Review
by Lindsay Planer
This album is rightfully co-credited to Don Cherry (trumpet), who ably trades blows with John Coltrane (tenor/soprano sax) throughout. The Avant-Garde also boasts the debut studio recording of Coltrane playing soprano sax -- on "The Blessing" -- in addition to his continuing advancements on tenor. Although these tracks were recorded during the summer of 1960, they remained shelved for nearly six years. Joining Coltrane and Cherry are essentially the rest of the members of the Ornette Coleman Quartet, Ed Blackwell (drums) and Charlie Haden (bass) on "Cherryco" and "The Blessing," as well as Percy Heath (bass) on the remaining three selections. This is fitting, as over half of the album consists of early Coleman compositions. Coltrane's integration into this band works with some extraordinarily fresh results. Neither Cherry nor Coltrane makes any radical departures on this album; however, it's the ability of each to complement the other both in terms of modal style and -- perhaps more importantly -- texture that lends heavily to the success of these sides. Cherry's brisk and somewhat nasal intonations on "The Blessing" mimic those of Miles Davis, albeit with shorter flourishes and heavily improvised lines. When combined with Coltrane's well-placed -- if not somewhat reserved -- solos, the mutual value of both is dramatically increased. Blackwell -- the only other musician besides Cherry and Coltrane to be featured on every track -- provides some non-conventional percussive accompaniment. His contributions to "The Blessing" and workout on the aptly titled "Focus on Sanity" are primal.
https://www.allmusic.com/album/the-avant-garde-mw0000204064
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Reseña
por Lindsay Planer
Este álbum se debe a Don Cherry (trompeta), que intercambia hábilmente golpes con John Coltrane (saxo tenor/soprano). The Avant-Garde también cuenta con la primera grabación de estudio de Coltrane tocando el saxo soprano, en "The Blessing", además de sus continuos avances con el tenor. Aunque estos temas se grabaron durante el verano de 1960, permanecieron archivados durante casi seis años. Junto a Coltrane y Cherry están esencialmente el resto de los miembros del Ornette Coleman Quartet, Ed Blackwell (batería) y Charlie Haden (bajo) en "Cherryco" y "The Blessing", así como Percy Heath (bajo) en las tres selecciones restantes. Esto es apropiado, ya que más de la mitad del álbum está formado por composiciones tempranas de Coleman. La integración de Coltrane en esta banda da unos resultados extraordinariamente frescos. Ni Cherry ni Coltrane se apartan radicalmente en este álbum; sin embargo, es la capacidad de cada uno para complementar al otro tanto en términos de estilo modal como -quizás más importante- de textura lo que contribuye en gran medida al éxito de estas caras. Las entonaciones enérgicas y algo nasales de Cherry en "The Blessing" imitan las de Miles Davis, aunque con florituras más cortas y líneas muy improvisadas. Cuando se combinan con los solos de Coltrane, bien colocados aunque algo reservados, el valor mutuo de ambos aumenta de forma espectacular. Blackwell, el único músico aparte de Cherry y Coltrane que aparece en todos los temas, proporciona un acompañamiento percusivo poco convencional. Sus contribuciones en "The Blessing" y en el acertadamente titulado "Focus on Sanity" son primarias.
https://www.allmusic.com/album/the-avant-garde-mw0000204064
www.johncoltrane.com ...
Tracks:
A1 - Cherryco - 6:45
A2 - Focus On Sanity - 12:07
B1 - The Blessing - 7:50
B2 - The Invisible - 4:08
B3 - Bemsha Swing - 5:02
Credits:
Bass – Percy Heath (tracks: A2, B2, B3)
Bass – Charlie Haden (tracks: A1, B1)
Drums – Ed Blackwell
Soprano Saxophone – John Coltrane (tracks: B1, B2)
Tenor Saxophone – John Coltrane (tracks: A1, A2, B2, B3)
Trumpet – Don Cherry
1966
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