This double-LP compilation was first released in the late '70s and features tunes from two distinct fall of 1956
John Coltrane (tenor saxophone) sessions. Billed as the "Prestige All-Stars," the September 7 confab with fellow tenor tooters
Hank Mobley,
Al Cohn, and
Zoot Sims, as well as
Red Garland (piano),
Paul Chambers (bass), and
Art Taylor (drums) yielded the Tenor Conclave (1956) album. Less than three months later,
Coltrane was backing
Tadd Dameron (piano),
John Simmons (bass), and
Philly Joe Jones (drums) for tracks that would be issued as
Mating Call (1957). The intimacy of "How Deep Is the Ocean" dispels the "too many cooks spoil the pot" adage.
Cohn's cool and supple tone sets the pace for the quarter-hour long reading. Saving the best for last,
Coltrane brings up the rear with the final solo after
Garland,
Simmons, and
Chambers have taken their own passes at the chorus. The midtempo "Just You, Just Me" uncovers an alternate facet of the involved parties -- especially as, one by one, the respective tenors assume the helm. The personalities of each player stand out when presented in such a context, making it among the disc's many indispensable entries. With obvious overtones and sonic references to
Charlie Parker's classic "Blues for Alice," the
Mobley composition "Bob's Boys" is a fiery tenor-lovers dream as the primary participants are offered up in practically every configuration possible. Particularly potent are the four saxes as they quite literally respond to one another -- passing ideas and inspiration around like a joint. The November 30 date was the last of 1956 for
Coltrane as he finds himself integrated into a
Dameron-led outing with the pianist also supplying all of the thoroughly excellent tunes. Interested parties are encouraged to check out the title piece "On a Misty Night" -- a lovely excursion that provides
Coltrane the chance to let loose with his trademark lyrical phrasing. One need only hear the sweet and sinuous opening to realize the presence of true genius. Also, note the juxtaposition of the higher pitch -- during the intro -- to the lower, earthier quality
Coltrane possesses in the verses. Likewise, the bluesy "Romas," the lovely, melodic "Gnid," and the rocket-fuel pacing of "Super Jet," are similarly outstanding. However, the real heart is
Dameron's ballad "Soultrane." Here again,
Coltrane incorporates a wider range of sound to a tremendous emotional effect. He even quietly but confidently asserts a few bars of playful double-time, if for no other reason than to give the performance a bit of a lift that may be part of the reason for its well-deserved placement in the rarefied strata of
Coltrane's most revered works.