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| 1. | Like Someone in Love
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| 2. | I Love You
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| 3. | Trane's Slo Blues
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| 4. | Lush Life
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| 5. | I Hear a Rhapsody
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Jazz / Hard Bop
Recorded: May 31, 1957-Jan 10, 1958, Van Gelder Studios, Hackensack, New Jersey
John Coltrane - tenor saxophone
Donald Byrd - trumpet
Red Garland - piano
Earl May - bass
Paul Chambers - bass
Arthur Taylor - drums
Louis Hayes - drums
Albert "Tootie" Heath - drums
John Coltrane's Prestige years began when he joined the Miles Davis Quintet in 1955. During the next few years, when he was either with Davis or the Thelonious Monk Quartet, he functioned as both leader and sideman for this label. These recordings document the first part of his relatively short but highly influential time in the spotlight.
Lush Life, a combination of standards and a blues, treated in the unique Coltrane manner-sound wedded to material in a completely personal way-contains three tracks without a piano. This is the first time he recorded in this manner, other than when Monk was "strolling," and it offers another aspect from, and of, Trane.
* Bob Weinstock - Supervisor
* Esmond Edwards - Artwork, Cover Photo, Design
* Frank Kofsky - Liner Notes
* Joe Goldberg - Liner Notes
* Joe Tarantino - Digital Remastering, Mastering
* Martin Williams - Liner Notes
* Nick Phillips - Reissue Producer
* Rudy Van Gelder - Author, Engineer, Remastering
* Shigeo Miyamoto - Mastering Engineer
* Stuart Kremsky - Reissue Production Assistance
* Tamaki Beck - Supervisor
Lush Life (1958) is among John Coltrane's best endeavors on the Prestige label. One reason can easily be attributed to the interesting personnel and the subsequent lack of a keyboard player for the August 16, 1957 session that yielded the majority of the material. Coltrane (tenor sax) had to essentially lead the compact trio of himself, Earl May (bass), and Art Taylor (drums). The intimate setting is perfect for ballads such as the opener "Like Someone in Love." Coltrane doesn't have to supplement the frequent redundancy inherent in pianists, so he has plenty of room to express himself through simple and ornate passages. Unifying the slippery syncopation and slightly Eastern feel of "I Love You" is the tenor's prevalent capacity for flawless, if not downright inspired on-the-spot "head" arrangements that emerge singular and clear, never sounding preconceived. Even at an accelerated pace, the rhythm section ably prods the backbeat without interfering. A careful comparison will reveal that "Trane's Slo Blues" is actually a fairly evident derivation (or possibly a different take) of "Slowtrane." But don't let the title fool you as the mid-tempo blues is undergirded by a lightheartedness. May provides a platform for Coltrane's even keeled runs before the tenor drops out, allowing both May and then Taylor a chance to shine. The fun cat-and-mouse-like antics continue as Taylor can be heard encouraging the tenor player to raise the stakes and the tempo -- which he does to great effect.
The practically quarter-hour reading of Billy Strayhorn's "Lush Life" is not only the focal point of this album, it is rightfully considered as one of Coltrane's unqualified masterworks. The performance hails from January 10, 1958 as Coltrane sits in with Red Garland (piano), Donald Byrd (trumpet), Paul Chambers (bass), and Louis Hayes (drums). Coltrane handles the tune's delicate complexities with infinite style and finesse. Garland similarly sparkles at the 88s, while Byrd's solo offers a bit of a tonal alternative. It should be noted that the reading here does not include a vocal from Johnny Hartman. That version can be found on the ever imaginatively monikered John Coltrane & Johnny Hartman (1963).
---Lindsay Planer, All Music Guide |
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