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John Coltrane Live'
Live At The Village Vanguard Again!Live At The Village Vanguard Again! is a jazz album by saxophonist John Coltrane. Recorded in May 1966, the album shows Coltrane playing in the free jazz style that characterized his final recordings.
Out of all the recordings made during the session, only three pieces remain: Naima, originally from the album Giant Steps, My Favorite Things, from the album of the same name, and a bass solo by Jimmy Garrison entitled, Introduction to My Favorite Things. The line up consists of the augmented quartet of the time, featuring Alice Coltrane on piano, Jimmy Garrison on bass and Rashied Ali on drums. Additionally, Pharoah Sanders contributes on flute and tenor saxophone, while Emanuel Rahim plays percussion.1. Naima
2. Introduction to My Favorite Things
3. My Favorite Things$24.99180 Gram Audiophile Virgin Vinyl LP -Sealed Buy Now
Yusef Lateef: Live at Ronnie Scott'sLive at Ronnie Scott's January 15th 1966
This is a previously unreleased live club performance from Yusef Lateef, the brilliant multi-instrumentalist whose mixing of jazz and Eastern music was a great influence on some of the finest musicians of the era including John Coltrane and Pharaoh Sanders.
Accompanied at Ronnie Scott's by the house band of pianist Stan Tracey, double bassist Rick Laird and drummer Bill Eyden, most of the repertoire played comes from Lateef's earlier recordings for Savoy and Prestige such as Jazz Moods and Eastern Sounds. Lateef plays flute on The Dreamer and Last Night Blues (it was the last night of the run). He plays the shenai - a kind of oboe - on Blues from The Orient, the xun - a Chinese flute - on Song of Delilah, and tenor saxophone on Yusef's Mood.
The evening's performance was recorded by Les Tomkins at the request of Ronnie Scott. The musicians were unaware they were being recorded as Scott believed they would be at their best and most unselfconscious this way. This record was mastered at Gearbox Records directly from the original 1/4" tapes.
Cut on Haeco Scully lathe with Westrex RA1700 series amps, Westrex 3DIIA cutting head and Telefunken U73B tube limiter; Maselec master control and equalisation.1. Angel Eyes
2. Blues From The Orient
3. Song Of Delilah
4. Last Night Blues
5. Yusef's Mood$23.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
Quartets: Live At The Village Vanguard Vol. 2 (Awaiting Repress)
Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
Named Jazz Album of the Year by readers of Downbeat Magazine, this double album features tenor saxophonist Joe Lovano during two appearances at the Village Vanguard recorded ten months apart. Other than the leader, the pair of quartets are completely different and they bring out two sides of Lovano. The earlier session features the leader in a stimulating piano-less quartet, matching wits and creativity with flÜgelhornist Tom Harrell. While the music is closer to Ornette Coleman than to Gerry Mulligan (to name two famous pianoless groups), Harrell's tone more closely resembles Chuck Mangione than Don Cherry although fortunately he is much more inventive. The four Lovano originals are adventurous and all of the musicians sound as if they are stretching themselves. The second disc showcases Lovano in a more conventional quartet. The repertoire (just one original this time) covers John Coltrane, Thelonious Monk, Miles Davis, Charles Mingus, and Gordon Jenkins and finds the tenorman displaying his roots in Sonny Rollins. The rhythm section on the later date (pianist Mulgrew Miller, bassist Christian McBride, and drummer Lewis Nash) is excellent at accompanying (rather than challenging) Lovano. In both cases, Joe Lovano is heard in prime form, making this an easily recommended two-fer.
- Scott Yanow (All Music Guide)1. Lonnie's Lament
3. Little Willie Leaps
4. This Is All I Ask
6. Duke Ellington's Sound Of Love
7. Sounds Of Joy$24.99Vinyl LP Reissue - 2 LPs Sealed AWAITING REPRESS Buy Now
Workin' With the Miles Davis Quintet (Awaiting Repress)Undeniably one of the best small bands in the history of jazz, the Miles Davis quintet of the mid-1950s made history at the Cafe Bohemia on Manhattan's Barrow Street and in the New Jersey studio of Rudy Van Gelder for Prestige. This is the 3rd in a series of four LPs taped in two marathon studio sessions, done in the style of sets at the Bohemia, producing music of high energy and immediacy. This is a mix of standards and originals, up-tempos and ballads, and a trio number, Ahmad's Blues. Miles is the sole survivor of this quintet but the music made in the mid-50's period will live forever. The excitement of the emerging John Coltrane; the informed, melodic swing of Red Garland; the tremendous snap and pop of the rhythm trio of Garland, Paul Chambers and Philly Joe Jones, and Miles' poignancy and intense swing. Recording engineered by Rudy Van Gelder.1. It Never Entered My Mind
3. In Your Own Sweet Way
4. The Theme (take 1)
5. Trane's Blues
6. Ahmad's Blues
7. Half Nelson
8. The Theme (take 2)$21.99Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
SoultraneSoultrane is the fourth album by jazz musician John Coltrane, released in 1958 on Prestige Records, catalogue 7142. It was recorded at the studio of Rudy Van Gelder in Hackensack, New Jersey.
