John Coltrane’s Both Directions at Once: The Lost Album

Another lost John Coltrane recording which recently got discovered is the album titled Both Directions at Once: The Lost Album. The album got recorded on March 6, 1963, in the Rudy Van Gelder Studio. The recording got lost but surfaced in 2018. It was the family of his first wife, Juanita Naima Coltrane, who discovered the saxophonist’s personal copy.

The recording was made while under contract with Impulse Records and features Coltrane’s so-called Classic Quartet: McCoy Tyner on the piano, Jimmy Garrison on the bass, and Elvin Jones behind the drums. It was also with these musicians that he recorded the celebrated work A Love Supreme in 1964.

Elvin Jones, McCoy Tyner, John Coltrane and Jimmy Garrison

Why did we never hear the recording of Both Directions at Once before? The recording was never edited, mixed, or mastered into an album. It never got cataloged and, there was no cover art created. The tape simply was archived and never looked at again. So what happened?

Coltrane already released a session with Duke Ellington the month before, and the next day they had a session scheduled with Johnny Hartman. It is possible that both John Coltrane and Bob Thiele, the Head of Impulse Records, thought his other released albums of that period would supersede this one. There were not only the albums he released with Impulse Records to compete with. As Coltrane’s popularity peaked, his previous labels, Prestige and Atlantic, would release his old recordings. The album Dakar, recorded in 1957 and released by Prestige in 1963, is a good example of this.

Another speculation is that the track Impressions was still a work in progress and that Coltrane was not satisfied with the studio recordings of the song. Coltrane was patient and worked in phases. He carefully explored harmonic progressions and multiple rhythms. The deluxe edition of Both Directions at Once: The Lost Album features four alternate takes on the tune Impressions and, each take is different from the other. Later that year, he released the album titled Impressions. For that album, he is not using one of the studio takes. Instead, he uses a fourteen-minute-long version recorded live at the Village Vanguard jazz club in November 1961 (2 years earlier). This could indicate Coltrane was displeased with his attempt to record the song in the studio.

Why Impulse Records only released the album now and not, for example, after Coltrane’s passing in 1967, could have something to do with them having lost the original master tapes (hence the subtitle: The Lost album). The word goes around that they lost the tapes after merging with ABC-Dunhill and relocating their headquarters from New York to Los Angeles in 1968.

Both Directions at Once: The Lost Album got released in 2018 and features seven tunes from which two previously unissued tracks: Untitled Original 11383 and Untitled Original 11386. The numbering refers to the identification system used in the studio by Bob Thiele.

Aside from the standard one-disc version (left), also a two-disc deluxe edition containing several alternate takes got released (right). Spotlighted are the alternate takes of Impressions.

In 1963, all these musicians are reaching some of the heights of their musical powers,” said the saxophonist Ravi Coltrane, John Coltrane’s son, who helped prepare Both Directions at Once for release. “On this record, you do get a sense of John with one foot in the past and one foot headed toward his future.” – The New York Times

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Record companies often decided not to release studio recordings. In my article below, you can find other examples of old recordings that were released recently:

Dee Dee Bridgewater’s Debut Album: Afro Blue

Dee Dee Bridgewater, born Denise Garrett (1950), is an award-winning singer-songwriter with a career encompassing jazz, soul, and disco. Her debut studio album Afro Blue is a timeless soul-jazz masterpiece that highlights her exceptional vocal abilities. The album features a song collection compiled from various music genres. Most songs are arranged by jazz trumpeter and Dee Dee’s husband, Cecil Bridgewater.

The vocalist was only 23 years old when she recorded the album in Tokyo. The album got released in 1974 on the Japanese label Trio Records (PA-7095). It got reissued a couple of times on different labels and exclusively in Japan, which made it a long sought-after item for record collectors. In 2020, the record label Mr Bongo partnered with Trio Records and released the album on vinyl in the United Kingdom on June 19. 

The album features various acclaimed jazz songs such as Horace Silver’s Love Vibrations (1970), Little B’s Poem by vibraphonist Bobby Hutcherson (1965), and of course, the title track Afro Blue, a jazz standard by Mongo Santamaria (1956).

