Noted webwise

CLICK HERE for a note on the CD reissue of "The New Wave In Jazz" by Various Artists, originally released as the LP Impulse! A(S) 90, and includes John Coltrane playing Nature Boy.
Every Coltrane fan on the Internet has watched this video of Coltrane playing So What plus more, as shown with commentary on All About Jazz.
Jazz improvisation, Coltrane particularly, is asserted here as inspiring improvisation in a style of lecturing!

new semi-coltrane mix

Click here for another semi-Coltrane mix.

also this mix

More than jazz although that would have been enough.

Preserve Jazz Festival -- Hoover, Alabama

Unfortunately I can't go, but if you can check out the Preserve Jazz Festival in Hoover, Alabama on May 31, 2009. In any event, please enjoy my mix honoring the festival and it's stars (and John Coltrane's "Alabama") at 8Tracks.

Billy Valentine Session -- a little confusion

Authoritative sources are in conflict over the date of the John Coltrane sessions with Billy Valentine. As indicated previously, the notes at jazzdisco show the session as November 7, 1949, thus predating the Dizzy Gillespie session with which this discussion began. But the John Coltrane Reference documents that the session occurred March 1, 1950, and specifically refutes the earlier date with facts and references that are persuasive. Even so, there is a lot of uncertainty over details of the session such as which takes made it onto the records and precisely which personnel were present. Coltrane is listed on tenor.

The only tune from the session available on CD is “Beer Drinking Baby” which was secondarily issued on the 8-CD set called “The Mercury Blues 'n' Rhythm Story 1945-1955: West Coast Blues” (Mercury 314-528-292-2, and Polygram B000001EH1 ). One of the takes of “Ain't Gonna Cry No More” and/or “I Want You to Love Me” appears to have been released on an LP of the Chicago label, issue number CH-LP-213, title unknown.

Links to Amazon:

Music and More highlighted even more

I posted the link to this site below but it deserved more attention. Music and More is filled with much original content of his self-described "[m]ostly positive but poorly thought out reactions to things I've been reading and listening to." Many would disagree with the "poorly thought out" part.

Videos noted on blog

Quote Unquote wished Miles a happy birthday.

comment

I commented on a Coltrane- Eric Dolphy video on I Want My Youtube

Noted on the web

Jazz album review: Johnny Hodges and his Orchestra
Sketches of Garrett
Cafe WAS
Blue Note at 70 -- Pics from a great Past
Coltrane devotee, research in South Africa
Billy Taylor at 87
Miles Davis Birthday Celebration
Jazz Piano Competition in Jacksonville
Jazzahead
WFIU
Jazz and Blues Blog: More Music

CAPITOL 852, 611, 849 & 892 – ANOTHER PRODUCTIVE DAY

The Dizzy Gillespie and His Orchestra Sessions of January 9, 1950, with John Coltrane again sharing alto duties, produced four songs that contributed several original issues to the Coltrane discography. The song “Coast-to-Coast” was released on an original 78, listed variously as Capitol 852, 15852, or 57-852. (It was also originally released on an EP, Capitol H 326). “Carambola” was originally issued on Capitol 611 (or 57-611)(and EP, Capitol H 235), then the same take was recycled to backup the original issue of the song “Honeysuckle Rose” on Capitol 892 (pictured, and last issued of the bunch). This was the only 78 from the session without a simultaneously released original issue 10-inch EP that played at 33 1/3 rpm. In the mean time “Oo-La-La” had been released on Capitol 849 (57-849, EP Capitol H 325). I'm having difficulty confirming the flip sides of all but 892.

The recordings were made at Capitol Studios in NYC. The band had just closed out 1949 touring Kentucky, St. Louis, Chicago, and a gig spanning Christmas at Harlem's Apollo. Coltrane stayed with Gillespie into 1951, including about four dates with the Charlie Parker-Dizzy Gillespie group. Unfortunately no recordings are known of this brief combo containing of two of the greatest saxophone players in bop, one already a giant – made so by his sheer genius and despite a lack of discipline – the other about to rise rapidly even if a little later than less shy geniuses, by single-minded dedication and practicing 14 hours a day. Coltrane also had a few detours and recording sessions with others as will be noted in the future.

Complete Recordings With Dizzy Gillespie

Check out...

