I must disagree with the previous review. The rhythm section of Garland, Chambers, and Cobb is "of the calibre" of any and all who played before this or after this with John Coltrane. It is Coltrane himself, especially on this one, whose genius and virtuosity begin to lead him, quite logically, away from this spot. The fact that I like this particular spot better than where he heads off to is completely irrelevant. At least it is if art, talent, and one's own creativity are valid. This recording, along with "Settin' The Pace", both recorded within 4 months of each other - in the pivotal year for Trane of 1958 - shows the bind he was in then. At times, mostly on the latter (which was recorded in the spring of '58), Trane seems to be perfectly content...or maybe a better way to put it would be "in synch"...with the groove that some of the best 'straight-ahead' jazz players that have lived to date are laying down for him, and with him. Then, there are other times when he seems to be pulling against...or maybe just on...that same groove - or maybe just trying to take it 'somewhere else'. Specifically, listen to his playing on "I'll Get By" (recorded in the summer of '58) - from "Standard Coltrane". It is restless almost to the point of being uncomfortable... for him as well as the sidemen. When Wilbur Harden comes in, it is almost like a sigh of relief comes over the band. They all knew it - it was time for Trane to move on. I mean, how many ballads can you play perfectly, or with so much romantic lyricism...and how many blues grooves, and so on. This is my last Trane review, so I'm going to really try to make a point here. With a genius such as Coltrane there need not be - SHOULD not be - any Time, or Subjectivity. No 'early' Trane, no 'better' Trane. Simply 'different' Trane. Perhaps the fact that John Coltrane's art attracts such vehemence of opinion...a lot like Parker's did...among followers of different "periods" is due to that fundamental lack of allowing his creative self to just BE without holding on too tightly to any one part of it. I may not like where Trane's art led him, but I sure do respect his choice to take it there.

All of Coltrane's Prestige catalog, while not so much influenced by the Eastern sounds that would later envelop his music, is wonderful. You get to hear Trane in a more traditional setting somewhere between his work with Miles (in fact he was still with Miles when this stuff was recorded) and his first steps (ha pun not intended) away from more traditional tunes on the Atlantic label. Now, there are 11 CDs that make up this catalog (Trane as a leader on Prestige). You do the math. If you buy 'em separately you are going to pay around $125.00. You can get the Fearless Leader box set right here on Amazon for half that price PLUS you get a great guide to all the music Trane recorded as a leader for Prestige, a complete "session-ography", nice picks of all the CD covers including some of those that went through some changes over the year, 45 rpm single covers and so on. It's a very nice package. Buy this if you must but I recommend you save your pennies for a few weeks until you can afford to buy Fearless Leader.Fearless Leader

This is in my view one of the basic Coltrane's albums. From 1957 to 1958, John Coltrane try to find his style from Miles Davis and Thelonious Monk. Standard Coltrane, to be fair, is a fruit that is rewarded. A fascinating compilations for early sight and sound of young Coltrane's talent. Above all, 'Spring is here' is to become another of Coltrane's favorite standards. And This is a hugely thoughtful and technically adroit reading, ranging without strain across two and a half octaves. The album is an intense spiritual and thoughtful re-construction.

Even though this is the least of the Coltrane CDs that I own, it is still immensely enjoyable. It was recorded before his best work and the accompanists are not of the caliber of those who would follow, but Coltrane's genius is apparent.