― Scott, Wednesday, 16 May 2001 00:00 (fifteen years ago) Permalink
Now on to the good part.
Africa/Brass (shite Greensleeves is on it, but Africa is utterly
Coltrane (the one with blue sleeve, mid-period, good not too wild)
Lush Life (early period, but very lush indeed)
Sunship (getting harder, this one is from late 65 I think)
A Love Supreme (jazz bores hate it because it's popular with non-jazz
bores. Fuck 'em...and it's about God and stuff which people tend to
I you want the *wild* stuff:
Meditations is the one. It still has some lyrical beauty in constrast
to Ascension which I don't know to well, but is supposed to be good
and his hardest moment with Live in Seattle.
I also love Interstellar Space, very spare but beautiful.
― Omar, Wednesday, 16 May 2001 00:00 (fifteen years ago) Permalink
A Love Supreme is quite boring and — if presented (as it routinely is) as JC's ultraclassic — it just inoculates foax against eg Live in
Seattle or Interstellar Space or Ascension. Because they think "It's good [ie ALS] but I don't like it: I'll go no further."
However there's a live take of ALS, which — haven't heard it for years — I recall thinking greatly better
― mark s, Wednesday, 16 May 2001 00:00 (fifteen years ago) Permalink
― Andrew L, Wednesday, 16 May 2001 00:00 (fifteen years ago) Permalink
Search: The Impulse Classic Quartet Box Set, The Village Vanguard
Box, the Johnny Hartman record, Giant Steps.
― Dave M., Wednesday, 16 May 2001 00:00 (fifteen years ago) Permalink
― Sean Carruthers, Wednesday, 16 May 2001 00:00 (fifteen years ago) Permalink
Also, stuff he did with Dolphy is amazing. Try and get live material
from '63 w/ Dolphy, like the first Village Vanguard sessions (I may
have the year wrong.) The Quintet Live in Paris is great, and has
Dolphy playing bass clarinet on "Blue Train," bumping it up a few
If you like lyrical Coltrane try "Transition." It has my favorite
composition of his, "Welcome." Which I want played at my wedding.
Actually, the rest of that album is so-so, but that track is so
My favorite "out there" stuff is probably Live In Seattle, could be
what you're looking for if you want the more intense sound.
Destroy: Well, how about the opening chant of "Om."
― Mark, Wednesday, 16 May 2001 00:00 (fifteen years ago) Permalink
As for the classic quartet and later stuff...
--I highly recommend 'Live at Birdland' as a first pick, it was mine
and from the beginning of Afro-Blue it pretty much floored me in terms
of intensity. Besides, Alabama is the most beautiful song he ever did.
--I'm also pretty surprised at any backlash against A Love
Supreme...for me, it's just an incredibly deep, emotional album that
pretty much defines everything good about jazz. Plus, the Crescent
album recorded the same year is my other favorite classic quartet
album, it's so laid back and solid.
--As for the later stuff, all the stuff with Alice and Pharoah Sanders
is pretty intense and free and busy...I 'got' Meditations after
awhile, but can only listen to that stuff every now and then.
Interstellar Space is a pretty singular record too (duet album with
Rashid Ali on drums)...I had NO idea what was going on there for a
long time. It's still pretty impressive in that sense, but it's easier
to hear the colors and patterns they are going for.
― Jordan, Wednesday, 16 May 2001 00:00 (fifteen years ago) Permalink
Is 'Live in Seattle' out on cd? I just can't find a copy.
― Omar, Thursday, 17 May 2001 00:00 (fifteen years ago) Permalink
― sundar subramanian, Saturday, 19 May 2001 00:00 (fifteen years ago) Permalink
― Dave M., Sunday, 20 May 2001 00:00 (fifteen years ago) Permalink
i think i probably find _is_ especially accessible because of its
similarities to indian classical music. i put it on at work once and
an indian immigrant co-worker loved it right away.
