:::Shibusashirazu Orchestra:::

Posted: Saturday, 30 July 2011 by jazzlover in Etykiety:
3

:::A Meditation Mass:::

Posted: by jazzlover in Etykiety:
2

A rather rare item which combines the best of "pastoral" peaceful meditative music and spacey / psych instrumentation. The two multi-instrumentalists have composed one long tune, divided into two leading themes punctuated by numerous variations. The central theme comes to the light directly at the beginning of the album after a brief introduction of atmospheric / electronic noises: a dreamy, repetitive guitar part is progressively accompanied by acoustic percussions and relaxed flute solos. We go back to these wonderful and lovely harmonies in the last part of the album. Part2 & 3 starts with the same introspect theme. Part 2 first puts the stress on flute enchanting lines then finally progresses into a quick jazzy "trip" dominated by electronic organ parts. The third section is a convincing exploration throw space rock with "trippy" electric guitar passages & possessed flute sequences. In a few words, an inventive, beautiful "immersive" album which can naturally reach the most contemplative of us in a higher state of consciousness. A little masterpiece!
:::Review by philippe:::

Yatha Sidhra - A Meditation Mass (1974)

1. A Meditation Mass Part 1 (17:45)
2. A Meditation Mass Part 2 (3:13)
3. A Meditation Mass Part 3 (12:00)
4. A Meditation Mass Part 4 (7:16)

Credits
- Rolf Fichter / Moog synthesizer, Indian flute, vibes, electric piano, electric guitar, vocals
- Klaus Fichter / drums, percussion
- Matthias Nicolai / electric 12-string guitar, bass
- Peter Elbracht / Flute

:::Earthquake Island:::

Posted: Friday, 29 July 2011 by jazzlover in Etykiety: ,
4

Earthquake Island was Hassell's first project supported by a traditional lineup -- two guitarists, a bassist, and several percussionists. Rhythms from Latin American and the Caribbean appear for the only time (so far) in this world citizen's recordings, and on a couple of tracks there's even a guest vocalist named Clarice Taylor. Earthquake Island is also the artist's least discussed album. Okay, make that undiscussed -- even on websites devoted to Hassell's music, it only gets a sentence or two. In hindsight, this album seemed like a backward step compared to the electronic drones and hand percussion of Vernal Equinox, and was perhaps taken as a thin example of the late-'70s jazz fusion taste for Latin percussion and horn arrangements (cf. Santana; the 1979 debut by Irakere). Certainly the participation of Weather Report vets like bassist Miroslav Vitous and percussionist Dom Um Romeo promised a bit of that band's shine with jazz reviewers and fans. This is too bad, because a nice, unusually direct collection of tunes has gone overlooked. Certainly, the Moog and Arp synthesizers date the music. They provide nice harmonic guidelines without getting slippery, but are a little slick; Vitous' bass and the guitars of Claudio Ferreira and Ricardo Silviera don't use electronic effects, so they don't match Hassell's brass textures. But they all, Um Romeo, Nana Vasconcelos, and Pakistan tabla master Badal Roy, create a bottom far earthier than the experimental percussion textures of Dream Theory in Malaysia or the overworked, undermelodic funk rock of City: Works of Fiction, especially the touches of samba. Where Hassell's trumpet effects and stylings tend to swell up and even loom over his keyboards and rhythm sections on his finest albums, this time the melodies keep him playing closer to the treetops.
The fun parts catch Hassell using his horn to make sounds that, in other hands, would drive high school band directors to chain-smoke. Under the string synthesizer of "Tribal Secrets," he creates a two-note riff by inhaling through the trumpet; sucks a kissing tone on "Voodoo Wind," and everywhere he leans close to the microphone for a solo and relaxes his embouchure so air can stream around the mouthpiece. The closer, "Adios Saturn," is a particularly gratifying slice of cheese. Hassell cops from easy listening icon Ray Conniff and plays a snake-like melody in unison with Taylor over modulations taken from the opening track.
:::Review by John Young:::

