Coltrane 4tet plus Dolphy & Wes, new recordings discovered!!!

[EKE BBB]

I read on www.tomajazz.com this morning that a recording of the Monterey Festival, Sep. 22, 1961 concert has appeared. If features the Coltrane Quartet (Trane, Tyner, Workman & Jones) PLUS Eric Dolphy and WES MONTGOMERY.

Almost an hour and only three tracks: “My favourite things”, “Naima” and a medley of “So What” & “Impressions”.

These tapes, without any label or sticker, were a birthday present for Coltrane who later forgot about them.

It´s the only known recording of Coltrane with Wes Montgomery.

For the full article, here´s the link:

http://www.tomajazz.com/clubdejazz/n...rabaciones.htm

Best wishes,
Agustín

[EDIT: IF YOU READ THE WHOLE THREAD, YOU´LL SEE THAT THIS WAS JUST A JOKE (NOT MINE). I WAS FOOLED, AS MANY OTHERS WERE]

[EKE BBB]

FWIW and though it´s in Spanish (and I´m a bit lazy now to translate the whole article), I´ll quote it here:

DESCUBIERTA UNA GRABACIÓN INÉDITA DE JOHN COLTRANE CON ERIC DOLPHY Y WES MONTGOMERY

Tras los hallazgos de las grabaciones inéditas de John Coltrane en el Carnegie Hall (con Thelonious Monk) y en el Half Note (con su propio cuarteto), parecía imposible que pudieran surgir nuevas sorpresas. Contra todo pronóstico, entre las cintas recientemente desempolvadas por los herederos del saxofonista han aparecido dos bobinas que ni se sabía que existían, las correspondientes al concierto ofrecido por Coltrane en el Festival de Monterey de 1961, el 22 de septiembre.

Al parecer, las cintas, sin etiquetar, fueron un regalo de cumpleaños para Coltrane, que éste guardó y olvidó (en breve viajaría a la costa Este y luego a Europa). Hasta aquí, la noticia es sorprendente. Lo que la hace extraordinaria es que éste es el único testimonio grabado del efímero sexteto de Trane con Eric Dolphy y Wes Montgomery, acompañados por McCoy Tyner, Reggie Workman y Elvin Jones. A lo largo de casi una hora el grupo toca tres temas: “My favourite things”, “Naima” y un medley de “So What” e “Impressions”. Coltrane toca el soprano y el tenor, y Dolphy, por su parte, toca la flauta, el clarinete bajo y el saxo alto respectivamente en cada uno de los temas.

La mezcla de dos vanguardistas como Trane y Dolphy con la solidez rítmica y sonora de Wes Montgomery funciona sorprendentemente bien. El grupo venía de tocar varias noches en el Jazz Workshop de San Francisco, y se disolvería en breve, a pesar de los deseos del propio Coltrane, que declaró dos meses después en Inglaterra que “le hubiera encantado seguir contando con Montgomery”.

Ésta es, por tanto, una grabación única, de cuya existencia no sabía ni el avezado productor Orrin Keepnews (con quien Montgomery tuvo una relación cercana). Los momentos más destacables quizás sean el solo del guitarrista en “So What/Impressions” y los ensembles de Coltrane y Dolphy en “Naima”, con Dolphy al clarinete bajo y Trane al soprano en la introducción y al tenor al final del tema. Aunque algo errático, cabe también destacar los experimentos con cuartos de tono de Dolphy en “My favourite things”.

En 1961, cuando se grabó este concierto, Coltrane tenía contrato exclusivo con Impulse y Montgomery con Riverside. Por suerte Universal y Fantasy/Concord mantienen una excelente relación y, a falta de resolver unos flecos legales, se prevé la publicación de esta música en primavera por Universal.

[Gary Sisco]

Montgomery seems a bizarre choice in that context. I'm not sure I'd even want to hear it.

The Coltrane family has boxes of Coltrane tapes in their archives.