― sundar subramanian, Thursday, 24 May 2001 00:00 (fifteen years ago) Permalink
― Josh, Thursday, 24 May 2001 00:00 (fifteen years ago) Permalink
(ps josh: i'll write you back soon. i've just been really busy and
not had enough time when i get to terminals.)
― sundar subramanian, Saturday, 26 May 2001 00:00 (fifteen years ago) Permalink
― Josh, Sunday, 27 May 2001 00:00 (fifteen years ago) Permalink
'Meditations' - Don't be fooled by the title. I'm telling you. This
album here...will grab you by the balls and it will start to feel
'Ascension' - ...will grab you by the balls (that's for sure). It
won't exactly feel good, however (unlike the nearly transcendent
More or less, you can try most any of the later year Coltrane for the
nifty free-jazz experience (aka: post-Love Supreme - the ones you have
are pre-Love Supreme).
But, I know what you mean by "What's the fuss about this free-jazz
I've read so much about?" and...with that :
I'd also try some Cecil Taylor. Now, HE is what I truly call
avant-garde (wild/wacky/free-jazz). Cecil might just flat-out "blow
your mind" (if that's what you're looking for in jazz form). Try Cecil
circa 1966 ('Unit Structure') throughout/on up to around 1979 ('3
Phasis') and most inbetween (some of which is solo piano/some of which
with band - the two mentioned as bookends are with band - so, be
careful with that, taste according...personally, I kind of enjoy
schizophrenic solo piano playing, but...it does have a more limited
range than with band accompaniment).
― michael g. breece, Sunday, 1 July 2001 00:00 (fifteen years ago) Permalink
Search: A Love Supreme (definitely his best, I would say), Crescent,
and Meditations, just to name three off the top of my head.
Meditations might take a bit to get accustomed to that one. The one
with Johnny Hartman doing vocals is a nice, laid-back one.
Destroy: The later Village Vanguard album (with his final band) was a
bit too out there for me.
― Joe, Sunday, 1 July 2001 00:00 (fifteen years ago) Permalink
We like it because it's great. I wonder if this doesn't suggest that
there is something else other than jazz's complexity which turns some
of us off to most of it? "Giant Steps" (the title track) tends to
make me laugh. I like it's exuberance. He sounds like he's really
enjoying himself playing it, but there's room for us to share the
amusement. I'm still not sure I understand what "playing the changes"
― DeRayMi, Monday, 3 June 2002 00:00 (fourteen years ago) Permalink
― Julio Desouza, Tuesday, 4 June 2002 00:00 (fourteen years ago) Permalink
When you solo in straight-ahead jazz, the notes you play will generally reflect the harmonic structure of the song -- i.e. the chords. In tonal songs that are harmonically simple, the palette of "key notes" you have to choose from remains largely the same from chord to chord, so that at any given moment there are particular pitches that you can use as touchstones or "common tones", feeling pretty sure they won't dissonate. (For instance, if you're playing a very basic B-flat blues, the notes B-flat, C, E-flat, F, and G are all "safe" in that they're present in the scales that underlie all of the chords in a B-flat blues -- B-flat 7, E-flat 7, and F7. However, a solo made up of only those notes will likely be terrible, not least because it excludes "chord-defining" pitches and can't convey any sense of harmonic motion.)
The thing that makes the title track of Giant Steps so unusual is that the chords are changing very rapidly, and each chord is fairly remote from the previous one, so those touchstones are quite few. On top of that, the song is so fast that any given common tone is fleeting -- if you play a particular pitch for longer than a measure or so, the odds are that it will clash with a chord that's changing underneath you. So basically, the experience of improvising over "Giant Steps" can feel a little like trying to play catch in one of those gyroscopic whirlythings in which they train astronauts -- your frame of reference is constantly changing, and you have to think ahead at high speed in order to make sure that each of your choices will connect with where you're going to be in two seconds.
