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.

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.

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.

once you've been bitten by the coltrane bug, you will most likely be compelled to search out every recording that he is to be heard on. it's a sickness, but a good one. this album gets lots of mixed reviews, here on amzazon, as well in jazz books. well, i like it just fine. sure there's better coltrane out there. so feel free to take some time getting around to this album. but once you do, i think you will find it a quite likable jazz set. my cd has the blue note label on it (blue note issued it in 1962 under coltrane's name), but this was originally a united artists release from 1959, under cecil taylor's name. it was then called "stereo drive." i can see why cecil taylor fans might not get all hot and bothered over this album. i have heard better, more inventive playing from mr taylor. but coltrane's performance is very worthwhile, as is kenny dorham's trumpet playing. the rhythm section of chuck isreals (bass) and louis hayes (drums) perform very well, too. so all you coltrane maniacs out there, don't shy away from this disc.

basically, a crummy album. Taylor seems to be playing in some catatonic state, perhaps in an effort to give Coltrane more room. However, the astonishing individuality one associates with these two masters is strangely absent as neither seems willing to take any chances. Kenny Dorham comes out looking the best in this set. The second and third tracks are virtually identical adding to the banality of this strange session. great Francis Wolff cover shot of trane though.