George Coleman: George Coleman with Strings

The allure of recording with strings has captivated many jazz icons, from Stan Getz and Dizzy Gillespie to, most famously, Charlie Parker. For some, it is a pursuit of a different kind of respectability, an envying nod to the classical world. For George Coleman, a revered NEA Jazz Master, it was a chance to expand his artistry. As he explained in an interview with Rob Shepherd (2024): "I try not to be close-minded but instead try to expand my interest in other fields of music. I'm amazed by the techniques and some of the things that classical musicians do."

Coleman's 2022 album with strings, recorded at the legendary Rudy Van Gelder studio, is a testament to his enduring legacy. A true survivor with a career stretching back decades, Coleman is joined by his working rhythm section—John Webber on bass, Joe Farnsworth on drums and David Hazeltine on piano—with percussionist Cafe Da Silva added on some tracks. The lush, 10-piece string orchestra features arrangements by Bill Dobbins of the Eastman School of Music.

Coleman's impressive resume includes stints with jazz giants like Max Roach, Lionel Hampton, Charles Mingus and Miles Davis, where he played a pivotal role between the first and second great quintets. He was also a member of the landmark ensemble on Herbie Hancock's iconic album, Maiden Voyage (Blue Note, 1965).

Bill Dobbins' arrangements are subtle and sophisticated, a masterful blend that supports the soloist without ever getting in the way. This is a rare and difficult feat; very few jazz-with-strings albums are considered wholly successful. The Lee Konitz album An Image (Verve, 1958), arranged by Bill Russo, is one of the few that stand out.

Dobbins' clever writing shines on Thelonious Monk's "Ugly Beauty," which he transforms into a film noir theme. The string arrangement evokes the feeling of a classic movie scene as Coleman's saxophone soars seductively over the top. It is a beautifully rendered and sensitive solo. The album features two versions of this piece, with Coleman's playing impressive on both. His performance here is not that of the hard-swinging player of the past, but a more reflective musician displaying the wisdom gained from a lifetime of experience.

The album as a whole is a hymn to jazz beauty and a powerful summation of Coleman's career. The music on "Stella By Starlight" is understated and tender, freighted with years of experience. The arrangement is supportive, never forcing the soloist into a particular direction. On "Moment To Moment," Coleman's first chorus is almost abstract, full of motifs and open spaces, before his imagination and lyricism are fully unleashed in the second part. Both versions of "A Time for Love" skillfully avoid schmaltz, introduced by a thoughtful and lyrical piano solo from Hazeltine. Artists sometimes produce remarkable work in their later years. Billie Holiday's Lady in Satin (Columbia Records 1958) is a famously heartbreaking example. But not all are so successful; Duke Ellington's band struggled toward the end of his life, and Davis desperately chased relevance with his fusion experiments. In contrast, Coleman triumphantly uses everything he has learned over the years to cut away the unnecessary and focus on the essential. This album is a testament to a career of triumphs and a master at the peak of his maturity.