The Cuban percussionist Mongo Santamaria originally recorded Afro Blue in 1959 and, the song became the first jazz standard built upon the African 3:2 cross-rhythm called hemiola. The composition got released on Santamaria’s album Mongo (Fantasy, 1959). The recording, however, is instrumental and lyrics were added later that year.

Songwriter Oscar Brown Jr. is the creative hand behind the lyrics you hear in Dee Dee Bridgewater’s version. The lyrics were added to Mongo Santamaria’s original and got initially recorded by Abbey Lincoln, who released the song including lyrics, on her fourth studio album titled Abbey Is Blue.

Apart from Dee Dee Bridgewater and Abbey Lincoln, various other musicians recorded and released the song. Among them, Cal Tjader (who recorded with Mongo Santamaria), Robert Glasper and Erykah Badu (who bring a contemporary version with altered lyrics), and Roberta Flack (who using Coltrane’s arrangement of the songs).

John Coltrane performed his arrangement of Afro Blue in 1963 together with Elvin Jones (drums), Jimmy Garrison (bass), and McCoy Tyner (piano) at the Birdland jazz club in New York. This is the same quartet with whom he recorded the albums CrescentA Love Supreme, and Blue World the following year. The song recording got released on the album Live At Birdland (Impulse Records, 1964).

Here are videos of live recordings of Afro Blue by Mongo Santamaria and John Coltrane’s Classic Quartet. Dee Dee Bridgewater’s full album is available for stream via YouTube.

Mongo Santamaria – Afro Blue
John Contrane – Afro Blue
Dee Dee Bridgewater – Afro Blue – Full Album

A Collective of Musicians Re:imagined the Blue Note Catalogue

Ever since its birth, jazz music has continuously evolved into various subgenres. The American record label Blue Note Records, which got established in 1939, played a significant role in this evolution. The company is a landmark in jazz music and has an extensive song catalog that includes many acclaimed jazz standards. Their new release Re:imagined is a compilation of Blue Note originals brought to you by a unique selection of musicians who’ve taken on jazz, soul, hip-hop, and R&B as their musical narrative.

Blue Note describes the album as “a bridge between the ground-breaking label’s past and future“. The driving force behind this highly anticipated project is a new and vibrant scene of mostly UK-based musicians. They are a group of forward-thinking artists that innovate, even reinvent, the genre through sampling, hip-hop, afrobeat, and dance music.

The compilation album features, among others, Shabaka Hutchings, Nubya Garcia, Alfa Mist, and Jorja Smith. They perform their take on Blue Note classics, often transformed into an easy-to-absorb contemporary remake.

“This 16-track compilation finds today’s youthful, often London-based renaissance in dialogue with the revered New York label’s deep back catalogue.”

The Guardian (review by Kitty Empire)

Not all songs on the album are adaptations of historic jazz standards. Singer-songwriter Jorja Smith opens the album with an electronic and upbeat transformation of St Germain‘s hit song Rose Rouge.

Inner sleeve artwork

Noticeable are the transformations of four original compositions by Wayne Shorter. The American jazz saxophonist composed many acclaimed jazz standards and, it’s no surprise that he is listed here multiple times. He had an influential career and, his contributions to jazz were paramount. In 1959, he joined Art Blakey & The Jazz Messengers, where he replaced Hank Mobley. And in 1964, he joined Miles Davis‘ second (great) quintet and co-founded jazz fusion.

His compositions spotlighted on Blue Note‘s Re:imagined are Footprints, Armageddon, Speak No Evil, and Night Dreamer.

Footprints is a composition that was originally recorded for his album Adam’s Apple. The track got reworked by the London-based Ezra Collective, who are adding beats to the original. The jazz standard Armageddon got transformed by the Norwegian group Fieh into something that best can be described as neo-soul. The last two, Speak No Evil and Night Dreamer, are cleverly fused into one by Emma- jean Thackray. The songs transform into an adventurous arrangement where, also here, beats dominate.

London Jazz News writes in their review that “for some heritage-loving jazzers this whole vault-raiding exercise will be sacrilege“. They also comment on the life expectations of these adaptations versus the originals: “Some of Blue Note Re:Imagined‘s supposed updates will vanish long before the originals fade and the results often aren’t “jazz” – but the spirit of adventure and imagination in a good number most definitely is.