Given all that, the fact that Coltrane was able to play melodic and memorable solos in such a context is really remarkable, let alone the fact that he played them with total mastery. He didn't just plow his way through the chords, he weaved them into the fabric of his improvisation in such a way that, while they were integral to his solo and completely implicit in it (i.e. you can reconstruct the chord changes from his unaccompanied solo), he wasn't at all governed by them: he wasn't just running down the changes, he was using them as one would use a blues or "I Got Rhythm" changes or any other ground. In other words, he made the seemingly unnatural sound natural, even effortless, and in doing so he normalized a new part of human musical experience. It would've been incredibly easy to make "Giant Steps" sound like a gimmick, but Coltrane's sheer mastery made it seem instead like an open door, full of possibilities for new harmonic approaches that both he and others -- and anyone willing to listen and work hard -- could explore.
― Phil, Tuesday, 4 June 2002 00:00 (fourteen years ago) Permalink
― DeRayMi, Tuesday, 4 June 2002 00:00 (fourteen years ago) Permalink
― Ron, Tuesday, 4 June 2002 00:00 (fourteen years ago) Permalink
I really like the concert performance, especially Jimmy Garrion's solos in the third movement. Coltrane also plays a lot more noisily compared to the studio version, which I tend to enjoy. The sextet takes were a dissapointment. Shepp seems to be interrupting most of the time.
― Aaron Grossman (aajjgg), Tuesday, 28 January 2003 04:19 (fourteen years ago) Permalink
― sundar subramanian (sundar), Tuesday, 28 January 2003 04:38 (fourteen years ago) Permalink
and then coltrane is playing his scales like crazy, garrison just fades. its a slow fade, I'm trying to listen to him but even the tape hiss is making more noise at the end and when coltrane does his bit is the turn of pharoah sanders/rashied ali/alice coltrane trio. I don't whether Alice knows what to do really...you keep hearing those piano notes but it gets harder to pay any attention to her and she sounds as if she was taken aback, only ali can keep up with sanders, they are just so 'in tune' with each other. Pharoah sanders' solo is just a thing of beauty...he starts off playing these 'sorrowful' notes but gradually he becomes keeps squealing and blowing so hard that he actually transforms the alto to some sort synth but there's no 'common logic' (its some other sort of logic) to what he's playing (unlike a lot of 'warp' type stuff)...anyway, sanders/Ali make this track.
Coltrane comes back and he and sanders throw little sax lines at the each to round off with Ali to round it all off.
If a live album's purpose is to make you wish you were there then this fulfills that purpose.
― Julio Desouza (jdesouza), Tuesday, 28 January 2003 09:40 (fourteen years ago) Permalink
but historically - and vital for understanding "a love supreme" properly - you need to hear his '57 recordings with monk.
― Marcello Carlin, Tuesday, 28 January 2003 09:51 (fourteen years ago) Permalink
I'm still mad at the uncut reviewer who wrote a review of the last concert. it was basically: 'Free jazz is not my bag so don't bother'.
excuse my unpolished previous post on this.
― Julio Desouza (jdesouza), Tuesday, 28 January 2003 10:02 (fourteen years ago) Permalink
what do other people think of 'infinity'? i've been thinking about starting a thread about it, but i guess this'll do. for me the strings = classic, but i can see how the cd piss a lot of people off.
― toby (tsg20), Tuesday, 28 January 2003 10:11 (fourteen years ago) Permalink
I was looking for the live in japan 4CD box (it is a 4CD box yes?) but I couldn't find it at tower. must stop by HMV sometime.
― Julio Desouza (jdesouza), Tuesday, 28 January 2003 10:28 (fourteen years ago) Permalink
― Aaron Grossman (aajjgg), Tuesday, 28 January 2003 21:21 (fourteen years ago) Permalink
― Julio Desouza (jdesouza), Tuesday, 28 January 2003 21:30 (fourteen years ago) Permalink
That Ahsley Khan bk abt ALS is worth getting just for the pic of Ayler playing at JC's funeral - never seen that shot B4.
