This fine set, recorded on November 30, 1956, has been reissued several times, often as a John Coltrane date, but make no mistake, this is a Tadd Dameron session, and his elegant compositions are its key component. Coltrane was fresh off playing with Miles Davis in 1956 and was still a year away from heading his own sessions and three years away from recording Giant Steps, so it might be said that he was in transition, but then when was Coltrane not in transition? Dameron wisely gives him plenty of space to fill, and the rhythm section of John Simmons on bass and the great Philly Joe Jones on drums (not to mention Dameron's own characteristically bass-heavy piano style) give Trane a solid bottom to work with, and if the spiritual and edgy emotion of his later playing isn't quite in place yet, you can feel it coming. But again, this is Dameron's date, with each of the six selections an original Dameron composition. There's so much to marvel at here, including the Bahamian rhythms of the title track, 'Mating Call,' the gorgeous build of 'Soultrane' (often the title when this set is issued as a Coltrane date) and the undeniable grace and elegance of 'On a Misty Night' (based in part on the melody line to 'September in the Rain').
Jun 07, 2018 John Coltrane Licensed to YouTube by UMG; LatinAutor - UMPG, UMPI, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, LatinAutor, Jowcol Music (Publishing), BMI - Broadcast Music Inc., AMRA, and 6.
The straight blues piece 'Romas' is also a lot of fun, particularly for Coltrane. Mating Call, or whatever title it sports, whether under Dameron's name or Coltrane's, is a solid and frequently overlooked gem. Don't hesitate to pick it up. The definitive arranger/composer of the bop era, Tadd Dameron wrote such standards as 'Good Bait,' 'Our Delight,' 'Hot House,' 'Lady Bird,' and 'If You Could See Me Now.' Not only did he write melody lines, but full arrangements, and he was an influential force from the mid-'40s on even though he never financially prospered. Dameron started out in the swing era touring with the Zack Whyte and Blanche Calloway bands, he wrote for Vido Musso in New York and most importantly, contributed arrangements for Harlan Leonard's Kansas City Orchestra, some of which were recorded. Soon Dameron was writing charts for such bands as Jimmie Lunceford, Count Basie, Billy Eckstine, and Dizzy Gillespie (1945-1947) in addition to Sarah Vaughan.
Dameron was always very modest about his own piano playing but he did gig with Babs Gonzales' Three Bips & a Bop in 1947 and led a sextet featuring Fats Navarro (and later Miles Davis) at the Royal Roost during 1948-1949. Dameron co-led a group with Davis at the 1949 Paris Jazz Festival, stayed in Europe for a few months (writing for Ted Heath), and then returned to New York. He wrote for Artie Shaw's last orchestra that year, played and arranged R&B for Bull Moose Jackson (1951-1952) and in 1953 led a nonet featuring Clifford Brown and Philly Joe Jones.
Drug problems, however, started to get in the way of his music. After recording a couple of albums (including 1958's Mating Call with John Coltrane) he spent much of 1959-1961 in jail. After he was released, Dameron wrote for Sonny Stitt, Blue Mitchell, Milt Jackson, Benny Goodman and his last record but was less active in the years before his death from cancer. Tadd Dameron's classic Blue Note recordings of 1947-48, his 1949 Capitol sides and Prestige/Riverside sets of 1953, 1956, 1958, and 1962 are all currently in print on CD.
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–AllMusic Review by Scott YanowTracklist:1. Afro-Blue 10:522. I Want To Talk About You 08:133.
The Promise 08:124. Alabama 05:115. Your Lady 06:39Personnel:John Coltrane, tenor saxophone, soprano saxophoneMcCoy Tyner, pianoJimmy Garrison, double bassElvin Jones, drumsDownload:ProStudioMasters 24-96.