(1937 - 2007)
Alice Coltrane died of respiratory failure on Friday. Post your thoughts, words of respect, etc. here.
Download links will be added soon, if that's cool with the gawd
and the mods.Alice Coltrane Tribute Thread
Moderator: Philaflava
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Steezel Weezel
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Alice Coltrane Tribute Thread
(1937 - 2007)
Alice Coltrane died of respiratory failure on Friday. Post your thoughts, words of respect, etc. here.
Download links will be added soon, if that's cool with the gawd
and the mods.-
coldwatermusic
- Posts: 1699
- Joined: Tue Apr 11, 2006 8:10 am
Forgot to mention that the show included her son Ravi Coltrane, Charlie Haden on bass and Roy Haynes (age 82) on drums. stupefying lineup that delivered in every way. Never thought I would hear haynes play free. After ravi's solo on "Impressions" he stood up, grabbed the mic and said "thats the hardest i've played since I played with John Coltrane."BIG GONZO wrote:Just had the good fortune to see her in concert at the san fran fest. It was amazing, and the love and music that she gave still resonate. A truly great musician and person. RIP
Respek.
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Steezel Weezel
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Sebastian gets busy
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she was really really dope
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Sebastian gets busy
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here we are
Sometimes written off as an also-ran to her more famous husband, Alice Coltrane's work of the late '60s and early '70s shows that she was a strong composer and performer in her own right, with a unique ability to impregnate her music with spirituality and gentleness without losing its edges or depth. Ptah the El Daoud is a truly great album, and listeners who surrender themselves to it emerge on the other side of its 46 minutes transformed. From the purifying catharsis of the first moments of the title track to the last moments of "Mantra," with its disjointed piano dance and passionate ribbons of tenor cast out into the universe, the album resonates with beauty, clarity, and emotion. Coltrane's piano solo on "Turiya and Ramakrishna" is a lush, melancholy, soothing blues, punctuated only by hushed bells and the sandy whisper of Ben Riley's drums and later exchanged for an equally emotive solo by bassist Ron Carter. "Blue Nile" is a case where the whole is greater than the sum of its parts; Coltrane's sweeping flourishes on the harp nestle in perfectly with flute solos by Pharoah Sanders and Joe Henderson to produce a warm cocoon of sound that is colored by evocations of water, greenness, and birds. Perhaps as strong as the writing here, though, are the performances that Coltrane coaxes from her sidemen, especially the horn players. Joe Henderson, who can always be counted on for technical excellence, gives a performance that is simply on a whole other level from much of his other work -- freer, more open, and more fluid here than nearly anywhere else. Pharoah Sanders, who at times with John Coltrane seemed like a magnetic force of entropy, pulling him toward increasing levels of chaos, shows all of the innovation and spiritual energy here that he is known for, with none of the screeching. Overlooked and buried for years in obscurity, this album deserves to be embraced for the gem it is.
http://www.sendspace.com/file/vi191o
Alice Coltrane had become a musical world unto herself by the time she issued World Galaxy, recorded in late 1971. With jazz-rock fusion taking over the mainstream and the terminal avant-garde heading over to Europe, Coltrane stubbornly forged an insistent, ever-evolving brand of spiritual jazz that bore her own signature as much as it did her late husband's influence. On the two days in November when World Galaxy was recorded, Coltrane chose drummer Ben Riley, bassist Reggie Workman, violinist Leroy Jenkins, saxophonist Frank Lowe, and timpanist Elayne Jones in addition to a string orchestra of 16 to help her realize her latest vision. Coltrane herself plays piano, harp, and organ on this date, sometimes within a single track, as she does on her glorious post-modal reworking of "My Favorite Things." This was a gutsy move, considering it was one of John Coltrane's signature tunes, but Alice has it firmly in hand as she moves from organ to harp to piano and back, turning the melody inside out wide enough for the strings to whip up an atmospheric texture that simultaneously evokes heaven and hell and skewers the prissy nature of the tune in favor of bent polyharmonics that allow the entire world of sound inside to play. The jazz modalism Coltrane presents on "Galaxy Around Olodumare" is quickly undone by Lowe in his solo and reconstructed into polyphony by the string section; it's remarkable. The harp work on "Galaxy in Turiya" (Alice's religious name) is among her most beautiful, creating her own wash of color and dynamic for the strings to fall like water from the sky into her mix. As colors shift and change, the rhythm section responds, and focuses them in the prism of Coltrane's textured harpistry. The album closes with another John Coltrane signature, "A Love Supreme," here given an out of this world treatment by the band with Jenkins playing full force through the middle of both channels. There is a narration by Coltrane's guru inside it, a poem really, spoken by the great guru Satchidananda, which no doubt would have moved John Coltrane, but the real news is Alice's killer, funky breakbeat organ solo that covers the tune top to bottom in blues, in stark contrast to Jenkins' improvisation. This set may take some getting used to for some, but it's easily one of the strongest records Alice Coltrane ever released, and one of the finest moments in jazz from the early '70s.
http://www.sendspace.com/file/fywywn
Sometimes written off as an also-ran to her more famous husband, Alice Coltrane's work of the late '60s and early '70s shows that she was a strong composer and performer in her own right, with a unique ability to impregnate her music with spirituality and gentleness without losing its edges or depth. Ptah the El Daoud is a truly great album, and listeners who surrender themselves to it emerge on the other side of its 46 minutes transformed. From the purifying catharsis of the first moments of the title track to the last moments of "Mantra," with its disjointed piano dance and passionate ribbons of tenor cast out into the universe, the album resonates with beauty, clarity, and emotion. Coltrane's piano solo on "Turiya and Ramakrishna" is a lush, melancholy, soothing blues, punctuated only by hushed bells and the sandy whisper of Ben Riley's drums and later exchanged for an equally emotive solo by bassist Ron Carter. "Blue Nile" is a case where the whole is greater than the sum of its parts; Coltrane's sweeping flourishes on the harp nestle in perfectly with flute solos by Pharoah Sanders and Joe Henderson to produce a warm cocoon of sound that is colored by evocations of water, greenness, and birds. Perhaps as strong as the writing here, though, are the performances that Coltrane coaxes from her sidemen, especially the horn players. Joe Henderson, who can always be counted on for technical excellence, gives a performance that is simply on a whole other level from much of his other work -- freer, more open, and more fluid here than nearly anywhere else. Pharoah Sanders, who at times with John Coltrane seemed like a magnetic force of entropy, pulling him toward increasing levels of chaos, shows all of the innovation and spiritual energy here that he is known for, with none of the screeching. Overlooked and buried for years in obscurity, this album deserves to be embraced for the gem it is.
http://www.sendspace.com/file/vi191o
Alice Coltrane had become a musical world unto herself by the time she issued World Galaxy, recorded in late 1971. With jazz-rock fusion taking over the mainstream and the terminal avant-garde heading over to Europe, Coltrane stubbornly forged an insistent, ever-evolving brand of spiritual jazz that bore her own signature as much as it did her late husband's influence. On the two days in November when World Galaxy was recorded, Coltrane chose drummer Ben Riley, bassist Reggie Workman, violinist Leroy Jenkins, saxophonist Frank Lowe, and timpanist Elayne Jones in addition to a string orchestra of 16 to help her realize her latest vision. Coltrane herself plays piano, harp, and organ on this date, sometimes within a single track, as she does on her glorious post-modal reworking of "My Favorite Things." This was a gutsy move, considering it was one of John Coltrane's signature tunes, but Alice has it firmly in hand as she moves from organ to harp to piano and back, turning the melody inside out wide enough for the strings to whip up an atmospheric texture that simultaneously evokes heaven and hell and skewers the prissy nature of the tune in favor of bent polyharmonics that allow the entire world of sound inside to play. The jazz modalism Coltrane presents on "Galaxy Around Olodumare" is quickly undone by Lowe in his solo and reconstructed into polyphony by the string section; it's remarkable. The harp work on "Galaxy in Turiya" (Alice's religious name) is among her most beautiful, creating her own wash of color and dynamic for the strings to fall like water from the sky into her mix. As colors shift and change, the rhythm section responds, and focuses them in the prism of Coltrane's textured harpistry. The album closes with another John Coltrane signature, "A Love Supreme," here given an out of this world treatment by the band with Jenkins playing full force through the middle of both channels. There is a narration by Coltrane's guru inside it, a poem really, spoken by the great guru Satchidananda, which no doubt would have moved John Coltrane, but the real news is Alice's killer, funky breakbeat organ solo that covers the tune top to bottom in blues, in stark contrast to Jenkins' improvisation. This set may take some getting used to for some, but it's easily one of the strongest records Alice Coltrane ever released, and one of the finest moments in jazz from the early '70s.
http://www.sendspace.com/file/fywywn
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Steezel Weezel
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Journey In Satchidananda [50 MB] - Fourth solo album, succeeding Ptah, The El Daoud.
Personnel:
Alice Coltrane ג harp, piano
Pharoah Sanders ג soprano saxophone, percussion
Vishnu Wood ג oud (on track 5)
Charlie Haden ג bass (on track 5)
Cecil McBee ג bass
Tulsi ג tambura
Rashied Ali ג drums
Majid Shabazz ג bells, tambourine
1. Journey In Satchidananda
2. Shiva-Loka
3. Stopover Bombay
4. Something About John Coltrane
5. Isis And Osiris
A Monastic Trio [76 MB] - This is her first solo album
Personnel:
Alice Coltrane ג harp, piano
Pharoah Sanders ג flute, bass clarinet, tenor saxophone
Jimmy Garrison ג bass
Rashied Ali ג drums
Ben Riley ג drums
1. Lord, Help Me To Be
2. The Sun
3. Ohnedaruth
4. Gospel Trane
5. I Want To See You
6. Lovely Sky Boat
7. Oceanic Beloved
8. Atomic Peace
9. Altruvista
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Sebastian gets busy
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thanks
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Steezel Weezel
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