John Coltrane

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  • #12112795  | PERMALINK


    Registriert seit: 12.06.2011

    Beiträge: 1,722

    Die erste LP hat leider einen deutlichen Höhenschlag. Wird umgetauscht, obwohl ich wenig Hoffnung habe, dass die anderen Ausgaben besser sind.
    Bezieht sich auf die „Evenings At The Village Gate“

    zuletzt geändert von stardog


    Highlights von
    #12112819  | PERMALINK


    Registriert seit: 09.04.2005

    Beiträge: 5,102

    stardogDie erste LP hat leider einen deutlichen Höhenschlag. Wird umgetauscht, obwohl ich wenig Hoffnung habe, dass die anderen Ausgaben besser sind. Bezieht sich auf die „Evenings At The Village Gate“

    Also meine ist in Ordnung, außer dezenter Verfärbung im Vinyl nichts zu bemängeln!


    Hat Zappa und Bob Marley noch live erlebt!  
    #12112827  | PERMALINK


    Registriert seit: 12.06.2011

    Beiträge: 1,722

    Ok, dann bin ich mal auf die zweite Lieferung gespannt.


    #12146213  | PERMALINK


    Registriert seit: 25.01.2010

    Beiträge: 66,998

    Hatten wir glaub ich schon mal irgendwo kurz? Jetzt sind konkrete Infos und ein Vorabtrack da:

    John Coltrane with Eric Dolphy: Evenings at the Village Gate
    (2LP / CD / DL, 14. Juli 2023 + T-Shirts, Tote-Bags und ein Mug)

    In August of 1961, the John Coltrane Quintet played an engagement at the legendary Village Gate in Greenwich Village, New York. Eighty minutes of never-before-heard music from this group were recently discovered at the New York Public Library. In addition to some well-known Coltrane material (“Impressions”), there is a breathtaking feature for Dolphy’s bass clarinet on “When Lights Are Low” and the only known non-studio recording of Coltrane’s composition “Africa”, from the Africa/Brass album.
    1. My Favorite Things
    2. When Lights Are Low
    3. Impressions
    4. Greensleeves
    5. Africa

    A little over 60 years ago, the editor-in-chief of DownBeat magazine asked John Coltrane and Eric Dolphy a deceptively simple question: What are you trying to do? He rephrased slightly: What are you doing? The two saxophonists sat for a long 30 seconds before Dolphy broke the silence. „That’s a good question,“ he said.

    The DownBeat editor, Don DeMicheal, printed this exchange in the April 1962 issue, as part of a fascinating article headlined „John Coltrane and Eric Dolphy Answer the Jazz Critics.“ Regular readers of the magazine would have known precisely what provoked this gesture: a scathing review of Coltrane’s quintet with Dolphy, decrying „an anarchistic course in their music that can but be termed anti-jazz.“

    1961 had been a prolific and pivotal year for Coltrane. That spring, his sleek, intriguing quartet version of „My Favorite Things,“ from The Sound of Music, became a breakout hit. But later that year, as he signed to a new label, Impulse! Records, he wasn’t putting a premium on commercial success. Instead, he was exploring new sounds and configurations, often testing ideas on the bandstand. One such idea was the addition of Dolphy, a wildly original voice on both reeds and flute, and a close personal friend.

    The intrepid depth of their musical rapport takes center stage on a stunning new archival release, Evenings at the Village Gate: John Coltrane with Eric Dolphy, which Impulse will release on July 14. Tomorrow the label will share a preview track, „Impressions,“ featuring Coltrane on soprano saxophone and Dolphy on alto saxophone and bass clarinet — along with drummer Elvin Jones, pianist McCoy Tyner and bassist Reggie Workman, who together make the song feel something like a runaway train. (Until then, you can hear it — exclusively — here.)

    Noch eine Passage, in der Ben Ratliff sich dazu äussert (zu den bekannten Village Vanguard-Aufnahmen vom November 1961 und dann auch zu den neuen):

    Those Village Vanguard tapes, which later yielded a monumental four-disc set, amount to one of the most mysterious and thrilling documents in jazz history. A couple of years ago, Ben Ratliff, author of Coltrane: The Story of a Sound, placed this music within a cultural context of „ambivalent possibility,“ in a vivid essay for the Washington Post titled „John Coltrane and the Essence of 1961.“ He observes: „The music sounds post-heroic and pre-cynical; interestingly free from grandiosity; full of room for the listener to find a place within it and make up their own mind.“

    Last week, after hearing the version of „Impressions“ from Evenings at the Gate, Ratliff elaborated on this idea. „It’s very hard to label or encapsulate, but it’s just so ferociously full of life force,“ he said of the performance. „The musicians know how good this is, and they know how exciting it is — but beyond that, they don’t really know much, and it hasn’t been called anything yet. There’s a lot of the unknown here.“

    Weiterlesen und reinhören:
    Das Material stammt von diesem Auftritt (der erste mit Dolphy glaub ich?):
    Village Gate, NYC, July 11-23
    John Coltrane, Eric Dolphy, McCoy Tyner, Elvin Jones and Reggie Workman

    Die Geschichte der Entdeckung der Bänder:


    "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, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
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