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▓▄██ ██▄▓
▓█▀▄▄ Artist : John Coltrane ▄▄▀█▓
▐▓▌▐█▌ Album : A Love Supreme: Live in Seattle ▐█▌▓▌
▐▀▄██ Label : Impulse! Records ██▄▀▌
▄███▌ Genre : Jazz ▐███▄
▀███▌ Source : CD ▐███▀
▐▄▀██ Street Date : 2021-10-08 ██▀▄▌
▐▓▌▐█▌ Quality : 766 kbps / 44.1kHz / 2 channels ▐█▌▐▓▌
▓█▄▀▀ Encoder : FLAC 1.3.1 ▀▀▄█▓
▓███ Size : 457.49 MB ███▓
▀ ▀█▌ Time : 75:28 min ▐█▀ ▀
▓▄███ Url : http://allmusic.com/album/release/a-love-supreme- ███▄▓
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██▌ 1. A Love Supreme, Pt. I: Acknowledgement 21:53 ▐██
██▌ 2. Interlude 1 2:28 ▐██
██▌ 3. A Love Supreme, Pt. II: Resolution 11:05 ▐██
██▌ 4. Interlude 2 6:23 ▐██
██▌ 5. A Love Supreme, Pt. III: Pursuance 15:27 ▐██
██▌ 6. Interlude 3 6:31 ▐██
██▌ 7. Interlude 4 4:20 ▐██
██▌ 8. A Love Supreme, Pt. IV: Psalm 7:21 ▐██
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████ Recorded at the Penthouse Club on October 2, 1965, A Love ████
████ Supreme: Live in Seattle sat in the archive of musician/educator ████
████ Joe Brazil (he played flute on John Coltrane's OM, recorded the ████
████ day before) for 55 years. Five years after Brazil's death in ████
████ 2008, family friend Steve Griggs discovered two 1/4" reels ████
████ containing this performance. This is only the second complete ████
████ concert performance of A Love Supreme to see the light of day; ████
████ the other is from a July 1965 concert in Antibes. The ████
████ saxophonist's quartet with McCoy Tyner, Elvin Jones, and Jimmy ████
████ Garrison was nearing its end; they were already augmented by ████
████ bassist Donald Garrett and saxophonist Pharoah Sanders. Rounding ████
████ out this septet is alto saxophonist Carlos Ward, who was invited ████
████ to sit in that day. Brazil used an Akai reel-to-reel tape ████
████ recorder and two microphones. While the drums sound a bit hot in ████
████ places, and 'Trane goes off-mic occasionally, the sound is quite ████
████ good. This performance almost doubles the length of the studio ████
████ album and is 20 minutes longer than Antibes. In addition to the ████
████ suite's four movements -- "Acknowledgement," "Resolution," ████
████ "Pursuance," and "Psalm" -- are four improvised solo interludes. ████
████ ████
████ Opener "Acknowledgement" is nearly 22 minutes long. Other than ████
████ Coltrane's familiar flutter on the thematic introduction, this ████
████ piece is almost unrecognizable for 15 minutes. The interplay ████
████ between bassists is canny. Garrett uses a bow while Garrison ████
████ strums chords, and Tyner offers chordal counterpoint as Jones ████
████ double-times on ride cymbals. Coltrane and Sanders trade solo ████
████ spaces with Ward interjecting tentative bursts. The four-note ████
████ theme isn't really heard until minute 16. The vocal chant is ████
████ absent, replaced by bass and percussive themes that lead into the ████
████ first interlude, a short shared bass and percussion solo. ████
████ "Resolution" emerges with Coltrane stating the theme briefly. ████
████ Tyner enters, expands the frame, and signals Ward in. Initially ████
████ uncertain, he adds sparse, dissonant notes and flurries for a few ████
████ moments and then grabs onto the rhythm section's tough modal ████
████ swing and rips the tune wide open with a killer solo, followed by ████
████ Sanders and Coltrane blazing scorching trails through the tune. ████
████ After a six-minute drum solo interlude, "Pursuance" begins with ████
████ Coltrane stating the theme, then Sanders breaks it into pieces ████
████ with a long, labyrinthine, and furious solo. Tyner supports with ████
████ sharp, chromatic asides before taking his own long, imaginative ████
████ solo and dueling with the bassists and Jones. Coltrane doesn't ████
████ solo at all. "Psalm," with its trademark bluesy tenor intro, ████
████ stays closest to the studio recording. Coltrane takes only a ████
████ minute to begin ascending but fades before he reaches a peak as ████
████ Tyner and Jones envelop him. Coltrane begins rebuilding the tune, ████
████ reaches an inner pinnacle, then dissembles it again amid bowed ████
████ basses, Tyner's sparse middle register, and Sanders' Tibetan ████
████ prayer bells. The audience responds with stunned silence for a ████
████ few seconds. It's a startling performance. The package design is ████
████ simply stellar and the liner essays by critic/historian Ashley ████
████ Kahn and Coltrane biographer Lewis Porter are educational, ████
████ authoritative, and indispensable. ████
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