Jazz
Often cited as saxophonist John Coltrane's first album as leader, Dakar—recorded on April 20, 1957—is a usurper. Originally credited to the Prestige All Stars (and released as part of a short-lived experiment with 16-rpm discs), it was only credited to Coltrane on its re-release in 1963, when the saxophonist's star was firmly in the ascendant. The Dakar session was one of several Coltrane appeared on as a sideman that week—on the 16th with pianist Thelonious Monk, on the 18th with the Prestige All Stars, and on the 19th with pianist Mal Waldron. He gets no more solo time than either of the other saxophonists, baritone players Cecil Payne and Pepper Adams. Another day, another dollar.
If it's anyone's baby, Dakar—here released as part of Prestige's Rudy Van Gelder Remasters series—belongs to Teddy Charles. The vibraphonist and bandleader produced the sessions, composed three of the six tunes, and—crucially—picked the line-up. Clearly, he didn't have a Coltrane album in mind, more a meeting between the elder statesman of bop baritone, Payne, and the younger hard bop stylist, Adams. Coltrane, his tenor already possessing the incisive sound which took wings on Giant Steps (Atlantic, 1959), works like spice amongst Payne's lighter, at times Lester Young-ish tone, and Adams' tougher, more abrasive one (not for nothing was Adams nicknamed The Knife).
It's rough and ready music, almost certainly rehearsed for the first time in the studio (with the clock ticking), but it sure is ready. The three saxophonists roar into the opening title track, Payne soloing first, then Coltrane, then Adams. There's a fierce, devil may care atmosphere, rolling around in the sound of the instruments, which establishes a mood sustained throughout the album. There's a telling moment towards the end of the closing "Cat Walk" when Payne's baritone emits a horrible squeak. Even in 1957, most producers would have asked for another take, or got busy with a razor blade. It's retention, for whatever reason (lack of money, lack of time, confidence in the fundamental quality of the music), on the finished album adds to the sense of reportage and the enjoyment.
There's just one ballad, Waldron's "Velvet One," on which Coltrane's tenor states the theme over soft riffing from Payne and Adams, and which gives a taste of the lyrical magic Coltrane would later weave on Ballads (Impulse!, 1962).
A minor chapter in the Coltrane canon it may be, but Dakar is a characterful set of propulsive, pre-codification hard bop and still a delight over half a century later.
By Chris May. AAJ.
**
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."
By Lindsay Planer, All Music Guide.
**
John Coltrane- (Tenor Sax)
Pepper Adams- (Bariton Sax)
Cecil Payne- (Bariton Sax)
Mal Waldron- (Piano)
Doug Watkins- (Bass)
Art Taylor- (Drums)
**
01. Dakar 7:07
02. Mary's Blues 6:46
03. Route 4 6:53
04. Velvet Scene 4:51
05. Witches Pit 6:40
06. The Cat Walk 7:11
**
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