All in all, despite how the album is being viewed by “heritage-loving jazzers“, and despite it being a compilation, the record is spirited and exhilarating. It’s shelved among the best albums released in 2020 as it spotlights a new wave, and helps you discover the latest in music.

Tony Allen’s Tribute To Art Blakey

Afrobeat legend and drummer, Tony Allen, was strongly influenced by the recordings of Art Blakey. For his first release on Blue Note Records, he pays a tribute to one of the greatest hard bop drummers in jazz history by blending hard bop with the afrobeat rhythmic subtlety. The recordings got released in May 2017. That year, Tony Allen continued returning to his jazz roots and, a couple of months later, he released his first full-length album on Blue Note titled The Source.

The recordings for the extended play of A Tribute To Art Blakey & The Jazz Messengers were an opportunity to document his interpretations. “I’m trying to change the pages,” Allen explains during a live performance. Tony Allen plays afrobeat and, he does not compromise, even when playing jazz standards. In the mini-album, he shows his jazz side and the way he is fusing the genres.

Allen doesn’t actually “swing” at all on these four standards associated with Blakey’s Jazz Messengers, instead putting each through his own Afrobeat prism.” London-based journalist and editor John Lewis explains in his review for The Guardian.

Moanin’ is reinvented in straight eighths, Politely is played in a rocking 6/8 rhythm, while A Night in Tunisia is transformed into a series of wonderfully jerky, disjointed riffs. Throughout, Allen’s Parisian septet improvises inventively around these unusual meters, most impressively on the Drum Thunder Suite, where one of Blakey’s many flirtations with West African music is, in turn, Africanised.

The release features four tracks associated with Art Blakey. It opens with Bobby Timmons’ celebrated composition Moanin’. The song got first recorded by Art Blakey’s band in 1958 and was released the following year on the album originally titled Art Blakey and the Jazz Messengers (BLP 4003). The Blue Note original album also includes Benny Golson’s and Art Blakey’s track The Drum Thunder Suite, which is the final and fourth song on Allen’s homage.

The second track is the signature piece of Dizzy Gillespie’s bebop big band, A Night in Tunisia. The song has associations with Art Blakey thanks to trumpeter Lee Morgan, who was part of Gillespie’s band between 1956 and 1958. Morgan got spotlighted with his solo work during live performances of A Night in Tunisia. He joined Art Blakey’s band, and in 1961, they released the album titled A Night In Tunisia (BLP 4049). The album opens with a hard bop adaptation of Gillespie’s composition, giving the drums a significant solo status.

The third track is the jazz standard Politely, composed by trumpeter Bill Hardman. The song got originally released on the Blue Note album titled The Big Beat (BLP 4029) by Art Blakey & The Jazz Messengers (released in 1960). Bill Hardman, who was part of The Jazz Messengers between 1956 and 1958 (called the “Second” Messengers), did not take part in the recordings. Instead, Lee Morgan, who was the main trumpeter of The Jazz Messengers between 1959 and 1961, provided the trumpet line.

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Youthful Enthusiasm: The Cooker by Lee Morgan

Trumpeter Lee Morgan was only 19 years old when he led the recording of his Blue Note original album titled The Cooker. The album is a demonstration of Morgan’s early bop-oriented influence and contains improvisation that communicates to the listener. He is playing with a kind of youthful enthusiasm and spontaneity.

Morgan plays exceptionally well for his age. When comparing this album to his previous work, we can notice the speedy development of his skills as a musician and bandleader. Lee Morgan will soon grow to become the greatest hard bop trumpeter in jazz history. He would be listed next to other trumpet legends like Miles Davis and Dizzy Gillespie.

Bebop pioneer Dizzy Gillespie was also his mentor. He hired the 18-year-old Lee Morgan to replace Joe Gordon in his big band. Morgan’s solo work was spotlighted during the many live performances of A Night In Tunisia, a Gillespie original and signature of bebop. The Cooker opens with this song, and his solo for this album is claimed to be the best recording of Morgan’s career.

Aside from performing with Dizzy Gillespie, Morgan also recorded in the studio during that time. He recorded several albums with jazz icons Hank Mobley and John Coltrane. His most notable work is the recording of Coltrane’s Blue Train in 1957 (Blue Note 1577), which got recorded in the same studio, and only 2 weeks before Morgan recorded The Cooker.

