John Coltrane Quartet Crescent (Acoustic Sounds Series)

TAS Super LP List! Special Merit: Informal
All-Analog 180g Vinyl LP!
Remastered & Pressed at Quality Record Pressings!
Mastered by Ryan K. Smith at Sterling Sound From Original Analog Tapes!
Michael Fremer Rated 10/11 Music, 10/11 Sonics!
TAS Rated 5/5 Music, 4.5/5 Sonics in the May/June 2022 Issue of The Absolute Sound!
With this 1964 album, John Coltrane firmly established himself as a most formative composer. The genius of John Coltrane literally rushes forth with his playing of these five compositions featuring McCoy Tyner, Jimmy Garrison and Elvin Jones.
Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets.
Released in 1964, Crescent is one of sax master John Coltrane's finest albums, featuring the talents of McCoy Tyner, Jimmy Garrison and Elvin Jones. During 1964 John Coltrane spent the least amount of time in the recording studio of his entire solo career. It wasn't until April 27 that ‘Trane, along with Tyner, Garrison and Jones went to the familiar surroundings of Rudy Van Gelder's Englewood Cliff's studio to begin work on the album that came to be called, Crescent.
They recorded all the tracks that appear on Crescent, along with "Songs Of Praise," but not the final versions of the album's five tracks. From that first day's recording the ones that make the final cut are, "Lonnie's Lament," "The Drum Thing" and "Wise One." The first two of these three tracks make up all of side two of the album and on "Lonnie's Lament" Coltrane does not solo at all, instead it features a long bass solo by Garrison.
Garrison's widow recalled that this album along with A Love Supreme, which was released a year later in 1965, were the two that her husband listened to the most.
In the liner notes, a quote from Leroi Jones/Amiri Baraka states John Coltrane was 'daringly human,' and no better example of this quality transferred to musical endeavor is available than on this definitive, must have album that encompasses all that he was and eventually would become. - Michael G. Nastos, AllMusic
The reissues of two classic John Coltrane albums released this month in new, sparkling vinyl editions by Acoustic Sounds are the blueprints for what would become the next major phases in the saxophonist's evolution. On the horizon following this early '60s period were the spiritual jazz of A Love Supreme and the explosive free jazz of Ascension. Elements of those progressions flow through these albums like a small stream that heralded a mighty river. On 1964's Crescent, Coltrane was pulling apart traditional jazz approaches to see what he could do away with and still make an impact. He doesn't solo at all on the second side of the LP to make way for bassist Jimmy Garrison's dazzling turn on 'Lonnie's Lament' and Elvin Jones' fireworks display on 'The Drum Thing.' - Robert Ham, Paste Magazine
Ryan Smith has done a masterful job (no pun intended) with what again sounds like a master tape copy (unless the original tape has just lost some top end) at least based on a 'top end' comparison where on the original Coltrane's sax has greater 'presence' texture and air and Jones's drum kit more natural sizzle - as well as there being more 'room air' - but it's also easy to make a case for far better bass and piano presentation on the reissue. Rudy's original sounds as if he's rolled off the bottom and done a bit of compression. Overall if forced to choose one, I'm not sure I'd take the original over the new reissue, though I'm not selling the original (mine's a second label, red/black, but otherwise a first pressing). That's how good this is.-Michael Fremer, Analog Planet, Music 10/11, Sound 10/11
The Acoustic Sounds vinyl edition of the stereo recording stands out for its transparency, pinpointing the individual contributions of each band member and also capturing the synergy of an ensemble that, since its first performance in 1960, continued to reach new musical heights... Quite simply, the masters at work. - Jeff Wilson, The Absolute Sound, May/June 2022, Music 5/5, Sonics 4.5/5
"Ryan Smith has done a masterful job (no pun intended) with what again sounds like a master tape copy (unless the original tape has just lost some top end) at least based on a 'top end' comparison where on the original Coltrane's sax has greater 'presence' texture and air and Jones's drum kit more natural sizzle — as well as there being more 'room air' — but it's also easy to make a case for far better bass and piano presentation on the reissue. Rudy's original sounds as if he's rolled off the bottom and done a bit of compression. Overall if forced to choose one, I'm not sure I'd take the original over the new reissue, though I'm not selling the original (mine's a second label, red/black, but otherwise a first pressing). That's how good this is." — Music = 10/11; Sound = 10/11 — Michael Fremer, AnalogPlanet.

Features:

• Acoustic Sounds Series
• Mastered from the Original Analog Master Tapes
• Cut by Ryan K. Smith at Sterling Sound
• Audiophile 180 Gram Vinyl LP
• Pressed at Quality Record Pressings, QRP USA
• Deluxe Gatefold cover by Stoughton Printing

Musicians:

• John Coltrane - tenor sax
• McCoy Tyner - piano
• Jimmy Garrison - bass
• Elvin Jones - drums

Selections:

Side A
1. Crescent
2. Wise One
3. Bessie's Blues
Side B
1. Lonnie's Lament
2. The Drum Thing