H*V doesn't have the 'Live in Japan' box, Julio - it must be out of print. In general, the collapse of the revived Impulse label has kind of left late period Coltrane reissues in limbo - now wld be a gd time to snap 'em up (or wait until the next set of superduper deluxe whatsits)
― Andrew L (Andrew L), Tuesday, 28 January 2003 21:37 (fourteen years ago) Permalink
grebt review of the book there andrew!
thanks for that andrew. so Impulse went down then that's a shame. The coltrane rack at tower was looking a bit 'empty' (though they are closing now but still).
I'm gonna try and get what's there i think.
― Julio Desouza (jdesouza), Tuesday, 28 January 2003 21:48 (fourteen years ago) Permalink
― hstencil, Tuesday, 28 January 2003 21:50 (fourteen years ago) Permalink
i have a question concerning the mixing quality of the album though. the cd i have has both saxes on the right channel and the drums on the left. the stereo sound is totally unbalanced as the saxes are so much louder than the rest. i always put the balance knob to the maximum level for the left channel. otherwise my right ear would get harmed when i put up the volume so that i can hear something from the left speaker. is that normal?
― alex in mainhattan (alex63), Sunday, 11 June 2006 16:47 (ten years ago) Permalink
people used to put lots of effort into thinking and talking about actual records here, didn't they. well.
― tom west (thomp), Sunday, 11 June 2006 17:06 (ten years ago) Permalink
― Dominique (dleone), Saturday, 9 September 2006 22:57 (ten years ago) Permalink
― Tim Ellison (Tim Ellison), Saturday, 9 September 2006 23:06 (ten years ago) Permalink
Coltrane bassist r.i.p.
Art Davis, 73; known for mastery of the bass, also was a psychologist
By Jocelyn Y. Stewart, LA Times Staff Writer
August 4, 2007
Art Davis, the renowned double bassist who played with John Coltrane and other jazz greats, was blacklisted in the 1970s for speaking up about racism in the music industry, and then later in life earned a doctorate in clinical psychology and balanced performance dates with appointments to see patients, has died. He was 73.
Davis, a player whom jazz critic Nat Hentoff once described as "an astonishing player" and "beyond category," died of a heart attack Sunday at his home in Long Beach, said his son Kimaili Davis.
"He was adventurous with his approach to playing music," said pianist Nate Morgan, who played with the elder Davis intermittently over the last 10 years. "It takes a certain amount of integrity to step outside the box and say, 'I like it here and I'm going to hang here for a while.' "
Known for his stunning and complete mastery of the instrument, Davis was able to genre-hop comfortably. He played classical music with the New York Philharmonic, was a member of the NBC, Westinghouse and CBS orchestras, and played for Broadway shows.
The most intense and enriching experience of Davis' career was his collaboration with John Coltrane. Described by Hentoff as Coltrane's favorite bassist, Davis performed on the saxophonist's albums including "Ascension," Volumes 1 and 2 of "The Africa/Brass Sessions" and "Ole Coltrane." The two musicians met one night in the late 1950s at Small's Paradise, a jazz club in Harlem, where Davis was playing with drummer Max Roach. Coltrane invited Davis to play with him the following morning at one of his legendary grueling practice sessions.
A few years later, when Coltrane was building his quartet, he invited Davis to join. By then he had become averse to touring and so declined, although he periodically played with the group.
Davis viewed his instrument as "the backbone of the band," one that should "inspire the group by proposing harmonic information with a certain sound quality and rhythmic impulses," Davis said in an excerpt from So What magazine posted on his website. "You let the bass do the talking. A bassist cannot be satisfied with playing straight." By following his own advice, Davis' career flourished. He played with a long and varied list of artists: Thelonious Monk, Duke Ellington, Rahsaan Roland Kirk, Louis Armstrong, Judy Garland, John Denver, the trio Peter, Paul and Mary and Bob Dylan.
Pianist Ahmad Jamal once dubbed Davis the "forgotten genius" because the outspoken bassist had been blacklisted for many years. Davis' decision to take a stand against racism was born of his experiences in music.
Davis began studying piano at age 5 in Harrisburg, Pa., where he was born Dec. 5, 1933. By sixth grade Davis studied the tuba in school simply because it was the only instrument available, he said.