In 1958, Gillespie’s band split, and Morgan joined Art Blakey & The Jazz Messengers where he continued to develop his talents, now mainly as a composer. He brought a new potential to the band as they returned to Blue Note and released the jazz standard Moanin’ (composed by Bobby Timmons).

The Cooker got recorded in the Van Gelder Studio on September 29, 1957. It was the fifth Blue Note recording of the young trumpeter as a leader. He got the support from bassist Paul Chambers and drummer Philly Joe Jones, who he knew from the Blue Train recordings two weeks earlier. Pepper Adams joins on the baritone saxophone, and Bobby Timmons sits behind the piano during this vigorous recording session.

The album (BLP 1578) got released in March the following year. It features five tracks including A Night In Tunisia (D. Gillespie), Heavy Dipper (L. Morgan), Just One Of Those Things (C. Porter), Lover Man (R. Ramirez), and New-Ma (L. Morgan).

In April 2020 the album got reissued as part of the Blue Note Tone Poet Audiophile Vinyl Reissue Series (Blue Note 81578). An initiative from Blue Note Records President Don Was. It’s a reissue series of all-analog vinyl records mastered from the original master tapes.

Just Coolin’ With Art Blakey & The Jazz Messengers

Just Coolin’ is the result of a unique but short-lived ensemble of The Jazz Messengers collective. Originally founded and led by drummer Art Blakey, The Jazz Messengers knew many changes. “Stability can be elusive for even the most successful jazz ensembles,” author Bob Blumenthal wrote. In 1959, Hank Mobley, an alumnus of the band, replaced Benny Golson’s tenor saxophone in the band and he joined Lee Morgan (trumpet), Bobby Timmons (piano), Jymie Merritt (bass), and Art Blakey (drums) for a brief period.

The studio album was recorded on a single day in March 1959 at the famous Rudy Van Gelder studio in New Jersey. However, Blue Note Records co-founder Alfred Lion decided not to release the album and instead record a live performance at the famous Birdland club in New York. The live album titled At the Jazz Corner of the World was released in 1959 and remained the only issued recording of this jazz ensemble until Just Coolin’ was released in 2020.

Just Coolin’ features six songs including two unissued tracks: Quick Trick composed by Bobby Timmons (who also composed the jazz standard Moanin‘), and the uncredited composition Jimerick. Hank Mobley left the group already in July 1959 but, his contributions to the album were paramount. Half of the songs on the album are from his hand, including the almost nine minutes long title track, Just Coolin’.

Art Blakey & The Jazz Messengers – Just Coolin’ ℗ Blue Note Records

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John Coltrane’s Giant Steps

John Coltrane’s masterpiece, Giant Steps, turned sixty in 2020 and this was celebrated with an anniversary deluxe edition LP. Let’s have a brief look at how the album came to life and how Coltrane developed, personally and musically, before being able to compose one of the most influential jazz albums of all time.

John Coltrane went through a lot before he was ready to create his masterpiece Giant Steps. Starting his musical journey in 1949 under the spell of Charlie Parker, and later Dizzy Gillespie, he felt dissatisfied, even dejected. In 1954, Coltrane joined The Miles Davis Quintet where he was encouraged to think more harmonically. This was an important milestone in the yet-to-be-written composition of Giant Steps as he was introduced to new possibilities in chord progressions.

Coltrane had a drug addiction and was dismissed from the band (together with drummer Philly Joe Jones) in 1957. Being sacked by the number one musical influencer, Miles Davis, was a wake-up call. With the help of friends and family, Coltrane took steps to get his life back in order. He started rehearsing with the celebrated Thelonious Monk and this not only helped him recover from his addiction but also helped him develop artistically.

“Working with Monk brought me close to a musical architect of the highest order”

John Coltrane in an interview with DownBeat (1960)

Fully recovered and evolved, Coltrane rejoined Miles Davis’ band in 1958. The following year, they recorded Miles Davis’ Kind of Blue, an album that is claimed to be the most important album in jazz history. Giant Steps was recorded less than a month after the sessions for Kind of Blue (1959). Giant Steps, consisting entirely out of Coltrane’s original compositions, was released in 1960, and despite being a perfect contrast to Kind of Blue, it became a mighty equal.

