Ron Carter
Where?
Prestige RVG Remasters
By George W. Harris

John Coltrane
Settin’ The Pace
Prestige RVG Remasters
By George W. Harris

Eddie “Lockjaw” Davis, etc
Very Saxy
Prestige RVG Remasters
By George W. Harris

Miles Davis
Bags Groove
Prestige RVG Remasters
By George W. Harris

Sonny Rollins
Plays For Bird
Prestige RVG Remasters
By George W. Harris

The latest quintet of Prestige reissues under the guise of engineering superstar Rudy Van Gelder brings to focus some extremely important phases in the discography of jazz’s Mount Rushmore. What’s also enjoyable about these releases is that the perspective of the passing years allows us to evaluate their true contribution and meaning to this art called jazz.

Before joining up with Miles Davis in 1965 and forming the most important quintet in modern jazz, bassist/cellist Ron Carter performed, toured and recorded with the likes of Don Ellis, Randy Weston and Cannonball Adderley, while putting out his first release as a leader on this 1961 date. With Eric Dolphy on horns, pianist Mal Waldron, bassist George Duvivier and drummer Charles Persip, Carter puts out some highly imaginative music that veers between snappy bop and otherworldly explorations. When Dolphy is on flute, the music is light and airy, as on the gospel ode “Yes Indeed” (which features some marvelous pizzicatoed cello) and on the rapid fire “Saucer Eyes.” Dolphy is his edgy self on bass clarinet during “Rally” and teetering between mainstream and class V whitewaters on “Softly As In A Morning Sunrise.” “Bass Duet” has Carter and Duvivier going back and forth like a ping pong championship. Intriguing debut for one of jazz’s greatest living treasures.

This 1958 recording with Miles’ rhythm section finds Coltrane just after leaving Thelonious Monk’s Quartet. Coltrane put out a plethora of recordings in just a little over two years; most are blowing sessions, but each has important aspects. This one features Trane performing songs that were not part of his usual canon. “I See :Your Face Before Me” spotlights the ballad side of Trane that was rarely returned to; it is a part of his playing that is quite underrated. Likewise, a straightahead blues like “By The Numbers” shows a rare hue, mixing it up with the glassy ivories of Garland quite well. This period is always overlooked in Coltrane’s career; don’t let it go buy. For some it is the period people listen to the most.

Ah, now you’re talking!!! “Lockjaw” Davis, Coleman Hawkins, Buddy Tate, and Arnett Cobb. Four tenor giants, and none, NONE influenced by Coltrane or Bird. These guys all made their names by having a rough and tumble sound. Of course, Hawkins invented the jazz tenor sax, but the other 3 are the living definition of the Texas Tenor (well, OK, Davis isn’t from there, but, you know what I mean). Bluesy, breathy, and able to say more in 4 bars than 99% of today’s guys can in one of those 9 minute diatribes, these gents feel like silk sheets when they play together as a unit, and make like Sugar Ray Robinson when on their own. Supported by the Hammond B3 Mistress Shirley Scott, bassist George Duvivier and snappy drummer Arthur Edgehill, these guys write the book on playing. It’s great to hear Hawk out of his element and getting into the Kansas City groove on “Lester Leaps In”, and getting straight to the blues on “Fourmost.” Hearing Cobb, Tate, and Davis work the easy rocking “Light and Lovely” is what makes listening to music worthwhile. A one time meeting that can be played forever.

It’s hard to believe that there were periods that had Miles Davis in artistic nadirs. The fact is that from 51-54, just before these recordings, he was persona non grata in the jazz field due to his artistic and personal liabilities. This disc, however, put him right back in the center of the jazz scene. Backed by ¾ of the Modern Jazz Quartet, (with Monk as the pianist), Davis plays two versions of “Bags Groove” that set the standard for hard bop. His solos on the title tune are simply perfection this side of heaven. You could analyze them till the cows come home, but here they are, in all their glory for you to enjoy. Monk’s famous piano playing is noteworthy as well. The rest of the disc had Davis leading his current working band with Horace Silver, Percy Heath, Kenny Clark and tenorist Sonny Rollins. Three Rollins classics, “Oleo”, “Airgin” and “Doxy” are debuted here. The band gels and precipitates like water mixing with Ouzo, and is just as invigorating. A classic in every sense of the word. If you don’t have this disc, don’t ever complain to me about the state of music.

1956 was a busy year for Sonny Rollins. Before this release, he’d put out masterpieces “Saxophone Colossus”, “Plus Four” and “Tenor Madness”. Pretty heavy stuff for someone in his mid thirties. This release is essential the band that replaced Clifford Brown and Ritchie Powell after their fatal car accident. Kenny Dorham (tp), and Wade Legge (p) are ample, but not perfect replacements, joining with bassist George Morrow and drummer Max Roach for a 26 minute medley that spotlights each member. Dorham is sweet and jovial on “My Melancholy Baby” and “Just Friends”, while the trio shimmers on “Old Folks” and “My Little Suede Shoes”. Meanwhile, Rollins’ tenor is robust and full of vinegar as he gives bel canato readings of “I Remember You” and “The House That I Live In.” Not essential, but it’s hard to go wrong with Roach and Newk.