Ben webster complete sextet studio sessions

21-Nov-2017 10:33

Tyner, from Philadelphia, had been a friend of Coltrane's for some years and the two men had an understanding that the pianist would join Coltrane when Tyner felt ready for the exposure of regularly working with him.Also recorded in the same sessions Coltrane's first record with his new group was also his debut playing the soprano saxophone, the hugely successful My Favorite Things (1961).He stayed with Davis until April 1960, working with alto saxophonist Cannonball Adderley; pianists Red Garland, Bill Evans, and Wynton Kelly; bassist Paul Chambers; and drummers Philly Joe Jones and Jimmy Cobb.During this time he participated in the Davis sessions Milestones and Kind of Blue, and the concert recordings Miles & Monk at Newport (1963) and Jazz at the Plaza (1958).Several other tracks recorded in the session utilized this harmonic device, including "26-2", "Satellite", "Body and Soul", and "The Night Has a Thousand Eyes". was that it would enable him to work again with engineer Rudy Van Gelder, who had taped both his and Davis' Prestige sessions, as well as Blue Train.

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For example, on the Gershwin tune "But Not for Me", Coltrane employs the kinds of restless harmonic movement used on Giant Steps (movement in major thirds rather than conventional perfect fourths) over the A sections instead of a conventional turnaround progression.

Coltrane was with this edition of the Davis band (known as the "First Great Quintet"—along with Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums) from October 1955 to April 1957 (with a few absences).