By CHRIS SLAWECKI
Newly digitized in the RVG Remaster series, John Coltrane's Black Pearls demonstrates how profoundly the choice of sidemen can shape one's sound.
By the time of this '58 recording, pianist Red Garland, bassist Paul Chambers and drummer Art Taylor had much experience running alongside 'Trane. They served as the rhythm section for Coltrane's Settin' The Pace quartet, for example, plus all three played in various combinations, with and without Coltrane, for numerous Miles Davis sessions.
Black Pearls was Coltrane's last session with this rhythm section, essentially two extended jams sandwiched around a torrid tear through “Lover Come Back to Me." Compare this sound (with Donald Byrd on trumpet) to how these same musicians sounded playing with Miles. While Coltrane solos, Black Pearls sure sounds like no one else, but Byrd brings a more earnest and emotional, less cerebral and austere, sound to Coltrane's explosive mix. Byrd blows out his upper registers in “Lover" without sounding strained or thin. Coltrane's response seems to relish Byrd's throw-down, and burns through a definitive “sheet of sound."
Byrd and Coltrane blow more hot fire through the solo round “Sweet Sapphire Blues," producer Bob Weinstock's only songwriting credit. Even so, Garland owns the first five minutes with one of his best blues solos ever, sweet yet gritty and roiling in two-handed counterpoint. Garland and Byrd more than never miss a beat--they kick out a few new beats of their own.
Newly digitized in the RVG Remaster series, John Coltrane's Black Pearls demonstrates how profoundly the choice of sidemen can shape one's sound.
By the time of this '58 recording, pianist Red Garland, bassist Paul Chambers and drummer Art Taylor had much experience running alongside 'Trane. They served as the rhythm section for Coltrane's Settin' The Pace quartet, for example, plus all three played in various combinations, with and without Coltrane, for numerous Miles Davis sessions.
Black Pearls was Coltrane's last session with this rhythm section, essentially two extended jams sandwiched around a torrid tear through “Lover Come Back to Me." Compare this sound (with Donald Byrd on trumpet) to how these same musicians sounded playing with Miles. While Coltrane solos, Black Pearls sure sounds like no one else, but Byrd brings a more earnest and emotional, less cerebral and austere, sound to Coltrane's explosive mix. Byrd blows out his upper registers in “Lover" without sounding strained or thin. Coltrane's response seems to relish Byrd's throw-down, and burns through a definitive “sheet of sound."
Byrd and Coltrane blow more hot fire through the solo round “Sweet Sapphire Blues," producer Bob Weinstock's only songwriting credit. Even so, Garland owns the first five minutes with one of his best blues solos ever, sweet yet gritty and roiling in two-handed counterpoint. Garland and Byrd more than never miss a beat--they kick out a few new beats of their own.
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