SACD / DSD

John Coltrane – Lush Life (1961) {1957-58 Recordings} [Fantasy Remaster ‘2003]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 36:33 minutes | Scans included | 1.53 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 433 MB

When he recorded Lush Life, John Coltrane was rapidly gaining recognition for his innovations in jazz soloing. As a member of the Miles Davis Quintet, he had become known far beyond a small circle of jazz insiders. Coltrane’s development as a soloist came at a pace and an intensity seldom witnessed in jazz. It was immeasurably aided by two factors: He jettisoned his drug and alcohol habits and, during a hiatus from the Davis band, he worked with Thelonious Monk. The boldness and daring that began to characterize Coltrane’s playing during the Monk period are evident here in three pieces on which he is accompanied only by bass and drums. Freeing his astonishing creativity from the imposed harmonies of a piano, he employs his massive technique to put into standard song and blues forms nearly all that they could contain. In two pieces with pianist Red Garland, his colleague from the Davis group, Coltrane is scarcely less inventive. The clarity and definition of SA-CD technology make the intimacy of Coltrane’s style seem even more conversational.

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John Coltrane – John Coltrane Quartet Plays (1965) [Analogue Productions 2011]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 37:59 minutes | Scans included | 1,59 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 849 MB

One of the turning points in the career of John Coltrane came in 1965. The great saxophonist, whose playing was always very explorative and searching, crossed the line into atonality during that year, playing very free improvisations (after stating quick throwaway themes) that were full of passion and fury. This particular studio album has two standards (a stirring “Chim Chim Cheree” and “Nature Boy”) along with two recent Coltrane originals (“Brazilia” and “Song of Praise”). Art Davis plays the second bass on “Nature Boy,” but otherwise this set (a perfect introduction for listeners to Coltrane’s last period) features the classic quartet comprised of the leader, pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones.

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John Coltrane – Giant Steps (1960) [Japanese SHM-SACD ‘2011] – MONO
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 37:34 minutes | Scans included | 1,56 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 705 MB

History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this was John Coltrane’s debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers — who was the only bandmember other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated — replicating the lineup featured on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane’s tenor solos. All seven pieces issued on the original Giant Steps are likewise Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos — the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist Ira Gitler accurately dubbed “sheets of sound.” Coltrane’s polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre — turning it into the equivalent of easy listening. He wastes no time as the disc’s title track immediately indicates a progression from which there would be no looking back. Line upon line of highly cerebral improvisation snake between the melody and solos, practically fusing the two. The resolute intensity of “Countdown” does more to modernize jazz in 141 seconds than many artists do in their entire careers. Tellingly, the contrasting and ultimately pastoral “Naima” was the last tune to be recorded, and is the only track on the original long-player to feature the Kind of Blue quartet. What is lost in tempo is more than recouped in intrinsic melodic beauty.

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John Coltrane – Coltrane (1962) [Analogue Productions 2010]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 39:53 minutes | Scans included | 1,62 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 812 MB

Considered by many to be his finest single album, Coltrane finds John Coltrane displaying all of the exciting elements that sparked brilliance and allowed his fully formed instrumental voice to shine through in the most illuminating manner. On tenor saxophone, he’s simply masterful, offering the burgeoning sheets of sound philosophy into endless weavings of melodic and tuneful displays of inventive, thoughtful, driven phrases. Coltrane also plays a bit of soprano saxophone as a primer for his more exploratory work to follow. Meanwhile, bassist Jimmy Garrison, drummer Elvin Jones, and especially the stellar McCoy Tyner have integrated their passionate dynamics into the inner whole of the quartet. The result is a most focused effort, a relatively popular session to both his fans or latecomers, with five selections that are brilliantly conceived and rendered. “Out of This World,” at over 14 minutes in modal trim, is a powerful statement, stretched over Tyner’s marvelous and deft chords, the churning rhythms conjured by Jones, and the vocal style Coltrane utilizes as he circles the wagons on this classic melody, including a nifty key change. “Tunji” is a mysterious, easily rendered piece in 4/4 which speaks to the spiritual path Coltrane tred, a bit riled up at times while Tyner remains serene. Hard bop is still in the back of their collective minds during “Miles’ Mode,” a sliver of a melody that jumps into jam mode in a free-for-all blowing session, while the converse is to be found in Mal Waldron’s “Soul Eyes,” the quintessential ballad and impressive here for the way Coltrane’s holds notes, emotion, and expressive intellectuality. On soprano you can tell Coltrane is close to taking complete control of his newly found voicings, as a playful, jaunty “The Inch Worm” in 3/4 time is only slightly strained, but in which he finds complete communion with the others. Even more than any platitudes one can heap on this extraordinary recording, it historically falls between the albums Olé Coltrane and Impressions — completing a triad of studio efforts that are as definitive as anything Coltrane ever produced, and highly representative of him in his prime.

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John Coltrane – Coltrane (1957) [Analogue Productions 2012]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 41:40 minutes | Scans included | 1,72 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 831 MB

On his first session as a bandleader, tenor saxophonist John Coltrane is joined by Johnny Splawn on trumpet, Sahib Shihab on baritone sax, and a rhythm section of bassist Paul Chambers and drummer Albert “Tootie” Heath with piano duties split between Mal Waldron and Red Garland. Right out of the gate, the propulsive syncopated beat that drives through the heart of Coltrane’s fellow Philly denizen Calvin Massey’s “Bakai” indicates that Coltrane and company are playing for keeps. Shihab’s emphatic and repetitive drone provides a manic urgency that fuels the participants as they weave in and out of the trance-like chorus. Coltrane grabs hold with bright and aggressive lines, turning the minor-chord progressions around into a spirited and soulful outing. While the refined and elegant “Violets for Your Furs” as well as the slinky and surreptitious “While My Lady Sleeps” are undeniably ballads, they aren’t redundant. Rather, each complements the other with somewhat alternate approaches. “Violets for Your Furs” develops the role of the more traditional pop standard, whereas the somnolence is disrupted by the tension and release coursing just below the surface of “While My Lady Sleeps.” The Coltrane-supplied “Straight Street” is replete with the angular progressions that would become his stock-in-trade. In fact, the short clusters of notes that Coltrane unleashes are unmistakable beacons pointing toward his singular harmonics and impeccably timed phrasing on 1960’s Giant Steps and beyond. The closer, “Chronic Blues,” demonstrates Coltrane’s increasing capacity for writing and arranging for an ensemble. The thick unified sound of Coltrane, Splawn, and Shihab presents a formidable presence as they blow the minor-chord blues chorus together before dissolving into respective solos. The trio’s divergent styles prominently rise, pitting Shihab’s down-and-dirty growl against Coltrane’s comparatively sweet tones and Splawn’s vacillating cool and fiery fingering. Regardless of the listener’s expertise, Coltrane is as enjoyable as it is thoroughly accessible.

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John Coltrane – Blue Train (1957) [Reissue 2003]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 59:08 minutes | Scans included | 2,41 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,34 GB

Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on Blue Train — Coltrane’s only collection of sides as a principal artist for the venerable label. The disc is packed solid with sonic evidence of Coltrane’s innate leadership abilities. He not only addresses the tunes at hand, but also simultaneously reinvents himself as a multifaceted interpreter of both hard bop as well as sensitive balladry — touching upon all forms in between. The personnel on Blue Train is arguably as impressive as what they’re playing. Joining Coltrane (tenor sax) are Lee Morgan (trumpet), Curtis Fuller (trombone), Kenny Drew (piano), Paul Chambers (bass), and Philly Joe Jones (drums). The triple horn arrangements incorporate an additional sonic density that remains a trademark unique to both this band and album. Of particular note is Fuller’s even-toned trombone, which bops throughout the title track as well as the frenetic “Moments Notice.” Other solos include Paul Chambers’ subtly understated riffs on “Blue Train” as well as the high energy and impact from contributions by Lee Morgan and Kenny Drew during “Locomotion.” The track likewise features some brief but vital contributions from Philly Joe Jones — whose efforts throughout the record stand among his personal best. Of the five sides that comprise the original Blue Train, the Jerome Kern/Johnny Mercer ballad “I’m Old Fashioned” is the only standard; in terms of unadulterated sentiment, this version is arguably untouchable. Fuller’s rich tones and Drew’s tastefully executed solos cleanly wrap around Jones’ steadily languid rhythms. Without reservation, Blue Train can easily be considered in and among the most important and influential entries not only of John Coltrane’s career, but of the entire genre of jazz music as well.

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John Coltrane – Blue Train (1957) [Analogue Productions 2008]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 59:13 minutes | Scans included | 2,46 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,2 GB

Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on Blue Train — Coltrane’s only collection of sides as a principal artist for the venerable label. The disc is packed solid with sonic evidence of Coltrane’s innate leadership abilities. He not only addresses the tunes at hand, but also simultaneously reinvents himself as a multifaceted interpreter of both hard bop as well as sensitive balladry — touching upon all forms in between. The personnel on Blue Train is arguably as impressive as what they’re playing. Joining Coltrane (tenor sax) are Lee Morgan (trumpet), Curtis Fuller (trombone), Kenny Drew (piano), Paul Chambers (bass), and Philly Joe Jones (drums). The triple horn arrangements incorporate an additional sonic density that remains a trademark unique to both this band and album. Of particular note is Fuller’s even-toned trombone, which bops throughout the title track as well as the frenetic “Moments Notice.” Other solos include Paul Chambers’ subtly understated riffs on “Blue Train” as well as the high energy and impact from contributions by Lee Morgan and Kenny Drew during “Locomotion.” The track likewise features some brief but vital contributions from Philly Joe Jones — whose efforts throughout the record stand among his personal best. Of the five sides that comprise the original Blue Train, the Jerome Kern/Johnny Mercer ballad “I’m Old Fashioned” is the only standard; in terms of unadulterated sentiment, this version is arguably untouchable. Fuller’s rich tones and Drew’s tastefully executed solos cleanly wrap around Jones’ steadily languid rhythms. Without reservation, Blue Train can easily be considered in and among the most important and influential entries not only of John Coltrane’s career, but of the entire genre of jazz music as well.

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John Coltrane – A Love Supreme (1964) [Analogue Productions 2010]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 33:01 minutes | Scans included | 1,35 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 699 MB

Easily one of the most important records ever made, John Coltrane’s A Love Supreme was his pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane’s classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped into the studio and created one of the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship (not to mention his best-selling to date). From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical yet emotionally varied soloing while the rest of the group is remarkably in tune with Coltrane’s spiritual vibe. Composed of four parts, each has a thematic progression leading to an understanding of spirituality through meditation. From the beginning, “Acknowledgement” is the awakening of sorts that trails off to the famous chanting of the theme at the end, which yields to the second act, “Resolution,” an amazingly beautiful piece about the fury of dedication to a new path of understanding. “Persuance” is a search for that understanding, and “Psalm” is the enlightenment. Although he is at times aggressive and atonal, this isn’t Trane at his most adventurous (pretty much everything recorded from here on out progressively becomes much more free, and live recordings from this period are extremely spirited), but it certainly is his best attempt at the realization of concept — as the spiritual journey is made amazingly clear. A Love Supreme clocks in at just over 30 minutes, but if it had been any longer it could have turned into a laborious listen. As it stands, just enough is conveyed. It is almost impossible to imagine a world without A Love Supreme having been made, and it is equally impossible to imagine any jazz collection without it.

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