Jon Hassell - Earthquake Island (1978)

01. Voodoo Wind [09:29]
02. Cobra Moon [04:49]
03. Sundown Dance [04:43]
04. Earthquake Island I, II, III [10:07]
05. Tribal Secret [03:44]
06. Baliá [04:32]
07. Adiòs, Saturn [01:52]


Credits
Jon Hassell, trumpet, Arpstrings, Arp, Polymoog
Nana Vasconçelos, drums, tabla, percussion, voice, cuica, congas, berimbau, handclaps
Miroslav Vitous, bass
Claudio Faereira, guitars, bass, handclaps
Ricardo Silveira, guitar
Badal Roy, tabla
Dom Um Romao, percussion
Clarice Taylor, vocals
Erasto Vasconçelos, Haroldo Mauro Jr, handclaps

:::Floating Opera:::

Posted: Saturday, 23 July 2011 by jazzlover in Etykiety:
4

This brilliant bunch of creative music is really true masterpiece!!! Extra class musicianship, top-notch studio work, very adventurous and intelligent compositions plus perfect and juicy spectrum of sounds! I got this CD two weeks ago and cannot stop wondering about all those highest qualities of Real Cultural Shock! But - could anybody say where to get two first recordings of Tipographica (this kind of task seems to me impossible - I have heard only God Says I Can't Dance before Floating Opera and - both are essential)? Well, Japanese weird RIO-ish experimental all-instrumental jazz-rock combo having Italian-language name Tipographica was active during nineties of XX century. They released altogether four albums, first two of them are unfortunately out-of-print and impossible to get... In addition to guitar-bass-keyboards-drums they enriched their soundspectrum with saxophone and trombone, also with mokkin (xylophone of Japanese Kabuki theatre) and other percussion instruments. The music has relationship with Frank Zappa's jazz compositions, Henry Cow's instrumentals, Picchio Dal Pozzo's Abbiamo-Tutti-I-Suoi-Problemi-era, Santana's Caravanserai-Welcome-era, Mahavishnu Orchestra...and many more...and sometimes hints to Japanese folklore... Surely my all- time-favourite band among Japanese rock-releated music ever! Fave tunes? All the record is one big fave tune... But the really burning saxophone solo in Highway At Samurai Play comes into my mind. Unfortunately I have the greatest pleasure to give five stars in these progarchives- page (and everywhere in general) quite seldom. But today is probably the last this-kind- of-celebration-day in this year. Five stars really to Tipographica!!!
:::Review by Rainer Rein:::

Tipographica - Floating Opera (1997)

1. Floating opera
2. Highway at Samurai play
3. [95.9.23 fine]
4. School bus
5. Chrome attack
6. [95.12.1 clouday]
7. Tipographica's the king
8. [93.12.30 rain]
9. Rainbow of the gravity
10. [94.4.11 snow]
11. Highway at Samurai play (version 2)
12. Religion of children

Credits
- Tsuneo Imahori / guitar, samples
- Naruyoshi Kikuchi / saxophone
- Osamu Matsumoto / trombone
- Akira Minakami / keyboards
- Hiroaki Mizutani / bass, computer assist
- Gen Ogini / percussion
- Akira Sotoyama / drums

:::The Best Band You Never Heard In Your Life:::

