Review by Thom Jurek
A year after the unprecedented release of the John Coltrane Quartet's Both Directions at Once: The Lost Album, fans get another gift from the vault. The backstory (detailed in the booklet) combined with the unique place it claims in his catalog (chronologically and aesthetically), make it a fascinating, historically significant addition to his discography. In 1964, between the recently completed Crescent, and six months before the start of the sessions for A Love Supreme, the John Coltrane Quartet cut the music on Blue World. This wasn't an album proper, but music to accompany Quebecois director Giles Groulx's then-unfinished debut feature film, Le Chat Dans le Sac (it had been shot but was still in the editing stages; neither Coltrane nor his bandmates had seen it). The director, who lionized the saxophonist, reached out through a connection to his bassist Jimmy Garrison. The session was cut in a single day (June 24, 1964) at Rudy Van Gelder's New Jersey studio on quarter-inch tape. The director took the tape with him back to Canada, ultimately using only ten of the 37 minutes that appear here (which is available for streaming on the internet). As Coltrane historian Ashley Khan notes in his liner essay, this music has been hiding in plain sight ever since.
Musically, Blue World is unique. Its tracks offer then-newly recorded interpretations of material he'd issued earlier in his career and had already dropped from his live set, save for "Naima," two gorgeous takes bookend the album. Coltrane was always looking ahead, especially during this period of white-hot discovery. There are three takes of "Village Blues." The second, which appears first here, is the best of the three. Elvin Jones' forceful backbeats and breaks near the end of take two touch liberally on rhythm & blues, adding heft to Coltrane's relaxed but emotionally resonant playing. The title track, a cavernous modal blues re-conception of Harold Arlen's "Out of This World," was first cut by the saxophonist in 1962. This one is a bit over six minutes and includes remarkable drumming from Jones as well as a killer solo from McCoy Tyner. Coltrane's solo enters at full tilt, but trails off. Though brief, "Like Sonny" is as potent as it is on Coltrane Jazz, but deeper and bluer. This version of "Traneing In," cut with Red Garland's trio in 1957, has its first half dominated by a brilliant Garrison solo, followed by Tyner's deft interaction with modal hard bop and Jones hard-grooving response. When Coltrane enters, he's fully invested, viscerally pushing at the margins of the compositions changes.
While completely enjoyable, Blue World's true value perhaps lies in revealing the quartet encountering this older material with a fully developed musical character, and changing its shapes, accents, colors, and textures according to its own expressive signature. These versions differ (often significantly) from previously issued ones, making Blue World a necessary addendum to the recognized historical record to be sure. But just as importantly, it adds another very satisfying entry to the music libraries of Coltrane's legions of fans.
https://www.allmusic.com/album/blue-world-mw0003308075
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Reseña de Thom Jurek
Un año después del lanzamiento sin precedentes del álbum Both Directions at Once: The Lost del Cuarteto John Coltrane, los fanáticos reciben otro regalo de The vault. La historia de fondo (detallada en el folleto) combinada con el lugar único que reclama en su catálogo (cronológica y estéticamente), la convierten en una adición fascinante e históricamente significativa a su discografía. En 1964, entre Crescent, recientemente terminada, y seis meses antes del inicio de las sesiones de For A Love Supreme, el Cuarteto de John Coltrane grabó la música de Blue World. Este no era un álbum propiamente dicho, sino música para acompañar el largometraje debut inacabado del director quebequés Giles Groulx, Le Chat Dans le Sac (había sido filmado pero aún estaba en las etapas de edición; ni Coltrane ni sus compañeros de banda lo habían visto). El director, que elogió al saxofonista, se acercó a través de una conexión con su bajista Jimmy Garrison. La sesión fue grabada en un solo día (24 de junio de 1964) en el estudio de Rudy Van Gelder en Nueva Jersey en cinta de un cuarto de pulgada. El director se llevó la cinta de regreso a Canadá, y finalmente usó solo diez de los 37 minutos que aparecen aquí(que están disponibles para transmisión en Internet). Como señala la historiadora de Coltrane Ashley Khan en su ensayo liner, esta música se ha estado ocultando a plena vista desde entonces.
