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A great idea beautifully executed by New York trombonist Conrad Herwig. The trombonist/arranger/musical director chooses Coltrane's most accessible material from a period that arguably spawned his best, most memorable work (1958-1964), devised simple, exploratory frameworks for each (recalling veteran Chico O'Farrill), then assembled an outstanding collection of musicians. In addition to Herwig's sinewy trombone, there's Brian Lynch on trumpet, Dave Valentin on flutes, Ronnie Cuber on baritone, Richie Beirach (who contributed to some of the arrangements), Danilo Perez and Eddie Palmeri on piano, Andy Gonzalez (from the Fort Apache Band) on bass and Milton Cardona on vocals and percussion. Selections are outstanding: "A Love Supreme," "Blue Train," (where Lynch trades fours with Herwig), "Afro Blue" (great flute solo by Valentine), "Naima" (beautifully featuring Beirach), "After The Rain," "Impressions" and "India."
Throughout, Herwig solos flawlessly, with a sensitivity and fire that's reminiscent of the source of his tribute. Herwig's record, more than Joe Henderson's recent big-band event, sounds like a natural conclusion. The arrangements and performances work well together and the Latin environment seems a logical foundation for Coltrane's passions. One last note: Astor Place has done a beautiful job packaging The Latin Side of John Coltrane , sparing no expense for trendy art direction that recalls some of the very expensive covers Limelight Records put out in the mid 60s. Recommended.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.