The complicated rhythm patterns and diverse sonic textures on
Olé Coltrane are evidence that
John Coltrane was once again charting his own course. His sheer ability as a maverick -- beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced two days prior to this session on
Africa/Brass,
Coltrane's debut for the burgeoning Impulse! label. The two sets complement each other, suggesting a shift in the larger scheme of
Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring
Coltrane on soprano and tenor sax,
McCoy Tyner on piano, and
Elvin Jones on drums, with double-bass chores held down by
Art Davis and
Reggie Workman. Added to that are significant contributions and interactions with trumpeter
Freddie Hubbard and
Eric Dolphy on flute and alto sax (although
Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album). The title track is striking in its resemblance to the Spanish influence heard on
Miles Davis'
Sketches of Spain. This is taken a bit further as
Coltrane's combo stretches out with inspired improvisations from
Dolphy,
Hubbard,
Tyner, and
Coltrane, respectively. "Olé" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that undoubtedly excited
Coltrane, who was perpetually searching for sounds outside the norm. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between
Tyner, the song's author, and
Coltrane. The solos from
Hubbard,
Dolphy, and an uncredited
Tyner gleam from within the context of a single facet in a multi-dimensional jewel. [Some reissues include an extra track cut during the same sessions, "To Her Ladyship."] ~ Lindsay Planer