Tag Archives: John Coltrane


Huntington Ashram Monastery
July 2011

About nine years ago I was working on Long Island a lot, with a little detective work I visited the John Coltrane home in Dix Hills. Historic landmark, but just an empty house…outside, I walked around a bit, had a seat and listened to the silence of the neighborhood around a suburban home.

A link to a 1970 NET 15:40 min segment on Alice Coltrane.

Alice Coltrane – Live in Warsaw, Poland 1987
Lonnie’s Lament /Harp solo

Alice Coltrane – A Love Supreme 10-23-87
live in Warsaw, Poland

a597460e455b1ffc-10604701_10152877704408939_2680894832698653855_omy list, in no particular order…


Nels Cline and Julian Lage – Room (Mack Avenue)
Kenny Barron and Dave Holland – The Art of Conversation (Impulse!/Blue Note Records)
Paul Bley – Play Blue – Oslo Concert (ECM)
Keith Jarrett and Charlie Haden – Last Dance (ECM)
Wolfgang Muthspiel – Driftwood (ECM)
Vijay Iyer – Mutations (ECM)
Joe Morris – Balance (Clean Feed Records)


David Sylvian – there’s a light that enters houses with no other house in sight
Anna Thorvaldsdottir – Aerial (Deutsche Grammophon)
John Luther Adams – Become Ocean (Cantaloupe)
Sarah Cahill, Mamoru Fujieda – Patterns of Plants (Pinna)
A Winged Victory For The Sullen – Atomos (Kranky)
Harold Budd – Jane 12-21 (Darla Records)
Philip Glass – The Complete Piano Etudes (Orange Mountain Music)
The Dublin Guitar Quartet Performs Philip Glass (Orange Mountain Music)
Harry Partch – Plec­tra and Per­cus­sion Dances (Bridge Records)


Fripp and Eno – Live in Paris 28.05.1976 (Discipline Global Mobile)
John Coltrane, Offering: Live At Temple University (Impulse!/Resonance)
Charlie Haden, Jim Hall (Impulse!)
Miles Davis: Miles At The Fillmore – Miles Davis 1970: The Bootleg Series Vol. 3 (Columbia/Legacy)
King Crimson – Starless (Discipline Global Mobile)


Steve Lacy – Black Saint/Soul Note box, Vol.2
Jimmy Lyons – Black Saint/Soul Note box
Brian Eno – The Shutov Assembly (All Saints, includes bonus disc)
Captain Beefheart – Sun Zoom Spark: 1970 to 1972, (Lick My Decals Off, Baby, The Spotlight Kid, Clear Spot, plus out takes – Rhino/Warner Bros.)
Jon Hassell – City: Works of Fiction (All Saints, includes two bonus discs) ()
Ralph Towner/John Abercrombie – Five Years Later (ECM)


Robert Plant – Lullaby And… The Ceaseless Roar (Nonesuch)
Pink Floyd – Endless River (Columbia)

want list:

Wadada Leo Smith, The Great Lakes Suites (Tum Records)
Ron Miles, Circuit Rider (Enja)
Morton Feldman – Two Pianos and other pieces, 1953-1969 (Another Timbre)

130904_milesmonoI was hoping for Miles Davis in Europe, Vol 3….but this will have to do.

SEPTEMBER 4, 2013, 10:49 am

Landmark box set presents nine albums remastered in original, brilliant sound, as they were intended to be heard in the 1950s and ’60s

Available everywhere November 12, 2013, through Columbia/Legacy

Nine of Miles Davis’ earliest albums on Columbia Records, encompassing music that he recorded for the label in monaural sound from 1956 to 1961 (and released from 1957 to 1964), will be issued together on CD for the first time as Miles Davis: The Original Mono Recordings. This historic box set, comprising nine CDs in mini-LP replica jackets, will be available everywhere November 11, 2013 through Columbia/Legacy, a division of Sony Music Entertainment. Pre-order at On November 29th in celebration of Record Store Day, Columbia/Legacy will follow up with vinyl mono editions of Kind Of Blue, Miles & Monk At Newport, and Jazz Track — capping a series of recently released mono LPs including ‘Round About Midnight, Miles Ahead, Milestones, Porgy and Bess, Sketches of Spain, and Someday My Prince Will Come.

