Jimmy Cobb

And we gave you a tune from the classic 1960 album, Giant Steps.

John Coltrane on tenor sax, Wynton Kelly piano, Paul Chambers bass, Jimmy Cobb on drums.

And John Coltrane, one of the greatest tenor sax of men in the history of jazz.

I think he was the best.

We're going to hear another John Coltrane classic.

This is Impressions, and it features West Montgomery on guitar, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums.

That's Miles Davis' rhythm section.

But here, he'll be playing Impressions by John Coltrane.

All Blues, a Miles Davis classic from the album's kind of blue, but we heard this from a tribute album.

It's called Four Generations of Miles, a live tribute to Miles Davis, featuring musicians from different eras of Miles Davis's music.

Jimmy Cobb on drums, George Coleman on tenor saxophone, Mike Stern on electric guitar, and Ron Carter on bass.

That was recorded in May of 2002.

And the only documented Coltrane recording of the tune comes from a February 3rd, 1959 session.

Recorded in Chicago with Cannonball Adderley on alto sax, Coltrane on tenor sax, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums.

That record was initially released as Cannonball Adderley Quintet in Chicago and was later reissued as Cannonball and Coltrane.

The album features, again, that extraordinary lineup.

Adderley, Coltrane, Kelly, Paul Chambers, Jimmy Cobb, And what makes this session particularly significant is its timing, because less than a month after the Chicago recording, Adderley Coltrane Chambers Cobb and Kelly would participate in the first recording session for the landmark record Miles Davis Kind of Blue, recorded first on March 2nd, 1959.

A second session followed on April 22nd.

So therefore, Cannonball in Chicago provides a fascinating glimpse of these musicians immediately before one of the most important recordings in jazz.

And the name of the song is entitled, If You Could See Me Now.

Bobby Timmons on piano, Sam Jones bass, Jimmy Cobb on the skins on drums.

And before that, you heard music from an album called Soul Time.

And the name of the cut is entitled Stella B. Bobby Timmons' piano blew Mitchell Trumpet, Sam Jones' bass, and Bobby's ex-boss Art Blakey on drums.

The recordings were not released until 1977, a decade after Coltrane died, and they have since become legend.

I bought the LPs later, and Afro-blue impressions, along with a kind of blues signed by Jimmy Cobb when I met him in 2014, remains one of my favourite things.

I had heard the studio renditions and standard jazz adaptations of my favourite things, but the Berlin version, just over 21 minutes long, spoke to me differently.

For a long time, I assumed this was because I had grown up on the sound of music and loved the original.

Well, he was already sounding good, though, 'cause he, thank God, another genius named Miles Davis out of East St. Louis had plucked him out of Philadelphia and brought him into one of the greatest quintets ever.

And of course, Kind of Blue with Cannonball and, and Jimmy Cobb and, and, and the others, Wynton Kelly and the others, uh, um, are, are, are at the height of artistic expression.

Coltrane is on that album.

So he was already sounding good before-