[EKE BBB]

Here's part of what David Wild wrote for the first issue of the magazine disc'ribe that he and Michael Cuscuna run for three years, published fall 1980:

Wes & Trane - An unrecorded sextet

For all the many contexts in which John Coltrane's horn was captured on tape, there remain a number of fascinating undocumented combinations whose sound we only can imagine. One of the more interesting is the short-lived Coltrane sextet featuring Eric Dolphy and Wes Montgomery. ....
I suspect Montgomery's contact with Coltrane may have initially come through brother Buddy; The vibist joined Coltrane in a Miles Davis Sextet for several West Coast concerts (February 1960). But other contacts were also likely during the year. Montgomery evidently remained on the West coast after the disbanding [of the Mastersounds], recording with his two brothers in LA in July, and leading a studio quintet for Riverside on October 11. Coltrane meanwhile had ended his association with Miles (April) and within a month had debuted with his own group.
By January 3, 1961 (when they recorded for Riverside in NYC), the Montgomery brothers had formed a working band (under that name), beginning two years of struggle with the economics of the music business. Six months later Coltrane seems to have begun to consider expanding the size of his group. He was regularly adding a second bassist (usually Art Davis) for NYC engagements, and the two bassists were featured on recording sessions in May and June. But Coltrane also seems to have been receptive to other combinations, and late summer brought an invitation to Eric Dolphy to join the quartet.
Dolphy was in Europe in late August - early September of 1961; he returned in mid-September and immediately joined Coltrane's group in Southern California. Montgomery had recorded under hsi own name in New York on August 4, but he evidently was back on the West Coast in September, for he too joined Coltrane's band. The six-piece group played at San Francisco's Jazz Workshop the last two weeks of September (through October 1), and Coltrane brought it to the Monterey Jazz Festival (100 miles south of the city) on Friday, September 22. down beat's Don DeMichael devoted several paragraphs of his review of the festival to Coltrane's performance:
"..... Besides his regular rhythm section, made up of pianist McCoy Tyner, bassist Reggie Workman, and drummer Elvin Jones, Coltrane had guitarist Wes Montgomery and reedman Eric Dolphy with him ..... The group played only three tunes, though it was on stage for almist an hour.
"Montgomery stood out among the soloists, his chorusses marked by his wonderful rhythmic flair. His solos were notable for diversity of approach. On My Favourite Things he used call-and response devices within his solo, with periodic returns to the melody and linear improvisatory passages as counterbalances. On Naima, a ballad, Montgomery employed octaves, the total effect being an extension of the melody. Montgomery's most exciting work - he seemed as if he would swing off the stand - was on the third tune, So What?.
"Coltrane and Dolphy had intonation trouble throughout the set, but both overcame the problem to a certain extent and and played some exciting solos, though neither was as moving or as consistent as Montgomery.
"Even when Coltrane is not playing his best, he has the ability to create an aura of wild excitement at up tempos. On ballads his playing can be soothing, but underneath, there is excitement. Judging by his work this night, Coltrane may be entering another phase of his development; at times, he indulged in what sounded like animal sounds, especially on his second My Favourite Things solo.
"Dolphy played flute (My Favourite Things), bass clarinet (Naima, and alto (So What?. While his flute work was generally good, part of his solo sounded as if he were trying to imitate birds. His use of quarter tones on Things led nowhere. And this seemed his greatest hang-up; none of his solos had a clear direction.
"The ensemble possibilities inherent in the group wre made clear on Naima. Coltrane and Dolphy combined soprano and bass clarinet in the first melody statement, achieving a rich, chocolately sound. They used tenor and bass clarinet on the closing theme statement, the sound becoming darker and heavier. If Coltrane is able to keep this group together, it could turn into one of the most interesting in jazz ....." down beat, November 9, 1961, pages 12-13).
DeMichael was obviously not prepared for the new approach Coltrane and Dolphy were exploring, and his bemused comments can be considered the opening salva in the 'Anti-Jazz Controversy' which raged around the two reed players that fall. Nonetheless, phrases like 'animal sounds' and 'intonation problems' indicate that the freer approach known to us through the Village Vanguard recordingsand the tapes of the subsequent European tour were already much in evidence. The three titles performed (and their length) also foreshadow the familiar repertoire of those later recordings - So What? is of course Impressions (at the time untitled).
DeMichael's favorable reaction to Montgomery paradoxically suggests that the guitarist's solos were more conservative (if equally inventive). His characterization of Montgomery's swing is of course right on the mark. Most other questions however remain unanswerable speculation. Was Coltrane fascinated with Indian music behind his attraction to 'string' sound (Montgomery's sitar to his shenai, so to speak)? Would Coltrane's expectation have 'rubbed off' on Montgomery (as it had to an extent on Cannonball Adderley three years earlier)?
Such questions remain speculation because Montgomery did not join the band permanently. From the 'Jazz Workshop' Coltrane moved to the 'Renaissance' in Los Angeles (October 3-8). Montgomery may have been with the band for part of this time, But John Tynan's violent 'Anti-Jazz' column (written after a visit to the club) lists only Coltrane, Dolphy, Tyner, Workman and Jones. Why Montgomery turned Coltrane down remains equally unanswerable. One historian's allegation that Montgomery's short stay was the result of equally short solo space is not supported, at least not by DeMichael's review. Probably Montgomery's commitment to the Montgomery Brothers Band (in which he was easily the best player) overrode the opportunity that working with Coltrane would have offered. (That the Brothers were still a working band is evidenced by a recording with George Shearing on October 9 and 10, in LA).
Montgomery shared the bandstand at least one more time with Coltrane, in May of 1962. Dolphy had left Coltrane towards the end of March; a mention of his departure in down beat was coupled with the cryptic comment "Trend-ites are wondering if Coltrane will add a guitar" (June 7, 1962, p. 10). The following issue noted that "Wes Montgomery played with John Coltrane's quartet during its stay at the Jazz Workshop here (San Francisco), but declined an offer of permanent membership" (June 21, 1962, p. 45). Again one must assume that the Montgomery Brothers Band still had first call on Wes' talents, although the runion also suggests that both men enjoyed performing together. On May 21 (a Sunday), the last day of the gig, the quartet was further augmented by Dolphy and violinist Michael White.
.....

