Klezmer, the exuberant Jewish music traditionally played at weddings and other celebrations, is charted on this Rough Guide from its eastern European roots to its North American resurgence. At times soulful, at times frenetic, this selection conveys the dignity and beauty of klezmer music, and combines for the first time archival tracks alongside contemporary versions of the same tunes

The roots of rebetic song may be found in the music of the coastal settlements of Asia Minor or Anatolia in English or Anadolu in Turkish, that of Istanbul and Izmir, and also in the prisons; the existence of which is attested from the middle of the nineteenth century.

The roots of rebetic song may be found in the music of the coastal settlements of Asia Minor or Anatolia in English or Anadolu in Turkish, that of Istanbul and Izmir, and also in the prisons; the existence of which is attested from the middle of the nineteenth century.

Famous Turkish Jazz pianist Kerem Görsev plays with the great Jazz vocalist Allan Harris..You will listen to the unforgettable Jazz standarts again and you feel John Coltrane&Johnny Hartman's sound.. Take a deep breath, laid back and listen it!

“The complicated rhythm patterns and diverse sonic textures on Ole are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick – over and beyond his appreciable musical skills – guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced – two days prior to this session – on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two discs complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane (soprano/tenor sax), McCoy Tyner (piano), and Elvin Jones (drums), with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with Freddie Hubbard (trumpet) and Eric Dolphy (flute and alto sax). Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album. The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. "Ole" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that assuredly excited Coltrane, who was perpetually searching from outside the norms. The haunting beauty of “Aisha” stands as one of the finest collaborative efforts between Tyner – the song's author – and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel”.

“The complicated rhythm patterns and diverse sonic textures on Ole are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick – over and beyond his appreciable musical skills – guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced – two days prior to this session – on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two discs complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane (soprano/tenor sax), McCoy Tyner (piano), and Elvin Jones (drums), with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with Freddie Hubbard (trumpet) and Eric Dolphy (flute and alto sax). Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album. The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. "Ole" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that assuredly excited Coltrane, who was perpetually searching from outside the norms. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between Tyner – the song's author – and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel”.

This is only 36 minutes long, but they are good minutes. Mostly mellow, but with enough swing to satisfy, this CD includes three tunes recorded in the summer of '57 with just sax, bass and drums, and two laid down in January of '58 adding Donald Byrd on trumpet and Red Garland on piano. This is not the Coltrane of nine years later, the atonal, controversial, free-jazz experimenter with dissonance. This is recognizable, accessible, lovely stuff. Maybe not adventurous enough for the hip and avant-garde forces, but I'll bet you'll play it more often than his famous "Love Supreme" suite or even his "My Favorite Things" album.