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| 3.726 Ft
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| 1. | Dakar
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| 2. | Mary's Blues
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| 3. | Route 4
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| 4. | Velvet Scene
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| 5. | Witches' Pit
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| 6. | Catwalk
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Jazz / Hard Bop
Recorded: Mar 22-Apr 20, 1957, Van Gelder Studio, Hackensack, New Jersey
John Coltrane - tenor saxophone
Cecil Payne - baritone saxophone
Pepper Adams - baritone saxophone
Mal Waldron - piano
Doug Watkins - bass
Art Taylor - drums
In the spring of 1957, John Coltrane had gone through two years of artistic growth so concentrated it was astonishing even in the jazz world, where compressed musical development is far from unknown. As the other horn in the Miles Davis Quintet, Coltrane had moved from virtual obscurity to acclaim as the tenor saxophone innovator of the decade. Although major stylistic departures were to come, Coltrane was at a peak of the probing lyricism and strength of his middle period. With the interestingly contrasted baritone saxophonists Cecil Payne and Pepper Adams, and a rhythm section of great smoothness and swing, Dakar is a gem in the Coltrane discography.
Includes original release liner notes by David A. Himmelstein.
Dakar (1957) presents half-a-dozen numbers recorded April 20, 1957 by an ensemble credited as the "Prestige All-Stars." On the bandstand for this date are John Coltrane (tenor sax), Cecil Payne (baritone sax), Pepper Adams (baritone sax), Mal Waldron (piano), Doug Watkins (bass), and Art Taylor (drums). Although at the time these were considered "leaderless" units, upon hearing the interaction of the participants, modern ears might desire to qualify that statement.
The Latin-flavored title track "Dakar" finds Coltrane adapting his solo to faultlessly conform to Payne and Adams' comparatively fuller-bodied involvement. The brooding chord progressions take on dark overtones with Coltrane joining Waldron as they burst forth fuelled by the soulful brass section. "Mary's Blues" is a treat for sax lovers as Adams -- who penned the number -- almost immediately raises the musical stakes for Coltrane. The differences in their respective presentations offer a contrast that complements the cool refinement of Adams and Pepper when juxtaposed with Coltrane's frenetic flurries. Particularly engaging are the sequence of four-bar blasts from the horn players, just prior to Coltrane pushing the combo through their paces. On "Route Four" the strongest elements of each player surface, creating one of the platter's brightest moments. Right out of the box, Waldron unleashes line upon line of masterful lyricism. The driving tempo keeps the instrumentalists on their toes as Coltrane is sandwiched between the undeniably and equally inspired Payne and Adams. Here, the urgency of Coltrane's tenor sax clearly tests the boundaries of the TaylorWatkins rhythm section. The moody and sublime ballad "Velvet Scene" is a Waldron composition containing some of the author's strongest individual involvement as he interjects his expressive keyboarding directly into the melody. If the album is flawed, that may well be due to Coltrane's inability to deliver during "Witches' Pit." Perhaps because he is the first soloist, there seems to be no immediate direction to his playing. In a highly unusual move, he simply trails off rather than concluding his portion with his usual command and authority. "Cat Walk" restores Coltrane's sinuous leads during a couple of jaunty double-time excursions that tread gingerly around the catchy tune. Jazz enthusiasts -- especially lovers of Thelonious Monk -- should easily be able to discern Adams' nod to "'Round Midnight." --- Lindsay Planer, All Music Guide |
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