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„Stellar Regions“ hat bei mir ja nie recht gezündet … liegt aber zum Wiederhören bereit, wie noch so vieles. Aber die Liste verfestigt sich allmählich (mit „Expression“, ohne „Stellar Region“, und die Japan-Konzerte haben wohl auch keinen Platz mehr, 20 sind einfach zuwenig!)
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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, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaHighlights von Rolling-Stone.deSo klingen die größten Schlagzeuger ohne ihre Band
Welches Equipment verwenden eigentlich…Pink Floyd?
Musikalische Orgasmen: 6 Songs voller Höhepunkte
Dies ist (laut Fans und Kritikern) die beste Folge von „Friends“
Studio-Magier: Die 8 besten Musikproduzenten
So arbeiteten die Beatles am „Weeping Sound“ für das White Album
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Am 8. Oktober veröffentlicht Impulse! A Love Supreme: Live in Seattle
A rare private recording of John Coltrane playing his iconic work A Love Supreme is getting released for the first time. A Love Supreme: Live in Seattle arrives October 8 (via Impulse!/UMe). The set was captured by saxophonist and educator Joe Brazil in 1965 on the final night of Coltrane’s weeklong stint at the Penthouse in Seattle. The lineup featured legendary musicians Pharoah Sanders, McCoy Tyner, Elvin Jones, Jimmy Garrison, and more. Today, Impulse! and UMe have released the live rendition of “A Love Supreme, Part IV – Psalm.” Hear that below.
A Love Supreme: Live in Seattle was restored and mastered by Kevin Reeves at East Iris Studios in Nashville, Tennessee. The recording is particularly notable as Coltrane rarely performed A Love Supreme in full after its studio recording in 1964. For more than six decades, it was believed that the only recorded public performance of A Love Supreme was from a French festival at Juan-Les-Pains in July 1965. That version was released nearly twenty years ago. Joe Brazil’s tape reels from the 1965 Seattle set remained in his private collection until now.
A Love Supreme: Live in Seattle was recorded with a two-microphone set-up onstage, connected to an Ampex reel-to-reel machine. “What’s remarkable is that tapes from this era often suffer over the years from heat or moisture damage, or simply being stacked horizontally,” engineer Kevin Reeves said in a press release. “However, these tapes are in excellent condition, and the results are among the best amateur recordings of John Coltrane we’ve had the pleasure to work on.” The album features liner notes written by music historian Ashley Kahn.
A Love Supreme: Live in Seattle:
01 A Love Supreme, Pt. 1 – Acknowledgement (Live in Seattle/1965)
02 Interlude 1 (Live in Seattle/1965)
03 A Love Supreme, Pt. II – Resolution (Live in Seattle/1965)
04 Interlude 2 (Live in Seattle/1965)
05 A Love Supreme, Pt. III – Pursuance (Live in Seattle/1965)
06 Interlude 3 (Live in Seattle/1965)
07 Interlude 4 (Live in Seattle/1965)
08 A Love Supreme, Pt. IV – Psalm (Live in Seattle/1965)Darauf freue ich mich extrem!
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Hey man, why don't we make a tune... just playin' the melody, not play the solos...
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,502
Freue mich auch ….
Bevor wieder Hr. Feldman zum einer epischen Selbstbeweihräucherungsshow aufbricht der reale Hintergrund des Fundes :
„A special shoutout here belongs to Steve Griggs, a Seattle saxophonist, who is the person who actually discovered the tape among Joe Brazil’s belongings. As honest and selfless as the day is long, Steve has been doing pioneering research into the life and career of the Detroit-born Brazil and it is he who befriended Joe’s widow and took the first steps toward this rare material seeing the light of day.“
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)Großartige Neuigkeiten. Ich kann’s kaum abwarten, dass in voller Länge zuhören.
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Nate Chinen ist hier bei NPR zu Gast, dauert nur 4 Minuten – er erzählt hier was zum Hintergrund:
https://www.npr.org/2021/08/26/1031013271/john-coltranes-masterpiece-breathes-new-life-with-a-love-supreme-live-in-seattleEs gibt ja schon die Live-Version aus Antibes, die auch grossartig ist.
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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, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaHammer.
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When shit hit the fan, is you still a fan?John Coltranes Lieblingsalbum erscheint als Deluxe-Edition
John Coltranes liebstes Album „My Favorite Things“ wird sechzig Jahre alt. Zur Feier gibt es eine Sonderedition mit verschollen geglaubten Mix-Versionen und Beigaben für Fans.
Das Plattenlabel Rhino hat zu diesem Jubiläum eine remasterte Deluxe-Edition angekündigt, die am 20. Mai erscheinen soll.
Evtl. auch eher uninteressant, denn was soll es da noch neues geben?
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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.
Tracklist:
1. My Favorite Things
2. When Lights Are Low
3. Impressions
4. Greensleeves
5. Africahttps://jazz.centerstagestore.com/pages/john-coltrane
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:
https://www.npr.org/2023/05/31/1179098682/john-coltrane-eric-dolphy-village-gate-1961-lost-album__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--
"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, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbadanke, das ist natürlich sehr toll. aber ich glaube, ich nehme nur die kaffeetasse
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soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,502
☕️Tasse + 1 ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)Tolle Neuigkeiten. Auf When Lights Are Low bin ich gespannt.
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Hey man, why don't we make a tune... just playin' the melody, not play the solos...atomTolle Neuigkeiten. Auf When Lights Are Low bin ich gespannt.
ich tatsächlich auf die 500. version von „my favorite things“ – weil es die mit dolphy ja nicht in solch einer guten qualität (und so früh) gibt bisher.
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vorgarten
danke, das ist natürlich sehr toll. aber ich glaube, ich nehme nur die kaffeetasse
Genau, den Rest kann man dann ja illegal aus dem Netz saugen … im ernst, ich finde die T-Shirts ziemlich cool. Aber mit Versand, Zoll usw. wird das halt sehr teuer.
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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, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba@vorgarten: Stimmt, erst wieder im November, das war mir nicht mehr präsent.
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Hey man, why don't we make a tune... just playin' the melody, not play the solos...Die When Lights Are Low ist natürlich ein Pflichtkauf.
Zwei Giganten des Jazz.--
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