JOHN COLTRANE - On West 42nd Street
CBS Realm Jazz 52157 Released 1958
John Coltrane (ten), Wilbur Harden (flg), Tommy Flanagan (pno), Doug Watkins (bs), Louis Hayes (drs).
Side 1) Wells Fargo 7m 15s, West 42nd Street 7m 15s, E.F.P.H. 5m24s
Side 2) Snuffy 9m 36s, Rhodomagnetics 7m 46s
This is an album with a very strange history. It was first released on the Savoy label under its original title "Mainstream" (The East Coast Scene) from a session recorded under its true leader Wilbur Harden at the Van Gelder studio in Hackensack New Jersey on March 13th 1958. At this time Coltrane was just into his "sheets of sound" approach, although it was of course another year before his stunning contribution to "Kind Of Blue" where this new style was put aside for the more modal setting of that great album. Born in Birmingham, Alabama on 31st December 1924 it was one of only four albums Wilbur Harden was to make under his own name during a career curtailed by serious illness. He had spent some time in groups led by flutist Yusef Lateef and made his last recording with trombonist Curtis Fuller in 1960, before passing away on 10th June 1969 in New York City aged forty five. It is widely thought that he was the first trumpet player in jazz history to take up the flugelhorn as his second instrument. It is likely that the title and designated leader of the session was changed by the record company on the re-issued album due to the overwhelmingly high profile of John Coltrane, although it is also curious to note that it is difficult to find a Coltrane discography where the title is mentioned. Three musicians, all from Detroit, Michigan, but with highly contrasting musical histories, completed the quintet on that March day sixty two years ago. Already a leader in his own right at twenty eight, pianist Tommy Flanagan, was well on the way to an illustrious career spanning five decades, recording with his own trio and just about every major player of the time. Bassist Doug Watkins was one of the fastest rising stars of the fifties, playing with the likes of Art Blakey, Horace Silver, Sonny Rollins and Charles Mingus, until his death aged just twenty seven in 1962. Still playing today aged eighty three, Louis Hayes remains one of the most recorded drummers in jazz history and a true giant of the music.
The things that make this album a good listen are firstly the complete contrast in approach from the front line horns, the way that the piano ties everything together and not least the superb performances from the bass and drums that would stand up well in any setting. Harden's flugelhorn playing is somewhat different from that which followed him. It is not the burnished sound of an Art Farmer or Kenny Wheeler, but something sharper and almost indistinguishable from the trumpet. He is never less than melodic, and an improviser totally free from cliche. Having said that his compositions (all five pieces are written by him) are not always the most memorable, but that's where Coltrane comes in. His replies to the brass man's solo's, which open most numbers, are powerful and uncompromising but often with scant regard for what has gone before. This makes things very interesting and it is often left to Flanagan to sort it out with his highly considered piano interludes. While all this is going on it's the very strong bass motives and arco passages from the young Doug Watkins and the extraordinary prompting and shading from Louis Hayes drums that keep the listener fully attentive. Generally the format is what you would expect from a largely hard bop quintet of the time, ie: ensemble opening, a round or two of solos, then re-statement of the theme to finish. However the quality of the playing is such that it does not seem to matter at what stage the music has reached, there is always something going on. As with most albums, there are one or two outstanding tracks. For me number one is the lengthy up tempo Snuffy, well kicked off by Flanagan's piano, above very strong bass lines, Coltrane weaving his magic with two fine solos, plus Wilbur Harden having his say in the top register. Alongside this E.F.P.H. breaks the general trend of the album with its distinctive Latin flavoured light approach that holds its purpose throughout with even J.C. at least nodding in the same direction as his band-mates. All in all this album should make a valued addition to most collections for its general musicality, an important marker in the development of one of the major saxophonists in jazz, plus as an epitaph to what Wilbur Harden could have become, should he have lived a normal life span.
Reviewed by Jim Burlong
This review is in regard to the original vinyl LP. There is no known CD version, but the music may be available on various digital media platforms.
