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Peter Herborn: Traces Of Trane [CD]

$14.16 (You save $0.57)
SKU: W&W 919.00 059-2
0.15 KGS

    John Coltrane, the great tenor saxophone player and visionary re-inventor of jazz, died on Juli 17, 19.0067 – 25 years ago. No one since Charlie Parker has marked and influenced so many musicians as he. Not only did hundreds of saxophone players learn from Coltrane’s ecstatic playing; the music scene as a whole was no longer the same after him. Be it in free jazz, fusion or world music: Trane left his giant traces everywhere.

    Trane was also the main early influence of Peter Herborn, composer, trombone player and jazz professor at the Folkwang School in Essen (Germany). When he got down to work in 19.0091 in order to trace the Traces Of Trane, his sole intention was to pay his own personal tribute – to the musician Coltrane, but above all to the composer. The upcoming 25th anniversary of Trane’s death did not cross his mind in doing this.

    For Peter Herborn, Trane is a “transition figure”, an artist who grew up within the modern jazz tradition and who, out of it, found his individual path toward free jazz. Since he lost part of his audience in the process, some of Coltrane’s late work is hardly known, even if it is legendary. This is precisely why, from Coltrane’s repertoire, Herborn selected later pieces for his “re-compositions”. He chose two themes from A Love Supreme (19.0064) and made a sort of medley out of pieces from the Coltrane records Crescent (19.0064), Meditations (19.0065) and Expression (19.0067). To these he added adaptations of the compositions Naima, My Favorite Things and Impressions, "classics" from Coltrane's transition years (19.0059-61) which nevertheless remained on his programme until the end.

    Peter Herborn sees his recordings on JMT as complementary works. After the electro-oriented Acute Insights (JMT 919.00 017-2) and his border-crossings between new chamber music and jazz on Something Personal (JMT 919.00 054-2), Traces of Trane is his jazziest project to date. Herborn connects with the history of jazz, not only because of the link to Coltrane, but also because of the traditional big band line-up. Of course, the sounds which he coaxes out of the traditional body of sound "big band" are new and contemporary. Herborn uses and abuses the big band sound, emancipates the phrase groups almost into solos. This is also an echo of Coltrane: tradition equals transformation.

    Such transformation also applies to Trane's own compositions, which Herborn has consistently reinterpreted. Indeed, his arrangements are original works based on motives by Coltrane. It is in this very free way of dealing with Coltrane’s material that Herborn shows his affinity with the spirit of the great saxophone player. Coltrane's late interpretations of his earlier material and the fuzzy back and forth movements between composition and improvisation in his ultimate works clearly inspired Herborn's approach. He harmonizes Trane's solos and dissolves his themes into improvisations. So even without following Coltrane to the letter, he remains true to his spirit.

    The blurring of borders between composition and improvisation has always been central in Herborn's music. The choice of improvisers is also crucial in the realization of any given project. Herborn deliberately set up a quintet which had never before played in this constellation. He has special praise for the rhythmic pair Mark Helias (bass) / Tom Rainey (drums) and their flexible wanderings between ensemble accompaniment and solo accompaniment. Here, the soloists' tasks are a part of the arrangement and at the same time a sort of counterweight to the Coltrane heritage. Not only the big band, but also the soloists are to assert themselves with their own versions of Coltrane's music.


    Musicians   Compositions
    Gary Thomas: tenor saxophone, flute;
    Robin Eubanks: trombone;
    Marc Ducret: guitar;
    Mark Helias: bass;
    Tom Rainey: drums
    WDR Big Band directed by Jerry van Rooyen
    Andy Haderer, Klaus osterloh, John Marshall, Rick Kiefer, Bob Bruynen: trumpets, flügelhorn;
    Dave Horler, Ludwig Nuß, Bernd Laukamp, Edward Partyka: trombones;
    Heiner Wiberny, Stephan Pfeifer, Olivier Peters, Rolf Römer, Paul Peucker: reeds;
    Frank Chastenier: piano

      1. My Favourite Things [Rodgers/Hammerstein]
    2. Impressions
    3. Naima
    4. Acknowledgement (Part I From Love Supreme)
    5. Love-To-Be-The Drum Thing
    6. Resolution (Part II From Love Supreme)
    All compositions by John Coltrane, except title 1, arr. by Peter Herborn

    total time: 58:33
    Hard Cover
    Release Year:

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