Miles Davis: The Original Mono Recordings is a true landmark collection, with every album newly remastered in 2012-13, from the original analog master tapes. CD consumers will be able to hear Miles’ early music in mono, the way virtually all popular music was recorded, marketed and intended to be heard in the 1950s and early 1960s. Mono was the norm before the home, broadcast and film stereo era began to develop fully in the mid-’60s, leading to stereo’s all-encompassing takeover by the early ’70s.

The Original Mono Recordings by Miles Davis includes:

The six albums that trace the development of Miles’ “first great quintet” at Columbia, all notably featuring John Coltrane, namely ’Round About Midnight, Milestones, Jazz Track, Kind Of Blue (at 4-times RIAA platinum, the greatest selling jazz album of all time), Someday My Prince Will Come, and Miles And Monk At Newport; and

The three albums that placed Miles (and various group members) in sophisticated orchestral settings at Columbia, all notably arranged and conducted by Gil Evans, namely Miles Ahead, Porgy And Bess, and Sketches Of Spain.

Two of the albums included in The Original Mono Recordings are exciting rare editions that have never appeared in any Miles Davis CD collection in the U.S., and have not been generally available for many years:

Jazz Track, presenting 10 improvised tracks that Miles recorded in Paris with European musicians in 1957, for director Louis Malle’s film Ascenseur pour l’échafaud (Elevator To the Gallows), combined with three tracks by Miles’ own sextet in New York — featuring Davis, John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb — from their only other studio recordings of 1958, prior to the Kind Of Blue sessions in ’59; and

Miles And Monk At Newport, featuring four jazz classics recorded live by the Miles Davis Sextet at the jazz festival in 1958, followed by two classics recorded at the festival in 1963 by Columbia’s newly-signed Thelonious Monk Quartet.

more here.

Larry YoungAn old Star-Ledger article about Jazz organ great Larry Young that I can’t find on line any more.

Larry Young’s Tragic Genius
by Guy Sterling

Star-Ledger Staff
Sunday, March 30, 2003

Even in the freewheeling pop music scene of the ’60s and ’70s, Larry Young Jr. was hard-pressed to find his limit.

In a career that fell just short of spanning both decades, the Newark-born organist/keyboardis t raveled a musical path that took him from rhythm and blues and rock ‘n’ roll to straight-ahead jazz to the birth of jazz-rock fusion to what one associate termed “extreme avant-garde.”

Along the way, he played with some of the most innovative and celebrated musicians of the last half-century, including John Coltrane, Miles Davis, Jimi Hendrix, Elvin Jones, John McLaughlin, Carlos Santana and Tony Williams.

With his evolution, which was as much spiritual as musical, Young converted to Islam, adopted the name “Khalid Yasin” and traded in a well-shorn, clean-cut look for a beard, braids, robe and Muslim head wrap.

One acquaintance recalled seeing him in his later years standing quietly on a hill in Central Park, carrying a staff and looking every bit the part of a shepherd overseeing his flock. At 6-foot-6 and weighing more than 200 pounds, Young could cut an imposing figure.

“Larry went all the way out,” said Robert Banks, a jazz pianist from Newark who followed Young’s career and observed him in the park that day. “He resigned himself from the human race.”

There was also the time Young broke into a home to play a piano he’d seen through a window and was arrested, but only after the owner who alerted police first sat down to listen. Another friend remembered Young tuning in to radio static for something to incorporate into his music.

And then there was Young’s fascination with astrology that led him to call people by their signs instead of their names, the concerts with no breaks between songs and the bands with musicians of less-than-stellar credentials. Later albums included compositions with titles such as
“Moonwalk” and “Message from Mars.”

