To think of this late September 1962 session as a novel meeting of “old” and “new” is to misunderstand what Duke Ellington means in the jazz canon. Tenor sax giant John Coltrane was revered for the way he pushed past harmonic boundaries, but Ellington had been doing that since the mid-’20s, and he continued doing it until his death in 1974. Coltrane knew full well the heaviness he’d contend with meeting Duke in the studio, yet he seems to approach it like any encounter. Which is to say he shreds mightily, with his own rhythm section of bassist Jimmy Garrison and drummer Elvin Jones on a few cuts, Ellington’s bassist Aaron Bell and drummer Sam Woodyard on the others. To hear Ellington at the bench in place of McCoy Tyner, Coltrane’s groundbreaking pianist of this period, makes the album all the more striking.