By 1951 he decided to make music his career but chose the double bass, believing it would allow more opportunities to make a living. At age 17 he studied with the principal double bassist at the Philadelphia Orchestra. But when he auditioned for his hometown's symphony, the audition committee was so unduly harsh and demanding that the conductor Edwin MacArthur questioned their objectivity.
"The answer was, 'Well, he's ['colored']' — and there was silence," Davis recalled in a 2002 article in Double Bassist magazine. "Finally MacArthur burst out, 'If you don't want him, then you don't want me.' So they quickly got together and accepted me." After high school, Davis studied classical music on scholarship at the Manhattan School of Music and the Juilliard School of Music. At night he played jazz in New York clubs.
"It all sounded good to me — and I felt I could do a number of different fields," he told Double Bassist. "I was of one the first to switch back and forth from jazz to classical."
But the switch was not always an easy one. Davis encountered situations where race was more important than performance. In the 1970s, his fortunes waned after he filed an unsuccessful discrimination lawsuit against the New York Philharmonic. Like other black musicians who challenged job hiring practices, he lost work and important industry connections.
"As a person, he had enormous integrity," Hentoff said in an interview this week. "He wouldn't bend to accommodate bias or the ignorance of some of the people in the music business."
With less work coming his way, Davis returned to school and in 1981 earned a doctorate in clinical psychology from New York University. Davis was for many years a practicing psychologist while also working as a musician.
"I went up against the big power people and lost 10 years of my life. I feel vindicated [through his court case], and I wouldn't be a Dr. Art Davis if it hadn't happened," he told Double Bassist.
As a result of his lawsuit and protest, Davis played a key role in the increased use of the so-called blind audition, in which musicians are heard but not seen by those evaluating them, Hentoff said.
The accomplished musician also pioneered a fingering technique for the bass and wrote "The Arthur Davis System for Double Bass."
Davis also wore the hat of university professor; for two years he taught at UC Irvine. Most recently Davis was a part-time music instructor at Orange Coast College in Costa Mesa. He could be regularly heard on Sundays at the Ritz-Carlton in Laguna Niguel. Among musicians, Davis was highly respected for his work and his role in the Coltrane legacy.
"And he always had a great attitude, no matter what kind of music we were playing or how difficult the circumstances were," said Jan Jordan, the pianist who played with Davis at the Ritz.
"He always reached out to people in the audience."
― curmudgeon, Saturday, 4 August 2007 23:17 (nine years ago) Permalink
― BIG HOOS aka the steendriver, Saturday, 4 August 2007 23:39 (nine years ago) Permalink
RIP, a remarkable man.
Phil's explanation of "playing the changes" on this thread is so clear and to the point -- it sheds a lot of light in three short paragraphs.
― Brad C., Monday, 6 August 2007 00:06 (nine years ago) Permalink
As close to a God to me as anything I hold dear. Sincerely. God schmod.
― Saxby D. Elder, Monday, 6 August 2007 00:16 (nine years ago) Permalink
Looks like the AP and NY Times just found out about Art Davis.
― James Redd and the Blecchs, Friday, 24 August 2007 06:03 (nine years ago) Permalink
for the "far out free jazz" type stuff, just look for anything from 1964 to 1967 (the year he died)
my favorites are a love supreme, one down one up (recently released live recording with a long insane title track solo), interstellar space, stellar regions (this one was unreleased until the 90s or something, it's awesome), and live in japan (4 cd set with intense long ass songs).