CBS Realm Jazz 52157 Released 1958
John Coltrane (ten), Wilbur Harden (flg), Tommy Flanagan (pno), Doug Watkins (bs), Louis Hayes (drs).
Side 1) Wells Fargo 7m 15s, West 42nd Street 7m 15s, E.F.P.H. 5m24s
Side 2) Snuffy 9m 36s, Rhodomagnetics 7m 46s
This is an album with a very strange history. It was first released on the Savoy label under its original title "Mainstream" (The East Coast Scene) from a session recorded under its true leader Wilbur Harden at the Van Gelder studio in Hackensack New Jersey on March 13th 1958. At this time Coltrane was just into his "sheets of sound" approach, although it was of course another year before his stunning contribution to "Kind Of Blue" where this new style was put aside for the more modal setting of that great album. Born in Birmingham, Alabama on 31st December 1924 it was one of only four albums Wilbur Harden was to make under his own name during a career curtailed by serious illness. He had spent some time in groups led by flutist Yusef Lateef and made his last recording with trombonist Curtis Fuller in 1960, before passing away on 10th June 1969 in New York City aged forty five. It is widely thought that he was the first trumpet player in jazz history to take up the flugelhorn as his second instrument. It is likely that the title and designated leader of the session was changed by the record company on the re-issued album due to the overwhelmingly high profile of John Coltrane, although it is also curious to note that it is difficult to find a Coltrane discography where the title is mentioned. Three musicians, all from Detroit, Michigan, but with highly contrasting musical histories, completed the quintet on that March day sixty two years ago. Already a leader in his own right at twenty eight, pianist Tommy Flanagan, was well on the way to an illustrious career spanning five decades, recording with his own trio and just about every major player of the time. Bassist Doug Watkins was one of the fastest rising stars of the fifties, playing with the likes of Art Blakey, Horace Silver, Sonny Rollins and Charles Mingus, until his death aged just twenty seven in 1962. Still playing today aged eighty three, Louis Hayes remains one of the most recorded drummers in jazz history and a true giant of the music.
The things that make this album a good listen are firstly the complete contrast in approach from the front line horns, the way that the piano ties everything together and not least the superb performances from the bass and drums that would stand up well in any setting. Harden's flugelhorn playing is somewhat different from that which followed him. It is not the burnished sound of an Art Farmer or Kenny Wheeler, but something sharper and almost indistinguishable from the trumpet. He is never less than melodic, and an improviser totally free from cliche. Having said that his compositions (all five pieces are written by him) are not always the most memorable, but that's where Coltrane comes in. His replies to the brass man's solo's, which open most numbers, are powerful and uncompromising but often with scant regard for what has gone before. This makes things very interesting and it is often left to Flanagan to sort it out with his highly considered piano interludes. While all this is going on it's the very strong bass motives and arco passages from the young Doug Watkins and the extraordinary prompting and shading from Louis Hayes drums that keep the listener fully attentive. Generally the format is what you would expect from a largely hard bop quintet of the time, ie: ensemble opening, a round or two of solos, then re-statement of the theme to finish. However the quality of the playing is such that it does not seem to matter at what stage the music has reached, there is always something going on. As with most albums, there are one or two outstanding tracks. For me number one is the lengthy up tempo Snuffy, well kicked off by Flanagan's piano, above very strong bass lines, Coltrane weaving his magic with two fine solos, plus Wilbur Harden having his say in the top register. Alongside this E.F.P.H. breaks the general trend of the album with its distinctive Latin flavoured light approach that holds its purpose throughout with even J.C. at least nodding in the same direction as his band-mates. All in all this album should make a valued addition to most collections for its general musicality, an important marker in the development of one of the major saxophonists in jazz, plus as an epitaph to what Wilbur Harden could have become, should he have lived a normal life span.
Reviewed by Jim Burlong
This review is in regard to the original vinyl LP. There is no known CD version, but the music may be available on various digital media platforms.