Twenty-five years ago today, Young died of pneumonia in East Orange General Hospital. He was 37.  One account has it he was the victim of a mugging; another says he died from drugs. Whatever the case, Young’s death went almost unnoticed. The respected jazz publication Down Beat took three months to run an obituary.

But in recent years, Young’s work has begun gaining wider recognition and has been discovered by a new generation of musicians and fans. In 1997, a jazz group in New York recorded a Larry Young tribute record.

Young’s recordings are increasingly valued by collectors, too. An original mint-condition copy of “Unity,” his best-known album as a group leader, recently sold on eBay for more than $150. Elvin Jones, the session’s drummer, called the record “immortal” and said Young’s work should be
viewed in the same light as that of Bach and Chopin.

Today, many jazz fans, musicians and scholars consider Young an unsung hero in an era when contemporary music was undergoing seismic changes, a uniquely gifted man constantly experimenting and always striving for new levels of originality.

“The organ has tended to be a relatively conservative instrument in jazz,” said Dan Morgenstern, director of the Institute of Jazz Studies at Rutgers University-Newark. “Larry Young was the exception.”

One litmus test of a jazz musician’s greatness is whether he or she can be identified with but a few notes of their music, added Nat Hentoff, a jazz critic who wrote the liner notes for some of Young’s albums. “It’s not easy to do with the organ, but you never had any doubt who Larry Young was,” he

Musical Roots

By all accounts, Young’s musical beginnings were as old-fashioned as they could be. His father, Larry Young Sr., played the piano and introduced his son to music at an early age, teaching him the basics, paying for lessons and sending him to study at Arts High School in Newark.

The elder Young, now deceased, also owned several bars in Newark that featured live music, providing Larry Jr. ready access to both instruments and musicians. Newark saxophonist Leo Johnson, a longtime friend of the organist, remembered Young’s homes were always filled with keyboards.

“He’d literally sit and play all day,” Johnson said. “The only time Larry would take a break was to eat, go the bathroom or watch cartoons.”

Born in 1940, Young grew up in Newark at a time when the city’s jazz scene was still vibrant and when its home-grown talents, including Sarah Vaughan, Ike Quebec and Wayne Shorter, had made or were making names for themselves on the world stage.

Introduced to jazz in the mid-’50s by Jimmy Smith, the Hammond B-3 organ was a favorite attraction in the clubs of Newark and other urban centers. It would be the instrument that Young turned to for making his mark, though he continued to play the piano and later picked up the electric piano and

>From his rhythm and blues and rock roots, Young switched his attention to the challenges of jazz, first recording for Prestige. Between 1964 and 1969, he recorded six albums as a leader for the jazz label Blue Note.

“Alfred Lion (Blue Note’s co-founder) was really taken with Larry and gave him free rein,” said Michael Cuscuna, a friend of Young’s and a music producer whose Mosaic Records released Young’s Blue Note material on a 1991 compilation.

“Unity” was one of the Blue Note records, and it teamed Young with an all-star lineup: friend and fellow Newarker Woody Shaw on trumpet, Joe Henderson on saxophone and Jones. “Larry Young was a quartet all by himself,” said Jones, who remains active at 75. “He was coming from a place
very deep inside.”

In its review from November 1966, Down Beat hailed “Unity” as a record”delivered with assurance and drive rather than any personal scene-stealing. It leaves a good feeling after repeated hearings.”

In the mid-’60s, Young also developed a friendship with Coltrane and got rides out to the saxophonist’s home on Long Island to jam with him in his studio.

The relationship left such an impression on him that organist Jack McDuff started referring to Young as “the John Coltrane of the organ.” Jones, one of Coltrane’s drummers, said Young’s melodic lines were similar to Coltrane’s “in the emotion they could generate.”

“He (Coltrane) was reluctant to play with me at first, since he preferred the piano to organ,” Young was quoted saying in 1975, eight years after Coltrane’s death. “But one time in New York City he told me, ‘You could play a shoestring if you wanted to,’ and invited me out to play at his house.”

