Customer Reviews

Duke Ellington & John Coltrane

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Duke Ellington and John Coltrane are, individually, two tremendously influential and vital figures in the world of jazz who could do no wrong as far as I'm concerned. But when you combine their talents on record, then you have a recording that's not only music, it's also a piece of history. Though it's a brisk ride at 35 minutes in length, this collaborative effort brings out the best of both worlds during these seven tracks. "In a Sentimental Mood" is a stroke of brilliance: Ellington's angelic piano touches are set to Coltrane's velvet-smooth sax during this gentle number. It's a classic for the ages that must be heard to be believed. The tempo picks up in "Take the Coltrane," which has both in solid harmony. Few tracks can top the ultrasuave swagger of "Stevie," and the slow number "My Little Brown Book" has smooth touches which are underscored by Coltrane's light sax and drums by Sam Woodyard. A mastery of style, technique, and substance, this album is one of those must-have items that'll make your collection all the more complete.

Duke Ellington. John Coltrane. Two visionaries. One album. Who can ask for anything more?

...and these two legends of their own time done amassed it all into this one 35-minute recording. A collaboration like this is, well, basically, the stuff dreams are made of. And this is the cool and calculated nightclub album that all the newly-open ears to jazz are looking for. When you take Duke Ellington, possibly the single most important figure in jazz history, give him a set list of his own classic standards, then have him handling all the piano parts and such, then place him alongside one of the most popular and rule-changing jazz ensembles of the day, the John Coltrane Quartet, headed by the inimitable Coltrane saxophone, as well as having Ellington's own bassist Aaron Bell and drummer Sam Woodyard sit in on the sessions. Ohhh, baby, you done mixed a drink that's gonna make everybody in the bar smile. These recordings are just purely respectful to the original compositions and masterfully-performed. When you hear John take on an old 1940s Ellington standard like 'In a Sentimental Mood', all them World War II veterans that were gettin' on in their years must've been proud of the young saxophonist. But, as most others have mentioned, absolutely nothing tops the interpretation of Billy Strayhorn's 'My Little Brown Book'. It will just absolutely move you to tears. It's cool, it's sophisticated, it'll make you sweat and the build-up and movement of the lines Coltrane plays go down perfectly. Even more perfectly when coupled with some cognac. This is just not something any jazz fan or Coltrane completist or Ellington historian, or whatever you are, should be without. I rank it among my Top 5 favorite jazz recordings, truth be told. So that right there should be enough to peak your curiosity.

One couldn't find two more different artists stylistically than Coltrane and Ellington, but that difference emerges as a positive on this great release. Ellington's spare, understated piano offers a satisfying contrast to Coltrane's torrential tenor and soprano.

In fact, if you expected Coltrane to put his technique under wraps for this session, you're in for a surprise. To the contrary, this recording finds the saxophonist at his powerful best on "Take the Coltrane," "The Feeling of Jazz," "Stevie," and "Big Nick." Ellington frequently comps early in Trane's solos, then lays out while Coltrane rips away over bass and drums.

The concentration of Trane's solo statements is also satisfying on this release. There are no extended improvisations, a la the Village Vanguard performances. The brevity is in no way a minus. Each solo seems a perfectly formed statement; the sound is contained in a smaller framework, but that containment increases its power.

As usual, a ballad offers some of Coltrane's finest moments. "In a Sentimental Mood" shows how closely he and Ellington were in touch during the session. Coltrane honors the song and its composer with an attentive reading that draws attention to the song's beauty rather than to his own technique.

If I've said more about Coltrane than about Ellington, it's not to slight Duke. Coltrane merely stands out more on the release. Ellington's lovely soloing and comping add to the richness of the performance, and his taste is on display throughout as he seems to know precisely when to step aside and give his partner more space.

"Coltrane and Ellington" was released during a period of Coltrane's career that some critics have cited as a pulling-back after the controversy of his Vanguard recordings. If his performances on this CD were a pulling-back, then one can only regret there wasn't more of it. This is a great session, one not to be excluded from either your Coltrane or your Ellington collection.

Duke Ellington made his name known leading the longest-running big-band in the history of jazz as well as being known as a great pianist and one of jazz's greatest and most important composers. John Coltrane is known a generation later for his legendary innovations as a saxophone player and as a jazz composer as well. Although A Love Supreme hadn't been recorded at this time, Giant Steps had, and it made a significant impact. So, these two legends coming together for an album of great music is so awesome, you could buy the album because of the names alone. And they certainly live up to their names on this album.

It begins with a well-known Ellington composition "In a Sentimental Mood"; this is my favorite performance of this song, with a soothing, delicate groove and featuring an equally delicate treatment of the melody by Coltrane. Duke's beautiful solo also contributes to the atmosphere before Trane picks it back up to finish it off.

"Take the Coltrane" speeds things up after the opening ballad, and Coltrane plays his first solo here, and it is an awesome one. Bassist Jimmy Garrison (who plays in Coltrane's classic quartet along with an amazing drummer on this album named Elvin Jones) also gives a great solo.

Another standout here is the two playing Billy Strayhorn's "My Little Brown Book", an intense and passionate melody, and it is treated superbly by Duke and Trane.

Overall, I recommend this album to any jazz fan because two of the greatest and most influencial names in jazz play here. But also because these guys live up to their names and reputations by playing ballads gorgeously and faster songs with an awesome sense of swing. Check it out; you won't be disappointed.

Duke Ellington made several very important musical meetings in the last twenty years of his life.He recorded in trio with Max Roach and Charles Mingus ("Money jungle",a summitt in the history of jazz piano),with Coleman Hawkins (on Impulse),with Louis Armstrong (on Reprise,a magnificent album every jazz lover should own), and with Trane.
The day was September 26,1962.Duke was 63,Trane 36.Five of the tunes were written by Duke,one by Billy Strayhorn ("my little brown book"),and one by Trane ("Big Nick",referring to tenor sax player Big Nick Nicholas).Two different rhythm sections are used here: Trane's Jimmy Garrison,b,and Elvin Jones,dms, or Duke's Aaron Bell,b,and Sam Woodyard,dms.
I had the opportunity of talking about this session with Sam Woodyard,some 16 or 18 years ago;and at the same time,he was pleased with the session,and disliked it.Pleased,because he loved to hear Duke playing in a small group contest;pleased,because even if he was a little bit afraid of Trane's music,he discovered an immense musician and enjoyed the session;but he disliked it,because he wasn't happy with the drums he had to play.He thought the drums' sound was too heavy.Indeed,he does very fine job here.Remember that Sam Woodyard (1925-1988) happened to be one of the most terrific big band drummers;in this kind of drumming,he's the next one after Jo Jones.And surely,he's among jazz'first ten drummers.Just listen to "Stevie" : Sam's very swinging,and implacable drumming will make you tap your feet .What he plays may seem very simple and easy,but here is the essence of jazz drumming. THE BEAT.His use of rim shots is outstanding.His use of the high hat is,to me,as great as Jo Jones'.What a reference !!!
Now, about Duke: here is a rather rare opportunity to listen to his piano playing.One of the greatest of all times.If you own some of his records,like "piano reflections","money jungle","piano in the foreground",then you know what I mean.
About Trane: magnificent."In a sentimental mood" is an incredible masterpiece,at the same level than Lucky Thompson's version of this theme ("Lucky strikes",Prestige Records).Strayhorn's "little brown book" can make you think of Tadd Dameron's "soultrane".Why not? Tadd may be the greatest writer after Duke(I know,Strayhorn wrote it,but he devoted his own short life to Duke's music,and was so close to Ellington that it is barely impossible to make a difference between their writings).

I think that every record by Duke is essential;I know he made a lot,during his more than fifty years long career.I also think that every record by Trane is essential.But here is the meeting of two monuments of jazz,two of the most revered players of all times,and the result flirts with the highest level of music.

One of the most delicious and unusual collaborations in my collection, this record brings together passion and experience. Coltrane's youthful exuberance bursts through in almost every piece, but the steady and sober chords of Ellington complement and temper. Coltrane plays his impish grooves with the delight of a pre-schooler showing us his favorite spots, and so it takes away from Ellington's share of the sounds. Past the labyrinthine notes of the sax, lies the seasoned veteran who has played it all and with everyone, equally comfortable solo, groups or big band. His true mettle lies in composing, and it shows in tunes that go from the delightfully moody "The Feeling of Jazz", to the cheerful "Angelica". His ability to chip in with just the right points helps him blend in smoothly as the accompanying musicians switch on strings and drums. Overall, a rich mixture that has brought me many hours of musical joy.

In A Sentimental Mood may very well be the most beautiful music ever recorded. Seriously. i am just glad that i have had the good fortune of becoming a fan and collector of classic jazz because when i listen to this CD and that song i begin to understand how beautiful and wonderful the world can be. John Coltrane and Duke Ellington wherever you may be in spirit i thank you.

I was in Tower Records in London when I heard this disc being played over the PA. I HAD to know what it was and once I found out I bought it on the spot. Sparce arrangements, limited instrumentation, which is perfect it leave Duke and 'Trane open to show their stuff. Elvin Jones is perfect (as he almost always is). This is CD that will be enjoyed by fans of both artists AND other who just enjoy good music.

The heat of Coltrane combined with the sophisticated cool of Duke make for 35 minutes of pure musical joy. How did I miss this album for all these years ? In a Sentimental Mood will have you hooked instantly as Duke tastefully lays down some Piano chords to Coltrane's delicate and yet intense sax. Duke plays with subtely and nuance on every track ..always complimentary and tasteful while allowing Coltrane to just soar especially on Take The Train. There is something very satisfying about hearing Duke Ellington playing so called modern jazz. Evidence of the versatility of this giant of American music as if evidence were needed. Coltrane is the star of this set but Duke is ..well ..Duke ! How can you go wrong?

Always reluctant to categorize his music or accept the "jazz" label, Duke was at the same time highly conscious of securing his place in a history, a legacy, a tradition that he, as much as anyone, was responsible for authoring. Through this meeting with the foremost contemporary voice in jazz, he practically assured a triumphant finishing chapter to this seminal first half of the jazz "story" (which would soon be temporarily disrupted first by the electronic, fusion directions the music would take, then by reactionary imitation). Not just Duke's role but the coherent, even archetypal, tradition that Ken Burns would televise as a marathon narrative are equally served by the date--perhaps as much as by any of the numerous extended works Duke wrote to celebrate the music's history ("A Drum Is a Woman," "New Orleans Suite").

Setting the symbolism aside, Duke offers little musical substance on the occasion, deferring almost entirely to Coltrane and not even attempting to stamp his own harmonies and rhythms on the dispersed, free rhythms provided by the Elvin Jones/ Garrison team. Coltrane's playing is superb, and in one sense a reminder of the sound of his former employer, Johnny Hodges. In short, an album that doesn't get much playing in my collection but that represents Ellington's genius in ways not suspected even at the time of its release. It's a reminder of Duke's extraordinary gift to the music as much as of his own unique gifts.

On my copy of the recording, the bassist opposite Garrison isn't John Lamb but Aaron Bell.