John Coltrane formed his first group, a quartet, in 1960. After moving thro… Read Full Bio ↴John Coltrane formed his first group, a quartet, in 1960. After moving through different personnel including Steve Kuhn, Pete LaRoca, and Billy Higgins, the lineup stabilized in the fall with pianist McCoy Tyner, bassist Steve Davis, and drummer Elvin Jones. Tyner, from Philadelphia, had been a friend of Coltrane's for some years and the two men long had an understanding that the pianist would join Coltrane when Tyner felt ready for the exposure of regularly working with him. Also recorded in the same sessions were the later released albums Coltrane's Sound and Coltrane Plays the Blues.
Still with Atlantic Records, for whom he had recorded Giant Steps, his first record with his new group was also his debut playing the soprano saxophone on the hugely successful My Favorite Things. Around the end of his tenure with Miles Davis, Coltrane had begun playing soprano saxophone, an unconventional move considering the instrument's near obsolescence in jazz at the time. His interest in the straight saxophone most likely arose from his admiration for Sidney Bechet and the work of his contemporary, Steve Lacy, even though Miles Davis claimed to have given Coltrane his first soprano saxophone.
The new soprano sound was coupled with further exploration. For example, on the George Gershwin tune "But Not for Me", Coltrane employs the kinds of restless harmonic movement (Coltrane changes) used on Giant Steps (movement in major thirds rather than conventional perfect fourths) over the A sections instead of a conventional turnaround progression. Several other tracks recorded in the session utilized this harmonic device, including "26-2," "Satellite," "Body and Soul," and "The Night Has a Thousand Eyes."
Shortly before completing his contract with Atlantic in May 1961 (with the album Olé Coltrane although Atlantic would continue to release recordings from their vaults for many years), Coltrane joined the newly formed Impulse! Records label, with whom the "Classic Quartet" would record. It is generally assumed that the clinching reason Coltrane signed with Impulse! was that it would enable him to work again with recording engineer Rudy Van Gelder, who had taped both his and Davis' Prestige sessions, as well as Blue Train. It was at Van Gelder's new studio in Englewood Cliffs, New Jersey that Coltrane would record most of his records for the label.
By early 1961, bassist Steve Davis had been replaced by Reggie Workman while Eric Dolphy joined the group as a second horn around the same time. The quintet had a celebrated (and extensively recorded) residency in November 1961 at the Village Vanguard, which demonstrated Coltrane's new direction. It featured the most experimental music he'd played up to this point, influenced by Indian ragas, the recent developments in modal jazz, and the burgeoning free jazz movement. Longtime Sun Ra saxophonist John Gilmore was particularly influential; the most celebrated of the Vanguard tunes, the 15-minute blues, "Chasin' the Trane", was strongly inspired by Gilmore's music.
During this period, critics were fiercely divided in their estimation of Coltrane, who had radically altered his style. Audiences, too, were perplexed; in France he was famously booed during his final tour with Davis. In 1961, Down Beat magazine indicted Coltrane, along with Eric Dolphy, as players of "Anti-Jazz" in an article that bewildered and upset the musicians. Coltrane admitted some of his early solos were based mostly on technical ideas. Furthermore, Dolphy's angular, voice-like playing earned him a reputation as a figurehead of the "New Thing" (also known as "Free Jazz" and "Avant-Garde") movement led by Ornette Coleman, which was also denigrated by some jazz musicians (including Trane's old boss, Miles Davis) and critics. But as Coltrane's style further developed, he was determined to make each performance "a whole expression of one's being", as he would call his music in a 1966 interview.
In 1962, Dolphy departed and Jimmy Garrison replaced Workman as bassist. From then on, the "Classic Quartet", as it would come to be known, with Tyner, Garrison, and Jones, produced searching, spiritually driven work. Coltrane was moving toward a more harmonically static style that allowed him to expand his improvisations rhythmically, melodically, and motivically. Harmonically complex music was still present, but on stage Coltrane heavily favored continually reworking his "standards": "Impressions", "My Favorite Things", and "I Want to Talk about You."
