lingua franca. Duke gives Trane plenty of running room, as Monk did, laying out his solo on `Take The Coltrane,' comping nimbly elsewhere. No bonus tracks, and none...
Duke Ellington began a string of collaborations in the second half of his career--whereas before that, his own band was stimulus enough. Whatever the reason, almost all of his collaborations succeeded at high levels, although none of his shared sessions are more intriguing on the surface than this 1962 date with the preeminent sax star of the day. In reality, the record amounts to "Coltrane Plays Ellington" (plus one Coltrane original) because the tenor man is the whole show--and what a show it is. Only Coltrane could be as "fiercely tender," and there's no better forum for his sensitive side than the music of Ellington and Billy Strayhorn, who contributes the album's true vertex, "My Little Brown Book." The rhythm section alternates between Duke's and Trane's, each adding a different texture to the proceedings. Ellington is wise enough to appreciate the nature of the session, and he is quite content to feed chords in service of the young master--proving the old master's open mind and good taste. Hearing Coltrane seize "In a Sentimental Mood" is thanks enough. --Marc Greilsamer
lingua franca. Duke gives Trane plenty of running room, as Monk did, laying out his solo on `Take The Coltrane,' comping nimbly elsewhere. No bonus tracks, and none needed.n
Duke Ellington began a string of collaborations in the second half of his career--whereas before that, his own band was stimulus enough. Whatever the reason, almost all of his collaborations succeeded at high levels, although none of his shared sessions are more intriguing on the surface than this 1962 date with the preeminent sax star of the day. In reality, the record amounts to "Coltrane Plays Ellington" (plus one Coltrane original) because the tenor man is the whole show--and what a show it is. Only Coltrane could be as "fiercely tender," and there's no better forum for his sensitive side than the music of Ellington and Billy Strayhorn, who contributes the album's true vertex, "My Little Brown Book." The rhythm section alternates between Duke's and Trane's, each adding a different texture to the proceedings. Ellington is wise enough to appreciate the nature of the session, and he is quite content to feed chords in service of the young master--proving the old master's open mind and good taste. Hearing Coltrane seize "In a Sentimental Mood" is thanks enough. --Marc Greilsamer
Duke Ellington began a string of collaborations in the second half of his career--whereas before that, his own band was stimulus enough. Whatever the reason, almost all of his collaborations succeeded at high levels, although none of his shared sessions are more intriguing on the surface than this 1962 date with the preeminent sax star of the day. In reality, the record amounts to "Coltrane Plays Ellington" (plus one Coltrane original) because the tenor man is the whole show--and what a show it is. Only Coltrane could be as "fiercely tender," and there's no better forum for his sensitive side than the music of Ellington and Billy Strayhorn, who contributes the album's true vertex, "My Little Brown Book." The rhythm section alternates between Duke's and Trane's, each adding a different texture to the proceedings. Ellington is wise enough to appreciate the nature of the session, and he is quite content to feed chords in service of the young master--proving the old master's open mind and good taste. Hearing Coltrane seize "In a Sentimental Mood" is thanks enough. --Marc Greilsamer
Duke Ellington began a string of collaborations in the second half of his career--whereas before that, his own band was stimulus enough. Whatever the reason, almost all of his collaborations succeeded at high levels, although none of his shared sessions are more intriguing on the surface than this 1962 date with the preeminent sax star of the day. In reality, the record amounts to "Coltrane Plays Ellington" (plus one Coltrane original) because the tenor man is the whole show--and what a show it is. Only Coltrane could be as "fiercely tender," and there's no better forum for his sensitive side than the music of Ellington and Billy Strayhorn, who contributes the album's true vertex, "My Little Brown Book." The rhythm section alternates between Duke's and Trane's, each adding a different texture to the proceedings. Ellington is wise enough to appreciate the nature of the session, and he is quite content to feed chords in service of the young master--proving the old master's open mind and good taste. Hearing Coltrane seize "In a Sentimental Mood" is thanks enough. --Marc Greilsamer
