Coltrane Live At The Village Vanguard Rar

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John Coltrane – Live At The Village Vanguard Again (1966/2016)FLAC (tracks) 24-bit/192 kHz Time – 41:40 minutes 1,95 GB Genre: JazzStudio Master, Official Digital Download – Source: AcousticSounds Front Cover © Verve ReissuesJohn Coltrane recorded his performance at the Village Vanguard in May 1966, however only the three tracks on this album survived. Coltrane himself plays saxes, clarinet and flute, joined on the front line by Pharoah Sanders on tenor saxophone and flute, accompanied by Alice Coltrane’s wife Alice on piano, bassist Jimmy Garrison, drummer Rashied Ali and percussionist Emanuel Rahim.This album was always a bit of a disappointment. John Coltrane plays passionately on “My Favorite Things” and with great beauty on “Naima,” but Pharoah Sanders’ ferocious screeching on the latter piece largely ruins the almost-sacred ballad. Pianist Alice Coltrane, bassist Jimmy Garrison, and drummer Rashied Ali mostly vamp behind the saxophonists. This album is worth getting for Coltrane’s passionate but coherent playing, but one wishes that Sanders (who comes across as a much more limited player) had sat the night out. AllMusic Review by Scott YanowTracklist:01 – Naima02 – Introduction To My Favorite Things03 – My Favorite ThingsMusicians:John Coltrane – soprano saxophone, tenor saxophone, bass clarinet, flutePharoah Sanders – tenor saxophone, fluteAlice Coltrane – pianoJimmy Garrison – bassRashied Ali – drumsEmanuel Rahim – percussionDownload:or.

Coltrane 'Live' at the Village Vanguard is the tenth album by jazz musician John Coltrane and his first live album, released in February 1962 on Impulse Records, catalogue A-10.^[1][2][3] It is the first album to feature the members of the classic quartet of himself with McCoy Tyner, Jimmy Garrison, and Elvin Jones. In contrast to his previous album for Impulse!, this one generated much turmoil among both critics and audience alike with its challenging music.

Background[edit]

In 1961, Coltrane created controversy both with the hiring of Eric Dolphy and with the kind of music his band was playing. In reaction to the Quintet's residency at the Village Vanguard in New York City starting in late October 1961, Down Beat critic John Tynan described the group as 'musical nonsense being peddled in the name of jazz' and 'a horrifying demonstration of what appears to be a growing anti-jazz trend.'^[4] European critics and audiences also had difficulty with appearances earlier in the year, finding the group's music, especially that of Coltrane and Dolphy, puzzling and difficult to follow.^[5]Down Beat magazine editor Don DeMichael took the step of inviting the pair to defend themselves, a piece appearing in the April 12, 1962 issue entitled 'John Coltrane and Eric Dolphy Answer the Critics'.^[6][7]

It was the idea of new producer Bob Thiele to record Coltrane live over four nights in early November, Thiele meeting the saxophonist for the first time face-to-face at the club.^[8] This commenced a close working relationship between Thiele and Coltrane that would last for the rest of his time at Impulse!, Thiele producing virtually every subsequent album. Thiele secured Coltrane's trust right away by not insisting he record his most popular song, 'My Favorite Things', during these shows.^[9]Sound engineerRudy Van Gelder set up his equipment at a table by the stage,^[10] and for these concerts Coltrane often enhanced the Quintet by adding tampura,^[11]contrabassoon, oboe, or a second bass.