Posted: Monday, 18 July 2011 by jazzlover in Etykiety:
3

Lots of fun! This is the second album depicting performances from Frank's 1988 tour, and unlike Hard Way (or the later Make a Jazz Noise Here) it's structured to resemble a "normal" concert. Whereas Broadway the Hard Way focused excessively on Frank's political commentary, this album strikes a terrific balance between Frank's tweaked sense of humor (which is still largely based in political and social matters) and a bunch of really great performances.
One thing that really stands out about this album is just how retro it feels in a lot of ways. The setlist basically pretends the 80's never happened; I don't know if Frank decided he didn't really like that material anymore, or if he had a major bite of the nostalgia bug, or if he felt that all of the political stuff in the Hard Way set should be balanced by more familiar material, but the setlist on here could have easily come from a late 70's show. The first disc ends with four tracks from One Size Fits All ("Florentine Pogen," "Andy," "Inca Roads," "Sofa 1"), all of which sound great here, and there are several other tracks that dip way back into the band's past. They even go so far as to revive "Who Needs the Peace Corp?" (immediately following it with a quick blurb of "I Left My Heart in San Francisco"), complete with the infamous monologue, and it sounds freaking great. Other blasts into the past include: "Heavy Duty Judy" (one of the instrumentals from Shut Up and Play Yer Guitar); "Cosmik Debris" (from Apostrophe); "Find Her Finer;" "Zomby Woof;" "Zoot Allures;" "Mr. Green Genes;" "The Torture Never Stops;" "Lonesome Cowboy Burt" (from 200 Motels !!); "More Trouble Every Day;" "Penguin in Bondage;" and even "The Eric Dolphy Memorial Barbecue" (which bores me a little still, but I still think it's neat that it's included). Holy crap what a setlist!
Just as important as the setlist is the sound, or rather the makeup of the touring band. The biggest coup of this tour was the return of a full-fledged horn section, an aspect of Zappa's 70's touring bands that made those so enjoyable (and the relative absence of which was a major detriment to the mid-80's bands). Yes, there are still lots of clearly synthesized noises coming out of the keyboards and guitars, but they just don't seem as ominpresent as in recordings from a few years earlier. The horns are used with gusto and with great frequency, often appearing in largely unexpected ways (more later), and they definitely strongly contribute to the album getting such a high rating.
Of course, the high rating also comes strongly from the amusement factor. The humor on this album can be pretty neatly split into political humor and music humor, and both kinds are a riot. Apparently, during the tour Zappa would routinely alter the lyrics to various songs to give amusing commentary on various scandals and amusing events, and the topic of choice for these recordings was the Jimmy Swaggart sex scandal. As on Broadway, the focus on this specific scandal dates the album to a specific period, but at the same time the abuse and mockery foisted upon Swaggart is so intense that it becomes really hilarious. I'm not a big fan of the four minute monologue in the middle of the second disc, but other than that, hearing the group rip the ever loving piss out of him is just an awful lot of fun.
The musical gags are even better, though. There are a lot of short interludes in which the band plays snippets of 20th century music history, from the theme to "Bonanza" to the aforementioned "I Left My Heart in San Francisco," and they only contribute to the goofy vibe of the whole. The main fascination lies in the full-fledged covers, though. In addition to a fine 6-minute rendition of Ravel's "Bolero," the first disc features a hilarious reggae version of "Ring of Fire," which was supposedly going to be sung by Johnny Cash himself until his wife got sick and he had to back out. The second disc kicks off with really strange covers of "Purple Haze" and "Sunshine of Your Love," voiced by Ike Willis in his Thing Fish voice and filled with effects like kissing sounds when Ike sings "'Scuse me while I kiss this guy." Some might consider them blasphemous, but I find them great. And, of course, the honor of best track goes to the closing reggaish cover of "Stairway to Heaven," filled with yet more strange noises and instrumental effects, and culminating in the horn section doing an almost note-for-note rendition of the guitar solo. Led Zeppelin purists would probably find it appalling, but I love it.
In short, this is almost certainly Frank's best live album since Roxy, and a pretty essential part of any Zappa collection. Plus, as it's a document of Frank's final tour, I'm glad it shows that his shows were able to go out on a pretty high note.
:::Review by tarkus1980:::

Frank Zappa - The Best Band You Never Heard In Your Life (1991)

Disc one
1. Heavy Duty Judy (6:04)
2. Ring Of Fire (2:00)
3. Cosmik Debris (4:32)
4. Find Her Finer (2:42)
5. Who Needs The Peace Corps? (2:40)
6. I Left My Heart In San Francisco (0:36)
7. Zomby Woof (5:41)
8. Bolero (5:19)
9. Zoot Allures (7:07)
10. Mr. Green Genes (3:40)
11. Florentine Pogen (7:11)
12. Andy (5:51)
13. Inca Roads (8:19)
14. Sofa # 1 (2:49)

Disc two
1. Purple Haze (2:27)
2. Sunshine Of Your Love (2:30)
3. Let's Move To Cleveland (5:51)
4. When Irish Eyes Are Smiling (0:46)
5. "God Father Part II" Theme (0:30)
6. A Few Moments With Brother A.West (4:00)
7. The Torture Never Stops (Part One) (5:19)
8. Theme From "Bonanza" (0:28)
9. Lonesome Cowboy Burt (Swaggart version) (4:54)
10. The Torture Never Stops (Part Two) (10:47)
11. More Trouble Everyday (Swaggart Version) (5:28)
12. Penguin In Bondage (Swaggart Version) (5:05)
13. The Eric Dolphy Memorial Barbeque (9:18)
14. Stairway To Heaven (9:19)

Credits
- Frank Zappa / lead guitar, computer-synth, vocal
- Ike Willis / rhythm guitar, synth, vocal
- Mike Keneally / rhythm guitar, synth, vocal
- Bobby Martin / keyboards, vocal
- Ed Mann / vibes, marimba, electronic percussion
- Walt Fowler / trumpet, flugel horn, synth
- Bruce Fowler / trombone
- Paul Carman / alto sax, soprano saxophone, baritone saxophone
- Albert Wing / tenor sax
- Kurt McGettrick / baritone sax, bass saxophone, contrabass clarinet
- Scott Thunes / electric bass, mini-moog
- Chat Wackerman / drums, electronic percussion

:::Make A Jazz Noise Here:::

Posted: by jazzlover in Etykiety:
3

Make A Jazz Noise Here is another two disc live set from Zappa's '88 touring band. This makes a perfect companion to The Best Band You Never Heard In Your Life CD also from the '88 band, as this one focuses more on the instrumental/serious side of Frank's music (and probably no surprise the jazzier side). This of course is just a conveinent piegonhole. There is plenty of musical things happening here, filled with that typical Zappa humor and trademark sound. Because of this there should be something here for all types of Zappa fans. (As a side note, its hard to choose better this one and The Best Band...as which is better, so the smart thing to do is get both, but if you perfer the jazzier/instrumental stuffs get this one first, and if you perfer the rockier/direct humor stuff get The Best Band...first). Needless to say, this is played to perfection as Zappa never messed around with musicians and knew how to choose some of the best in the buisness.
There are many moments that make this album a must have. However, I will only highlight a few. First and foremost, When Yuppies Go To Hell. No question about it, this song goes in my list of top songs of all time. Thoughout the near 13 and a half minuets, much ground is cover, grooved based jazz-rock, experimental zaniness, a drum solo, free jazz, and bizarre sounds thrown together to make a psuedo melody. Sounds like Zappa at his finest eh? Secondly, the suite from Lets Make The Water Turn Black to Eat That Question. Absolutely amazing arrangements of some Zappa classics. The horns, the percussion, the guitar...everything is in the right place. This is capped by perhaps the finest moment to come out of the '88 band...an abbreivated Eat The Question. It is sad to see that it is shortened, but they certainly make the most out of it. (The baritone sax can shake the Earth when played at a loud volume) These two moments above alone, make this necessary. But there are more! City Of Tiny Lights. A rip-roaring version is presented here with a great guitar solo from the man. Royal March From L'Histoire Du Soldat and Theme From The Bartok Piano Concerto #3 are two short little covers. It is interesting and fun to hear these tunes arranged for a big-band jazz-rock performance (and I imagine it would be more so for people who are more familar with these works). Strickly Genteel ends the set, and while not being my favorite version of the song, is a great way to end the CD and certainly fits the best on this '88 band record. It also must be noted that even though I picked about five songs to highlight it is really hard to pick a bad moment on either disk (though I do perfer disk one as there are flatter spots on disk two, but nothing too deflating). From King Kong, to Dupree's Paradise, to Crusin' For Burgers...these songs are enjoyable, expertly arranged, well played, and always fun to hear.
All in all, this is one of the best live albums to come out of the Zappa's catalogue. I believe this has something for everyone and is one of Zappa's more progressive albums. While it wouldn't be the best place to start, once you've got the Zappa bug this one should be picked as soon as possible. 4.5 stars rounded up.
:::Review by Man With Hat:::