Duke Ellington began a string of collaborations in the second half of his career--whereas before that, his own band was stimulus enough. Whatever the reason, almost all of his collaborations succeeded at high levels, although none of his shared sessions are more intriguing on the surface than this 1962 date with the preeminent sax star of the day. In reality, the record amounts to "Coltrane Plays Ellington" (plus one Coltrane original) because the tenor man is the whole show--and what a show it is. Only Coltrane could be as "fiercely tender," and there's no better forum for his sensitive side than the music of Ellington and Billy Strayhorn, who contributes the album's true vertex, "My Little Brown Book." The rhythm section alternates between Duke's and Trane's, each adding a different texture to the proceedings. Ellington is wise enough to appreciate the nature of the session, and he is quite content to feed chords in service of the young master--proving the old master's open mind and good taste. Hearing Coltrane seize "In a Sentimental Mood" is thanks enough. --Marc Greilsamer
Duke Ellington And John Coltrane [Digipak] - Duke Ellington & John Coltrane
Main specs
Title: Duke Ellington And John Coltrane [Digipak]
Performer: Duke Ellington & John Coltrane
Genre: Jazz Instrument
Release Date: 24/03/2008
Original Release Year: 1962
Label / Distributor: UCJ / Universal Music
Guest Artist(s): Ellington, Duke & John Coltrane
Engineer: Rudy Van Gelder
Producer: Bob Thiele
Pieces in Set: 1
Studio / Live: Studio
Stereo: Stereo
Format: Performer
EAN: 602517486270
Catalogue Number: 1748627
Additional notes
Album Reviews: JazzTimes (5/96, p.130) - "...the playing... Poignant, powerful....Blues is the lingua franca. Duke gives Trane plenty of running room, as Monk did, laying out his solo on `Take The Coltrane,' comping nimbly elsewhere. No bonus tracks, and none needed."
Advantages: Unusual but effective instrumentation Disadvantages: Just needs some standout moments
...in evidence on Coruscating.
Generally on this CD, the strings set the scene and provide a secure setting for Surman and Laurence to improvise. The eight pieces which result are elegant and, though far from musically simple, quite easy on the ear. "Stone Flower", a tribute to DukeEllington's baritonist Harry Carney, is the most evidently "jazz" piece; the rest could fit quite easily into the modern classical repertoire.
The only problem is, for all its qualities, you can't honestly say that it yields any moments that are truly memorable. Given the album's pedigree this comes as something of a disappointment.
Coruscating is certainly worth investing your time and money in. It's just not the classic it could - and should - have been....
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Ciao members have rated this review on average somewhat helpful
somewhat helpful 03.05.2007
Jazz Supreme Review ofLove Supreme, A - JohnColtraneby
lauracallaghan83
Advantages: The pinnacle of Coltrane's immense contribution to jazz. Disadvantages: Inaccessible without perseverance.
...When I first listened to this album, I attempted to track what Coltrane was doing musically. This proved useless, for in a way the musical elements of 'A Love Supreme' are subordinate to the profound sense of spirituality.
I'm not a religious person myself, but when listening to this album, I couldn't help but be awe-inspired by Coltrane's apparent subservience to God. He states himself that the album is a gift to God, and an expression of gratitude for the incredible talent with which he's been blessed.
Coltrane uses his regular quartet on this album (the most staunch member being pianist McCoy Tyner), and although these musicians perform admirable supporting roles this is Coltrane's album from beginning to end.
As I've already stated, one shouldn't listen to 'A Love Supreme' attempting to break down the musical elements...
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Ciao members have rated this review on average helpful
Advantages: Jazz for the uninitiated Disadvantages: None
...Head On My Shoulder) – at last, a song I know something about. This is a version of a song originally recorded by the Beach Boys. Ms. Teal doesn’t do a bad job of it but, as is often the case for me, the original can’t be improved upon.
Mood Indigo – surely this song is the personification of smooth jazz. You can almost smell the stale cigarette smoke. In a good way, of course. An old DukeEllington number.
Falling For You – I really like this song. It was written by Ms. Teal, but to me it actually sounds like an Elvis Costello song. Not a rip-off or a pastiche, it sounds like he wrote it. This is probably my favourite track.
In A Mellow Tone – after three slow songs, we’re back to something more upbeat and more traditionally jazz. Not surprising, since it was written by DukeEllington.
So In Love – this is a Cole Porter song...
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Ciao members have rated this review on average helpful
helpful 09.11.2004
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