“John had every almost instrument you could think of, and they’d go into his studio for hours on end,” remembered Althea Young of Newark, who married the organist in March 1966. “They wouldn’t speak 50 sentences to each other while they were in there.”

Speculation on whether Coltrane had a tape rolling during those jams has excited jazz fans for decades, but nothing has ever surfaced if he did. “It’s a drag they didn’t do an album together,” said Cuscuna. “I’d kill to hear those tapes, if they exist.”

Frontiers of Fusion

But Young also came of age when rock ‘n’ roll was reaching its most fertile period and when some of the more adventurous jazz and rock musicians of the day were looking to each other for new sounds and styles to explore.

As the music shifted gears near the end of the ’60s, Young played a key role in two groundbreaking projects that, while they may have alienated purists, would be credited with giving rise to the jazz-rock fusion movement. One was Miles Davis’ “Bitches Brew” album; the other was the group Lifetime, with drummer Tony Williams and guitarist John McLaughlin.

Young played in each, staying with Lifetime for two records. Around the same time, he jammed with Hendrix in a New York studio, with the cut “Young/Hendrix” released on the posthumous Hendrix album “Nine to the Universe.”

“Larry Young was the only musician I saw who could push Hendrix,” producer Alan Douglas told The Star-Ledger in 1991.

“‘I pushed him just enough for him to stay interested and have some fun,'” Barrett Young recalled his older brother telling him about his jams with Hendrix. Barrett Young, 50, still keeps some of his brother’s musical tributes at his home in Newark, along with the organ Larry used on two of his final records, “Lawrence of Newark” and “Fuel.”

Young never apologized for straying from straight-ahead jazz and, in fact, complained that others didn’t follow his lead. “Musicians suffer when they do that,” he once said. “There are so many jazz players who could have made a major influence on rock but wouldn’t because of their attitude towards it.”

Cuscuna remembered Young inviting him to an early appearance of Lifetime at the old Village Gate in New York. “It was like seeing Hendrix live,” he said. “You got hit with a wall of sound. I didn’t know what they were doing, but it really knocked me out.”

McLaughlin said he had played in a number of organ trios before Lifetime and became Young’s biggest fan after hearing “Unity.” “Larry had the ‘new school’ thing going on,” McLaughlin, 61, said recently from his home in Monaco. “He was the only one who had it.”

The two men developed a close friendship during Lifetime’s brief existence, he said, in part because of their shared interest in the Muslim faith. McLaughlin also recalled Young’s ability to make up impromptu songs about people and capture every one of their idiosyncrasies. “Larry’s sense of humor destroyed everyone,” he said.

So could his music. One night in Boston, McLaughlin said he found Young’s solo so stirring he was literally moved to tears of joy.

McLaughlin left Lifetime first and, before hitting it big with the Mahavishnu Orchestra, included Young on the far-reaching “Love, Devotion and Surrender” album he put together with Santana. To some, Young’s genius peaked with his sideman’s role on that 1973 record. He later toured with the guitarists.

“Larry was perfect for the job,” McLaughlin recalled. “He and I were both looking inside and outside for another kind of spiritual dimension.”

Final Flights

In the last few years of his life, Young embarked on a determined but ultimately futile search for the success he had enjoyed earlier in his career. His last two albums, “Fuel” and “Spaceball,” recorded for Arista in 1975 and 1976, were commercial and critical flops.

“Fuel,” said Down Beat, didn’t generate enough energy “to toast a bagel.”

Those who knew Young best debate whether his final recordings were the reflections of a fragile soul in free fall or products of an ill-fated plan to capitalize on a market of fans eager to embrace the next new thing after the close of the psychedelic era.

Althea Young, 65, maintains her husband’s psyche was always vulnerable, the result of being abandoned by his mother as an infant and raised by an overly controlling father. Larry Young Jr. had three children with women other than his wife.

Althea Young acknowledged she and her husband had their troubles, causing her to leave for months at a time.

