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Live At The Village Vanguard Again !


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Page Artiste John Coltrane


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  • Live At The Village Vanguard Again !
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  • The Complete Africa/Brass Sessions
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  • The Complete 1961 Village Vanguard Recordings
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  • CD (21 mai 2012)
  • Nombre de disques: 1
  • Label: Impulse
  • ASIN : B005VR96UW
  • Autres éditions : CD  |  Téléchargement MP3
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CD .. Vanguard Again 1966


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Amazon.com: HASH(0x91527e4c) étoiles sur 5 4 commentaires
10 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x91548a80) étoiles sur 5 Old Music + Old Venue - 1/2 of Old Band = A Whole "New Thing" 7 mars 2012
Par Disink - Publié sur Amazon.com
Format: CD Achat vérifié
Now this was a daring project. By 1966, the once controversial November 1961 Village Vanguard sets, featuring a then-new Coltrane quartet along with Eric Dolphy, were Coltrane canon, a place of beginnings, a point where Coltrane transcended into his "new thing" and let the world know what kind of sounds he was working on (this is best heard in full on The Complete 1961 Village Vanguard Recordings). This work set in motion the passion and fire that was to come with the Classic Quartet over the next four years, culminating in the trifecta of A Love Supreme, Ascension, and Meditations. The former is often considered the high water mark of that group, a suite of songs dedicated to a higher power that instantly blew the jazz world open, the middle the place where Coltrane brought a new wave of players to blow the roof off Van Gelder's studio and find "God" through pure sound, and the latter a more personal set of free jazz hymns to a sometimes frightening Lord. The latter two, of course, featured many new players, but the last one highlighted a changing of the guard: Elvin Jones played, much against his will, opposite of Rashied Ali, a drummer who shared Jones' love of multiple rhythms, but who threw out the propulsive energy for a dense, "everything at once" approach. It also featured Pharoah Sanders, a protege and future superstar who liked to play a ferocious upper-register-only tenor that added fire to Coltrane's already fiery playing. At the end of that session, Jones and pianist McCoy Tyner presented their walking papers, and by February Coltrane (who kept Jimmy Garrison on bass) was recording a new session with a new band, this one featuring Ali on drums, Sanders on tenor (and sometimes piccolo or flute), and Coltrane's wife Alice (a very talented pianist, harpist, and organist). In early 1966, Coltrane made a few sessions with this group, one of which (a May session at Van Gelder's) has sadly been lost in its entirety. For whatever reason, Coltrane shelved these sessions and instead opted to record the band at the very venue that Trane helped put on the map: the legendary Village Vanguard. It's hard not to see this, then, as a calling card to the world, a notice that a NEW Coltrane quintet was in the house.

Further, Coltrane made an interesting music pick: of purportedly much music recorded at this session (ALL of which has been lost save the original album), Coltrane decided to release what might be his two "greatest hits" as the album tracks. Curiously, neither of these had been released at the time from the 61 sessions ("Naima" had been recorded as "Amain", but this wouldn't appear for a few more years, but "My Favorite Things" hadn't been recorded, though it had been played), but both were common at Coltrane shows for years. The point, clearly, is to demonstrate what this new band (with guest Emanuel Rahim on additional percussion) can do, how they are keeping the old fire going but in a radical new direction, and to offer fans some idea of what to expect in the future. In this light, the record is a roaring success.

It does seem odd to have Alice playing piano on a track dedicated to Coltrane's previous wife, but she does so marvelously. Eschewing the energetic playing of Tyner, she chooses to set up the sort of suspension bridge she is best known for, laying out a flexible background of notes that rarely stray from the original. Ali is behind her, more reserved at first, but then pummeling the band with polyrhythms as the saxophonists blast the bottom out of the song. Of those two, Coltrane enters with glorious reservation, playing the theme with reverence before letting Sanders take it somewhere else. And so he does - Pharoah is utter turbulence here, ruining the quiet mood and turning the piece into something far more frightening than what had been recorded previously. Coltrane then joins him, using the technique they employed on the then-unreleased "Reverend King" to coax the audience into peacefulness before tearing apart this beauty and then allowing it to slowly return. And if that sounds frightening, what is done to "My Favorite Things", Coltrane's mighty war horse, defies thought. After a long, fine introduction by Jimmy Garrison where a variety of Trane songs are alluded to, Coltrane enters and sets up the theme, getting the audience ready for a more standard take of the song before again utilizing Sanders to rip it all apart. Sanders is up to the challenge, but Coltrane isn't done: in the midst of Sanders' buzz saw, Coltrane switches to bass clarinet, shrieking the upper register of this instrument. Coltrane and Sanders then move through an arsenal of reeds (and Sander's flute) before winding up, twenty minutes later, back where it all started, the band moving with ease from turbulence to transcendance.

Many fans cried foul, frustrated with Coltrane for dissolving his previous partnership, upset at the perceived heresy of what Coltrane had done to two of his most-beloved works. But that's too bad - there's a surprisingly natural grace at work here, and the album stands up well next to the work around it. Further, it lacks the extremes of, say, Live in Seattle, and that record included the original quartet! Still, it's a gauntlet thrown down simultaneously with an invitation to return to the Village Vanguard, to remember that, though the original album was often panned and Coltrane's band downplayed, those sessions were quickly regarded as a watershed for the jazz world. If this album can't quite measure to that level (but then, very few things could), it at least accomplishes what it sets out to do, and offers an enjoyable way to do it.
1 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x9154e354) étoiles sur 5 One of the important jazz players in the history. 9 février 2013
Par romano ferracini - Publié sur Amazon.com
Format: CD Achat vérifié
I have many CD of Coltrane because he is with Armstrong, Parker the most important steps of the jazz history.
HASH(0x9154e318) étoiles sur 5 Five Stars 21 novembre 2014
Par MB - Publié sur Amazon.com
Format: CD Achat vérifié
Spectacular !
0 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x9154e60c) étoiles sur 5 Good music 4 novembre 2013
Par Walter Griffin - Publié sur Amazon.com
Format: CD Achat vérifié
This is one of the older sounds I like from this group of jazz artist that is hard to find
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