Coltrane, Jaspar, Sulieman, Young - Interplay for 2 Trumpets & 2 Tenors (1957) {Prestige / OJC}

Posted By : ruskaval | Date : 26 Dec 2010 04:32:24 | Comments : 3 |

Coltrane, Jaspar, Sulieman, Young - Interplay for 2 Trumpets & 2 Tenors (1957) {Prestige / OJC}
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© 1992 Prestige / Fantasy / OJC | 0025218629225
Jazz / Hard Bop / Saxophone / Trumpet

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Another extended series of “blowing sessions” that were so much part of the Prestige game plan in the 1950s, this one is notable for its pairing of two dissimilar tenor saxophonists, and two trumpeters who also contrast with one another. One can also divide the four horn players by placing tenorman Coltrane and trumpeter Sulieman on one side and tenorman Jaspar with trumpeter Young on the other. The important thing is the way they interact on the changes of a blues; a “Rhythm”; another based on a great Kern standard; and Mal Waldron’s “Soul Eyes,” an original still being explored by contemporary groups.

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This March 22, 1957 date is a variation on the time-honored blowing format producer Bob Weinstock shoe-horned John Coltrane into at the beginning of his Prestige recording contract. Coltrane had already garnered a variety of notices for his work with the Miles Davis Quintet, a body of work which was marked by his ever-expanding rhythmic and harmonic complexity, and melodic daring.

INTERPLAY FOR 2 TRUMPETS AND 2 TENORS was presumably meant to ingratiate itself into the listening booths of more mainstream listeners, proving that the tenor virtuoso was in no way out of touch or incompatible with more traditional values. One of the most striking elements about the opening cut "Interplay" is the fat ensemble sound of dual tenors and trumpets, and the apparent influence Coltrane was already wielding over his contemporaries. Given a superficial listening, Jaspar's tone and attack suggest the Coltrane method, and Trane's rhythmic restraint only lends to the bluesy ambiguity.

Pianist Mal Waldron really shines on INTERPLAY--as a composer, soloist and accompanist. He provides the conceptual glue that holds things together over the course of multiple choruses. Waldron was Billie Holiday's accompanist, and his sense of the appropriate is quite apparent behind Trane on "Anatomy." Waldron allows the action to come to him, never crowding the saxophonist, letting bassist Chambers and drummer Taylor carry the beat, as his rhythmic accents and voice leading keep the tune in everyone's mind. On "Light Blue" he combines with guitarist Burrell to create a funky understated Basie groove, setting up the guitarist's solo with cool, sanctified ballad vehicle for Coltrane. Jimmy Heath's classic line "C.T.A." closes out the date with a jaunty, full-throttle Coltrane solo, as the tenorist slices and dices effortlessly through the changes.

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Personnel: John Coltrane (tenor saxophone); Bobby Jaspar (tenor saxophone); Idrees Sulieman (trumpet); Webster Young (trumpet); Kenny Burrell (guitar); Mal Waldron, Red Garland (piano); Art Taylor (drums).

tracklist:
01. Interplay 9:37
02. Anatomy 11:53
03. Light Blue 7:47
04. Soul Eyes 17:29
05. C.T.A. (bonus track) 4:40