John Coltrane - Coltrane Jazz (1972 Japanese Atlantic Vinyl LP)

Vinyl: EX
Sleeve: VG+
Obi: None

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John Coltrane - Coltrane Jazz Vinyl LP - Japanese Atlantic Reissue

A fascinating transitional document, Coltrane Jazz captures John Coltrane during the crucial period between leaving Miles Davis' group and forming his own legendary classic quartet. Drawn from two sessions in late 1959, just months after his watershed Giant Steps album, this collection showcases Coltrane working with two different rhythm sections: the Miles Davis rhythm team of Wynton Kelly, Paul Chambers, and Jimmy Cobb on most tracks, and members of his emerging classic quartet (McCoy Tyner and Elvin Jones) on others. This 1972 Japanese pressing on Atlantic, part of the Jazz Age series and manufactured by Warner-Pioneer Corporation, includes an insert and represents an early Japanese reissue of this important Atlantic session.

The album reveals Coltrane in a moment of artistic transition. On tracks like "Little Old Lady" and "I'll Wait And Pray", recorded on 24 November 1959 with the Kelly-Chambers-Cobb trio, Coltrane demonstrates his ability to transform standards through his developing "sheets of sound" approach while working within the hard bop framework these Miles Davis veterans knew intimately. Kelly's bluesy, rhythmic piano, Chambers' melodic yet supportive bass, and Cobb's crisp drumming provide the perfect foundation for Coltrane's increasingly intense explorations.

The 2 December 1959 session introduces what would become Coltrane's classic quartet rhythm section: McCoy Tyner on piano and Elvin Jones on drums, with Steve Davis replacing Chambers on bass. "Village Blues" becomes the most forward-looking track on the album, with Jones' polyrhythmic drumming and Tyner's modal piano voicings pointing toward the sound that would define Coltrane's masterpieces of the early 1960s. The contrast between the two rhythm sections across the album illustrates Coltrane's artistic evolution in real time.

"My Shining Hour", "Fifth House", and "Harmonique" showcase Coltrane's gift for both ballad interpretation and uptempo invention. His tone by late 1959 had fully developed its characteristic power and edge, and his technical facility allowed him to execute rapid, complex lines while maintaining emotional directness. "Like Sonny" pays homage to Sonny Rollins, Coltrane's friendly rival for the title of jazz's greatest tenor saxophonist, while "Some Other Blues" demonstrates that even Coltrane's blues playing was becoming increasingly sophisticated harmonically.

What makes this album particularly valuable historically is hearing Coltrane with both the rhythm section of his immediate past (Kelly, Chambers, Cobb - the Miles Davis group) and his immediate future (Tyner, Jones - his own classic quartet, with bassist Jimmy Garrison soon to join). The juxtaposition reveals how Coltrane's concept demanded different rhythmic and harmonic support than what even the superb Davis rhythm section could provide.

This Japanese pressing, manufactured by Warner-Pioneer Corporation (Atlantic's Japanese licensee following the company's renaming in April 1972), offers excellent sound quality that captures both Coltrane's powerful tenor and the rhythmic details of two exceptional rhythm sections. The inclusion of an insert with session details and liner notes adds valuable context for understanding this transitional moment in Coltrane's career.