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Coltrane A Love Supreme'
A Love Supreme: The Complete Masters
Ranked 47/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time
Easily 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 his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years.LP 1
1. A Love Supreme, Pt. I - Acknowledgement
2. A Love Supreme, Pt. II - Resolution
3. A Love Supreme, Pt. III - Pursuance
4. A Love Supreme, Pt. IV - Psalm
5. A Love Supreme, Pt. III - Pursuance
6. A Love Supreme, Pt. IV - Psalm
1. A Love Supreme, Pt. I - Acknowledgement
2. A Love Supreme, Pt. I - Acknowledgement
3. A Love Supreme, Pt. II - Resolution
4. A Love Supreme, Pt. II - Resolution
5. A Love Supreme, Pt. IV - Psalm
6. A Love Supreme, Pt. I - Acknowledgement
7. A Love Supreme, Pt. I - Acknowledgement
8. A Love Supreme, Pt. I - Acknowledgement
9. A Love Supreme, Pt. I - Acknowledgement
10. A Love Supreme, Pt. I - Acknowledgement
11. A Love Supreme, Pt. I - Acknowledgement
2. A Love Supreme Pt. I - Acknowledgement
3. A Love Supreme Pt. II - Resolution
4. A Love Supreme Pt. III - Pursuance
5. A Love Supreme Pt. IV - Psalm$45.99Vinyl LP - 3 LPs Sealed Buy Now
A Love SupremeRanked 47/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Right from the very first hearing, absolutely every single jazzcritic shared the same opinion - whether trained musicians or not, true or would-be jazz expert: "A Love Supreme" is John Coltrane's most important recording. And the rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swingjournal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane's deep religious belief had influenced both his approach to life and his music-making. It not only enabled him to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.
The first section, entitled "Acknowledgement", has a forceful bass line which runs throughout the whole work. The powerful sound increases in intensity, whereby the bass motif undergoes constant modulation, with John Coltrane's meditative singing creating immense tension.
In "Resolution" Coltrane's powerful, quasi hymnlike expression comes to the fore, with McCoy Tyner achieving equal intensity in his solo. "Pursuance", with its density, quick-as-lightning runs and block chords, gives us a taste of John Coltrane's later 'free' phase. "Psalm" is filled with the famous, almost static melodies rather like a fervent prayer which are so typical for John Coltrane. "A Love Supreme" has been a faithful companion and teacher of generations of saxophonists and its message goes way beyond Music and is still valid today.
John Coltrane (tenor saxophone)
McCoy Tyner (piano)
Jimmy Garrison (bass)
Elvin Jones (drums)
Recording: December 1964 in New York City by Rudy Van Gelder
Production: Bob ThielePart 1 - Acknowledgement
Part 2 - Resolution
Part 3 - Pursuance
Part 4 - Psalm$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Love Devotion SurrenderThese two virtuoso guitarists were coming from different musical worlds when they came together for this unique 1972 project. What they shared, besides the instrument they'd mastered, was profound spirituality; both had taken inspiration from the music of John Coltrane. The core of Love Devotion Surrender is made up of the three magnificent extended guitar jams including Coltrane's A Love Supreme which borders on spiritual ecstasy. To hear Carlos Santana and John McLaughlin trading licks and then coming together is a guitar fan's dream come true and while the guitar playing is absolutely stunning in its virtuosity here, the music never loses its focus or its soul.1. A Love Supreme
3. The Life Divine
4. Let Us Go Into The House Of The Lord
5. Meditation$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Love Devotion Surrender (Speakers Corner)
For some, Love Devotion Surrender is an album where, exceptionally, John McLaughlin plays the piano and organist Jan Hammer plays the drums. For others, it is the most spiritual album ever by Carlos Santana. And though both disciples were shown the way and inspired by the same guru (Sri Chinmoy) at one and the same time, this album is filled with the spirit of John Coltrane. In order to communicate their differing understanding and interpretation of Trane's music, the two musicians formed a 'project band' made up of members of Santana's ensemble and the Mahavishnu Orchestra. In their performance of Love Supreme, Santana's somewhat dragging melody-maker role amalgamates with McLaughlin's high-speed staccato to a viscous drive. This approach functions just as well in slow motion: Coltrane's miniature, slow composition Naima is performed in a flowing and inspired manner by the duo on their acoustic guitars.
