Dakar (1957) presents half-a-dozen numbers recorded April 20, 1957 by an ensemble credited as the "Prestige All-Stars." On the bandstand for this date are
John Coltrane (tenor sax),
Cecil Payne (baritone sax),
Pepper Adams (baritone sax),
Mal Waldron (piano),
Doug Watkins (bass), and
Art Taylor (drums). Although at the time these were considered "leaderless" units, upon hearing the interaction of the participants, modern ears might desire to qualify that statement.
The Latin-flavored title track "Dakar" finds
Coltrane adapting his solo to faultlessly conform to
Payne and
Adams' comparatively fuller-bodied involvement. The brooding chord progressions take on dark overtones with
Coltrane joining
Waldron as they burst forth fuelled by the soulful brass section. "Mary's Blues" is a treat for sax lovers as
Adams -- who penned the number -- almost immediately raises the musical stakes for
Coltrane. The differences in their respective presentations offer a contrast that complements the cool refinement of
Adams and
Pepper when juxtaposed with
Coltrane's frenetic flurries. Particularly engaging are the sequence of four-bar blasts from the horn players, just prior to
Coltrane pushing the combo through their paces. On "Route Four" the strongest elements of each player surface, creating one of the platter's brightest moments. Right out of the box,
Waldron unleashes line upon line of masterful lyricism. The driving tempo keeps the instrumentalists on their toes as
Coltrane is sandwiched between the undeniably and equally inspired
Payne and
Adams. Here, the urgency of
Coltrane's tenor sax clearly tests the boundaries of the
Taylor/
Watkins rhythm section. The moody and sublime ballad "Velvet Scene" is a
Waldron composition containing some of the author's strongest individual involvement as he interjects his expressive keyboarding directly into the melody. If the album is flawed, that may well be due to
Coltrane's inability to deliver during "Witches' Pit." Perhaps because he is the first soloist, there seems to be no immediate direction to his playing. In a highly unusual move, he simply trails off rather than concluding his portion with his usual command and authority. "Cat Walk" restores
Coltrane's sinuous leads during a couple of jaunty double-time excursions that tread gingerly around the catchy tune. Jazz enthusiasts -- especially lovers of
Thelonious Monk -- should easily be able to discern
Adams' nod to "'Round Midnight." ~ Lindsay Planer