Recorded：December 9, 1964
Studio：Van Gelder Studio, Englewood Cliffs
The John Coltrane Quartet[edit]
John Coltrane – bandleader, liner notes, vocals, tenor saxophone, soprano saxophone[40]
Jimmy Garrison – double bass
Elvin Jones – drums, gong, timpani
McCoy Tyner – piano
Additional personnel[edit]
Archie Shepp – tenor saxophone on alternate takes of "Acknowledgement"
Art Davis – double bass on alternate takes of "Acknowledgement"
Rudy Van Gelder – engineering and mastering
Bob Thiele – production and cover photo[41]
George Gray/Viceroy – cover design
Victor Kalin – illustration
Joe Lebow – liner design

Companies, etc.
Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey
Copyright (c) – Liberty Records, Inc.
Credits
Bass – Reginald Workman*
Design [Cover] – Reid Miles
Drums – Joe Chambers
Liner Notes – Don Heckman
Photography By [Cover Photo] – Francis Wolff
Piano – Herbie Hancock
Producer – Alfred Lion
Recorded By [Recording By] – Rudy Van Gelder
Tenor Saxophone – Wayne Shorter
Notes
Recorded on February 3, 1966 (track A1) and on February 24, 1966 (tracks A2 to B3).

Alfred Lion considered Andrew Hill his last major discovery and rightly so. Hill's rich, rhythmic piano and utterly unique compositions stand alone. Point Of Departure is Hill's masterpiece with rich three-horn arrangements for Kenny Dorham, Eric Dolphy and Joe Henderson. Richard Davis and Tony Williams complete this high level ensemble.
Three alternate takes have been added to the original LP.

Japanese pressing of this CD reissue of Sanders' 1973 album, originally released on Impulse Records. Features two tracks: 'Love Is Everywhere' and 'To John'. 2006.

Pharoah Sanders is an American jazz saxophonist. A member of John Coltrane's groups of the mid-1960s, Sanders is known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of "sheets of sound".

桑·拉，出生名為赫爾曼·普爾·布朗特，依照美國法律登記的名字為Le Sony'r Ra，是一位爵士樂作曲家、樂隊領隊及詩人，是黑人未來派的先驅。此外也會彈奏多種樂器，並提出了所謂的「宇宙理念」。1979年入選阿拉巴馬爵士樂名人堂。 因為他非正統的音樂風格和生活方式，桑·拉此人備受爭議。

...dream collaboration between the King of Ethiopian Sax and the hardest-working band in showbiz, much anticipated by myself and yes, it works.
As the liner notes explain, The Ex's collective mind was blown by the CD of Getatchew Mekuria's records from the early '70s, part of the wonderful Ethiopiques series by the French label Buda Musique. Not surprising really; 'Negus of Ethiopian Sax' (Vol 14) is one of the spookiest, most exotic and out-of-time records I've ever heard. Anyway, the liner notes also explain how the collaboration came about, so I won't here. It's a nice story. The CD booklet is easy on the eye and factoid-crammed, with an interview with Getatchew talking about his life and career, accompanied by lots of cool pictures from his archive, raising the roof with the Municipality Band and the Police Orchestra in Addis Ababa, Gonder, Asmara...
Joining our heroes is Colin Mclean, formerly of the Dog Faced Hermans, on bass and an international horn section of players from Ex-collaborators like the Instant Composer's Pool and Silent Block, I think - Xavier Charles, Brodie West, Joost Buis. Cor Fuhler contributes keyboards on some of the studio tracks. To be honest I think the horn section are the secret ingredient here. The recording is clear and bright, a mix of studio and live takes from this troupe's mini-tour round Europe last year (Which myself, The Doktor & Plaistow Dave travelled to Paris to see).
The Ex's sound has always been about relentless rhythm and building up suspense, with the guitars piling on extra percussion, noise and dynamic to the attack. Here though, they're not the focus but the rhythm section, so the horn section bring together their arrangements of these Ethiopian melodies to allow the lead voice, Getatchew's rich and lyrical playing, to shine.
Instrumentals like the war song 'Che Belew Shellela' gallop along and sounds more celebratory rather than martial. When The Ex slow down, they open up space for some lovely, evocative interplay between Getatchew and the horn section, then the whole band bring in the big band choruses and rock-out climaxes. The closing 'Aha Begena' has a great call-and-response of punk vocals (in Amharic!) and a loopy, catchy horn refrain over a driving beat which'll confuse your body into wanting to shoulder dance, Ethiopian-style, and pogo at the same time. Yah-Ho!
One of my favourite tunes from the original Ethiopiques CD is featured on 'Aynotche Terabu/Shemonmwaneye', with it's monumentally sad, plodding bass melody carrying the waves of chiming guitars, wailing horns and singer G W Sok's plain vocals to levels of incredible power which is as exicting and as the original recording, a beautiful meld of moody post-punk guitar and Ethiopian melancholy. On repeated listens I like it all, there's so much going on but it never turns into a mess, which is another tribute to the talent of all concerned here.
You can tell that everyone is having a great time and love what they're doing, which definitely makes this a collaboration rather than a fusion. About two-thirds through, Getatchew's solo spot 'Tezeta' allows him to step into spotlight and it it's a reminder why The Ex wanted to find the man in the first place and let more people hear his singular voice.