Frank Zappa - Make A Jazz Noise Here (1991)

Disc one
1. Stinkfoot (7:40)
2. When Yuppies Go To Hell (14:36)
3. Fire and Chains (3:57)
4. Let's Make The Water Turn Black (1:36)
5. Harry, You're A Beast (0:47)
6. The Orange County Lumber Truck (0:42)
7. Oh No (4:43)
8. Theme From Lumpy Gravy (1:12)
9. Eat That Question (1:55)
10. Black Napkins (6:56)
11. Big Swifty (11:13)
12. King Kong (13:11)
13. Stars Won't Work (3:33)

Disc two
1. The Black Page (New Age Version) (6:45)
2. T'Mershi Duween (1:42)
3. Dupree's Paradise (8:35)
4. City Of Tiny Lights (8:01)
5. Royal March From L'Histoire Du Soldat (1:00)
6. Theme From The Bartok Piano Concerto #3 (3:43)
7. Sinister Footwear 2nd Mov. (6:19)
8. Stevie's Spanking (4:26)
9. Alien Orifice (4:15)
10. Cruisin' For Burgers (8:28)
11. Advance Romance (7:43)
12. Strictly Genteel (5:37)

Credits
- Frank Zappa / lead guitar, synth, vocal
- Ike Willis / rhythm guitar, synth, vocals
- Mike Keneally / rhythm guitar, synth, vocals
- Bobby Martin / keyboards, vocals
- Ed Mann / vibes, marimba, electronic percussion
- Walt Fowler / trumpet, flugel horn, synth
- Bruce Fowler / trombone
- Paul Carman / Alto saxophone, Soprano saxophone, Baritone saxophone
- Albert Wing / Tenor saxophone
- Kurt McGettrick / Baritone saxophone, contrabass clarinet
- Scott Thunes /electric bass, mini moog
- Chad Wackerman / drums, electronic percussion

:::Zappa In New York:::

Posted: by jazzlover in Etykiety: , ,
1

In late 1976, Zappa collected the great and the good of New York Jazz (including the incomparable Brecker brothers) to supplement his current lineup of top line musicians, and played three shows which showcased exactly what could be done when jazz and avant-garde rock combined. The result is this double album, which is all but essential for existing Zappa fans, or newcomers alike.
From the sublime 'Cruisin' for burgers' and 'The Purple Lagoon' to the ridiculous 'Titties & Beer' and 'The Illinois Enema Bandit', this group of musicians gel like no lineup had previously, and only rarely managed afterward (perhaps only the early 1980's stripped down 6 piece band were as tight and cohesive.....).
One real gem of a discovery Zappa had with this album was the first showing of a little known rhythm guitarist/vocalist, Ray White - his soaring, soulful vocals during 'Enema Bandit' are a real highlight on this album, so no wonder Zappa kept him in the band (on & off) until the mid '80's.
Keeping the band together you have the Bozio/O'Hearn rhythm section - if not joined at the hip, then certainly joined at the muse (pretentious, moi?) - with these guys at the back, the combined forces of New York's jazz illuminati could work magic in the extended jam of 'Purple Lagoon'.
Elsewhere on the album you have the crowd pleasers, 'Sofa', 'Big Leg Emma' and Bozio's two finest vocal moments, 'Titties & Beer' (a finer devil incarnate, you'll never hear), and the hysterical 'Punky's Whips' (the cause of many a lawyer's letter......).
If Bozio & O'Hearn kept things together at the back - who better than to lead from the front than Zappa; his vocals & searing guitar work takes this album from the merely excellent, to the truly magical.
Overall - no hesitation whatsoever in granting 'Live In New York' the full 5 stars - the album is without a doubt, faultless, and a truly essential purchase for officianados of prog, jazz, jazz/rock or just sheer musicianship.
:::Review by Jim Garten:::