― bstep, Friday, 24 August 2007 18:37 (nine years ago) Permalink
hate when ppl say blue train is 'boring'
― deej, Friday, 24 August 2007 18:39 (nine years ago) Permalink
yeah the solo on blue train is awesome
― bstep, Friday, 24 August 2007 18:41 (nine years ago) Permalink
lol at pain-free dentist
― I Am the Cosimo Code (James Redd and the Blecchs), Wednesday, 25 September 2013 23:58 (three years ago) Permalink
Can anyone help me? I have a copy of Kulu Se Mama which turned up in a bunch of vinyl belonging to my parents. Neither are big free jazz fans but my grandfather liked a bit of jazz now and again so maybe it came from him. Anyway i put it on the player and on side one, rather than being the title track I'm pretty sure it's actually playing 'Om', not Kulu Se Mama, so this must be some sort of misprint? Also it's on HMV/ EMI label, not Impulse or MCA. Can't find a trace of this being released on Discogs. So can anyone shine a light on what the heck this is?
― wank-bond-villain-looking villain, (dog latin), Tuesday, 11 March 2014 21:38 (three years ago) Permalink
Om takes up two sides of a record; does the second side fade in (and sound like the first side)?
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Wednesday, 12 March 2014 00:02 (three years ago) Permalink
"Om" begins with percussion (incl. kalimba) and bandmembers reciting in unison the speech that ends with "... I am he who awards to each the fruit of his action. I make all things clean. I am Om!", whereas "Kulu Se Mama" begins with a single drum and recitation in some African tongue, including the title phrase.
― Sir Lord Baltimora (Myonga Vön Bontee), Wednesday, 12 March 2014 00:08 (three years ago) Permalink
Oh hai I am the clarified butter
― grape is the flavor of my true love's hair (Jon Lewis), Wednesday, 12 March 2014 00:29 (three years ago) Permalink
Yep, it's definitely Om on the first side, but the label and cover both say Kulu Se Mama. Not sure about the second side. A bit more digging threw up that this is a misprinted copy that got recalled, but I can only find one reference to it on the internet.
What, am I quids-in or what here?
― wank-bond-villain-looking villain, (dog latin), Wednesday, 12 March 2014 01:05 (three years ago) Permalink
Like Tarfumes said, both sides of "OM" basically sound the same. 2nd side of KSM would have two separate under-ten-minute tracks.
― Sir Lord Baltimora (Myonga Vön Bontee), Wednesday, 12 March 2014 01:38 (three years ago) Permalink
Om also ends with the same recitation it begins with.
Have you checked Popsike or collectorsfrenzy?
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Wednesday, 12 March 2014 01:51 (three years ago) Permalink
If you peel off the cover is there a picture of Coltrane in a butcher's smock with a cleaver and some bloody dolls?
― nickn, Wednesday, 12 March 2014 04:34 (three years ago) Permalink
^^ nice one!
― wank-bond-villain-looking villain, (dog latin), Wednesday, 12 March 2014 09:30 (three years ago) Permalink
Checked all the sites mentioned and there's little-to-no info.
― wank-bond-villain-looking villain, (dog latin), Wednesday, 12 March 2014 10:11 (three years ago) Permalink
can you post a short video with music from both sides?
― Mark, Wednesday, 12 March 2014 10:28 (three years ago) Permalink
yeah when i get home i shall do that.
― wank-bond-villain-looking villain, (dog latin), Wednesday, 12 March 2014 10:38 (three years ago) Permalink
― wank-bond-villain-looking villain, (dog latin), Wednesday, 12 March 2014 22:31 (three years ago) Permalink
Having spoken to a few people, I'm kind of convinced this is most probably a rarity. But what to do with it? I'm not a very confident eBay user...
― wank-bond-villain-looking villain, (dog latin), Thursday, 13 March 2014 10:36 (three years ago) Permalink
Side 2 is definitely the continuation/2nd part of Om.
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Thursday, 13 March 2014 11:10 (three years ago) Permalink
This just sounds like half of a British vinyl version of this:
There are lots and lots of vinyl repackagings of Coltrane's stuff. Unless they contain material unavailable elsewhere, they're not generally worth very much at all.
― Ward Fowler, Thursday, 13 March 2014 11:15 (three years ago) Permalink
WF, but it's not that - the label/cover is clearly Kulu Se Mama, but the music is Om.