Working with Thelonious Monk, and recording Kind of Blue with Miles Davis, were both giant steps John Coltrane took before he mastered the skills to compose and record the album that innovated jazz harmonically and rhythmically.

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Thelonious Monk At His Best – Palo Alto

In 1968, the sixteen-year-old Danny Scher invited Thelonious Monk and his quartet to play a benefit concert at his high school in Palo Alto, California. The concert got recorded and now, more than 50 years later, the music was released. Palo Alto is a live recorded concert featuring Charlie Rouse on the tenor saxophone, Larry Gales on the bass, Ben Riley behind the drums, and composer Thelonious Sphere Monk on the piano.

When jazz drummer T.S. Monk was contacted regarding an old concert recording, he was amazed by his father’s performance and the background story behind the session. Danny Scher, sixteen at the time, organized benefit concerts to raise money for the Peace Corps and construction projects in Kenya and Peru. Although many people did not believe it would actually happen, he successfully hosted a concert with the jazz titan, Thelonious Monk.

T.S. Monk, knowing most of his father’s live recordings, understood how unique this recording was and how it contributes to the legacy of Thelonious Monk. In cooperation with the label Impulse Records, he released the album in September 2020.

In an interview with Brad Baker from jazz.fm91, T.S. Monk highlights that his father was mainly known as a live artist. Especially before being placed on the cover of Time Magazine in 1964, and the wider public was introduced to his music, Monk’s recording career was unstable. Unlike Miles Davis or John Coltrane who spent their careers with major labels, Monk didn’t rely on his recordings, the people who remember Monk will refer to his live sessions instead.

T.S. Monk claims that the recording at the Palo Alto high school is the best recording made during his father’s career. “The way he plays, not knowing he was being recorded, was very rare,” he explains.

All of those elements that the world loves about Thelonious Monk are present in this recording.

T.S. Monk (Thelonious Monk’s son)

“Danny Scher caught him on an exceptionally good day, and all of those elements that the world loves about Thelonious Monk are present in this recording”, T.S. Monk said, “his ability to work with time and shift and displace various phrases, the swing that all of his bands always had, the unique harmonics and melodic figures that he played… it’s just all there. It’s pure Monk, and it’s wonderful.

You can listen to the full interview with T.S. Monk here:

The quality of the recording is exceptionally good for its age, but it has limitations. It does, however, capture astonishing details you rarely receive when listening to a studio recording. During Monk’s original composition “Well, You Needn’t” you can hear Larry Gale singing along during his bass solo. In piano-exclusive parts, you can hear Monk tapping his foot. You hear the audience react to every interaction of the musicians. These minor details bring out the jazz and feeling of presence when listening to this dusty 50-year old recording.

The album on vinyl comes with a gatefold sleeve, a copy of the original program, a replica of the event poster, and a booklet including rare images of Monk and the band.

Jazz Album Cover Designs That Inspire – Part 2

Once again, I dove into my collections in search of inspiring designs. Here are five more record sleeves that tell a story.

Mulatu Of Ethiopia – Mulatu Astatke

1972 / Worthy Records 1020 / photo uncredited / Matt Thame (design)

The Father of Ethio-jazz, Mulatu Astatke, brings a fantastic arrangement of Ethiopian fine tone scale mixed with Afro-American soul and jazz. The album is called Mulatu Of Ethiopia.

The cover photo and design remain uncredited but it’s a true eye-catcher. It features the title, a photograph of Mulatu Astatke posing in front of his vibraphone, and in the bottom left corner the logo of his sponsor, Ethiopian Airlines.

The copy I own is a reissue that I purchased at a concert in Prague. The outside design is identical to the original but inside the album, we find additional photography including a picture of a much older Mulatu Astatke holding his original record from 1972.

Chris Dave And The Drumhedz

2018 / Blue Note B002705401 / c. BARR @n8tivalien (artwork)

Blue Note Records describes this album as a place without genre, where elements of funk, soul, gospel, hip-hop, and jazz mix until they’re an indistinguishable surging mass of solid groove.

