Saxophonist George Coleman turns 90 today, and what a gift that he still graces our presence! If his only claim to fame were his couple years of creative, soulful, and muscular contributions to the burgeoning 1960s Miles Davis Quintet, that would be enough to go down in the history books, but of course his hundreds of other recording credits and impact as a frighteningly accomplished virtuoso and fierce keeper of the straight-ahead jazz flame tell a much broader story. Like some of his Memphis peers, his capacity to straddle breathtaking fluidity, patient lyricism, and deep blues comes off as if effortless, and it certainly gives him a distinct sound.

Here are ten personal favorites from his vast catalogue, presented in chronological order.

1 ) “Sadiga” from Award Winning Drummer by Max Roach (1959)

This minor blues from George’s pen comes from, to my awareness, the first Coleman session to feature his original music. The pianoless quintet features his close friend and Memphis compatriot Booker Little, who burns on trumpet before giving way to George’s powerful solo and melodic statements by tubist Ray Draper and Roach himself.  

2 ) “Joshua” from Live in Europe by Miles Davis (1963)

Recorded three months after the studio recording and a half year prior to the iconic concert documented on “Four and More,” this is a transcendent example of the magical Miles Davis quintet with Herbie Hancock, Ron Carter, and Tony Williams along with George, who is patient yet passionate in his inventive interpretation of Victor Feldman’s landmark tune. Really, though, any recording of George with this rhythm section (including Herbie’s Maiden Voyage record) is worth a deep listen or twenty. 

3 ) “By George” from Live at the Village Vanguard by Elvin Jones (1968)

Alternately titled “Blues Inside Out,” this Coleman original is a highlight of this fiery (notice a trend here?) pianoless trio session with George and bassist Wilbur Little riding the wave of Elvin Jones’s polyrhythmic fury. George is right up there with the many other saxophone giants (from John Coltrane to Ornette Coleman) who’ve navigated this terrain with Elvin.

4 ) “Strozier’s Mode” from Wailin’ by Harold Mabern (1969)

Harold Mabern (George’s Memphis alter ego of sorts), underrated trumpeter Virgil Jones, and drummer Idris Muhammad (then Leo Morris) all burn on this uptempo swinger, but I dare say that George steals the show with his muscular solo work. Mabes’s composition is a tribute to a fellow Memphis pal, saxophonist Frank Strozier, subsequently a member of George’s octet.

5 ) “5/4 Thing” from Eastern Rebellion by Eastern Rebellion(1975)

Before Bob Berg and then Ralph Moore, it was George manning the saxophone chair of the collective quartet Eastern Rebellion with Cedar Walton and Billy Higgins, alongside Sam Jones on bass during this phase. On this debut album, which is brilliant from the first note to the last, George reprises this snaky and infectious original tune (in, yes, 5/4 time) that he debuted five years prior on an Elvin Jones record.

6 ) “Sophisticated Lady” from Dynamic Duo by George Coleman and Tete Montoliu (1977)

This is one of the greatest jazz duo albums, period, with George and Catalonian pianist Montoliu matching each other with near-telepathic synergy (which is quite a statement after just talking about Cedar Walton and Billy Higgins). While I was tempted to pick one of George’s originals, the interplay and lyricism on this Ellington ballad are particularly breathtaking.  

7 ) “Apache Dance” from Amsterdam After Dark (1978)

When I was young, George’s use of the standard “Cherokee” as a sort of gauntlet from which to challenge young musicians was stuff of legend. It stands to reason that this tune of his, using the same chord progression, is a stellar example of his seemingly nonchalant mastery of up-tempo swing – in particular, dig his stoptime chorus at the beginning of the solo. Hilton Ruiz and Billy Higgins also get wonderful solos in.

8 ) “You Mean So Much To Me” from My Horns of Plenty (1991)

By the mid-80s, hearing Harold Mabern on one of George’s records was the default state of things. As much as this list revolves around burning, it’s also important to represent how hard these two masters swung playing together at a more relaxed tempo, and this Coleman original is a great example (not to say that he doesn’t get a bit excitable along the way). Having Ray Drummond and Billy Higgins in tow certainly doesn’t help.

9 ) “The Essence” from The Essence, Part 1 by Ahmad Jamal (1995)

With all due respect to the legendary Ahmad Jamal, George very nearly steals the show in his guest appearance on this record, which starts off moody before locking into a gnarly Latin groove with Muhammad and Manolo Badrena locking in with yet another old pal from Memphis, bassist Jamil Nasser, who first recorded with George back in the late 1950s on the classic “Young Men from Memphis” session.  

10 ) “Father and Son” from Groovin’ with Big G by Brian Charette (2017)

Organ master Brian Charette provides the slow-tempo context for George to demonstrate two important things: his mastery of the blues and his synergy with his son, George Coleman Jr., who anchors the rhythm section alongside Charette and guitarist Vic Juris.