― wank-bond-villain-looking villain, (dog latin), Thursday, 13 March 2014 11:21 (three years ago) Permalink
Well, I'm guessing the market for mis-labelled British Coltrane issues of commonly available material is not especially fierce, but am happy to be proved wrong when you sell it for a mint on ebay.
― Ward Fowler, Thursday, 13 March 2014 11:26 (three years ago) Permalink
haha, cool. i know next to nothing about how much stuff goes for, so i'm curious. don't expect to make a fortune but it's interesting all the same.
― wank-bond-villain-looking villain, (dog latin), Thursday, 13 March 2014 11:29 (three years ago) Permalink
I started a thread on the Steve Hoffman forums asking about this. Only one reply so far, but it said that unless the music was previously unreleased, a mislabeled record isn't worth a lot (or at least, not appreciably more than an error-free copy of the same record).
So, depending on condition, probably around 30 pounds/$50.
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Thursday, 13 March 2014 18:55 (three years ago) Permalink
Cheers. Well that's a fair bit to me.
― 1 pONO 3v3Ry+h1n G!!!1 (dog latin), Thursday, 13 March 2014 19:26 (three years ago) Permalink
good longread here: http://www.theparisreview.org/blog/2014/06/03/an-absolute-truth-on-writing-a-life-of-coltrane/
― tylerw, Friday, 6 June 2014 14:38 (two years ago) Permalink
This is a tremendous and fascinating story; thanks so much for posting!
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Friday, 6 June 2014 16:01 (two years ago) Permalink
i've never read that book, but really want to now. i thinnnk my library might have it? seems to be sort of hard to come by, even the reprint.
― tylerw, Friday, 6 June 2014 16:02 (two years ago) Permalink
that's a really cool story
― ₴HABΔZZ ¶IZZΔ (Hurting 2), Friday, 6 June 2014 16:03 (two years ago) Permalink
Yeah, great piece - thanks for the link!
― Humorist (horse) (誤訳侮辱), Friday, 6 June 2014 16:12 (two years ago) Permalink
All-day birthday broadcast today:http://www.studentaffairs.columbia.edu/wkcr/story/john-coltrane-birthday-broadcast
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Tuesday, 23 September 2014 12:27 (two years ago) Permalink
I know it just came out today but anyone heard "Offering" yet? (wasn't Christian Vander's post-Magma band called Offering?) I have a boot of half the show but curious to hear anyone's heard the "new" thing.
Also, HBD JC
― chr1sb3singer, Tuesday, 23 September 2014 18:11 (two years ago) Permalink
My work firewall seems to prevent me listening to WKCR's stream for some reason. Weird because I can always get FMU. Oh well.
― my jaw left (Hurting 2), Tuesday, 23 September 2014 18:16 (two years ago) Permalink
Ugh, I know, I'm not able to get this at work, either.
One of the highlights will be an Evan Parker interview between 7-10 eastern tonight. That should be interesting.
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Tuesday, 23 September 2014 19:07 (two years ago) Permalink
I've had Offering for a couple of months. Considering it was recorded with a single microphone, it sounds amazing; the engineers recovered way more sound than I thought they'd have been able to, though you'll never be able to convince me there was actually a bassist present that night. Musically, it's really strong, though a couple of nobodies wander onstage and start soloing - and Coltrane lets them. Totally worth hearing if you're already a diehard, though not recommended for new fans.
― Humorist (horse) (誤訳侮辱), Tuesday, 23 September 2014 19:46 (two years ago) Permalink
Can't even listen on my phone w/ cell data.
― Dear Catastrophe Theory Waitress (James Redd and the Blecchs), Tuesday, 23 September 2014 19:46 (two years ago) Permalink
Finally got the stream going, Marion Brown just finished his solo on "Ascension."
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Tuesday, 23 September 2014 22:53 (two years ago) Permalink
How much of the final Quintet is there recorded and released?Looking forward to getting my hands on this Offering set but wondering what else is out there both studio and live. Cos I get the feeling they're greatly under-represented and I'm not sure if it's me or what is available by them.