Disk of the Day at thejazzbreakfast.
Also, new kind of Love Supreme with Strings by the Turtle Island Quartet. Could Trane's original be improved? Not likely but judge for yourself.

Essential to the Coltrane Library

The John Coltrane Reference
Coltrane: The Story of a Sound

Capitol 839 TALLEY-HO/I CAN'T REMEMBER

This second and final 78 from the Dizzy Gillespie and His Orchestra session of November 21, 1949, closed out the first day of Coltrane's professional recording debut. Although records of this era carried no formal A-and B-side, the Gillespie original instrumental “Tally-Ho” is a wonderful tune that is clearly the primary title, matching well with the spirit of “Say When” from the earlier release. “I Can't Remember” is a lovely, safe song written by Paul Reif and Harry Sims, vocals by Tiny Irvin. Gillespie had just moved from Victor to Capitol with reported designs to be more commercial even while switching to the more bop-oriented label. Dizzy Gillespie, one of a kind.

Coltrane had joined the orchestra – which had started in 1946 and lasted in this form just until 1950 – in September of 1949. This was just before the recording session, and they had been touring east and mid-west before (and after) landing in NYC to make the records. Although he was sharing alto duties with Jimmy Heath, in his spare time he was already spending long hours practicing tenor.

Complete Recordings With Dizzy Gillespie

Recomended by Miles of John Coltrane

New Music Reblog
Jazz Documentation
Jazz Online This site is a gem with free full-length jazz and other interesting tunes that are in the public domain. From before and after the likes of King Oliver and Jelly Roll Morton, to Benny Goodman and Artie Shaw, along with scatterings of Dizzy, Miles, and many others.

Capitol 797 – Really the First?

According to some sources, the post below that Capitol 797 represents the first professional recording on which Coltrane played is wrong. The Coltrane discography at jazzdisco.org (and indeed, apparently all relevant discographies at this well-respected site) shows Coltrane made his recording debut at the Dinah Washington sessions of September 27, 1949. The credits on the 3-CD set “Complete Dinah Washington on Mercury, Vol. 1”, the CD “John Coltrane Complete Recordings with Dizzy Gillespie”, and many other references perpetuate this idea. The picture is the cover of Mercury EP 1-3207, an original issue 45 containing four of the tunes from this session; the band is not listed.

The John Coltrane Reference by DeVito, Fujioka, Schmaler, and Wild (Lewis Porter, ed.) has a note specifically stating that Coltrane was not present at the Dinah Washington session. (It also notes that the Billy Valentine session typically listed as November 7, 1949, and thus also predating Capitol 797, was probably actually recorded on March 1, 1950; but at least there is general agreement Coltrane was there even if the date is disputed.) The Reference is so well researched and documented that it must be considered definitive. Yet it does not give any indication as to why the error on the discographies may have occurred.

Did Coltrane record or even play with Dinah Washington? It seems clear that Coltrane joined the Gillespie group around September 1949. Dizzy and the gang were appearing around this time on many of the same bills as Dinah Washington. Teddy Stewart, whose band is credited as backing Dinah Washington for the session in question, left the Dizzy Gillespie band around October 1949 to tour with Washington, with whom he may have been involved, according to Lewis Porter's book “John Coltrane.” But as of yet I cannot point to any particular source for the (apparent) misunderstanding over Coltrane's presence at the Washington session. Research on this question will continue, and anyone with relevant knowledge is invited to ring in.

Vinyl to digital

TEAC LP-R400 Turntable CD Recorder and Radio (Black)
Crosley CR249-TA Radio Keepsake USB Turntable-Tan
Crosley Replacement Needle (NP1)
Crosley CR249 BK Keepsake USB Turntable (Black)

Capitol 797 -- the list begins

This 78-rpm is an original issue containing the first recording session on which John Coltrane played, if you don't count the private recordings from his navy days. He's part of the 15-piece "And His Orchestra." Recorded on November 21, 1949 at an unknown studio in NYC. No solos by JC, who is one of two altos -- Jimmy Heath is the other. "Say When" is a cool instrumental arranged by Jimmy Mundy. "You Stole My Wife, You Horse Thief" includes vocals by Dizzy Gillespie and other band members, arrangement by Buster Harding.

Complete Recordings With Dizzy Gillespie