From 2012 review by homageToDonByas: "Some notes from one who was there" My rating should mean nothing to you as I'm biased: I'm the person who did the taping. My mother had just given me a Norelco reel-to-reel portable as a graduation present. I believe the first use to which I put it was to record this incredible 4 PM Monday matinee. McCoy Tyner was late, which meant that the first few tunes were done by a trio. Because of the limitations of the Norelco's microphone, the absence of a piano allowed for somewhat more clarity in the recorded sound. The trio in fact sounds here more like a duo due to the unresponsiveness of the mic to low frequencies. As great as he normally played (and continues to play 48 1/2 years later!), Roy Haynes surpassed himself that afternoon. I remember the excitement I--and no doubt the whole room--felt from the way he was interacting with Coltrane on "Chasin' the Trane," the first tune of the afternoon. (Yes, folks, jazz can be played in the afternoon! It is possible that some other musicians looked upon the Showboat's Monday matinees as a drag since they were obligated to perform several more sets a few hours later, but the magisterial John Coltrane could do no other than to give his all every time he picked up his horn.) Listening to this track, it all comes back. At one point during "Easy to Remember," Coltrane played an amazing duet with himself, high and low on the horn, that was--and remains--the most wonderful example of counterpoint, even while single-voiced--I'm aware of ever having heard in jazz. As to whether the piano solo on "After the Rain" was really played by Coltrane: yes, indeed it was. As I recall, in explanation of why Coltrane remained at the bandstand after the set, playing the piano from a standing position, Jimmy Heath told my friend Dave Shrier that Trane had seen someone in the audience whom he wanted to avoid. Now a word about Roy Haynes. He was sitting next to me at the bar during the break (or maybe it was immediately before the set began) and noticed the tape recorder in my lap. He wasn't particularly pleased, informing me that he had appeared on some Charlie Parker bootleg records for which he had never been paid. When I told him that I had no intention of commercializing the tapes and said that I'd stop taping and give him the tape if he liked, he kindly said that, in this case, he supposed it would be okay. So how then to explain this bootleg CD? In 1985, I donated the tapes to the Institute of Jazz Studies at Rutgers University (Newark campus). I believe the Institute subsequently loaned them to WKCR for one of the radio station's annual Coltrane festivals, someone taped them from the air, and the copies circulated among the jazz community. I don't know how else to account for this bootleg issue. The same bootleg company, two years before issuing the "More Live at the Showboat" CD, issued a 2-CD package called "The John Coltrane Quartet Live at the Showboat," and the album notes contained some errors. I'll mention them here, though they more properly belong in a review of that set. The music on that other set, which I also recorded, was from Thursday night July 18th, 1963, three weeks after this set (which was recorded on Monday June 24th), not from June 17th, which is the date given on the other album. Elvin Jones was back in the group by then; contrary to the album notes, he, not Roy Haynes, was the drummer. Somewhere or other I saw it mentioned that Coltrane didn't play the Showboat in July 1963; that is a mistake.
"Chasin the Trane" itself is a version of "Blues to You" from "Coltrane Plays the Blues." Definitely not "Take the Coltrane." The opening riffs changed-enough I would call this "Chasin the Trane."
as far as i know, "chasin the trane" is a normal 12 bar blues in concert F, there's no bridge that i can hear either in this version or the other 2 "live at the village vanguard" versions ?
Correct. It's strictly a 12 bar blues, that sometimes the form "disappears" where Trane superimposes various rhythmic/harmonic structures over. They get off a beat here and there, but Elvin (or in this case Roy) usually corrects it within a bar or two. For more information, see: roelhollander.eu/en/blog-saxophone/Coltrane-Geometry/
I would agree with you...perhaps he was referring to "Traneing In" - a Bflat blues with a bridge...? In any event the 'theme' stated at the beginning of this track is consistent with other versions of "Chasin' the Trane" performed @ the Village Vanguard and elsewhere...
both chasin and take the are 12 bar blueses, Tranin in' is a blues w/ rythym changes bridge. The vangard 61 had 2 bflat and 1 f versions o chasin. the one in f a critic called polka which also had haynes like this one. The famous vangaurd chasin was called a 15 min air leak. Just like the challenges 1 direction faces today kids. They have to represent an clearly exemplify every attractive male stereotype. true modern anti-music.
i can't even talk after listening to this
ROY HAYNES!
From 2012 review by homageToDonByas:
"Some notes from one who was there"
My rating should mean nothing to you as I'm biased: I'm the person who did the taping. My mother had just given me a Norelco reel-to-reel portable as a graduation present. I believe the first use to which I put it was to record this incredible 4 PM Monday matinee. McCoy Tyner was late, which meant that the first few tunes were done by a trio. Because of the limitations of the Norelco's microphone, the absence of a piano allowed for somewhat more clarity in the recorded sound. The trio in fact sounds here more like a duo due to the unresponsiveness of the mic to low frequencies.
