Condition:
JOHN COLTRANE - WHEELIN
1977 PRESTIGE DOUBLE LP
(VG+ conditions scuffs only
USA PRESSING WITH COMPANY INNER SLEEVES. THIS EXPANDED VERSION OF "THE DEALERS" BY MAL WALDRON, IS A COLLECTION OF HOT JAMS FROM THE LATE SUMMER OF 1957. JUMPING, POST-BOP AND -JAZZ - MORE DETAILS BELOW...
1977 Prestige P-24069 (personnel: Paul Quinichette, Mal Waldron, Jackie McLean, Frank Wess, Bill Hardman, Art Taylor, Doug Watkins, Julian Euell) (
includes: Wheelin’ (two takes),
Dealin’ (two takes),
Things Ain’t What They Used to Be,
Robbins’ Nest,
Blue Calypso,
Falling in Love with Love) (1957 recordings
WALDRON, Mal
(b 16 Aug. '26, NYC; d 2 Dec. 2002, Brussels) Pianist, composer. Began on alto sax; BA in music from Queens College; worked with Ike Quebec late '40s, Della Reese, R&B sessions, then with Charles Mingus '54-7 (Debut LPs now on Fantasy), Gigi Gryce '56, accompanied Billie Holiday '57-9, etc. Became virtually the house pianist on Prestige/Status labels; work of great value resulted, inimitable compositions influenced by those of Thelonious Monk: LPs included Mal 1 '56 with Gryce, Mal 2 '57 with Jackie McLean, Sahib Shihab, John Coltrane; also Impressions, trio Mal 4 (CD only '87). The Quest '61 with Eric Dolphy, Booker Little was reissued as a Dolphy LP, later restored to its original format; with Ron Carter on cello, Joe Benjamin on bass, Charles Persip on drums, seven fine Waldron tunes, it was one of the most beautiful masterpieces of what was then called 'the new music'. He played with co-led Dolphy/ Little combo at the Five Spot '61 (Richard Davis on bass, Ed Blackwell on drums), the three live albums another landmark of the era, compiled as The Great Concert Of Eric Dolphy. He also played on Carter's Where? '61 with Dolphy and others; Coltrane's Dakar and The Dealers -- Mal Waldron With John Coltrane '57 and more, always with fine Waldron tunes. He had written ballet music earlier, did film scores The Cool World '63, Three Bedrooms In Manhattan and Sweet Love Bitter '65 and incidental music for plays by LeRoi Jones. He went to Europe on film work and relocated there, with frequent visits to Japan.
It's the fall of 1957, and John Coltrane finds himself in another session with overtones of Kansas City, thanks to the inclusion of Basie alumni Frank Wess and Paul Quinichette. WHEELIN' & DEALIN' reprises the Mal Waldron/Art Taylor rhythm section (with Doug Watkins on bass instead of Paul Chambers), only with a bit more bite and jet propulsion than on Trane's other Prestige all-star dates.
The chemistry between Coltrane, Wess and Quinichette makes WHEELIN' & DEALIN' a particular joy. Listen to the coquettish "Salt Peanuts" vamp Trane and Quinichette introduce behind Wess' percolating flute on "Things Ain't What They Used To Be," and how modern Wess' conception of this instrument is (rarely has Wess gotten the credit he deserves for his total command of the flute, and for popularizing it in a jazz setting). Quinichette offers witty asides to "Stormy Weather" and Trane answers the old master with steely trills, blues hollers and lines of escalating complexity; Quinichette answers with another quote, this time from "Undecided," offering a perfect contrast between his own classic lyricism and Trane's post-modern rhythmic/harmonic mastery. In their round-robin interplay on take 1 of "Wheelin'" Wess seems to split the generational difference.
Illinois Jacquet's classic big-band number "Robbin's Nest" offers a cool, laid back setting upon which to essay extended variations; Wess' flute carries the main melodic thrust, as drummer Art Taylor and Waldron provide sly accompaniment and interplay. Quinichette is up next, and he attacks the theme and changes with taciturn splendor, gradually building tension until he wanders off with bluesy swagger. Trane answers with a magnificent solo, calmly outlining a harmonic sketch of his intentions before vaulting into rhythmically daring variations. The concluding "Dealin'" is a wily after-hours blues by Waldron, who sets a perfect mood on his opening solo, followed by Wess' piping blues phrases, Quinichette's elegant pear tones and Trane's fervent testimony.
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