The sessions that produced this album were recorded in 1958 and have been well-documented on LPs
Dial Africa,
Gold Coast, and
Tanganyika Strut, among others. When the LPs were issued, much was made of
Coltrane's presence on them, as he was at the beginning of his second run with
Miles Davis' group and the end of his tenure with
Thelonious Monk. He had also just finished his contract with Prestige and was beginning one with Atlantic. It was a hectic time for the saxophonist and, by all accounts, his playing the role of a sideman -- no matter what the billing on the record says -- was refreshing and liberating for him. In fact, he asked to play on these dates. The real story is
Harden, of course, precisely because of the lack of one. Though he achieved some renown with
Yusef Lateef, as a leader he was rarely heard from after these sessions and virtually disappeared in the '60s; even the date of his death has not concretely been determined. There are four originals on this set, played by a band that included
Coltrane,
Curtis Fuller, drummer
Art Taylor, bassist Ali Jackson, and either
Tommy Flanagan or
Howard Williams on piano. Other tracks from this session -- though not on this album -- include
Louis Hayes and
Doug Watkins. Four
Harden originals, including "B.J." (of which there are two takes), "Anedac," the title tune, and "Oomba" are added to the standard "Once in a While."
Coltrane and
Harden were in many ways a dream team:
Coltrane's already fiery playing, which pushed bop phrasing to the seam and split it, is anchored beautifully by
Harden's deeply lyrical and airy playing. They weave through one another with great balance and poise, particularly on the slightly funky title cut. Of the four sessions
Coltrane and
Harden recorded together, start with this one.