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Jazz - Verschenen op 1 januari 1963 | Impulse!

Hi-Res Onderscheidingen The Qobuz Ideal Discography - Hi-Res Audio
Throughout John Coltrane's discography there are a handful of decisive and controversial albums that split his listening camp into factions. Generally, these occur in his later-period works such as Om and Ascension, which push into some pretty heady blowing. As a contrast, Ballads is often criticized as too easy and as too much of a compromise between Coltrane and Impulse! (the two had just entered into the first year of label representation). Seen as an answer to critics who found his work complicated with too many notes and too thin a concept, Ballads has even been accused of being a record that Coltrane didn't want to make. These conspiracy theories (and there are more) really just get in the way of enjoying a perfectly fine album of Coltrane doing what he always did -- exploring new avenues and modes in an inexhaustible search for personal and artistic enlightenment. With Ballads he looks into the warmer side of things, a path he would take with both Johnny Hartman (on John Coltrane & Johnny Hartman) and with Duke Ellington (on Duke Ellington and John Coltrane). Here he lays out for McCoy Tyner mostly, and the results positively shimmer at times. He's not aggressive, and he's not outwardly. Instead he's introspective and at times even predictable, but that is precisely Ballads' draw. © Sam Samuelson /TiVo
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Jazz - Verschenen op 1 juli 1964 | Impulse!

Onderscheidingen Elu par Citizen Jazz - Qobuz Referentie
John Coltrane's Crescent from the spring of 1964 is an epic album, showing his meditative side that would serve as a perfect prelude to his immortal work A Love Supreme. His finest quartet with McCoy Tyner, Jimmy Garrison, and Elvin Jones supports the somewhat softer side of Coltrane, and while not completely in ballad style, the focus and accessible tone of this recording work wonders for anyone willing to sit back and let this music enrich and wash over you. While not quite at the "sheets of sound" unfettered music he would make before his passing in 1967, there are hints of this group stretching out in restrained dynamics, playing as lovely a progressive jazz as heard anywhere in any time period. The highlights come at the top with the reverent, ruminating, and free ballad "Crescent," with a patient Coltrane acquiescing to swinging, while the utterly beautiful "Wise One" is accented by the delicate and chime-like musings of Tyner with a deeply hued tenor from Coltrane unrushed even in a slight Latin rhythm. These are the ultimate spiritual songs, and ultimately two of the greatest in Coltrane's storied career. But "Bessie's Blues" and "Lonnie's Lament" are just as revered in the sense that they are covered by jazz musicians worldwide, the former a hard bop wonder with a classic short repeat chorus, the latter one of the most somber, sad jazz ballad reflections in a world full of injustice and unfairness -- the ultimate eulogy. Garrison and especially Jones are put through their emotional paces, but on the finale "The Drum Thing," the African-like tom-tom sounds extracted by Jones with Coltrane's sighing tenor, followed by some truly amazing case study-frantic snare drumming, makes it one to be revisited. In the liner notes, a quote from Leroi Jones/Amiri Baraka states John Coltrane was "daringly human," and no better example of this quality transferred to musical endeavor is available than on this definitive, must have album that encompasses all that he was and eventually would become. © Michael G. Nastos /TiVo
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Jazz - Verschenen op 17 november 1998 | Impulse!

Onderscheidingen The Qobuz Ideal Discography
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Jazz - Verschenen op 1 januari 2002 | Impulse!

Onderscheidingen Qobuz Referentie
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Jazz - Verschenen op 1 januari 2002 | Impulse!

Onderscheidingen Qobuz Referentie
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Jazz - Verschenen op 1 augustus 1965 | Impulse!

Onderscheidingen Qobuz Referentie
One of the turning points in the career of John Coltrane came in 1965. The great saxophonist, whose playing was always very explorative and searching, crossed the line into atonality during that year, playing very free improvisations (after stating quick throwaway themes) that were full of passion and fury. This particular studio album has two standards (a stirring "Chim Chim Cheree" and "Nature Boy") along with two recent Coltrane originals ("Brazilia" and "Song of Praise"). Art Davis plays the second bass on "Nature Boy," but otherwise this set (a perfect introduction for listeners to Coltrane's last period) features the classic quartet comprised of the leader, pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones. © Scott Yanow /TiVo
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Jazz - Verschenen op 17 september 2013 | Jazz Classics

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Jazz - Verschenen op 1 januari 1997 | Impulse!

