This is FASCINATING reading besides the mention of Mobley which is interesting in it of itself. As is generaly known Coltrane was the king of tenor sax- the heavyweight champion- and Mobley was completely overshadowed by Coltrane and his style...on "caddy for daddy" Mobley was trying to go in Coltrane's direction down to even having Coltrane quartet pianist mcoy tyner on the session (the first song sounds a bit like love supreme to me)
Blindfold Test: John ColtraneAn Exclusive Online Extraby Leonard Feather — 02/19/1959
The Blindfold Test below is the first interview of its kind with John Coltrane. The reason is simple: though he has been a respected name among fellow musicians for a number of years, it is only in the last year or two that he has reached a substantial segment of the jazz-following audience.
It is the general feeling that Coltrane ranks second only to Sonny Rollins as a new and constructive influence on his instrument. Coltrane’s solo work is an example of that not uncommon phenomenon, an instrumental style that reflects a personality stikingly different from that of the man who plays it; for his slow, deliberate speaking voice and far-from-intense manner never would lead on to expect from him the cascades of phrases that constitute a typical Coltrane solo.
The records for his Blindfold Test were more or less paired off, the first a stereo item by a big band, the next two combo tracks by hard bop groups, the third pair bearing a reminder of two early tenor giants, and the final two sides products of miscellaneous combos. John was given no information before or during the test about the records played.
1. Woody Herman. "Crazy Rhythm" (Everest Stereo). Paul Quinichette, tenor saxophone; Ralph Burns, arranger.
Well, I would give it three stars on the merit of the arrangement, which I thought was good. The solos were good, and the band played good. As to who it was, I don’t know…The tenor sounded like Paul Quinichette, and I liked that because I like the melodic way he plays. The sound of the recording was very good. I’d like to make a guess about that arrangement—it sounded like the kind of writing Hefti does—maybe it was Basie’s band.
2. Art Farmer Quintet. "Mox Nix" (United Artists). Benny Golson, tenor; Farmer, trumpet, composer, arranger; Bill Evans, piano; Addison Farmer, bass; Dave Bailey, drums.
That’s a pretty lively sound. That tenor man could have been Benny Golson, and the trumpeter, I don’t know…It sounded like Art Farmer a little bit.
I enjoyed the rhythm section—they got a nice feeling, but I don’t know who they were. The composition was a minor blues—which is always good. The figures on it were pretty good, too. I would give it three-and-a-half.
3. Horace Silver Quintet. "Soulville" (Blue Note). Silver, piano, composer; Hank Mobley, tenor; Art Farmer, trumpet.
Horace…Is that "Soulville?" I;ve heard that—I think I have the record. Horace gave me that piece of music some time ago…I asked him to give me some things that I might like to record and that was one of them. I’ve never got around to recording it yet, though. I like the piece tremendously—the composition is great. It has more in it than just "play the figure and then we all blow." It has a lot of imgination. The solos are all good…I think it’s Hank Mobley and Art Farmer. I’ll give that four-and-a-half stars.
4. Coleman Hawkins. "Chant" (Riverside). Idrees Sulieman, trumpet; J.J. Johnson, trombone; Hank Jones, piano; Oscar Pettiford, bass.
Well, the record had a genuine jazz feeling. It sounded like Coleman Hawkins…I think it was Clark Terry on trumpet, but I don’t know. The ‘bone was good, but I don’t know who it was. I think the piano was very good…I’ll venture one guess: Hank Jones. It sounded like Oscar Pettiford and was a very good bass solo. And Bean—he’s one of the kind of guys—he played well, but I wanted to hear some more from him…I was expecting some more.
When I first started listening to jazz, I heard Lester Young before I heard Bean. When I did hear Hawkins, I appreciated him, but I didn’t hear him as much as I did Lester…Maybe it was because all we were getting then was the Basie band.
I went through Lester Young and on to Charlie Parker, but after that I started listening to others—I listened to Bean and realized what a great influence he was on the people I’d been listening to. Three and a half.
5. Ben Webster–Art Tatum. "Have You Met Miss Jones?" (Verve).
That must be Ben Webster, and the piano, I don’t know. I thought it was Art Tatum…I don’t know anybody else who plays like that, but still I was waiting for that thunderous thing from him, and it didn’t come. Maybe he just didn’t feel like it then
The sound of that tenor…I wish he’d show me how to make a sound like a that. I’ve got to call him up and talk to him! I’ll give that four stars…I like the atmosphere of the record—the whole thing I got from it. What they do for the song is artistic, and it’s a good tune.
6. Toshiko Akiyoshi. "Broadway" (Metrojazz). Bobby Jaspar, tenor; Rene Thomas, guitar.
You’ve got me guessing all the way down on this one, but it’s a good swinging side and lively. I thought at first the tenor was Zoot, and then I thought, no. If it isn’t Zoot, I don’t know who it could be. All the solos were good…The guitar player was pretty good. I’d give the record three stars on it liveliness and for the solos.
7. Chet Baker. "Fair Weather" (Riverside). Johnny Griffin, tenor; Benny Golson, composer.
That was Johnny Griffin, and I didn’t recognize anybody else. The writing sounded something like Benny Golson…I like the figure and that melody. The solos were good, but I don’t know…Sometimes it’s hard to interpret changes. I don’t know whether it was taken from another song or if it was a song itself.
Maybe the guys could have worked it over a little longer and interpreted it a little truer. What I heard on the line as it was written, I didn’t hear after the solos started…It was good, though—I would give it three stars, on the strength of the composer mostly, and the solos secondly…I didn’t recognize the trumpeter.