Original Liner Notes:
One of the primary reasons jazz has progressed over the years since the legendary Buddy Bolden's great performances, in New Orleans' Lincoln Park; is the many contrasting styles of musicians, as a unit and individually, each spreading a sphere of influence upon his contemporaries. Sometimes these changes have taken place so gradually they have not been noticeable until they have been accomplished. There have been times however, when these changes have been, to the casual listener, almost abrupt, (such as those first notable at Mintons and along 52nd Street).
The leading instrument of influence during the early days of jazz was the trumpet, Oliver, Louis, Bix, etc. Coleman Hawkins instituted the saxophone as an in-fluence in the late twenties and since that time the sax has carried the burden of the influence. In our opinion it remains so today. Tomorrow it might be Mingus' bass or Monk or Tristano's piano, however it is today that we are concerned with, and on this LP there is one of the most interesting contrast of tenor stylings in jazz.
John Coltrane with his driving, almost jet-like pro-gressions, and Paul Quinichette's cool, controlled, deli-berate approach to his horn, offer a wonderful example of contrasting styles. The fact that they are capable of blending these has brought about a highly entertain-ing session.
Coltrane, who has not as yet satisfied himself that he has reached his full potential, displays a searching. quality. Paul conveys a feeling he is confident, that he has chosen his way well. While Paul possesses many of the attributes of an excellent musician, it is unlikely that he will ever become an important in-fluence. (See notes on personalities).
With no intent to take anything away from Paul, it must be noted that Coltrane is today a great tenor influence. Sometime ago we wrote that if there was a tenor that was going to influence other tenormen in this era of jazz it was John Coltrane. Today we are even more convinced. John has not even reached his sphere of importance.
We believe that you are in for some excellent enter-tainment, when you listen to the tracks of this LP, for what one style fails to employ the other does, and they both do it brilliantly. This is what you might term a real down to earth blowing session, an adven ture in the cool and hot, rhythmically and harmonically.
THE TUNES
The opener is Cattin' played in a medium blues tempo. It opens with both John and Paul taking a chorus. As they fade, Mal follows a blue line that leads into John's solo. His solo is indicative of his deep roots and consists of some excellently handled changes. Paul moves in with a smooth treatment, inserting slurs and warm progressions. At the end they are engaged in contrasting exchanges.
Ed opens the door on "Sunday" then stands aside allowing Paul to enter to deliver a series of swinging statements, designed to put you in a fast swinging mood. John is on the scene, before Paul's last note has died away, driving home a most authoritative message. Each take another chorus, then there are a series of exchanges that are reminiscent of the great cutting sessions that used to take place during the swing era. "Exactly Like You" offers Paul in a medium tempo approach to this old standard. (If you have this tune recorded by "Prez" we'd suggest you have it
ready for after reading the personalities you'll want to make a comparison). Mal presents a beautiful solo here, showing his Monk directions. Paul's treatment is almost torrid at times.
"Anatomy": John begins with a few bars then engages in a bit of two part harmony with Paul before enter-ing upon a most interesting solo, on this, another medium tempo excursion. Paul's insertions here have lots of drive and potency. Mal breaks through with excellent interjections before John and Paul go into ex-changes. Note that the performers here never leave you standing between solos, there is expert continuity on all of the tracks.
"Vodka" presents "Trane" on a rather elongated solo on which he displays remarkable dexterity coupled with a wonderful control of tone and imaginative in-novations. This we believe you will find, one of the better Coltrane presentations. Paul is also in his best form here. As you listen to the exchanges between the two note the excellent comping by Mal.
THE PERSONALITIES
Paul Quinchette
Paul makes no pretense that he was not greatly influenced by the late Lester Young. It does not take a critic to see that there is a marked resemblance of tone. However we do not concur with those who insist that he is a carbon copy of "Prez"; nothing is farther from the truth. In his early days. he held a great admiration for "Prez" and at that time there was a considerable likeness in many ways. It has been said that there were many times that Lester was unable to select certain recording made by him with the Count Basie band that had been re-recorded in later years when Paul took over his chair in the band. This we doubt very much, but as we said there was a great similarity in the early days, but Pauls greatness shows in the fact that he was able to replace Lester without causing harm to the Basie reed selection. He was highly respected by Count and the other members of the band.
Today he still has the "Prez" tone but his own originality is in evidence. His thinking and innovations have taken on a modern structure that have been hid-den too long by the ghost of "Prez". We think it's time that he had a hearing on his own.
John Coltrane If I have ever met a musician whom
I sincerely believe is a dedicated one, then it is most certainly "Trane". He has a burning desire to please, both his fellow musician and those who spend their money to hear him in person or buy his recordings. Acceptance means a great deal to him for he, though shy and perhaps a little too withdrawn at times has a real human interest in other people. If he can con-tinue as he has been doing for the past two years there is little doubt, he will become one of the major influences in jazz.
Mal Waldron Mal has the distinction of being one of the better composers of modern jazz. Three of the tunes heard on this LP are his compositions, "Cattin'", "Vodka" and "Anatomy". You might also say he is a liaison between the jazz of today and the jazz of tomor-row. Recently he has, without compromising his basic "Monk" influences, found a warmer medium of ex-pression in his playing that is certain to increase his
prestige as a pianist.
Ed Thigpen & Julian Euell Two-thirds of a very fine rhythm section in attendance on this session have handled a difficult assignment with relaxed poise.
diegodobini2
John Coltrane, Paul Quinichette – Cattin' With Coltrane And Quinichette (1959)
https://youtu.be/jxDY0kEi9iE
Original Liner Notes:
One of the primary reasons jazz has progressed over the years since the legendary Buddy Bolden's great performances, in New Orleans' Lincoln Park; is the many contrasting styles of musicians, as a unit and individually, each spreading a sphere of influence upon his contemporaries. Sometimes these changes have taken place so gradually they have not been noticeable until they have been accomplished. There have been times however, when these changes have been, to the casual listener, almost abrupt, (such as those first notable at Mintons and along 52nd Street).
The leading instrument of influence during the early days of jazz was the trumpet, Oliver, Louis, Bix, etc. Coleman Hawkins instituted the saxophone as an in-fluence in the late twenties and since that time the sax has carried the burden of the influence. In our opinion it remains so today. Tomorrow it might be Mingus' bass or Monk or Tristano's piano, however it is today that we are concerned with, and on this LP there is one of the most interesting contrast of tenor stylings in jazz.
John Coltrane with his driving, almost jet-like pro-gressions, and Paul Quinichette's cool, controlled, deli-berate approach to his horn, offer a wonderful example of contrasting styles. The fact that they are capable of blending these has brought about a highly entertain-ing session.
Coltrane, who has not as yet satisfied himself that he has reached his full potential, displays a searching. quality. Paul conveys a feeling he is confident, that he has chosen his way well. While Paul possesses many of the attributes of an excellent musician, it is unlikely that he will ever become an important in-fluence. (See notes on personalities).
With no intent to take anything away from Paul, it must be noted that Coltrane is today a great tenor influence. Sometime ago we wrote that if there was a tenor that was going to influence other tenormen in this era of jazz it was John Coltrane. Today we are even more convinced. John has not even reached his sphere of importance.
We believe that you are in for some excellent enter-tainment, when you listen to the tracks of this LP, for what one style fails to employ the other does, and they both do it brilliantly. This is what you might term a real down to earth blowing session, an adven ture in the cool and hot, rhythmically and harmonically.
THE TUNES
The opener is Cattin' played in a medium blues tempo. It opens with both John and Paul taking a chorus. As they fade, Mal follows a blue line that leads into John's solo. His solo is indicative of his deep roots and consists of some excellently handled changes. Paul moves in with a smooth treatment, inserting slurs and warm progressions. At the end they are engaged in contrasting exchanges.
Ed opens the door on "Sunday" then stands aside allowing Paul to enter to deliver a series of swinging statements, designed to put you in a fast swinging mood. John is on the scene, before Paul's last note has died away, driving home a most authoritative message. Each take another chorus, then there are a series of exchanges that are reminiscent of the great cutting sessions that used to take place during the swing era. "Exactly Like You" offers Paul in a medium tempo approach to this old standard. (If you have this tune recorded by "Prez" we'd suggest you have it
ready for after reading the personalities you'll want to make a comparison). Mal presents a beautiful solo here, showing his Monk directions. Paul's treatment is almost torrid at times.
"Anatomy": John begins with a few bars then engages in a bit of two part harmony with Paul before enter-ing upon a most interesting solo, on this, another medium tempo excursion. Paul's insertions here have lots of drive and potency. Mal breaks through with excellent interjections before John and Paul go into ex-changes. Note that the performers here never leave you standing between solos, there is expert continuity on all of the tracks.
"Vodka" presents "Trane" on a rather elongated solo on which he displays remarkable dexterity coupled with a wonderful control of tone and imaginative in-novations. This we believe you will find, one of the better Coltrane presentations. Paul is also in his best form here. As you listen to the exchanges between the two note the excellent comping by Mal.
THE PERSONALITIES
Paul Quinchette
Paul makes no pretense that he was not greatly influenced by the late Lester Young. It does not take a critic to see that there is a marked resemblance of tone. However we do not concur with those who insist that he is a carbon copy of "Prez"; nothing is farther from the truth. In his early days. he held a great admiration for "Prez" and at that time there was a considerable likeness in many ways. It has been said that there were many times that Lester was unable to select certain recording made by him with the Count Basie band that had been re-recorded in later years when Paul took over his chair in the band. This we doubt very much, but as we said there was a great similarity in the early days, but Pauls greatness shows in the fact that he was able to replace Lester without causing harm to the Basie reed selection. He was highly respected by Count and the other members of the band.
Today he still has the "Prez" tone but his own originality is in evidence. His thinking and innovations have taken on a modern structure that have been hid-den too long by the ghost of "Prez". We think it's time that he had a hearing on his own.
John Coltrane If I have ever met a musician whom
I sincerely believe is a dedicated one, then it is most certainly "Trane". He has a burning desire to please, both his fellow musician and those who spend their money to hear him in person or buy his recordings. Acceptance means a great deal to him for he, though shy and perhaps a little too withdrawn at times has a real human interest in other people. If he can con-tinue as he has been doing for the past two years there is little doubt, he will become one of the major influences in jazz.
Mal Waldron Mal has the distinction of being one of the better composers of modern jazz. Three of the tunes heard on this LP are his compositions, "Cattin'", "Vodka" and "Anatomy". You might also say he is a liaison between the jazz of today and the jazz of tomor-row. Recently he has, without compromising his basic "Monk" influences, found a warmer medium of ex-pression in his playing that is certain to increase his
prestige as a pianist.
Ed Thigpen & Julian Euell Two-thirds of a very fine rhythm section in attendance on this session have handled a difficult assignment with relaxed poise.
Notes by: BOB SNEAD
Recording: VAN GELDER
3 weeks ago | [YT] | 58