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Jazz - Verschenen op 7 juli 2015 | Jasnet Records

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Jazz - Verschenen op 1 augustus 1962 | Verve Reissues

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Considered by many to be his finest single album, Coltrane finds John Coltrane displaying all of the exciting elements that sparked brilliance and allowed his fully formed instrumental voice to shine through in the most illuminating manner. On tenor saxophone, he's simply masterful, offering the burgeoning sheets of sound philosophy into endless weavings of melodic and tuneful displays of inventive, thoughtful, driven phrases. Coltrane also plays a bit of soprano saxophone as a primer for his more exploratory work to follow. Meanwhile, bassist Jimmy Garrison, drummer Elvin Jones, and especially the stellar McCoy Tyner have integrated their passionate dynamics into the inner whole of the quartet. The result is a most focused effort, a relatively popular session to both his fans or latecomers, with five selections that are brilliantly conceived and rendered. "Out of This World," at over 14 minutes in modal trim, is a powerful statement, stretched over Tyner's marvelous and deft chords, the churning rhythms conjured by Jones, and the vocal style Coltrane utilizes as he circles the wagons on this classic melody, including a nifty key change. "Tunji" is a mysterious, easily rendered piece in 4/4 which speaks to the spiritual path Coltrane tred, a bit riled up at times while Tyner remains serene. Hard bop is still in the back of their collective minds during "Miles' Mode," a sliver of a melody that jumps into jam mode in a free-for-all blowing session, while the converse is to be found in Mal Waldron's "Soul Eyes," the quintessential ballad and impressive here for the way Coltrane's holds notes, emotion, and expressive intellectuality. On soprano you can tell Coltrane is close to taking complete control of his newly found voicings, as a playful, jaunty "The Inch Worm" in 3/4 time is only slightly strained, but in which he finds complete communion with the others. Even more than any platitudes one can heap on this extraordinary recording, it historically falls between the albums Olé Coltrane and Impressions -- completing a triad of studio efforts that are as definitive as anything Coltrane ever produced, and highly representative of him in his prime. © Michael G. Nastos /TiVo
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Jazz - Verschenen op 9 mei 2019 | RevOla

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Jazz - Verschenen op 24 februari 1998 | Impulse!

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Jazz - Verschenen op 11 november 2017 | Resurfaced Records

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Jazz - Verschenen op 1 januari 1995 | GRP

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Moderne jazz - Verschenen op 4 maart 2013 | Body & Soul

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Jazz - Verschenen op 9 december 2016 | Doxy Records

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Jazz - Verschenen op 1 januari 1997 | Impulse!

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Jazz - Verschenen op 31 juli 2013 | Jazz Archives Records

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Jazz - Verschenen op 20 februari 2012 | Efor, S.L

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Jazz - Verschenen op 1 januari 1962 | Verve Reissues

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This set documents the four-night stand by John Coltrane (sax) and his quintet at the Village Vanguard in New York City, November 1 -- 5, 1961. Although these are not newly discovered tapes -- as the majority of the selections have turned up on no less than five separate releases -- their restoration is significant in assessing motifs in Coltrane's [read: multi-show] live appearances. Coltrane is accompanied by an all-star ensemble of Eric Dolphy (alto sax/bass clarinet), Garvin Bushell (oboe/contrabassoon), Ahmed Abdul-Malik (oud), McCoy Tyner (piano), Jimmy Garrison (bass), Reggie Workman (bass), Elvin Jones (drums), and Roy Haynes (drums). Their presence is as equally vital as Coltrane's -- inspiring as well as informing the dimensions of improvisation. With the knowledge that the entire run was being documented to create some sort of retail document, Coltrane chose nine specific compositions to concentrate on. The choice of material likewise had a tremendous impact on the personnel of the band -- evidenced by Bushnell's contributions during "Spiritual" and Abdul-Malik's within the context of the extended "India." Each set bears its own distinctive shading and emphasis. Parties wishing to hear the run in its entirety are encouraged to check out the multi-disc Complete 1961 Village Vanguard Recordings (1997) as there are multiple takes of the same songs. This allows even the most unsophisticated jazz consumer the opportunity to note the difference in the various versions, while contrasting the player's widely diverse performance styles. The highly recommended box set also includes a nine-panel fold out poster, 48-page liner notes booklet -- with a complete discography for the included material -- and other ephemera, such as rarely published photographs. © Lindsay Planer /TiVo