From time to time, I intend to focus on a single track that I find electrifying and represents a definitive work by a significant jazz artist. The purpose of such a narrow focus is to separate one song from an artist's body of work, put it in context with the time in which it was released, and offer a gateway into an artist's discography for those who may be less familiar with him or her.
The first “electrifying track" in this series is Tranein' In, from John Coltrane's third studio album, John Coltrane with the Red Garland Trio (Prestige). The album was renamed Tranein' In in 1961 and given a new cover with Coltrane's image. I'm guessing the decision had everything to do with Coltrane's move to Impulse Records and his higher commercial visibility. In addition, the original album graphic didn't make much sense.
Recorded on August 23, 1957, the track features Coltrane (ts), Red Garland (p), Paul Chambers (b) and Art Taylor (d).
What makes this track special is the way in which Garland digs in with block chords during the long opening, which lasts 3:33. It's some of the finest assertive blues piano you'll ever hear. Coltrane's playing here is muscular and decisive, and it features an early use of his “sheets of sound" technique while soloing. Chambers' bass solo shows off his powerful hand and lyrical lines while Taylor's drums are spry and taut. Garland's outro solo is equally spectacular. If ever a saxophonist announced to the jazz world that a new sheriff was in town, Coltrane did so on this track.
JazzWax clip: Here's Tranein' In...
The first “electrifying track" in this series is Tranein' In, from John Coltrane's third studio album, John Coltrane with the Red Garland Trio (Prestige). The album was renamed Tranein' In in 1961 and given a new cover with Coltrane's image. I'm guessing the decision had everything to do with Coltrane's move to Impulse Records and his higher commercial visibility. In addition, the original album graphic didn't make much sense.
Recorded on August 23, 1957, the track features Coltrane (ts), Red Garland (p), Paul Chambers (b) and Art Taylor (d).
What makes this track special is the way in which Garland digs in with block chords during the long opening, which lasts 3:33. It's some of the finest assertive blues piano you'll ever hear. Coltrane's playing here is muscular and decisive, and it features an early use of his “sheets of sound" technique while soloing. Chambers' bass solo shows off his powerful hand and lyrical lines while Taylor's drums are spry and taut. Garland's outro solo is equally spectacular. If ever a saxophonist announced to the jazz world that a new sheriff was in town, Coltrane did so on this track.
JazzWax clip: Here's Tranein' In...
This story appears courtesy of JazzWax by Marc Myers.
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