aus der Coltrane-Liste:
If any of our list don’t know this article already – it’s on his website – here is Barry Kernfeld’s supremely appetite-whetting description of one of these recordings, from his auction catalog essay:
„These two ten-inch reels, of extraordinary historic importance, hold stereophonic copies of the master tape of all six takes of part 1, “Acknowledgement,” from the sextet version of A Love Supreme, with Coltrane and Archie Shepp on tenor saxophone, McCoy Tyner on piano, Garrison and Art Davis on string bass, and Elvin Jones, drums. A comparatively inferior copy of takes 1 and 2 only—based on a flawed tape reel that was until now the only known source of music from this date—was recently issued on CD in a “Deluxe Edition” of A Love Supreme. Here, unbelievably, hiding all these years on Naima’s side of the family, are perfectly clean, 15-inches-per-second, high-fidelity reel-to-reel copies of those two takes, as well as the remaining four “lost” takes, two of which are complete.
In his discography of John Coltrane’s music, David Wild reports that Archie Shepp recalled recording all four parts of A Love Supreme that day, but only one tape master number was assigned: 90246. It seems more than likely that what Shepp participated in, and slightly misremembered, was the making of these four complete takes of just that first part of A Love Supreme.
In Ashley Kahn’s book A Love Supreme, Shepp makes some self-deprecating remarks in offering his remembrances of his contributions to the sextet recording of “Acknowledgement,” after hearing the first two takes, nearly forty years later (pp.137–9). And why not? He was a young musician in awe of John Coltrane and rather intimidated by the fact that he had been asked to participate in this session. To make matters worse, as Shepp explained, Coltrane plunged Shepp into the deep water that day, providing no advance notice of what they would play.
If Shepp has an opportunity to hear take 6, he might not be so harsh on himself. By this point, the fourth complete take of “Acknowledgement,” Shepp had gained a firm sense of the piece and figured out just what to do. His playing complements Coltrane’s, and in this setting they are a perfect match for one another. Bassists Garrison and Davis do the same thing in their realm, playing interlocking lines and inventing a duo with Davis’s bowing soaring over Garrison’s foundation. The resulting performance, take 6, is beyond belief. After all these decades of admiring the quartet version of “Acknowledgement,” indeed cherishing it as one of the landmarks of music, anywhere, anytime, it feels somewhat heretical to then suddenly turn around and say, “This sextet version is even better.” But there it is. This version is even better, with Coltrane and Shepp playing with an intensity that makes it sound at some points as if there were three saxophonists present, and then goading each other onwards as they joyously trade the four-note “love supreme” motive.“
mehr hier:
http://www.barrykernfeld.com/aop.htm
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #164: Neuheiten aus dem Archiv, 10.6., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba