*** Contrast Clause ***
This is an improvement of the following torrent:
http://www.dimeadozen.org/torrents-details.php?id=296919

The source is independent from torrent #296919 (though originating from the same original tape).
A considerable amount of remastering went into this.

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John Coltrane Quartet
June, 24 1963 (4 pm matinee)
Showboat Philadelphia, PA

John Coltrane (ss, ts)
McCoy Tyner (p) (Tracks 4-7, 9, 11; Tyner arrived late)
Jimmy Garrison (b)
Roy Haynes (d)

1. Chasin' the Trane 10:52
2. It's Easy to Remember 6:43
3. Up 'gainst the Wall 5:40
4. The Inchworm 8:35
5. Impressions (incomplete) 13:27
6. I'm a weaver of dreams (beginning truncated) 7:50
7. Mr. P.C. 8:54
8. After the Rain (John Coltrane on piano) 5:43

9. Up'gainst the Wall (Ravi Coltrane source) 5:55
10. Ravi Coltrane interview 2:15
11. It's Easy to Remember (Ravi Coltrane source) 6:59

12. After the rain without hiss reduction 5:30

From "The John Coltrane Reference" (Porter et al.):
"Private recording by Alan Sukoenig, who recorded with a portable tape recorder at the club;
the tapes are currently in the collection of the Institute of Jazz Studies (IJS), Rutgers, New Jersey.
These mono audience recordings are of listenable audio quality; they feature powerful Coltrane solos
(particularly his cadenca on "I'm a weaver of dreams") and deserve to be released through official channels."

The date usually assigned to this concert is June, 10 1963, but if the original taper is right, the real date is
June, 24 1963 (see accompanying file). Note, however, that this date is given in the John Coltrane Reference as a possible date for the Tête d'Art show in Montreal.


Lineage for tracks 1-7:
AUD > ??? > CD-R > EAC > FLAC > Remastering with Har-Bal 3.7 > minor repairs > pitch corrected by -85 cents (according to goody's advice for torrent #296919)

I did not touch tracks 9-12, these and track 8 are from torrent #296919
Artwork by dadoun

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About the remastering:

I had three sources to choose from:
1. torrent #184417 uploaded by u014945 in 2008
2. torrent #296919 uploaded by dsgtrane in 2010 (http://www.dimeadozen.org/torrents-details.php?id=296919)
(improved version of the previous one, speed corrected according to goody's advice and remastered)
3. A CD-R I received in a trade in the early 2000s. The sound is very similar to #184417, although a bit clearer.

I remastered the recordings with Har-Bal 3.7 which allows for pretty advanced equalization. However, this recording was not easy to remaster. Roy Haynes' drums are very dominant in the bass and cover everything else. I spent quite a few hours with this problem.

I started with the already remastered version #296919, but I was not able to tame the drums without damaging the sound of the saxophone.

I had better success with the CD-R version from the trade. Here I could attenuate the bass drum sound and emphasize the treble. With Har-Bal's approach you roughly match the audio spectrum to a reference recording while keeping its characteristics. I used the Birdland 1963 and Village Vanguard 1961 recordings as targets. Given the limited frequencies range of the present recording, this could of course give only a rough orientation for the sound characteristic.

After equalization, the sound of Trane's saxophone is much richer, with extended frequency range. Roy Haynes' cymbals are clearly audible now, while Jimmy Garrisons bass still is almost completely buried. I hope that I've squeezed out every last bit of sound that was on the tape. These are remarkable performances, quite adventurous.


---Some notes from one who was there January 3, 2012
By homageToDonByas

My rating should mean nothing to you as I'm biased: I'm the person who did the taping. My mother had just given me a Norelco reel-to-reel portable as a graduation present. I believe the first use to which I put it was to record this incredible 4 PM Monday matinee. McCoy Tyner was late, which meant that the first few tunes were done by a trio. Because of the limitations of the Norelco's microphone, the absence of a piano allowed for somewhat more clarity in the recorded sound. The trio in fact sounds here more like a duo due to the unresponsiveness of the mic to low frequencies.

As great as he normally played (and continues to play 48 1/2 years later!), Roy Haynes surpassed himself that afternoon. I remember the excitement I--and no doubt the whole room--felt from the way he was interacting with Coltrane on "Chasin' the Trane," the first tune of the afternoon. (Yes, folks, jazz can be played in the afternoon! It is possible that some other musicians looked upon the Showboat's Monday matinees as a drag since they were obligated to perform several more sets a few hours later, but the magisterial John Coltrane could do no other than to give his all every time he picked up his horn.) Listening to this track, it all comes back.

At one point during "Easy to Remember," Coltrane played an amazing duet with himself, high and low on the horn, that was--and remains--the most wonderful example of counterpoint, even while single-voiced--I'm aware of ever having heard in jazz.

As to whether the piano solo on "After the Rain" was really played by Coltrane: yes, indeed it was. As I recall, in explanation of why Coltrane remained at the bandstand after the set, playing the piano from a standing position, Jimmy Heath told my friend Dave Shrier that Trane had seen someone in the audience whom he wanted to avoid.

Now a word about Roy Haynes. He was sitting next to me at the bar during the break (or maybe it was immediately before the set began) and noticed the tape recorder in my lap. He wasn't particularly pleased, informing me that he had appeared on some Charlie Parker bootleg records for which he had never been paid. When I told him that I had no intention of commercializing the tapes and said that I'd stop taping and give him the tape if he liked, he kindly said that, in this case, he supposed it would be okay. So how then to explain this bootleg CD? In 1985, I donated the tapes to the Institute of Jazz Studies at Rutgers University (Newark campus). I believe the Institute subsequently loaned them to WKCR for one of the radio station's annual Coltrane festivals, someone taped them from the air, and the copies circulated among the jazz community. I don't know how else to account for this bootleg issue.

The same bootleg company, two years before issuing the "More Live at the Showboat" CD, issued a 2-CD package called "The John Coltrane Quartet Live at the Showboat," and the album notes contained some errors. I'll mention them here, though they more properly belong in a review of that set. The music on that other set, which I also recorded, was from Thursday night July 18th, 1963, three weeks after this set (which was recorded on Monday June 24th), not from June 17th, which is the date given on the other album. Elvin Jones was back in the group by then; contrary to the album notes, he, not Roy Haynes, was the drummer. Somewhere or other I saw it mentioned that Coltrane didn't play the Showboat in July 1963; that is a mistake




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