Coltrane. Can we talk?

Colossus is unbeleibable Sonny Rollins is just right for me. Coltrane is tough for some people (myself included) to listen to, but his work, hell everybody'e work on "Kind of Blue" with Miles and the rest is absolutely my favorite Jazz CD. Of course there's Dizzy, can't forget Dizzy Gillespie, play a lot of "Night In Tunisia.

I am very much a fan, his timing and musicality were unbeatable. Is he the best ever, I cannot say. Certainly among the top.

If you do not already have it, there is an exceptional release of Cannonball Adderley and Coltrane called: "Quintet In Chicago". It has been remastered to 24/96 and is quite reasonably priced. There is also a great XRCD2 release of Coltrane's "Settin the Pace".

As far as Sonny Rollins, Collosus gets my highest recommendation. He too is amazing.

Coltrane had a very advanced harmonic conception. Many other players are still catching up with his mastery of the 3 & 4 tonic systems. I would even go so far as to say he pushed Western music, harmonically, ahead a little, as other players are doing today. I like his playing, and I think he was a brilliant thinker as is evident through his improvisation. He also wrote some great tunes that will imortalize him. I have a couple dozen CD's at least of his or with him on them, ( I have a big collection). BUT, having said all that, he's not one of my favorite players. How can I say that? Well, while I've learned a lot from his playing, especially how he moved between equidistant tonal centers, in my opinion his playing was lacking in areas- areas that if were developed would have made him a more well rounded master of his instrument. I'd rather listen to Joe Henderson, wow. Or for a more 'modern' player, whatever the hell that means, listen to Jerry Bergonzi or George Garzone, both of whom took a lot from Trane, but both of who have their own thing going, AND have more control over more parameters of music, and their horns.

Jay, I'm curious. What areas in your opinion were lacking in Coltrane's playing? You think Bergonzi and Garzone "have more control over more parameters of music, and their horns"????!!!! What exactly? I just don't see it(hear it) that way at all. Granted, both these guys are very fine players; but both are admittedly derivative to a certain extent. Yes, they do have their own thing; but had it not been for Coltrane's thing there would be no "thing". They are both good examples of post-Coltraneism. Not necessarily a bad thing. What's more they would be the first to admit it. One of the truely incredible things about Coltrane is that he still sounds and always will sound modern. He defined and still defines modern jazz tenor playing. I have spoken to some who had the priviledge of hearing Trane play live, and what they say is amazing. They were moved, and yes even changed emotionally, to an extent that was scary. His presence was hugely powerfull, even mystical. I understand how Coltrane's playing might be difficult for some to deal with. The power of his constantly searching sound and vibe can be overwhelming. Try getting acquainted with him through some of his gentler records. The "Ballads" album is a must. Some of the most beautifull and gentle playing one will ever hear. "With Johnny Hartman" another great one. Enjoy.

To really hear Trane at his most powerful, try "Live at the Vanguard." His interplay with Eric Dolphy is something of real lasting value. Although I am not a fan of Dolphy(his critically acclaimed "Out To Lunch" even does not suit me),there was the MAGIC at this session. This was Trane on Impulse. His Atlantic sessions are probably a better starting point. Although many of his recordings tend to lose peole, I still can't name a better sax man than he. By the way, the Adderly "In Chicago" on Mercury is hard to beat, without question;it's much better than "In New York"