Frank Zappa - Zappa In New York (1978)

Disc one
1. Titties & Beer (7:36)
2. Cruisin For Burgers (9:12)
3. I Promise Not To Come In Your Mouth (3:32)
4. Punky's Whips (10:50)
5. Honey Don't Ya Want A Man Like Me? (4:12)
6. The Illinois Enema Bandit (12:41)

Disc two
1. I'm The Slime (4:23)
2. Pound For A Brown (3:42)
3. Manx Needs Women (1:50)
4. The Black Page Drum Solo/Black Page #1 (3:51)
5. Big Leg Emma (2:17)
6. Sofa (2:56)
7. Black Page #2 (5:36)
8. The Torture Never Stops (12:35)
9. The Purple Lagoon/Approximate (16:40)

Credits
- Frank Zappa / conductor, lead guitar, vocals
- Ray White / rhythm guitar, vocals
- Don Pardo / sophisticaded narration
- David Samuels / timpani, vibes
- Eddie Jobson / keyboards, violin, vocals
- Patrick O'Hearn / bass, vocals
- Randy Brecker / trumpet
- Mike Brecker / tenor sax, flute
- Lou Marini / alto sax, flute
- Terry Bozzio / drums, vocals
- Ruth Underwood / percussion, synthesizer, and various humanly impossible overdubs
- Ronnie Cuber / baritone sax, clarinet
- Tome Malone / trombone, trumpet, piccolo
- John Bergamo / percussion, percussion overdubs
- Ed Mann / percussion overdubs

:::The Mastery Of John Coltrane / Vol. III Jupiter Variation:::

Posted: Sunday, 17 July 2011 by jazzlover in Etykiety: , , , ,
5

 
John Coltrane - The Mastery Of John Coltrane / Vol. III Jupiter Variation (1967)

1. Number One (11:58) John Coltrane
2. Peace On Earth (7:12) John Coltrane
3. Jupiter (variation) (6:49) John Coltrane
4. Leo (11:02) John Coltrane

Credits
Rashied Ali - Drums
Alice Coltrane - Piano
John Coltrane - Sax (Tenor)
Charlie Haden - Bass
Pharoah Sanders - Tambourine, Flute (Wood), Shaker

Notes
Recorded at Van Gelder Studio, Englewood Cliffs, N.J on March 7, 1967 (A1), February 22, 1967 (B1, B2).
Peace On Earth recorded at Coast Recorders, San Francisco on February 2, 1966.
Alice Coltrane replaced her piano part and Charlie Haden replaced Jimmy Garrison's bass part at Village Recorders, Los Angeles in April, 1972.
Previously released on AS-9225 with a string section overdubbed in April, 1972. It is released here without the strings.

:::Cosmic Music:::

Posted: by jazzlover in Etykiety: , , , , , ,
4

Cosmic Music, a jazz album by John Coltrane and his wife Alice Coltrane, was released shortly after the death of John Coltrane. The album has the following tracks: "Manifestation", "Reverend King", "Lord Help Me", and "Sun". Reverend King is a tribute to the famous Martin Luther King Jr.  John Coltrane's two tracks, among his last, were recorded in 1966 and Alice's two tracks were recorded in 1968. True to the name of the album, Cosmic, the music is intense, spiritual, soul searching and moving, with the common perception that John introduced fundamentals of Indian philosophy into jazz. The album has John Coltrane on the saxophone and Alice Coltrane playing the piano.
:::Review by www.vinylrevinyl.com:::

Alice And John Coltrane – Cosmic Music (1966)

A1 Manifestation 11:14
Percussion – Rashied Ali, Ray Appleton
Written-By – John Coltrane

A2 Lord, Help Me To Be 7:11
Percussion – Ben Riley
Written-By – Alice Coltrane

B1 Reverend King 10:45
Percussion – Rashied Ali, Ray Appleton
Written-By – John Coltrane

B2 The Sun 3:50
Flute [Traces Of Pharoah's Flute Can Be Heard In The Distant Backround], Vocals [Invocation] – Pharoah Sanders
Vocals [Invocation] – John Coltrane
Written-By – Alice Coltrane
Percussion – Ben Riley

Credits
Bass, Violin – Jimmy Garrison
Flute, Tenor Saxophone – Pharoah Sanders
Piano – Alice Coltrane
Tenor Saxophone, Bass Clarinet – John Coltrane

:::Coltrane's Sound:::

Posted: Thursday, 14 July 2011 by jazzlover in Etykiety: , , ,
3

This is one of the most highly underrated entries in Coltrane's voluminous catalog. Although the same overwhelming attention bestowed upon My Favorite Things was not given to Coltrane's Sound upon its initial release, both were actually recorded during the same three-day period in the fall of 1960. So prolific were those recording dates, they informed no less than five different Coltrane albums on Atlantic. The title could not have been more accurate, as each of the six pieces -- eight if you count the CD bonus tracks -- bear the unmistakable and indelible stamp of Coltrane's early-'60s style. "The Night Has a Thousand Eyes" and "Body and Soul" -- the only tracks not penned by Coltrane -- are given unique and distinctive voices. Animating the arrangements on these sessions were Coltrane (soprano/tenor sax), Steve Davis (bass), Elvin Jones (drums), and McCoy Tyner (piano). It's perhaps Tyner's recollection of the quartet as "four pistons in an engine" that most aptly explains the singular drive heard during Coltrane's extended runs on "Liberia." Tyner flawlessly complements Coltrane with full resonating chords that cling to his volley of sound. The rhythmic gymnastics of percussionist Jones is also showcased as his double-jointed bop swing and military band precision are distinctly displayed on the blues "Equinox." The opening six bars give Jones a chance to make a contrasting statement -- which he takes full advantage of. The two CD bonus tracks -- "26-2" as well as an alternate take of "Body and Soul" -- are also available on the Heavyweight Champion: The Complete Atlantic Recordings box set. Regardless of the format, these recordings remain among Trane's finest.
:::Review by Lindsay Planer:::

John Coltrane - Coltrane's Sound (1960)

1. The Night Has A Thousand Eyes 6:42
Written-By – Buddy Bernier, Jerry Brainin
2. Central Park West 4:12
3. Liberia 6:45
4. Body And Soul 5:35
Written-By – Edward Heyman, Frank Eyton, Johnny Green, Robert Sour
5. Equinox 8:33
6. Satellite 5:48
7. 26-2 6:09
8. Body And Soul (Alternate Take) 5:57
Written-By – Edward Heyman, Frank Eyton, Johnny Green, Robert Sour


Credits
Artwork By – Marvin Israel
Double Bass – Steve Davis
Drums – Elvin Jones
Piano – McCoy Tyner (tracks: 1 to 5, 7 to 8)
Soprano Saxophone – John Coltrane (tracks: 2, 7)
Tenor Saxophone – John Coltrane (tracks: 1, 3 to 8)
Written-By – John Coltrane (tracks: 2, 3, 5 to 7)