The complicated rhythm patterns and diverse sonic textures on
Ole Coltrane
are evidence that
John Coltrane
was once again charting his own course. His sheer ability as a maverick -- beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced two days prior to this session on
Africa/Brass
,
Coltrane
's debut for the burgeoning
Impulse!
label. The two sets complement each other, suggesting a shift in the larger scheme of
's musical motifs. The assembled musicians worked within a basic quartet setting, featuring
on soprano and tenor sax,
McCoy Tyner
on piano, and
Elvin Jones
on drums, with double-bass chores held down by
Art Davis
and
Reggie Workman
. Added to that are significant contributions and interactions with trumpeter
Freddie Hubbard
Eric Dolphy
on flute and alto sax (although
Dolphy
's contract with another record label prevented him from being properly credited on initial pressings of the album). The title track is striking in its resemblance to the Spanish influence heard on
Miles Davis
'
Sketches of Spain
. This is taken a bit further as
's combo stretches out with inspired improvisations from
Hubbard
Tyner
, and
, respectively. "Ole" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that undoubtedly excited
, who was perpetually searching for sounds outside the norm. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between
, the song's author, and
. The solos from
, and an uncredited
gleam from within the context of a single facet in a multi-dimensional jewel. [Some reissues include an extra track cut during the same sessions, "To Her Ladyship."] ~ Lindsay Planer