Mastered By – Kobayashi Yoshio
Producer – Shibusa Shirazu
Recorded By, Mixed By – Tanaka Atsushi (Realtime Sound)
Written-By – Fuwa Daisuke

Master drummer and percussionist Kahil El'Zabar leads a very strong modern jazz band through a set of jazz standards and originals indebted to the spirit of John Coltrane. On this album he is supported by Kevin Nabors on tenor saxophone, Justin Dillard on organ and piano and Junius Paul on bass. The group is well integrated, and El'Zabar brings a great deal of experience to the music from his relationship with the AACM through his leadership of the the Ethnic Heritage Ensemble. The El'Zabar original ""The Nature Of" leads off the album with thick bass and drums and Nabors' saxophone entering with an emotional cry. Swirling organ develops a deep meditative vibe, wrapping around Paul's bass to develop a potent groove. Everybody comes together with Nabors digging deep to a powerful conclusion. John Coltrane's "Impressions" gets a terrific reading developing a strong and muscular state. Powerful drums and saxophone lead the way with Nabors solo growing into a passionate storm, egged on by El'Zabar's splashy cymbals. After a deep piano and bass interlude, the saxophone and drums return, culminating in a thrilling cacophony of intense improvisation. The group slowly develops another John Coltrane composition, "Central Park West" with a great rhythm pattern for bass and drums, giving Paul a lot of space, and allowing Nabors to step off the throttle a bit and develop his improvisation in a more melodic fashion. The set ending original "Kari" delves deep into the Coltrane legacy with deep, dark piano accompaniment driving Nabors to bold or dramatic flights of improvisational fancy. This album will definitely appeal to fans that enjoy the music of the classic John Coltrane Quartet. They develop the tradition of the music of the past and bring it into the present with respect and dignity.

Bass – Hideaki Mochizuki
Drums – Hiroshi Murakami
Piano – Humio Itabashi
Tenor Saxophone – Hideo Miyata
Tenor Saxophone, Soprano Saxophone – Kohske Mine
Producer – Tetsuya Shimoda
Engineer – Tamaki Bekku
Liner Notes – Masahiko Yuh

Artwork – John Bergin
Chapman Stick, Voice – Tony Levin
Drums [Acoustic], Electronic Drums, Percussion – Pat Mastelotto
Guitar [U8 And AU8 Touch Guitars], Voice – Markus Reuter
Layout – Bernhard Wöstheinrich
Mastered By – Lee Fletcher
Photography By [Band Photography] – Kai Joachim
Producer – Stick Men (2)
Producer [Post-production], Mixed By – Benjamin Schäfer, Markus Reuter
Written-By – Markus Reuter, Pat Mastelotto, Tony Levin