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| 3.324 Ft
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| 1. | Say It (Over and Over Again)
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| 2. | You Don't Know What Love Is
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| 3. | Too Young to Go Steady
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| 4. | All or Nothing at All
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| 5. | I Wish I Knew
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| 6. | What's New?
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| 7. | It's Easy to Remember
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| 8. | Nancy (With the Laughing Face)
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Jazz / Ballads; Experimental Big Band; Post-Bop; Standards; Hard Bop
Recorded: Dec 21, 1961-Nov 13, 1962, Van Gelder Studio, Englewood Cliffs, New Jersey
Digitally remastered by Erick Labson st MCA Music Media Studios
John Coltrane - Tenor Saxophone, Soprano Saxophone
McCoy Tyner - Piano
Jimmy Garrison - Bass
Elvin Jones - Drums
Reggie Workman - Bass
When John Coltrane was asked, "Why a ballads album?", he said "Variety." Meaning a change of pace. And perhaps he wanted to apprise those who haven't discovered that he can be lyrical.
John played the tunes straight, in the in-choruses, unless you count his lovely phrase endings as deviations from melody. When the development occurred, he made his musical points quickly and succinctly. I'd never heard him play this tightly.
-- Gene Lees (Excerpted from the original liner notes for Ballads)
* Bill Levenson - Reissue Supervisor
* Bob Thiele - Producer
* Cameron Mizell - Production Coordination
* Chuck Stewart - Photography
* Erick Labson - Digital Remastering
* Gene Lees - Liner Notes
* Hollis King - Art Direction
* Isabelle Wong - Package Design
* Jason Claiborne - Graphic Design
* Jeff Adamoff - Cover Art
* Jim Marshall - Cover Photo, Photography
* Joe Lebow - Liner Design
* Michael Cuscuna - Reissue Producer
* Robert Flynn - Cover Design
* Rudy Van Gelder - Engineer
* Todd Whitelock - Mastering
Throughout John Coltrane's discography there are a handful of decisive and controversial albums that split his listening camp into factions. Generally, these occur in his later-period works such as Om and Ascension, which push into some pretty heady blowing. As a contrast, Ballads is often criticized as too easy and as too much of a compromise between Coltrane and Impulse! (the two had just entered into the first year of label representation). Seen as an answer to critics who found his work complicated with too many notes and too thin a concept, Ballads has even been accused of being a record that Coltrane didn't want to make. These conspiracy theories (and there are more) really just get in the way of enjoying a perfectly fine album of Coltrane doing what he always did -- exploring new avenues and modes in an inexhaustible search for personal and artistic enlightenment. With Ballads he looks into the warmer side of things, a path he would take with both Johnny Hartman (on John Coltrane and Johnny Hartman) and with Duke Ellington (on Duke Ellington and John Coltrane). Here he lays out for McCoy Tyner mostly, and the results positively shimmer at times. He's not aggressive, and he's not outwardly. Instead he's introspective and at times even predictable, but that is precisely Ballads' draw.
---Jack LV Isles, All Music Guide |
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