[al j]

Originally Posted by Gary Sisco

Montgomery seems a bizarre choice in that context. I'm not sure I'd even want to hear it.

then you have no soul, Gary. I'm wringing my hands if this is true. Hey, my wife bought me the new McCarthy book. You've read it, I take it?

[groover]

Out of curiosity, I'd like to hear it, at least once, and then judge it's merits.

Dolphy is always an interesting presence. I doubt Wes would stray far from his comfort zone to keep up with Dolphy and Coltrane.

[JazzAt52ndStreet]

so are they gunna release it? the David Wild article was interesting, my spanish is unfortunately far under the level of the other article. =(

[EKE BBB]

I´ve just been confirmed that THIS HAS BEEN A JOKE from the editor of Tomajazz.

Today is "Santos Inocentes" here in Spain (equivalent to April Fool's Day).

I´ve been absolutely fooled (and so have been many jazz lovers, readers of Tomajazz)

Sorry to have contributed to spread hope on this being released.

If it´s not against the forum rules, I will delete this thread.

[Pete C]

Agustin, as you've probably discovered, you can't delete the thread, but I'd recommend editing the first post to put a disclaimer at the top. I wouldn't worry too much about it, though, as your intentions were honorable.

[Scott Yanow]

Darn it, a joke? I've been asking about that Monterey set for years, without any luck. At Monterey they often do record and even film many performances, but apparently not that one.

I remember reading once that Wes Montgomery quit the group because he said that "I got tired of waiting in line to solo."

Maybe someday. After all, we now have extensive live Monk and Coltrane.

[EKE BBB]

Originally Posted by Pete C

Agustin, as you've probably discovered, you can't delete the thread, but I'd recommend editing the first post to put a disclaimer at the top. I wouldn't worry too much about it, though, as your intentions were honorable.

Thanks, Pete. That´s what I´ve done now.

Agustín

[Gary Sisco]

Who's got no soul, Christmas?

I got your soul right here, slick....


Good joke, though.

[John L]

Good joke? I find it to be a bizarre joke.

The fact is that there DO exist tapes of Coltrane from this period with Wes Montgomery (who worked briefly in his regular band at the time) and Eric Dolphy. But the sound quality is not great and no commercial company has agreed to pay the huge price that the owner of the tapes is demanding.
NO JOKE!