Friends, family and fellow musicians also acknowledged that Young was also more than a casual user of marijuana, cocaine, LSD and other drugs over an extended period. It’s unclear whether the drugs fed his vision or caused him to lose grip on reality. Some argue they did both.

What seems certain is that Young spent some of his final years discouraged and disillusioned, though his brother said he was close to signing a new recording contract when he died. Cuscuna, who feels Young was more frustrated than imbalanced, remembered seeing him in his waning months playing piano in a small Manhattan club.

“Larry’s attitude was, ‘Why am I here doing this when I was on top of so many important things in music?'” he said. “He wasn’t in a great frame of mind when he left us.”

Young also sat in occasionally with the Mahavishnu Orchestra, but McLaughlin said he could tell his former band mate was in turmoil. “Spiritually, he was unchanged, but psychologically and financially it was rough on him,” McLaughlin recalled. “He hadn’t been getting many gigs. He wasn’t his old self.”

According to Johnson, Young found getting dates harder and harder over his career, even in his hometown. “People in Newark wanted to hear that ‘Let’s Get Back to the Chicken Shack’ stuff,” he said. “That wasn’t Larry’s bag.”

Both McLaughlin and Jones feel Young was also a casualty of an era marked by indulgence and upheaval, some personal obstinacy and having no real role models to guide him.

“Larry lived in a special place,” McLaughlin said. “He wasn’t the type person you’d say, ‘Sit down, I have something to tell you.’ If you did, he’d just look at you with that big, genial smile of his. He’d hear you, but he wouldn’t hear you.”

Near the end, while part of a music collective based at a former stable in Newark, Young began toying with dissonance, where it didn’t so much matter what sounds were coming from the instruments that accompanied him, said Althea Young. Banks referred to that music as “extreme avant-garde.” Those were the days of the single-piece concerts.

“Larry would weave his own sound through the others and turn the noise into something you could listen to,” said Althea Young, who sang on two of her husband’s albums. “He believed sound was like light and that it traveled out into space forever. He was hoping to communicate with whoever else might be out there.”

Young’s funeral at at the Abyssinian Baptist Church in Newark drew a crowd, but his grave in Rosemount Cemetery near Newark Liberty International Airport remains unmarked.

A memorial concert in his honor was held at CBS studios in New York in August 1978. Among those who played were Woody Shaw, McLaughlin and drummer Eddie Gladden, a boyhood friend of Young’s who had found him years earlier listening intently to radio static.

“You can tell from his music that Larry heard something different in his head,” Gladden said.

Bringing the organ into modern jazz and opening jazz to the innovations of rock are Young’s greatest legacies, and he seems poised only to increase in stature as the years go by, said Cuscuna. Others agreed.

“You hear him in the new breed of organ players,” said Johnson. “Like John Coltrane changed the pace for the saxophone, Larry Young set the pace for the organ.”

“Larry lived a musically creative life,” added McLaughlin. “His life wasn’t tragic, it just ended tragically. Who gets remembered? I don’t know. In the end, it doesn’t matter. What’s important is that he did it.”

This is a selected discography of Larry Young Jr. as a group leader:

    • “Testifying,” Prestige (1960): Young’s first record for a major label. With Joe Holiday on sax, Thornel Schwartz on guitar and Jimmy Smith on drums.
    • “Groove Street,” Prestige (1962): Includes first recording of Young’s “Talkin’ ’bout J.C.,” a reference to John Coltrane. With Holiday, Schwartz and Smith.
    • “Into Somethin’,” Blue Note (1964): Young’s Blue Note debut echoed the tones of his recent European travels. With guitarist Grant Green, drummer Elvin Jones and saxophonist Sam Rivers.
    • “Unity,” Blue Note (1965): Considered Young’s jazz masterpiece.
    • “Contrasts,” Blue Note (1967): Includes vocals by Young’s wife, Althea. Was recorded as Young’s interest in astrology was growing. Liner notes include the signs of all the musicians.
    • “Lawrence of Newark,” Perception (1973): Independent label record includes Coltrane collaborator Pharoah Saunders and guitarist James “Blood” Ulmer.
    • “Fuel,” Arista (1975): Besides organ, Young plays synthesizers, organ, electric piano and acoustic piano and sings on “New York Electric Street Music.”
    • “Spaceball,” Arista (1976): Young’s last — and unsuccessful — attempt  to return to the glory days.
    • Other notable Young performances appear on guitarist Grant Green’s “Talkin’ About” (1964); John McLaughlin’s “Devotion” (1970); Lifetime’s “Emergency!” (1969); Miles Davis’ “Bitches Brew” (1970), and McLaughlin and Carlos Santana’s Coltrane-influenced “Love, Devotion, Surrender” (1973).


