Coltrane spielte nicht am Abend sondern tags im Studio … dass auch diese offizielle (und auch bereits als LP veröffentlichte) Ausgabe, die ja angeblich zusammen mit dem WDR erstellt wurde, wieder als Fake-Live-Ding vertickt wird – und obendrein auch nicht so gut klingt, wie die Studiobänder, die im WDR-Archiv wohl schlummern müssten – , ist mehr als ärgerlich.
Vom 21. März bis am 10. April 1960 geht Coltrane mit Miles Davis‘ Quintett zum letzten Mal auf Tour. Angekündigt war ein Sextett mit Buddy Montgomery am Vibraphon, der im Februar zur Band gestossen ist, aber aufgrund seiner Abneigung gegen das Fliegen nicht auf die Tour mitging – möglicherweise der Fehler seines Lebens? Im Gegensatz zu Bruder Wes hatte Buddy ja wenig Erfolg (von Monk könnte man ähnliches sagen, aber der spielte ja immerhin schon in den 40ern mit seinem Fender Bass bei Lionel Hampton mit – das Trio der Brüder ist sehr hörenswert!).
Die Tour lief unter dem „Jazz at the Philharmonic“ Etikett, neben Miles‘ Gruppe waren Stan Getz und Oscar Peterson dabei. Am 28. März kam es dabei im Rahmen zweier Studio-Aufnahmen des WDR auch tatsächlich zu Begegnung von Coltrane und Getz – mal wieder aus „Coltrane Reference“:
„These were studio recordings done for German radio and television. The Apollo Theater of Düsseldorf opened in 1899 and over the subsequent decades variously featured variety shows, operas, movies, and pop concerts. In 1959 it was closed and converted into a TV studio. It was demolished in 1966. (See http://www.andreas-praefcke.de/carthalia/germany/duesseldorf_apollo.htm [accessed July 15, 2006] for photos of and further information about this theatre.)
Tenor saxophonist Gerd Dudek was in the studio, along with Dusko Goykovich (a trumpeter who was acquainted with Stan Getz); both were members of the Kurt Edelhagen Orchester at that time. There was no audience in the Apollo theater; only cameramen, technicians, and other personnel were present, except the musicians. The applause on the recordings is overdubbed. Dudek recalls that they all waited for hours (possibly for Miles Davis, who apparently never showed up). He had coffee in the staff restaurant and noticed Coltrane nearby; Dudek thought that Coltrane looked very young, almost like a student. (Phone conversations with Wolf Schmaler, Dec. 2 and 8, 2003.)
It’s astonishing that the Coltrane-Getz session was apparently forgotten and remained unknown for more than 40 years. It didn’t help that in 1965, Norman Granz implied that the session never took place. In „Jazz Today as Seen by Norman Granz,“ by Leonard Feather (Down Beat, Dec. 30, 1965, pp. 26-27, 30), Granz, as quoted by Feather, said that Coltrane didn’t want to participate in the jam session with Getz (from p. 30):
I took Miles‘ Group to Europe when Coltrane was with him. At one timewe were supposed to do a television show, and I insisted on Coltrane jamming against Stan Getz, accompanied by Oscar Peterson, Ray Brown, and Jimmy Cobb. But it was like Panic City. Getz was prepared to do it. But in spite of the fact that Trane’s background equipped him excellently for htis, he just didn’t have eyes for it. He just had thee fixed things he did with Miles and that’s all he wanted to play. […] I don’t know why Trane shouldn’t do [jam sessions]. After all, before he changed his style, he used to be a rock-and-roll tenor player like Sil Austin and Sam Taylor and those cats.
This account is difficult to reconcile with the fact that Coltrane obviously did participate in the jam session, as well as the quartet session (without Miles Davis). However, in a 1987 interview with Scottish broadcaster and record producer Elliot Meadow, Granz was asked about these sessions and gave a different account. Granz said that the main snag was Miles Davis’s refusal to participate. Granz then set up the sessions without Davis and asked Coltrane to participate (for pay), and Coltrane agreed. It’s possible that Leonard Feather (in the 1965 article) either misquoted Granz or took his statements out of context. (Thanks to Tad Hershorn for providing the information about the 1987 interview, and thanks to Alexander Vasilic, WDR archivist, for detailed informations about these sessions.)
[Additional data from eyewitness account, Karl-Heinz Scholz (phone conversations with Wolf Schmaler, Dec. 11, 2003, and Jan. 9, 2004.]~ Coltrane Reference, pp. 192-193
Das Ballad-Medley wird von Kelly begleitet, dann wurde eine kurze Pause rausgeschnitten, während der Oscar Peterson sich ans Piano setzte, und weiter ging’s mit „Hackensack“! Toll, Coltrane und Getz zusammen zu hören!
…
Das Programm:
21.3. – Olympia, Paris (zwei Konzerte, 19:00 und 21:00)
22.3. – Konserthuset, Stockholm (zwei Konzerte, 19:00 und 21:15)
23.3. – Njardhallen, Oslo (oder Göteborg)
24.3. – Tivolis Koncertsal, Kopenhagen (zwei Konzerte, 19:00 und 21:30)
25.3. – Niedersachsenhalle, Hannover
26.3. – Weser-Ems-Halle, Oldenburg
27.3. – Sportpalast, Berlin
28.3. – WDR-Sessions, Apollo Theater, Düsseldorf
29.3. – Musikhalle, Grosser Saal, Hamburg
30.3. – Kongresshalle, Frankfurt/Main
31.3. – Teatro Lirico, Milano
1.4. – Fruchthalle, Kaiserslautern
2.4. – Miessehalle, Köln (2 Konzerte, 18:15 und 21:00)
3.4. – Deutsches Museum, Kongress-Saal, München (2 Konzerte, 18:00 und 21:00)
4.4. – Stadthalle, Karlsruhe
6.4. – prob. Stadthalle, Wien
7.4. – Messehaus, Nürnberg (2 Konzerte)
8.4. – Kongresshaus, Zürich
9.4. – Kurhaus, Scheveningen
10.4. – Liederhalle, Beethoven-Saal, Stuttgart…
Quelle: Coltrane Reference, 190-197.
Von hier:
http://forum.rollingstone.de/foren/topic/chronological-coltrane/page/12/#post-7658547
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba