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Jazz - Publicado el 29 de junio de 2018 | Impulse!

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«Es como si se hubiera descubierto una nueva estancia en la pirámide de Keops.» El saxofonista Sonny Rollins no se anda con chiquitas a la hora de destacar la importancia de esta sesión inédita, grabada por John Coltrane en marzo de 1963 y publicada por vez primera en junio de 2018. En materia de inéditos promocionados como joyas ignoradas y otras rarezas discográficas, es sabida la capacidad de los sellos para escarbar en sus archivos y poner a funcionar la caja registradora con propuestas poco menos que anecdóticas, cuando no directamente infumables. Pero ahora el caso es muy diferente. Dentro de la discografía póstuma de John Coltrane, fallecido en julio de 1967, y hasta el momento no poco extensa, este Both Directions At Once: The Lost Album se perfila ya como lo mejor de lo mejor. ¡La crème de la crème! ¡Brutal, oiga! Solo una pequeña pega en cuanto a ese apelativo de Lost Album, puesto que nada induce a pensar que Trane o el productor Bob Thiele no pensaran en sacar, en algún momento, tan impecable sesión como álbum oficial… La acción se desarrolla en marzo de 1963, cuatro días antes de que el saxofonista, flanqueado por su mítica guardia pretoriana –el pianista McCoy Tyner, el batería Elvin Jones y el contrabajista Jimmy Garrison–, grabe un disco fundamental con el cantante Johnny Hartman. El miércoles 6, por la tarde, el cuarteto se da una vuelta por el famoso estudio de Rudy Van Gelder en Englewood Cliffs, New Jersey, unas horas antes de volver a Manhattan y actuar por la noche en el club Birdland. Y son las cintas de esa sesión las que ha rescatado la familia de Naima, primera esposa de Coltrane. Una sesión con catorce temas, dos de ellos originales, Untitled Original 11386 y Untitled Original 11383, ¡en los que Garrison toca un solo al arco! Esta maravilla está disponible en edición sencilla (siete cortes seleccionados por su hijo Ravi Coltrane) o Deluxe (¡los catorce!). La complicidad entre los músicos es máxima. Coltrane alterna pasajes de gran contundencia sonora, anunciadores de sus salvajes embates futuros (Untitled Original 11386 y su mítico Impressions), con momentos visceralmente líricos (el standard Nature Boy). De vez en cuando sobreviene una tromba de notas que encaja a la perfección con el estilo percusivo de McCoy Tyner… En definitiva, que si bien Both Directions At Once: The Lost Album no ofrece facetas inéditas del cuarteto de Coltrane se nos impone como un documento absolutamente imprescindible, tanto por su altísima calidad musical como sonora. © Marc Zisman/Qobuz
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Jazz - Publicado el 1 de enero de 1964 | Impulse!

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Jazz - Publicado el 1 de enero de 1964 | Impulse!

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Jazz - Publicado el 25 de septiembre de 2001 | Impulse!

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Jazz - Publicado el 29 de junio de 2018 | Impulse!

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Both Directions at Once: The Lost Album es el registro de una sesión de grabación de John Coltrane y su legendario cuarteto que tuvo lugar en marzo de 1963. Tras permanecer olvidada por más de 50 años, en 2018 fue finalmente publicada por el sello Impulse! A mitad de camino entre un ensayo y un álbum completado, esta sesión encuentra a Coltrane en un momento de transición. Si bien aún no se aleja definitivamente del estilo melódico de su primera época, ya se empiezan a intuir los fascinantes universos sonoros que exploraría durante la segunda mitad de los sesenta. Disponible en dos ediciones (la segunda agrega otro CD con todas las versiones alternativas), Both Directions at Once es un hallazgo de suma importancia histórica pero también de gran valor artístico. © TiVo
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Jazz - Publicado el 1 de septiembre de 1957 | Blue Note Records

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Jazz - Publicado el 1 de enero de 1963 | Impulse!

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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 - Publicado el 1 de febrero de 1965 | Impulse!

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One of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing, that at once compiled all of the innovations from his past, spoke to the current of deep spirituality that liberated him from addictions to drugs and alcohol, and glimpsed at the future innovations of his final two and a half years. Recorded over two days in December 1964, Trane's classic quartet--Elvin Jones, McCoy Tyner, and Jimmy Garrison-- stepped into the studio and created one of the most the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship. From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical and emotionally varied soloing, while the rest of the group is completely atttuned to his spiritual vibe. Composed of four parts, each has a thematic progression. "Acknowledgement" is the awakening to a spiritual life from the darkness of the world; it trails off with the saxophonist chanting the suite's title. "Resolution" is an amazingly beautiful, somewhat turbulent segment. It portrays the dedication required for discovery on the path toward spiritual understanding. "Pursuance" searches deeply for that experience, while "Psalm" portrays that discovery and the realization of enlightenment with humility. Although sometimes aggressive and dissonant, this isn't Coltrane at his most furious or adventurous. His recordings following this period--studio and live-- become progressively untethered and extremely spirited. A Love Supreme not only attempts but realizes the ambitious undertaking of Coltrane's concept; his emotional, searching, sometimes prayerful journey is made abundantly clear. Clocking in at 33 minutes; A Love Supreme conveys much without overstatement. It is almost impossible to imagine any jazz collection without it. © Sam Samuelson and Thom Jurek /TiVo
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Jazz - Publicado el 1 de febrero de 1965 | Impulse!