The criticism of the quintet with Dolphy may have had an impact on Coltrane. In contrast to the radicalism of Trane's 1961 recordings at the Village Vanguard, his studio albums in 1962 and 1963 (with the exception of Coltrane, which featured a blistering version of Harold Arlen's "Out of This World") were much more conservative and accessible. He recorded an album of ballads and participated in collaborations with Duke Ellington on the album Duke Ellington and John Coltrane and with deep-voiced ballad singer Johnny Hartman on the album John Coltrane and Johnny Hartman. The Impulse compilation Coltrane for Lovers is largely drawn from these three albums. The album Ballads is emblematic of Coltrane's versatility, as the quartet shed new light on old-fashioned standards such as "It's Easy to Remember." Despite a more polished approach in the studio, in concert the quartet continued to balance "standard" and its own more exploratory and challenging music, as can be seen on the Impressions album (two extended jams including the title track along with "Dear Old Stockholm", "After the Rain" and a blues), Coltrane at Newport (where he plays "My Favorite Things") and Live at Birdland both from 1963. Coltrane later said he enjoyed having a "balanced catalogue."
The Classic Quartet produced their most famous record, A Love Supreme, in December 1964. A culmination of much of Coltrane's work up to this period, this four-part suite is an ode to his faith in and love for God (not necessarily God in the Christian sense — in the liner notes of Meditations he says "I believe in all religions"). These spiritual concerns would characterize much of Coltrane's composing and playing from this point onwards, as can be seen from album titles such as Ascension, Om and Meditations. The fourth movement of A Love Supreme, "A Love Supreme, Part IV-Psalm", is, in fact, a musical setting for an original poem to God written by Coltrane, and printed in the album's liner notes. Coltrane plays almost exactly one note for each syllable of the poem, and bases his phrasing on the words. Despite its challenging musical content, the album was a commercial success by jazz standards, encapsulating both the internal and external energy of the quartet of Coltrane, Tyner, Jones and Garrison. Indeed the previous album Crescent recorded only a few months before already shows the adventurousness and rapport between these musicians. The album was composed at Coltrane's home in the Dix Hills neighborhood of Huntington, New York.
The quartet only played A Love Supreme live once — in July 1965 at a concert in Antibes, France. By then, Coltrane's music had grown even more adventurous, and the performance provides an interesting contrast to the original.
In his late period, Coltrane showed an increasing interest in avant-garde jazz, purveyed by Ornette Coleman, Albert Ayler, Sun Ra and others. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist Gary Peacock and drummer Sunny Murray, a rhythm section honed with Cecil Taylor as leader. Coltrane championed many younger free jazz musicians, (notably Archie Shepp), and under his influence Impulse! became a leading free jazz record label.
After recording A Love Supreme, Ayler's apocalyptic style became more prominent in Coltrane's music. A series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonics, utilization of overtones, and playing in the altissimo register, as well as a mutated return to Coltrane's sheets of sound. In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone. In addition, the quartet responded to the leader by playing with increasing freedom. The group's evolution can be traced through the recordings The John Coltrane Quartet Plays, Living Space, Transition (both June 1965), New Thing at Newport (July 1965), Sun Ship (August 1965), and First Meditations (September 1965).
In June 1965, he went into Van Gelder's studio with ten other musicians (including Shepp, Pharoah Sanders, Freddie Hubbard, Marion Brown, and John Tchicai) to record Ascension, a 40-minute long piece that included adventurous solos by the young avant-garde musicians (as well as Coltrane), and was controversial primarily for the collective improvisation sections that separated the solos. After recording with the quartet over the next few months, Coltrane invited Pharoah Sanders to join the band in September 1965.
By any measure, Sanders was one of the most abrasive, virtuosic saxophonists then playing. While Coltrane used over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument. The more Coltrane played with Sanders, the more he gravitated to Sanders' unique sound. John Gilmore was also a major influence on Coltrane's late-period music, as well. After hearing a Gilmore performance, Coltrane is reported to have said "He's got it! Gilmore's got the concept!" He also took informal lessons from Gilmore.
By late 1965, Coltrane was regularly augmenting his group with Sanders and other free jazz musicians. Rashied Ali joined the group as a second drummer. This was the end of the quartet; claiming he was unable to hear himself over the two drummers, Tyner left the band shortly after the recording of Meditations. Jones left in early 1966, dissatisfied by sharing drumming duties with Ali. Both Tyner and Jones subsequently expressed displeasure in interviews, after Coltrane's death, with the music's new direction, while incorporating some of the free jazz form's intensity into their own solo projects.
Still with Atlantic Records, for whom he had recorded Giant Steps, his first record with his new group was also his debut playing the soprano saxophone on the hugely successful My Favorite Things. Around the end of his tenure with Miles Davis, Coltrane had begun playing soprano saxophone, an unconventional move considering the instrument's near obsolescence in jazz at the time. His interest in the straight saxophone most likely arose from his admiration for Sidney Bechet and the work of his contemporary, Steve Lacy, even though Miles Davis claimed to have given Coltrane his first soprano saxophone.
The new soprano sound was coupled with further exploration. For example, on the George Gershwin tune "But Not for Me", Coltrane employs the kinds of restless harmonic movement (Coltrane changes) used on Giant Steps (movement in major thirds rather than conventional perfect fourths) over the A sections instead of a conventional turnaround progression. Several other tracks recorded in the session utilized this harmonic device, including "26-2," "Satellite," "Body and Soul," and "The Night Has a Thousand Eyes."
Shortly before completing his contract with Atlantic in May 1961 (with the album Olé Coltrane although Atlantic would continue to release recordings from their vaults for many years), Coltrane joined the newly formed Impulse! Records label, with whom the "Classic Quartet" would record. It is generally assumed that the clinching reason Coltrane signed with Impulse! was that it would enable him to work again with recording engineer Rudy Van Gelder, who had taped both his and Davis' Prestige sessions, as well as Blue Train. It was at Van Gelder's new studio in Englewood Cliffs, New Jersey that Coltrane would record most of his records for the label.
By early 1961, bassist Steve Davis had been replaced by Reggie Workman while Eric Dolphy joined the group as a second horn around the same time. The quintet had a celebrated (and extensively recorded) residency in November 1961 at the Village Vanguard, which demonstrated Coltrane's new direction. It featured the most experimental music he'd played up to this point, influenced by Indian ragas, the recent developments in modal jazz, and the burgeoning free jazz movement. Longtime Sun Ra saxophonist John Gilmore was particularly influential; the most celebrated of the Vanguard tunes, the 15-minute blues, "Chasin' the Trane", was strongly inspired by Gilmore's music.
During this period, critics were fiercely divided in their estimation of Coltrane, who had radically altered his style. Audiences, too, were perplexed; in France he was famously booed during his final tour with Davis. In 1961, Down Beat magazine indicted Coltrane, along with Eric Dolphy, as players of "Anti-Jazz" in an article that bewildered and upset the musicians. Coltrane admitted some of his early solos were based mostly on technical ideas. Furthermore, Dolphy's angular, voice-like playing earned him a reputation as a figurehead of the "New Thing" (also known as "Free Jazz" and "Avant-Garde") movement led by Ornette Coleman, which was also denigrated by some jazz musicians (including Trane's old boss, Miles Davis) and critics. But as Coltrane's style further developed, he was determined to make each performance "a whole expression of one's being", as he would call his music in a 1966 interview.
In 1962, Dolphy departed and Jimmy Garrison replaced Workman as bassist. From then on, the "Classic Quartet", as it would come to be known, with Tyner, Garrison, and Jones, produced searching, spiritually driven work. Coltrane was moving toward a more harmonically static style that allowed him to expand his improvisations rhythmically, melodically, and motivically. Harmonically complex music was still present, but on stage Coltrane heavily favored continually reworking his "standards": "Impressions", "My Favorite Things", and "I Want to Talk about You."
The criticism of the quintet with Dolphy may have had an impact on Coltrane. In contrast to the radicalism of Trane's 1961 recordings at the Village Vanguard, his studio albums in 1962 and 1963 (with the exception of Coltrane, which featured a blistering version of Harold Arlen's "Out of This World") were much more conservative and accessible. He recorded an album of ballads and participated in collaborations with Duke Ellington on the album Duke Ellington and John Coltrane and with deep-voiced ballad singer Johnny Hartman on the album John Coltrane and Johnny Hartman. The Impulse compilation Coltrane for Lovers is largely drawn from these three albums. The album Ballads is emblematic of Coltrane's versatility, as the quartet shed new light on old-fashioned standards such as "It's Easy to Remember." Despite a more polished approach in the studio, in concert the quartet continued to balance "standard" and its own more exploratory and challenging music, as can be seen on the Impressions album (two extended jams including the title track along with "Dear Old Stockholm", "After the Rain" and a blues), Coltrane at Newport (where he plays "My Favorite Things") and Live at Birdland both from 1963. Coltrane later said he enjoyed having a "balanced catalogue."
The Classic Quartet produced their most famous record, A Love Supreme, in December 1964. A culmination of much of Coltrane's work up to this period, this four-part suite is an ode to his faith in and love for God (not necessarily God in the Christian sense — in the liner notes of Meditations he says "I believe in all religions"). These spiritual concerns would characterize much of Coltrane's composing and playing from this point onwards, as can be seen from album titles such as Ascension, Om and Meditations. The fourth movement of A Love Supreme, "A Love Supreme, Part IV-Psalm", is, in fact, a musical setting for an original poem to God written by Coltrane, and printed in the album's liner notes. Coltrane plays almost exactly one note for each syllable of the poem, and bases his phrasing on the words. Despite its challenging musical content, the album was a commercial success by jazz standards, encapsulating both the internal and external energy of the quartet of Coltrane, Tyner, Jones and Garrison. Indeed the previous album Crescent recorded only a few months before already shows the adventurousness and rapport between these musicians. The album was composed at Coltrane's home in the Dix Hills neighborhood of Huntington, New York.
The quartet only played A Love Supreme live once — in July 1965 at a concert in Antibes, France. By then, Coltrane's music had grown even more adventurous, and the performance provides an interesting contrast to the original.
In his late period, Coltrane showed an increasing interest in avant-garde jazz, purveyed by Ornette Coleman, Albert Ayler, Sun Ra and others. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist Gary Peacock and drummer Sunny Murray, a rhythm section honed with Cecil Taylor as leader. Coltrane championed many younger free jazz musicians, (notably Archie Shepp), and under his influence Impulse! became a leading free jazz record label.
After recording A Love Supreme, Ayler's apocalyptic style became more prominent in Coltrane's music. A series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonics, utilization of overtones, and playing in the altissimo register, as well as a mutated return to Coltrane's sheets of sound. In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone. In addition, the quartet responded to the leader by playing with increasing freedom. The group's evolution can be traced through the recordings The John Coltrane Quartet Plays, Living Space, Transition (both June 1965), New Thing at Newport (July 1965), Sun Ship (August 1965), and First Meditations (September 1965).
In June 1965, he went into Van Gelder's studio with ten other musicians (including Shepp, Pharoah Sanders, Freddie Hubbard, Marion Brown, and John Tchicai) to record Ascension, a 40-minute long piece that included adventurous solos by the young avant-garde musicians (as well as Coltrane), and was controversial primarily for the collective improvisation sections that separated the solos. After recording with the quartet over the next few months, Coltrane invited Pharoah Sanders to join the band in September 1965.
By any measure, Sanders was one of the most abrasive, virtuosic saxophonists then playing. While Coltrane used over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument. The more Coltrane played with Sanders, the more he gravitated to Sanders' unique sound. John Gilmore was also a major influence on Coltrane's late-period music, as well. After hearing a Gilmore performance, Coltrane is reported to have said "He's got it! Gilmore's got the concept!" He also took informal lessons from Gilmore.
By late 1965, Coltrane was regularly augmenting his group with Sanders and other free jazz musicians. Rashied Ali joined the group as a second drummer. This was the end of the quartet; claiming he was unable to hear himself over the two drummers, Tyner left the band shortly after the recording of Meditations. Jones left in early 1966, dissatisfied by sharing drumming duties with Ali. Both Tyner and Jones subsequently expressed displeasure in interviews, after Coltrane's death, with the music's new direction, while incorporating some of the free jazz form's intensity into their own solo projects.
Greensleeves
John Coltrane Quartet Lyrics
We have lyrics for 'Greensleeves' by these artists:
Amy Nuttall Alas, my love, you do me wrong To cast me off…
Anne van Schothorst Entre mas te miro yo mas me convenzo que estando…
Anúna Alas, my love, but you do me wrong To cast me…
Anuna Alas, my love, but you do me wrong To cast me…
Billy Vaughn Alas, my love, you do me wrong, To cast me off…
Black'Mores Night Alas my love, ye do me wrong to cast me…
Celtic Lassies Alas my love, ye do me wrong, to cast me off…
Charlotte & Jürgen Wendling What child is this, Who, laid to rest, On Mary's lap is…
Choir of the Chapel Royal of St.Peter ad Vincula Marie Goosens John Williams Alas, my love, you do me wrong, To cast me off…
Deller Consort Alas, my love, you do me wrong, To cast me off…
Fiddler's Green Alas my love you do me wrong To cast me off…
Gloria Lynne Alas, my love, you do me wrong, To cast me off…
Gregorian Alas, my love, you do me wrong To cast me off…
Guaraldi Vince; Trio Alas, my love, you do me wrong, To cast me off…
Helen Merrill Alas, my love, you do me wrong, To cast me off…
Hoyt Axton Alas my love, oh you do me wrong to cast me…
Izzy Alas, my love you do me wrong To cast me off…
J. Smith Alas, my love, you do me wrong, To cast me off…
Jeff Beck (traditional/arranged by a. jeffrey) [instrumental]…
Jo Jones Alas, my love, you do me wrong, To cast me off…
Karliene Alas, my love, you do me wrong To cast me off…
Kate Smith Alas, my love, you do me wrong, To cast me off…
Katey Sagal It seems, my love, you do me wrong You fooled me…
Kelly Family The Oh a family of bards A travelling went to distant lands A…
Kenny Burrell y aunque te quiera y aunque te ame ya es muy tarde…
Kenny G (Holiday) Alas my love, you do me wrong To cast me out…
Kevin Max O they sailed into Bethlehem, On Christmas Day, on Christma…
Kováts Kriszta Én édes szívem szép szemű és szép szavú, -…
L.A. Four Lady Greensleeves Performer:The Brothers Four Lyricist :Ho…
Lila Frascara Our hands are rising to the moon don't be afraid of…
London Symphony Orchestra Greensleeves was all my joy Greensleeves was my delight, Gre…
Loreena McKennitt Alas my love you do me wrong To cast me off…
Lynyrd Skynyrd Alas my love you do me wrong To cast me out…
Mannheim Steam Roller Greensleeves was all my joy Greensleeves was my delight, G…
Mannheim Steamroller Greensleeves was all my joy Greensleeves was my delight, Gre…
Mannheim Steamroller f/Elyse Davis Greensleeves was all my joy Greensleeves was my delight, G…
Marianne Faithfull Alas my love you do me wrong To cast me off…
Mason Williams Greensleeves was all my joy Greensleeves was my delight, Gre…
McKENNITT LOREENA Alas my love you do me wrong To cast me off…
Méav Alas, my love, you do me wrong To cast me off…
Mel Tormé Alas, my love, you do me wrong, To cast me off…
Michael Silverman Alas, my love, you do me wrong To cast me off…
Michael Silverman and the Debussy Consort & Michael Silverman What child is this, who, laid to rest On Mary's lap,…
Michael W. Smith Son of God, purest light, Lord on high is here…
Mickey Waller (traditional/arranged by a. jeffrey) [instrumental]…
Mignarda Alas, my love, you do me wrong To cast me off…
Neil Young Alas my love you do me wrong By treating me discourteously '…
Nolwenn Leroy Alas my love you do me wrong To cast me…
Odetta Greensleeves was my delight Greensleeves was all my joy Gree…
Olivia Newton-John Alas, my love, you do me wrong To cast me off…
Paddy O'Connor Alas my love you do me wrong To cast me off…
Pat O'Connorly and His Orchestra Alas, my love, you do me wrong, To cast me off…
Perry Como Alas! my love you do me wrong To cast me off…
R. Blackmore Alas my love, ye do me wrong to cast me…
Ray Conniff What child is this? Who meant to rest on Mary's lap…
Ray Price I walked one day neath the summer sky and my…
Richard Dyer-Bennet Alas, my love, you do me wrong To cast me off…
Ritchie Blackmore Alas my love, ye do me wrong to cast me…
Roger Whittaker Alas, my love, you do me wrong, To cast me off…
Rowenda Taheny Alas, my love, you do me wrong To cast me off…
Salvation Army Band Alas my love you do me wrong To cast me off…
Simon Bernard-Smith Alas, my love, you do me wrong, To cast me off…
St. Louis Ocarina Trio: Heather Scott-Ocarina Dennis Yeh-Violin Lan Sin Lim-Piano Laura Yeh-Ocarina What Child is this, who laid to rest, On Mary's lap…
Steff Picard Alas, my love, you do me wrong, To cast me off…
Stress Relief Calm Oasis A-ha, Yasin, A-Keyy Vad händer Savvas? För ikväll, bara för …
Stuart & Sarah What child is this, who, laid to rest On Mary's lap,…
The Band Alas my love you do me wrong To cast me off…
The Band Of The Blues And Royals What Child is this, who laid to rest, On Mary's lap…
The Kelly Family Oh a family of bards A travelling went to distant lands A…
The King's Singers Alas, my love, you do me wrong, To cast me…
The Kings Singers Alas, my love, you do me wrong, To cast me off…
The L.A. Four Lady Greensleeves Performer:The Brothers Four Lyricist :Ho…
The L.A.4 Lady Greensleeves --- Instrumental with humming --- Alas, …
The London Orchestra Greensleeves was all my joy Greensleeves was my delight, Gre…
The Lords Greensleeves, what I say, farewell, my love a-bye bye, my lo…
The Ray Conniff Singers What child is this? Who meant to rest on Mary's lap…
The Static Jacks There was a time When hearts were young, and so was…
Tina Mulrooney Alas, my love, you do me wrong To cast me off…
Tony Elman What Child is this, who laid to rest On Mary's lap…
Tony Newman (traditional/arranged by a. jeffrey) [instrumental]…
Vanessa Carlton Alas my love you do me wrong To cast me out…
Vince Guaraldi Trio Alas, my love, you do me wrong, To cast me off…
W.E.S. Son of God, purest light, Lord on high is here…
William S. What child is this laid to rest While Mary's man is…
Zantalino and his Orchestra Alas, my love, you do me wrong, To cast me off…
[unknown] GREENSLEEVES (poss. Henry VIII of England, 1500's.) Alas, m…
IZZY Alas, my love you do me wrong To cast me off…
We have lyrics for these tracks by John Coltrane Quartet:
A Love Supreme Chant-like: A love supreme Supreme, supreme…
A Love Supreme Part I Chant-like A love supreme Supreme, supreme…
A Love Supreme Part III Chant-like: A love supreme Supreme, supreme…
Africa I hear the drums echoing tonight But she hears only whisper…
All Or Nothing At All All or nothing at all Half a love, never appealed to…
Bye Bye Blackbird No one here can love or understand me Oh, what hard…
Dear Old Stockholm Dear old Southland I hear you calling me. And I long…
I Wish I Knew I wish I knew someone like you could love me I…
Miles' Mode Point me at the red planet I want to get my…
My Favorite Things [Instrumental]…
Spiritual Jesus I don't wanna die alone Jesus, oh Jesus I don't wan…
They Say It's Wonderful They say that falling love is wonderful It's wonderful, so t…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Raul Souza
Greensleves...a classic track...totally reinvented by Coltrane...I love this one so much.
Lynne
Simply the best. Will withstand the test of time. One of my most treasured LP's.
Kermit Hitler
heavy, deep, timeless, earthy, yet another Coltrane masterpiece
Jonathan Seyoum
absolute masterpiece. Never gets old
Donald Penegar
Artdsggjjjgubgjklgbc
hiddenblade
Trane on point as always but McCoy Tyner put some serious style on this track
Walker Peterson
Beautiful and haunting,feel that Trane spirit Everytime I hear this tune,John Coltrane quartet, The most highs chosen few
Tony Johnson
I got a Selmer Alto Sax when my Father heard Paul Desmond on Take Five. My father died in December, 1961 and I wonder did he ever hear Greensleves. I hope to God he did.
Emmanuel Trautmann
Jimmy killed me with this bass loop
Theodore Pullins
SOUNDS AWESOME 👏😎