As great as he normally played (and continues to play 48 1/2 years later!), Roy Haynes surpassed himself that afternoon. I remember the excitement I--and no doubt the whole room--felt from the way he was interacting with Coltrane on "Chasin' the Trane," the first tune of the afternoon. (Yes, folks, jazz can be played in the afternoon! It is possible that some other musicians looked upon the Showboat's Monday matinees as a drag since they were obligated to perform several more sets a few hours later, but the magisterial John Coltrane could do no other than to give his all every time he picked up his horn.) Listening to this track, it all comes back.
At one point during "Easy to Remember," Coltrane played an amazing duet with himself, high and low on the horn, that was--and remains--the most wonderful example of counterpoint, even while single-voiced--I'm aware of ever having heard in jazz.
As to whether the piano solo on "After the Rain" was really played by Coltrane: yes, indeed it was. As I recall, in explanation of why Coltrane remained at the bandstand after the set, playing the piano from a standing position, Jimmy Heath told my friend Dave Shrier that Trane had seen someone in the audience whom he wanted to avoid.
Now a word about Roy Haynes. He was sitting next to me at the bar during the break (or maybe it was immediately before the set began) and noticed the tape recorder in my lap. He wasn't particularly pleased, informing me that he had appeared on some Charlie Parker bootleg records for which he had never been paid. When I told him that I had no intention of commercializing the tapes and said that I'd stop taping and give him the tape if he liked, he kindly said that, in this case, he supposed it would be okay. So how then to explain this bootleg CD? In 1985, I donated the tapes to the Institute of Jazz Studies at Rutgers University (Newark campus). I believe the Institute subsequently loaned them to WKCR for one of the radio station's annual Coltrane festivals, someone taped them from the air, and the copies circulated among the jazz community. I don't know how else to account for this bootleg issue.
The same bootleg company, two years before issuing the "More Live at the Showboat" CD, issued a 2-CD package called "The John Coltrane Quartet Live at the Showboat," and the album notes contained some errors. I'll mention them here, though they more properly belong in a review of that set. The music on that other set, which I also recorded, was from Thursday night July 18th, 1963, three weeks after this set (which was recorded on Monday June 24th), not from June 17th, which is the date given on the other album. Elvin Jones was back in the group by then; contrary to the album notes, he, not Roy Haynes, was the drummer. Somewhere or other I saw it mentioned that Coltrane didn't play the Showboat in July 1963; that is a mistake.
Interesting stuff. Thanks for sharing!
This music, coming from the gods inside Coltrane,
3:41 for those wishing to have a clear example of the polytonic playing coltrane was mastering in 63.
Strange. I thought there were two instruments
This is the best debate ever. Jazz! We don't even know what TUNE he's playing....
best 12 bar blues ever
Yes, you are correct...
BPM for the half note =123 beginning tempo (246 BPM = quarter note)
BPM for the half note ending tempo 145( 290 BPM =Quarter note)
"Chasin the Trane" itself is a version of "Blues to You" from "Coltrane Plays the Blues." Definitely not "Take the Coltrane." The opening riffs changed-enough I would call this "Chasin the Trane."
It took me years to figure out what he was doing!!!!
more intense :)
omg Roy are you shitting me :O
haa i have this cd:)
Blue in Concert F (G tenor Blues)
...that one time when McCoy got on the wrong bus and missed the gig....
Anyone here from Herbie's MasterClass?
Link please?
boz otimov Masterclass is a website where you have to pay for lessons, there’s no link, you have to pay.
as far as i know, "chasin the trane" is a normal 12 bar blues in concert F, there's no bridge that i can hear either in this version or the other 2 "live at the village vanguard" versions ?
Correct. It's strictly a 12 bar blues, that sometimes the form "disappears" where Trane superimposes various rhythmic/harmonic structures over. They get off a beat here and there, but Elvin (or in this case Roy) usually corrects it within a bar or two.
For more information, see:
roelhollander.eu/en/blog-saxophone/Coltrane-Geometry/
1:09
I would agree with you...perhaps he was referring to "Traneing In" - a Bflat blues with a bridge...?
In any event the 'theme' stated at the beginning of this track is consistent with other versions of "Chasin' the Trane" performed @ the Village Vanguard and elsewhere...
0:26
this is absolutely Chasin The Trane. Listen to the original vanguard recording. Same basic melody.
both chasin and take the are 12 bar blueses, Tranin in' is a blues w/ rythym changes bridge. The vangard 61 had 2 bflat and 1 f versions o chasin. the one in f a critic called polka which also had haynes like this one. The famous vangaurd chasin was called a 15 min air leak. Just like the challenges 1 direction faces today kids. They have to represent an clearly exemplify every attractive male stereotype. true modern anti-music.
this is soooooo nastyyyy
This is not" Chasin' The Trane"-that tune is a blues with a bridge-this is more like "Take The Coltrane"
no bridge...