Music[edit]

Three performances were chosen for the album, one a pop standard and a second entitled 'Spiritual', possibly an adaptation of 'Nobody Knows de Trouble I See' published in The Book of American Negro Spirituals by James Weldon Johnson.^[12] The third selection, the blues 'Chasin' the Trane', has been described as one of the most important recordings in jazz for its seeming ability to unify the approaches of free jazz, jamming, and neoclassicism.^[9] As to its genesis, in a 1966 interview Coltrane recalled that he had 'listened to John Gilmore kind of closely before I made 'Chasin the Trane'.' ^[13]

The performances are quintet for 'Spiritual', quartet for 'Softly, as in a Morning Sunrise', and trio for 'Chasin' the Trane'. These were Reggie Workman's final recordings with the group, as by December 1961 Garrison was announced as his replacement, stabilizing a line-up that would remain constant for the next four years.^[14]

Reception[edit]

Pursuant to the article by Coltrane and Dolphy, for the following April 26 issue Down Beat presented two reviews of Live! at the Village Vanguard, both focusing on 'Chasin' the Trane'. Pete Welding described it as 'a torrential and anguished outpouring, delivered with unmistakable power, conviction, and near-demonic ferocity.'^[20] On the other hand, Ira Gitler, who had coined the phrase 'sheets of sound', stated that 'Coltrane may be searching for new avenues of expression, but if it is going to take this form of yawps, squawks, and countless repetitive runs, then it should be confined to the woodshed.'^[20]

Two additional recordings taken from these shows appeared on the album Impressions, 'Impressions' and 'India'. On September 23, 1997, Impulse! issued a box setThe Complete 1961 Village Vanguard Recordings, with the sets from all four nights chronologically on four compact discs.

Track listing[edit]

Side one[edit]

Side two[edit]

Personnel[edit]

• John Coltrane — soprano saxophoneon 'Spiritual' and 'Morning Sunrise'; tenor saxophoneon 'Spiritual' and 'Chasin' the Trane'
• Eric Dolphy — bass clarineton 'Spiritual'
• McCoy Tyner — pianoon side one
• Reggie Workman — basson side one
• Jimmy Garrison — bass on side two
• Elvin Jones — drums

References[edit]

1. ^ ^abEditorial Staff, Billboard (17 February 1962). 'Coltrane (Live) at the Village Vanguard'. Billboard Music Week. The Billboard Publishing Co. Retrieved 23 October 2019.
2. ^ ^abEditorial Staff, Cash Box (24 February 1962). 'February LP Releases'(PDF). Cash Box. The Cash Box Publishing Co. Inc., NY. Retrieved 23 October 2019.
3. ^ ^abDeVito, Chris; Fujioka, Yasuhiro; Schmaler, Wolf; Wild, David (2013). Porter, Lewis (ed.). The John Coltrane Reference. New York/Abingdon: Routledge. p. 623. ISBN1135112576.
4. ^Lewis Porter. John Coltrane: His Life and Music. Ann Arbor: The University of Michigan Press, 1999. ISBN0-472-10161-7, p. 193.
5. ^Porter, p. 194.
6. ^Ben Ratliff. Coltrane: The Story of A Sound. New York: Farrar, Straus and Giroux, 2007. ISBN978-0-374-12606-3, p. 143.
7. ^David A. Wild. The Complete 1961 Village Vanguard Recordings. Impulse IMPD4-232 liner notes, p. 12.
8. ^Impulse IMPD4-232 liner notes, p. 12.
9. ^ ^abRatliff, p. 75.
10. ^Impulse IMPD4-232 liner notes, p. 15-16.
11. ^wrongly labelled as oud in the disc notes [1]
12. ^Porter, p. 206.
13. ^Frank Kofsky. Black Nationalism and the Revolution in Music. New York: Pathfinder Press, 1970, p. 235.
14. ^Porter, p. 200.
15. ^Allmusic review
16. ^Down Beat: April 26, 1962 vol. 29, no. 9
17. ^Pitchfork Media review
18. ^Christgau, Robert (April 8, 2020). 'Consumer Guide: April, 2020'. And It Don't Stop. Substack. Retrieved April 28, 2020.
19. ^Swenson, J., ed. (1985). The Rolling Stone Jazz Record Guide. USA: Random House/Rolling Stone. p. 47. ISBN0-394-72643-X.
20. ^ ^abPorter, p. 196.

External links[edit]