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One of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing, that at once compiled all of the innovations from his past, spoke to the current of deep spirituality that liberated him from addictions to drugs and alcohol, and glimpsed at the future innovations of his final two and a half years. Recorded over two days in December 1964, Trane's classic quartet--Elvin Jones, McCoy Tyner, and Jimmy Garrison-- stepped into the studio and created one of the most the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship. From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical and emotionally varied soloing, while the rest of the group is completely atttuned to his spiritual vibe. Composed of four parts, each has a thematic progression. "Acknowledgement" is the awakening to a spiritual life from the darkness of the world; it trails off with the saxophonist chanting the suite's title. "Resolution" is an amazingly beautiful, somewhat turbulent segment. It portrays the dedication required for discovery on the path toward spiritual understanding. "Pursuance" searches deeply for that experience, while "Psalm" portrays that discovery and the realization of enlightenment with humility. Although sometimes aggressive and dissonant, this isn't Coltrane at his most furious or adventurous. His recordings following this period--studio and live-- become progressively untethered and extremely spirited. A Love Supreme not only attempts but realizes the ambitious undertaking of Coltrane's concept; his emotional, searching, sometimes prayerful journey is made abundantly clear. Clocking in at 33 minutes; A Love Supreme conveys much without overstatement. It is almost impossible to imagine any jazz collection without it. © Sam Samuelson and Thom Jurek /TiVo
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Jazz - Publicado el 1 de enero de 2009 | Impulse!

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Jazz - Publicado el 27 de febrero de 1998 | Rhino Atlantic

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Jazz - Publicado el 1 de enero de 1998 | Rhino Atlantic

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Jazz - Publicado el 1 de enero de 1958 | Prestige

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Lush Life (1958) is among John Coltrane's best endeavors on the Prestige label. One reason can easily be attributed to the interesting personnel and the subsequent lack of a keyboard player for the August 16, 1957 session that yielded the majority of the material. Coltrane (tenor sax) had to essentially lead the compact trio of himself, Earl May (bass), and Art Taylor (drums). The intimate setting is perfect for ballads such as the opener "Like Someone in Love." Coltrane doesn't have to supplement the frequent redundancy inherent in pianists, so he has plenty of room to express himself through simple and ornate passages. Unifying the slippery syncopation and slightly Eastern feel of "I Love You" is the tenor's prevalent capacity for flawless, if not downright inspired on-the-spot "head" arrangements that emerge singular and clear, never sounding preconceived. Even at an accelerated pace, the rhythm section ably prods the backbeat without interfering. A careful comparison will reveal that "Trane's Slo Blues" is actually a fairly evident derivation (or possibly a different take) of "Slowtrane." But don't let the title fool you as the mid-tempo blues is undergirded by a lightheartedness. May provides a platform for Coltrane's even keeled runs before the tenor drops out, allowing both May and then Taylor a chance to shine. The fun cat-and-mouse-like antics continue as Taylor can be heard encouraging the tenor player to raise the stakes and the tempo -- which he does to great effect. The practically quarter-hour reading of Billy Strayhorn's "Lush Life" is not only the focal point of this album, it is rightfully considered as one of Coltrane's unqualified masterworks. The performance hails from January 10, 1958 as Coltrane sits in with Red Garland (piano), Donald Byrd (trumpet), Paul Chambers (bass), and Louis Hayes (drums). Coltrane handles the tune's delicate complexities with infinite style and finesse. Garland similarly sparkles at the 88s, while Byrd's solo offers a bit of a tonal alternative. It should be noted that the reading here does not include a vocal from Johnny Hartman. That version can be found on the ever imaginatively monikered John Coltrane & Johnny Hartman (1963). © Lindsay Planer /TiVo
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Jazz - Publicado el 1 de enero de 1983 | Prestige

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Jazz - Publicado el 19 de septiembre de 2000 | Rhino Atlantic

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Jazz - Publicado el 22 de febrero de 2005 | Rhino Atlantic

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Jazz - Publicado el 16 de febrero de 1999 | Rhino Atlantic

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Jazz - Publicado el 1 de enero de 1996 | Prestige

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Jazz - Publicado el 1 de enero de 2009 | Impulse!

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Jazz - Publicado el 1 de enero de 1989 | Prestige

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