The artwork was created by creative artist c. BARR.

People Of The Sun – Marcus Strickland Twi-Life

2018 / Blue Note B002898301 / Stan Squirewell (artwork) / Leon Williams (photo)

This is saxophonist Marcus Strickland’s second studio album for Blue Note Records but, this is the first time he released his work on vinyl. People Of The Sun is a contemporary jazz album influenced by hip-hop and modern r&b.

You can see that they wanted to do something special for his first vinyl release. For the artwork, they hired the painter Stan Squirewell. Squirewell’s work is described as multilayered and explores identity and heritage. The photo is from the Brooklyn based photographer Leon Williams.

Gling-GlóBjörk Guðmundsdóttir & tríó Guðmundar Ingólfssonar

1990 / Smekkleysa SM 27 / Óskar Jónasson (artwork)

I’m not sure if I can pronounce the name of this band correctly but, this is a jazz album with the 24 years old Björk on vocals. Several songs are covers of jazz standards but sung in Icelandic. The music is as charming as the left-field pop she would later record.

 The artwork is from the Icelandic film director and screenwriter Óskar Jónasson who was Björk’s boyfriend at the time.

The copy in my collection is a reissue on One Little Indian. The album was repressed on a 45 rpm double-12-inch vinyl to improve the sound quality and several songs were added. The sleeve design was kept the same and the tracklist was not revised. On the reissue sleeve you still see only 2 sides while in reality, we have 4. Be aware to play the reissue at 45rpm! There is no indication on the sleeve nor on the label about this.

A Love Supreme – John Coltrane

1965 / Impulse! A-77 / George Grey (design) / Bob Thiele (photo) / Victor Kalin (sketch)

An album that needs no introduction. Coltrane called this album his gift to God.

This gatefold sleeve features the same picture of Coltrane on the back as on the front. The picture was taken by record producer Bob Thiele who was at the time the head of the Impulse! record company. When folding open the record sleeve, a sketch of Trane playing the saxophone appears. The sketch was made by artist Victor Kalin who is best known for his illustrations for magazines, paperback books, and record albums. He, for example, also illustrated the albums: Rockin’ In Rhythm by Duke Ellington (DL 79247), Mingus Plays Piano by Charles Mingus (A-60), and again Coltrane for the album Expression (AS-9120).

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Hugh Masekela and Tony Allen – Rejoice, Here Comes Tony

Would there be afrobeat without Tony Allen? Tony Allen’s beats and rhythms were, to say it modest, genre-defining. He will always be remembered as the pioneer and co-founder of afrobeat. He was a curious musician and left his mark on various collaborative projects that would shift and blend music genres.

Tony Allen passed away in April 2020, one month after the master drummer released the collaborative work Rejoice. For this project, the Nigerian drummer worked together with South African trumpeter Hugh Masekela. Hugh Masekela, who had a major influence on jazz in South Africa, would add melodies to the drum beats of Tony Allen. The two met in the seventies thanks to their associations with Fela Kuti (Africa ’70).

In the decades to come, they talked about making an album together. In 2010, producer Nick Gold took the opportunity and recorded the encounter. The recording remained unfinished and was stored in the archives. With Hugh Masekela’s passing in 2018, Tony Allen and Nick Gold continued working on the original tapes during the summer of 2019. They finished the recording at the same studio where the original sessions took place, the Livingston Recording Studios in London.

‘Rejoice’ can be seen as the long overdue confluence of two mighty African musical rivers – a union of two free-flowing souls for whom borders, whether physical or stylistic, are things to pass through or ignore completely.

According to Allen, the album deals in “a kind of south African-Nigerian swing-jazz afrobeat stew.”

World Circuit – text featuring on the album’s cover

Robbers, Thugs And Muggers (O’Galajani), the opening song of the album, starts with a vocal intro by Hugh Masekela. Fifteen seconds in, Tony Allen sets the rhythm on the drums and after finishing the vocal intro, Hugh Masekela picks up the drums with melodies on his flugelhorn. The opening track defines the rest of the album, a unique fusion of afrobeat and jazz where drum beats, vocals, and trumpet melodies are fundamental elements.

Tony Allen & Hugh Masekela – The Story of Rejoice (World Circuit Records)

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