John Coltrane - After The Rain

Impressions (Impulse!, 1963)

Personnel: John Coltranetenor saxophone; McCoy Tynerpiano; Jimmy Garrisonbass; Roy Haynesdrums


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1. A Love Supreme, Part 1: Acknowledgement
2. A Love Supreme, Part 2: Resolution
3. A Love Supreme, Part 3: Pursuance/Part 4: Psalm

John Coltrane, tenor sax
McCoy Tyner, piano
Jimmy Garrison, bass
Elvin Jones, Drums

Reminiscences of a Civil War vet.

What follows is what I think was a transcribed interview with my (several greats) uncle Alfred. It was included in a book about confederate vets that we found after doing a lot of research.
I enlisted in the Confederate Army in August, 1861, at Franklin, Tenn., as private in Company H, Twentieth Tennessee Infantry, Zollicoffer’s Brigade, Cheatham’s Division, Hardee’s Corps, Army of Tennessee. Was wounded in the battle of Chickamauga by a bombshell on left arm, and had to have it amputated near the shoulder. Was in the battles of Tyner Station, Murfreesboro and Hoover’s Gap, Tenn. Also in the battle of Elk River and a number of smaller fights. Three of my messmates were killed in the battle of

I well remember the long march across Cumberland Mountain, three days and nights without anything to eat. My feet were blistered when we arrived at the foot of the mountain, where there was a large spring. The officers had to put a guard around it to keep us from drinking too much water. They gave us only a little at a time. The Forage Master had gone on ahead, killed a beef and had it cooked when we arrived. I had some flour bread made up without salt or anything else, but it was all right. We were allowed only a little of the meat at a time. After we had cooked three day’s rations (about enough for one day), we crossed the Tennessee River, and made preparations for the battle of Chickamauga, which was the bloodiest battle in which I was engaged.

On Sept. 19, 1863, we had skirmishes all during the day; the 20th the fight opened in earnest. This was the day when I received my wound. Just before I was wounded my canteen was shot off me and the stock of my gun was broken by a minie ball. The dead were lying in piles over the battlefield. As I was going into the field, I met a number of the wounded coming out, and they were as bloody as could be. They were shot and wounded in every way imaginable, and being carried out on litters. The enemy had secreted themselves in some fallen tree tops, where many were killed by the tree tops catching fire and they were burned. We then buried the dead. There was a fellow who was wounded, and he was talking of his wife and children, saying that he wanted to see them once more, and while doing this his grave was being dug nearby. The trees were shot all to pieces. The Yankees captured the cannon of my regiment at the battle of Shiloh. At Chickamauga, we captured some Yankees, who told us that they belonged to the regiment that got our cannon. We said that we would have it back or die in the effort. It was captured and recaptured five times. Our boys rushed up and secured it and carried it to the rear by hand. The bullets were flying so thick that I do not see how any of us escaped with our lives.

When I returned home, to my great sorrow, my mother, my best friend, was gone. She had been dead about a year. She now awaits me at the beautiful gate, and it will not be long until I shall join her in the world beyond.


  • Chant
  • Frank Kimbrough
  • Chant

Chant is a relaxed yet inspired trio date featuring pianist Frank Kimbrough with two of his closest associates from the Jazz Composers Collective: bassist Ben Allison and drummer Jeff Ballard. Along with brief, delightfully understated readings of Ornette Coleman’s “Feet Music” and Jimmy Giuffre’s “Phoenix,” the trio wades through three collaborative improvisations. “Chant,” a loosely structured piece, begins with a riff that vaguely recalls McCoy Tyner’s “Effendi“; “Broadside” is propelled by a funky, unchanging swing motif that sets up clearly demarcated solos by Kimbrough and Allison; and “Motility” brings the trio to a rolling boil, with Kimbrough soloing over a swinging medium tempo, framed by bass and drum solos at the start and finish, respectively. —David Adler


When I work this one is good company. 

Bob Cranshaw RIP

In a more than five-decade career that began in the late 1950s - when he started a 50-plus-year stint performing and recording more than 2 dozen albums with saxophone player / bandleader Sonny Rollins - Cranshaw’s signature light touch on the upright and electric bass could be heard on a galaxy of recordings from some of the jazz and pop world’s brightest stars, including: George Benson, Coleman Hawkins, Ella Fitzgerald, Peggy Lee, Wayne Shorter, McCoy Tyner, Frank Sinatra, Paul Simon, Rod Stewart, Judy Collins and Buddy Rich.


(via https://www.youtube.com/watch?v=PbYP3nMm16U)

McCoy Tyner  Promise     from Echoes of a Friend  - solo piano album dedicated to Coltrane


(via https://www.youtube.com/watch?v=PjxRwSmVm5Y)

Bing and Ruth  Starwood Choker   

kinda reminds me of an ambient McCoy Tyner


Ask Me Now


Joe Henderson with the McCoy Tyner Trio


McCoy Tyner – piano
Avery Sharpe – bass
Louis Hayes – drums
Joe Henderson – tenor sax