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.