― Stevolende, Thursday, 25 September 2014 00:08 (two years ago) Permalink
Studio, there isn't much...in fact, strictly speaking, that quintet only made one studio record (Expression). Stellar Regions is also studio, but it's a quartet (no Pharoah).
There's a few live things, though: Live at the Village Vanguard Again!, Live In Japan, and The Olatuniji Concert.
I've only heard the boot of Offering, but it's tremendous, easily on par with Live In Japan, which itself has always been a high-water mark of this music for me.
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Thursday, 25 September 2014 00:26 (two years ago) Permalink
I thought there was more, or is that just officially released. looks like I've had all of it but the Olatunji concert though I need to get new copies of a couple of things. Hadn't realised there was no Pharoah on Stellar Regions & I did think there were more studio recordings which had been put out at least posthumously though i didn't know titles. Was that all Quartet stuff? & Alice reworked some material prior to posthumous release by editing/overdubbing from what I've heard.
― Stevolende, Thursday, 25 September 2014 08:27 (two years ago) Permalink
Live in Japan is the one Coltrane rec I'd return to.
― xyzzzz__, Thursday, 25 September 2014 10:36 (two years ago) Permalink
I did think there were more studio recordings which had been put out at least posthumously though i didn't know titles. Was that all Quartet stuff?
Yeah, most of the posthumous stuff was the Quartet (Sun Ship, Transition, Living Space, First Meditations, others), or some coagulation of the Quartet + others (Live In Seattle, Om).
& Alice reworked some material prior to posthumous release by editing/overdubbing from what I've heard.
I think that's mostly on Cosmic Music, but I've never heard it.
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Thursday, 25 September 2014 13:26 (two years ago) Permalink
forgot about transition, that's a great fucking record
― marcos, Thursday, 25 September 2014 13:33 (two years ago) Permalink
Infinity is the reworked one (and it's fucking glorious; I wrote about these albums almost exactly a year ago), Cosmic Music is two tracks by John Coltrane's group and two tracks by Alice's.
― Humorist (horse) (誤訳侮辱), Thursday, 25 September 2014 14:19 (two years ago) Permalink
Infinity is amazing, agreed, I also liked those two tracks on Cosmic Music OK, but I sold it years ago so I must not have *really* liked them
― sleeve, Thursday, 25 September 2014 14:30 (two years ago) Permalink
^ horror show of a review.
― xyzzzz__, Friday, 10 October 2014 13:47 (two years ago) Permalink
You can like or dislike Coltrane's work in this period (defining what it was to be 'in transition' a lot of the time) but its his "confession" around his oh so clever use of the word "catastrophe" that comes off so...ineffectual and weedy. Just leave it there man.
― xyzzzz__, Friday, 10 October 2014 14:00 (two years ago) Permalink
Having skimmed through this thread I guess I am going to have to give Meditations another go!
Anyway, for what its worth, Coltranology Vol 2 is my pick.
― yugi ex, Tuesday, 19 May 2015 20:22 (one year ago) Permalink
is it me or does Coltrane *almost* break into "Happy Birthday" on "Welcome" (from Kulu Se Mama)?
― Οὖτις, Thursday, 3 December 2015 22:26 (one year ago) Permalink
Birthday celebration on back-to-streaming, now-with-playlists WKCR!
― Autotune the Sky (James Redd and the Blecchs), Friday, 23 September 2016 14:32 (six months ago) Permalink
Found out last year that my Dad had the same birthday as Coltrane though I think he was at least 12 years younger. Then missed any comment about JC's Birthday this year so missed it.
Rarely see my dad and grew up without him so don't know if i ever knew his birthday
― Stevolende, Sunday, 25 September 2016 21:17 (six months ago) Permalink
Your dad isn't ilxor... oh never mind.
― Autotune the Sky (James Redd and the Blecchs), Sunday, 25 September 2016 21:34 (six months ago) Permalink
Didn't know this was on its way--opens in a couple of weeks.
― clemenza, Tuesday, 21 March 2017 01:06 (five days ago) Permalink