nat King Cole box is truly a definitive, king-sized set.”
Many people only recall Nat King Cole as the silky, satin-smooth voice that made the “Christmas Song” a forever-hit-holiday standard. When Nat Cole sang, “Chestnuts roasting on an open fire, Jack Frost nipping at your nose …” the entire universe swooned. But long before he became a popular voice on the recording scene, Nat was inspiring great piano players like Oscar Peterson, Erroll Garner and George Shearing with his amazing style and technique. Nat King Cole grew up in the jazz business, listening to icons like Earl “Fatha’ Hines and Art Tatum. You can clearly hear some of their influence in this amazing set of early recordings.
The tune, “With Plenty of Money and You” was cut in 1938. Nat King Cole is playing piano so swiftly he sounds like the studio engineers speeded up the tape. He has perfect time as his finger race across the piano keys. It’s just a spectacular listen, with Oscar Moore on guitar and Wesley Prince on bass. This was the very first recording session for Nat’s trio and unique because there was no drummer. Even before this release, the very first recordings Nat Cole made was with his brother Eddie for Decca Records. He was only seventeen-years-old, but it was obvious, even then, that Nat King Cole was a piano prodigy. You will enjoy Nat’s first versions of “Sweet Lorraine” in this collection, that later in his career became a huge R&B and pop record hit. You can hear how his tone and vocal style developed, from the 1930’s to his expansive success in the 1960s. but even more significant is Nat King Cole’s amazing abilities on the piano. This recording documents his astonishing talents on piano, as well as bringing several unforgettable songs alive that we may have forgotten and deserve to be remembered like, “All for You,” and “There’s No Anesthetic for Love.” This is a ‘must-have’ for any jazz collector’s library! Release date is November 1, 2019.
Dee Dee McNeil CDs, “STORYTELLER” and “WHERE CAN OUR LEADERS BE?” are Online at CDBaby.com or Amazon.com. As a journalist, Dee Dee is available to write liner notes, biographies and feature articles on jazz musicians and singers. Contact her at firstname.lastname@example.org or leave your message and phone number at 248-262-6877.
DEE DEE McNEIL
Dee Dee McNeil is An Educator/Singer/Songwriter/Poet/Journalist/Producer & Playwright. Originally from Detroit, Michigan, her poetry was published in the first edition of Dudley Randall’s poetry anthology, “The Broadside Annual.” Several other anthologies followed. As a contract songwriter for Motown Records, several iconic artists have recorded her music including Diana Ross & the Supremes, Gladys Knight & the Pips, David Ruffin, Edwin Star, The Four Tops, Nancy Wilson, Rita Marley, Kiki Dee, Jonah Jones, Side Effect, Rapper ‘Styles’, LL Cool J, Gip Noble, The Marvelettes, Robert McCarther, Peggy Duquesnel and the historic Rap group, The Watts Prophets, of which Ms. McNeil was a member. She moved to Los Angeles in 1970 and became an alumnus of Budd Schulberg’s Watts Writers Workshop. She was one of the first women to Rap in the late ‘60s and early 70’s, speaking up for women’s rights. She recorded as a member of the Watts Prophets in 1970, reciting her original poetry, playing piano, singing and adding original music to their premiere release entitled, “Rappin’ Black In A White World,” named from a song McNeil penned with co-writer, Marthea Hicks.
Her articles and Cd reviews have appeared in Cadence Magazine, All About Jazz Newspaper and she had a jazz blog at www.lajazz.com for five years. As a freelance journalist, her articles have appeared in Good Old Boat Magazine, Pathfinders Travel Magazine, Ambassador National Italian-American Foundation magazine and many more. she was a music journalist for the AOL.com owned Patch Online newspapers. Her Column was called “Music Matters.” She once had a Jazz column in the Michigan Chronicle Newspaper. Another of her syndicated entertainment columns appeared in several newspapers across the country and in Canada. In 2009 her book “Haiku In My Neighborhood” was published, featuring the photography of Roland Charles.
In 2010, she presented her “Haiku In My Neighborhood” literary enrichment program as part of the City of Inglewood Parks, Recreation and Community Services, teaching haiku to children aged five to eleven as part of an after-school program. In 2011, she successfully presented the same program for older children at the Horace Mann Junior High School in Los Angeles. In 2012, one of her short stories was chosen and featured by the Sally Shore “New Short Fiction Series” read and presented by actress Angela Gibbs at the Watts Towers under the banner of “From the Ashes Revisited” to tribute the Watts Writers Workshop alumni. In 2014, her short story entitled “Singing My Way Through Adversity” was published in “Chicken Soup for the Soul: Recovering from Traumatic Brain Injuries – 101 Stories of hope, Healing, and Hard Work.” In 2016, her essays were published in three separate “Chicken Soup for the Soul” books: “The Spirit of America”, “My Very Good, Very Bad Dog,” and “The Joy of Less.” Currently, she has a jazz blog where she previews CDs and writes feature articles about jazz artists at www.musicalmemoirs.wordpress.com and she contributes to LA Jazz Scene.buzz with a column called “Dee Dee’s Jazz Diary.”