Musicalmente, Blue World es único. Sus pistas ofrecen interpretaciones recién grabadas del material que había publicado anteriormente en su carrera y que ya había eliminado de su set en vivo, excepto "Naima", dos hermosas tomas que sujetan el álbum. Coltrane siempre miraba hacia adelante, especialmente durante este período de descubrimientos candentes. Hay tres tomas de " Village Blues."El segundo, que aparece primero aquí, es el mejor de los tres. Los contundentes backbeats y breaks de Elvin Jones cerca del final de take two touch liberalmente en rhythm & blues, agregando peso a la interpretación relajada pero emocionalmente resonante de Coltrane. La canción principal, una cavernosa re-concepción del blues modal de "Out of This World" de Harold Arlen, fue cortada por primera vez por el saxofonista en 1962. Este dura un poco más de seis minutos e incluye una notable batería de Jones, así como un solo asesino de McCoy Tyner. El solo de Coltrane entra a toda velocidad, pero se aleja. Aunque breve, "Like Sonny" es tan potente como lo es en el jazz de Coltrane, pero más profundo y azul. Esta versión de "Traneing In", cortada con el trío de Red Garland en 1957, tiene su primera mitad dominada por un brillante solo de Garrison, seguido de la hábil interacción de Tyner con el hard bop modal y la respuesta hard-grooving de Jones. Cuando Coltrane entra, está completamente involucrado, empujando visceralmente los márgenes de los cambios en las composiciones.
Aunque es completamente agradable, el verdadero valor de Blue World quizás radica en revelar al cuarteto encontrarse con este material más antiguo con un carácter musical completamente desarrollado y cambiar sus formas, acentos, colores y texturas de acuerdo con su propia firma expresiva. Estas versiones difieren (a menudo significativamente) de las emitidas anteriormente, lo que hace que Blue World sea una adición necesaria al registro histórico reconocido para estar seguros. Pero igual de importante, agrega otra entrada muy satisfactoria a las bibliotecas de música de las legiones de fanáticos de Coltrane.
https://www.allmusic.com/album/blue-world-mw0003308075
www.johncoltrane.com ...
1 - "Naima" (Take 1) - 4:36
2 - "Village Blues" (Take 2) - 3:46
3 - "Blue World" - 6:08
4 - "Village Blues" (Take 1) - 3:48
5 - "Village Blues" (Take 3) - 3:46
6 - "Like Sonny" - 2:43
7 - "Traneing In" - 7:38
8 - "Naima" (Take 2) - 4:08
Credits:
Bass - Jimmy Garrison
Creative Director - Josh Cheuse
Design - House*
Drums - Elvin Jones
Executive-Producer - Harry Weinger, Ravi Coltrane
Lacquer Cut By - RM*
Liner Notes - Ashley Kahn
Mastered By - Kevin Reeves
Photography By - Chuck Stewart, Jim Marshall (3)
Piano - McCoy Tyner
Producer - John Coltrane
Project Manager - Frédéric Savard
Recorded By - Rudy Van Gelder
Reissue Producer - Ken Druker
Research - Frédéric Savard
Tenor Saxophone - John Coltrane
Written-By - John Coltrane
Notes:
All compositions by John Coltrane.
Certain songs appear in the independent film “Le Chat Dans Le Sac,” 1964.
Originally Recorded, mixed & mastered by Rudy Van Gelder in June, 1964 at Van Gelder Studios in Englewood Cliffs, NJ.
Label: Impulse! – B0030158-01, Verve Label Group – B0030158-01, UMe – B0030158-01, National Film Board Of Canada – B0030158-01
Country: US
Released: Sep 27, 2019
Genre: Jazz
Style: Free Jazz
https://www.discogs.com/release/14185160-John-Coltrane-Blue-World
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