Some Real Gems From Atlantic’s ‘50s-’60s Trove

Were the ‘50s and ‘60s really a seminal period for jazz? You bet. And the material in these attractive packages, the latest editions in Rhino’s continuing work with the Atlantic jazz catalog, offer convincing evidence. Issued in thick cardboard sleeves with original liner notes as well as newly written program overviews, they provide jazz fans with another opportunity to hear some of the most innovative music of the period. Although they are available--to some extent--in other CD formats, the addition of bonus tracks here makes each a valuable acquisition. And, in the case of the Mingus and Coltrane releases, the albums are now available individually rather than as elements in higher-priced collections.

The Mingus tracks date from 1957 (“The Clown”) and 1961 (“Oh Yeah”). The former adds “Passions of a Woman Loved” and “Tonight at Noon,” recorded at the “Clown” sessions but originally released on a separate album, “Tonight at Noon.” Two Mingus classics are included: “Haitian Fight Song” and “Reincarnation of a Love Bird.” There is, in addition, the title track, in which monologuist Jean Shephard improvises a story, calling up images of the jazz and poetry combinations of the ‘50s.

Although Mingus only plays piano on “Oh Yeah,” the album is still one of his most impressive ensemble outings. The presence of Rahsaan Roland Kirk adds a sizzle to the performance that both counters and supports Mingus’ musical imagination. Hearing the combination, one can only wish that there had been more creative interaction between these two remarkable artists.

The Coltrane session was recorded in October 1960, during the same week he recorded the material for “Coltrane Plays the Blues” and the classic “My Favorite Things.” That was less than a year after Ornette Coleman made his controversial free-jazz debut at Manhattan’s Five Spot. Though Coltrane traveled his own path, there are many moments in this important, transitional album in which he begins to burst past the complex harmonic explorations that had occupied him through much of the late ‘50s. Among the first-rate tracks are a driving rendition of “The Night Has a Thousand Eyes” and his highly regarded “Central Park West” and “Equinox.” The album also includes an interesting alternate take on Coltrane’s personally harmonized version of “Body and Soul.”

The Blakey-Monk partnership was an unusual combination, and the program--all Monk tunes--affords an opportunity to hear such classic numbers as “Evidence,” “Blue Monk,” “Rhythm-a-Ning” and “I Mean You” in the Jazz Messenger setting. Equally intriguing, Blakey’s drumming--despite its galvanic intensity--is airy enough to allow space for Monk’s disjunct rhythm accents. And, in fact, a close listening illuminates the inner side of Monk’s playing in a fashion that is not always apparent in his own recordings. Johnny Griffin’s tenor work understands the Monk musical canon, and the album is further enhanced by the addition of three previously unreleased alternate takes on “Evidence,” “Blue Monk” and “I Mean You.” Albums are rated on a scale of one star (poor) to four (excellent).