This is the famous recording that features the two giants of jazz John Coltrane and Cecil Taylor. It also has Kenny Dorham, who I understand wasn't too shy at expressing badvibes on the fact that Cecil was on the recording. Rounding out the date is Chuck Israels on bass, and Louis Hayes on drums. They do two standards, plus a blues by Kenny Dorham and another by Chuck Israels.

Some people will no doubt think Cecil wanders too much harmonically, but I think that the music here ultimately succeeds because Israels maintains a strong time feel, focuses on the roots of the chords and generally doesn't follow Cecil's harmonic excursions (as Charlie Haden might have). Therefore, the music holds firm in its forward moving drive. I think it works better than Coltrane and Cherry's Avant Garde recording.

The thing is, Cecil is a beautiful comper rhythmically, the way he latches on some rhythmic element of the soloist and takes off with it.... being supported the way he is by the rest of the rhythm section, that is where the balance lies. In fact, on this recording, I think his comping is more interesting than his soloing.

And KD, badvibes and all, is at his most potent. Oh, and yes, the tenor playeer also sounds good.

The first time I heard this record (a «blowing session» conceived with the aim of presenting Cecil Taylor in an unusal setting), it left me puzzled; it seemed like Taylor (whose «scholar and intellectual» training is always overstressed, as if it was a good and sufficient explanation for his radical approach to music) was playing in another musical realm than the others - being so free he just didn't care. But rapidly it occured to me that yes, there is some kind of irritating heterogenity in the band's playing, but that Jones, Garrison and Taylor sound right at ease together - working on something good. The trouble is : whenever Coltrane comes along, he sounds square, like he is playing on his own, and so straightforwardly the word boring comes to mind. It seems an unusual thing to say about a session leader, especially if he's one of the greatest musicians in jazz. It becomes just a bit less disappointing when one realizes this album was originally issued has a Cecil Taylor title. Mildy interesting to the Coltrane fan.

A unique session, this one features a very unmatchmable frontline of players, at least at a first impression: a bopper, an abstractionist and TRANE (there aren't adjectives for him...). The disc, however, is an unforgettable one and highlights incredible solos of all of the jazzmen. Despite the characteristic playing of each one here, there is great interaction, and the quintet sounds like everything Coltrane did in his life: perfect and timeless.

The title is misleading for its actually a Cecil Taylor date (described in the liner notes). Eerie piano throughout...reminiscent of a muddy riverbed drying in January. Kenny Dorham is in fine form, takes a special solo on the first track (his own tune). Coltrane seems tame at times but fullfills all obligations sparring with Taylor...shadow boxing each others shadows rather. A strange inspired record.

I once asked about this album when it was out of print and I got laughed at. Marked by an out of tune piano and some very laid back (behind the time, but not dragging) solos, it could be considered dissonant, but what great players - they know what they sound like and they use it - to create a very unique melodic sound. Just friends would be my favorite. A unique combination of artists and a unique emotional experience.