This morning I was relistening to "Maiden Voyage," Blue Note, which is must-have early Herbie Hancock by the way. It started me thinking about tenor saxophonist George Coleman, whose run with Miles Davis between the exit of Coltrane and the entrance of Shorter was cut short. Davis, and especially drummer Tony Williams, thought Coleman's extreme technical proficiency stifled his creativity when the tenorman played outside the box.
I think that's horse hockey. If you want to hear why, check out "Maiden Voyage," or better yet, "George Coleman at Yoshi's," Evidence, a live set with impressive extended soloing, and "4 Generations of Miles," Chesky, on which Coleman recrafts Davis tunes with fellow former Miles sidemen guitarist Mike Stern, bassist Ron Carter and drummer Jimmy Cobb. If you think what happens with a lineup of crafty vets like that is probably interesting, you're right. Personally, I think George Coleman is the tenor equivalent of Cannonball Adderley.
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