The arrangements carry Santana's hallmark: the occasionally somewhat intellectual but certainly not long-pondered-over sound is enhanced by the sound of agitated congo beats and the chanted vocals are heard as if from afar. By the time fans of Santana's major albums have got to the expansive gospel song Let Us Go Into The House, they will have rediscovered their Carlos and his timeless solos once again. It is apparent that love and devotion are by no means just memorials of a time gone by but a surrender to oneself in its most perfect form.
- Mahavishnu John McLaughlin (guitar, piano)
- Carlos Santana (guitar)
- Larry Young (organ)
- Doug Rauch (bass)
- Armando Peraza (conga)
- Billy Cobham, Don Alias, Jan Hammer, Mike Shrieve (drums)
Recording: 1973 by Glen Kolotkin
Production: Mahavishnu John McLaughlin & Carlos Santana
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.1. A Love Supreme
3. The Life Divine
4. Let Us Go Into the House of the Lord
5. Meditation$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
In A New Setting (Speakers Corner)
The vibraphonist presents himself in a new setting in this recording from 1964. Clearly Milt Jackson wanted to free himself occasionally from the straightjacket of the Modern Jazz Quartet. Sonny's Blues is proof of this: it is percussive and swinging, and without the eagle eyes of John Lewis in the background. This time the young McCoy Tyner, who had worked with John Coltrane (A Love Supreme was recorded in the same month), was at the piano. Jimmy Heath, responsible for the drive not only as a composer but also as instrumentalist, and Bob Cranshaw on the bass, contribute important impetus to the short blues, ballad-like and bop themes. None of the twelve numbers became a real jazz hit, but each has kept its own individual charm to this day.
If you set value on an excellent product being excellently packaged then you are well advised to purchase this LP. Unlike the CD version in its jewel case, this album is now being re-released with its original gatefold cover from the truly beautiful Limelight series, for which the designer alone should have received a Grammy.
- Jimmy Heath (tenor saxophone)
- Milt Jackson (vibraphone (vibes))
- McCoy Tyner (piano)
- Bob Cranshaw (bass)
- Connie Kay (drums)
Recording: December 1964
Production: Luchi De Jesus
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.1. Sonny's Blues
2. I'm Gonna Laugh You Out Of My Life
3. Spanish Fly
4. No Moon At All
5. Slow Death
6. Clay's Blues
7. Lazy Melody
9. Ev-ry Time We Say Goodbye
10. That's In
11. Ineffable$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Sun ShipSun Ship is a jazz album recorded on August 26, 1965, by tenor saxophonist John Coltrane. The album extended the free jazz ideas of Transition. The relaxed, serene feel of earlier ballads like "Welcome" was transformed into a new style of ballad on "Dearly Beloved" and "Attaining". This style involved very slow tempos, drum rolls and fills, and a louder, more intense feel than traditional jazz ballads. Like "Psalm" (from A Love Supreme), there is no real tune, just a scale or series of tones used to build an improvised theme.
Coltrane's solos on the other tracks are also more extreme than on his earlier albums, and are reminiscent of the style of Albert Ayler and Pharaoh Sanders in their extensive use of altissimo and multiphonics. The title "Sun Ship" may have been inspired by Sun Ra's conception of free jazz as having an affinity with science fiction conceptions of human existence.
Sun Ship was one of the only albums John Coltrane's quartet recorded without sound engineer Rudy Van Gelder. It was also one of the last albums (with First Meditations, recorded a week later) which John Coltrane recorded before he began experimenting with larger groups. Tenor saxophonist Pharaoh Sanders was playing regularly with the band by September, 1965, and both McCoy Tyner and Elvin Jones left the band in January, 1966.
John Coltrane - tenor saxophone, soprano
McCoy Tyner - piano
Jimmy Garrison - bass
Elvin Jones - drums1. Sun Ship
2. Dearly Beloved
5. Ascent$24.99180 Gram Audiophile Virgin Vinyl LP -Sealed Buy Now