a couple of things I’ve been listening to lately.

Jonas Hellborg – the Word (Axiom)

Bassist Hellborg on acoustic guitar bass with percussionist Tony Williams and the Soldier String Quartet. Unusual combination of instruments, exotic sounds, great music.

I’d been listening to a lot of Tony Williams last year and somehow missed this one, even though I’ve owned it for years. It holds up pretty good, the mix favors Tony – he’s right up front. I would turn up the other guys a bit, the bass could have a bit more whoomp, Time for a remix from producer Bill Laswell? Playback on a better system improves things considerably.

Anthony Braxton – Beyond Quantum (Tzadik)

One of my favorite recent releases by Anthony Braxton from 2008, with William Parker, bass and Milford Graves, percussion. What a strong set!

Anthony Braxton and Mario Pavone – Duets (1993) (Music & Arts)

There’s a pair of tracks with Braxton on flute, he also plays quite an assortment of horns. Two standards, four by Braxton, two by bassist Pavone.

The Sam Rivers Trio’s Reunion: Live in New York (Pi)

This has been in constant rotation in the car, so back and forth to work, running around town. I’m getting a deeper appreciation of Sam Rivers, multi instrumentalist. I’ve always been crazy about his flute playing, now I marvel at his piano playing and Dave Hollands bass invention.

Russ Lossing, Ed Schuller, Paul Motian – As It Grows (Hat)

I can’t resist yet another Paul Motian recording and this one is great.

ROVA Saxophone Quartet – A Short History (jazzwerkstatt)
Agusti Fernandez – Pianoactivity One (Sirulita)
Paul Hindemith, Glenn Gould – the 3 Piano Sonatas (Sony)
JS Bach, Andreas von Wangenheim – Six Cello Suites (transcribed for guitar) (Arte Nova)
Anders Miolin – Erik Satie, arranged for Alto Guitar (Bis)
Anders Miolin – Ravel: Guitar Transcriptions (Bis)

Frank Zappa – Finer Moments (Barking Pumpkin)
Charlie Haden – “Closeness” Duets (A&M)
Carlos Santana and Alice Coltrane – Divine Light (Columbia/Legacy)
John Coltrane – Cosmic Music (Impulse!)
Jack DeJohnette – Tin Can Alley (ECM)
Jack DeJohnette – Inflation Blues (ECM)

Steve Lacy – the Straight Horn of Steve Lacy/Reflections

The Straight Horn of Steve Lacy features Charles Davis on baritone saxophone resulting in a unique sound…the front line of soprano and baritone saxophone playing a few Monk tunes plus Charlie Parker’s Donna Lee. Reflections is an all Monk program.

Joe Morris – Eloping With The Sun (Ritti Records)

Eloping With The Sun = Free jazzer Joe Morris (banjo, banjouke), William Parker (sintir) and Hamid Drake (frame drum). Very hip and groovy, even.

John Stowell/Michael Zilber – Shot Through With Beauty (Origin)

I think the world of John Stowell, he’s such a wiz with chord voicings. Guitar players know about him because he’s done some ear opening vids on jazz guitar, but the rest of the world hasn’t quite discovered him yet.

Stan Getz – My Foolish Heart (Hyena)

Stan Getz and Richie Bierach with the kick ass rhythm section of Dave Holland and Jack DeJohnette.

Music Revelation Ensemble – In the Name of… (DIW/Columbia)

James Blood Ulmer group with Sam Rivers on three tracks. I’m not sure this is essential for Rivers fans.

John Coltrane – the John Coltrane Qt Plays (Impulse)
John Coltrane – First Meditations (Impulse)
John Coltrane – Transition (Impulse)
John Coltrane – Sun Ship (Impulse)
John Coltrane – Coltrane (Impulse)
John Coltrane – Expression (Impulse)

I thought I’d grab a handful of Coltrane for the road, not realizing his birthday was just a few days away and there would be a full day of birthday broadcast on WKCR.

Chim Chim Cheree on the John Coltrane Qt Plays has a soprano sax meltdown that I never hear anybody mention.

To Be from Expression is such an amazing and unique track, I listened to it quite a few times.

Love from First Meditations is such a beautiful tune.

..and a bunch of other stuff too.

Gilgamesh - Arriving TwiceFor years I’ve posted what I’ve listened to during the day. I’ve been doing this on Facebook since Fall 2008, now I’ve decided to start doing this on the blog…comments welcome.

May 5, 2012

Gilgamesh – Another Fine Tune You’ve Gotten Me Into (Splax France)
Gilgamesh – Gilgamesh (Virgin)
Shirley Scott – Blue Seven (Prestege)
Maurice MacIntyre – Humility in the Light of Creation (Delmark)
Herbie Hancock Trio with Tony Williams and Ron Carter (CBS Sony/Japan)
Miles Davis – In Person, Saturday Night at the Blackhawk, Vol. II (Columbia)

May 6, 2012

Cecil Taylor with John Coltrane – Hard Driving Jazz (aka Stereo Drive, Coltrane Time) (UA, Blue Note)

May 7, 2012

ROVA – the Works, vol. 3 (Black Saint)
World Saxophone Quartet – Plays Duke Ellington (Elektra/Nonesuch)

Maybe the only recording with John Coltrane and Pharoah Sanders playing flute together.

Happy New Ear!


To Be

John Coltrane – flute
Pharoah Sanders – flute, piccolo, tambourine
Alice Coltrane – Piano
Jimmy Garrison – Bass
Rashied Ali – Drums


thoughts about music by David Beardsley

The Music Aficionado

Quality articles about the golden age of music

Microtonal Projects' BLOG

we promote, research, perform and educate

Musica Kaleidoskopea

a kaleidoscopic view of music

The Canterbury scene(zine) continued....

Random ramblings nearly 30 years further on from a Canterbury scene veteran

The Hum Blog

a blog for

J.C. Combs

acoustic and electronic arts

Ted Greene Archive

Immortalizing Beauty Through Music

thoughts about music by David Beardsley

New Music Buff

Random perspectives from an informed new music fan.

The Night After Night Files

thoughts about music by David Beardsley

New Videos

thoughts about music by David Beardsley

Field Stations and Outposts of Anaphoria Island

thoughts about music by David Beardsley

Make Your Own Taste

Eclectic reviews of ambient, psychedelic, post-rock, folk and progressive rock ... etc.!

Articulate Silences

Tacet / Tacet / Tacet

David Rothenberg

musician, composer, author and philosopher-naturalist


Scott Healy's Jazz Composition Blog: Writing, Arranging and Listening

Avant Music News

A source for news on music that is challenging, interesting, different, progressive, introspective, or just plain weird

Do The Math

thoughts about music by David Beardsley


Just another site

Music : NPR

thoughts about music by David Beardsley

destination: OUT

thoughts about music by David Beardsley


thoughts about music by David Beardsley

Renewable Music

thoughts about music by David Beardsley

Miniatures Blog

thoughts about music by David Beardsley

thoughts about music by David Beardsley

Mixed Meters

thoughts about music by David Beardsley


thoughts about music by David Beardsley

Bob Gluck's Blog

Just another site

Today Is The Question: Ted Panken on Music, Politics and the Arts

My thoughts and writings on jazz and the world around it.


a sinister resonance


Kyle Gann on music after the fact