The album is a showcase for Coltrane's late-1950s "sheets of sound" style, the term itself coined by critic Ira Gitler in the album's liner notes. Also featured is a long reading of Billy Eckstine's ballad standard "I Want to Talk About You", which Coltrane would revisit often during his career, most notably on the album Live at Birdland. Among the other tracks is the popular theme "Good Bait" by Tadd Dameron, and Fred Lacey's elegiac "Theme For Ernie". "You Say You Care" is from the Broadway production of Gentlemen Prefer Blondes.
John Coltrane - tenor saxophone
Red Garland - piano
Paul Chambers - bass
Art Taylor - drums1. Good Bait
2. I Want To Talk About You
3. You Say You Care
4. Theme For Ernie
5. Russian Lullaby$21.99Vinyl LP Reissue -Sealed Buy Now
Afro Blue Impressions
Special Vinyl Reissue
John Coltrane: One Of The Greatest Saxophonists In History, And One Of The Most Influential Musicians Of All-time.
The recordings that make up Afro Blue Impressions were acquired by jazz impresario/auteur Norman Granz during the tours he produced for many jazz
artists during the 1960s, though they weren't issued until 1973. Recorded at shows in Berlin and Stockholm, the John Coltrane Quartet -- with pianist
McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones -- is in tremendous form here, using a familiar repertoire in order to expand upon the
group's own building blocks in creating the new post-harmonic system that the saxophonist was developing. Afro Blue Impressions is a rhythm collision,
where mode gives way to some of Trane's most angular soprano playing, pushing the limits of the instrument and his own dexterity to near breaking
points. This is the sound of one of the greatest -- albeit short-lived -- quartets in jazz history completely coming into its own in concert.LP 1
1. Lonnie's Lament
3. Chasin' The Trane
4. My Favorite Things
1. Afro Blue
2. Cousin Mary
3. I Want To Talk About You
5. Impressions$29.99Vinyl LP - 2 LPs Sealed Buy Now
UNIM-BLU-8715xThelonious Monk Quartet with John Coltrane
At Carnegie HallThis never-before-heard jazz classic documents one of the most historically important working bands in all of Jazz history, a band that was both short-lived and, until now, thought to be frustratingly under-recorded. The concert, which took place at the famed New York hall on November 29, 1957, was preserved on newly-discovered tapes made by Voice of America for a later radio broadcast that were located at the Library of Congress in Washington DC in 2005.1. Monk's Mood
3. Crepescule With Nellie
7. Sweet And Lovely
8. Blue Monk
9. Epistrophy$24.99Vinyl LP - 2 LPs Sealed Buy Now
In Greenwich VillageThis LP is Ayler's first Impulse set. There are two selections a piece from a pair of live appearances with Ayler having a rare outing on alto on the emotional For John Coltrane and the more violent Change Has Come while backed by cellist Joel Friedman, both Alan Silva and Bill Folwell on basses and drummer Beaver Harris. The other set features trumpeter Donald Ayler, violinist Michel Sampson, Folwell and Henry Grimes on basses and Harris.1. For John Coltrane
2. Change Has Come
3. Truth Is Marching In
4. Our Prayer$24.99Vinyl LP - 2 LPs Sealed Buy Now
SanctuaryNow heavily influenced by the earth-shaking creations of two master musicians -John Coltrane and Ravi Shankar-the Byrds began recording their new single, Eight Miles High and Why, along with tracks for their upcoming album Fifth Dimension at Columbia Studios in Hollywood. Growing more confident by the day in their studio acumen and songwriting skills, the Byrds logged long nights of hypnotic in-studio jamming, then hammered the white-hot magma into songs that will live forever. McGuinn's solos soared as never before, his technique now fusing the familiar, melodic overtones of the Rickenbacker 12-string with a powerfully new staccato dissonance absorbed from the majestic saxophone of John Coltrane. Michael Clarke's drumming never sounded better, his Elvin Jones-like cymbal splashes and rolling-tom thunder driving the band like an atomic generator approaching critical mass. Chris Hillman's swooping bass lines took on a McCartney-esque timbre that filled in every corner of the canvas with bold, melodic strokes. But it was perhaps David Crosby, playing in a brashly percussive way no one had ever heard before from a rhythm guitarist, who best digested and interpreted the Eastern influences of the day: the ragas and talas of Ravi Shankar. Crosby's contribution to Fifth Dimensionwas as outspoken and defiant as the man, himself. Acreative zenith in the Byrds' career, these fascinating sessions deserve closer scrutiny than they've previously been afforded. Alternate instrumental takes and extended experimental workouts give essential insight here into the songs' final versions. Also included are early versions of songs before the addition of any studio sweetening-strings, percussion or sound effects. To top things off, we've included a small handful of unique finds that give a fly-on-the-wall glimpse into the creation of one of the most important records of our time.1. EIGHT MILES HIGH
3. RYDER (I Know My Rider)
4. JOHN RILEY I
5. 2-4-2 FOX TROT (The Lear Jet Song)
6. PSYCHODRAMA CITY
7. JOHN RILEY II
8. WILD MOUNTAIN THYME
9. HEY JOE (Where You Gonna Go)
10. I SEE YOU
11. WHAT'S HAPPENING?!?!
12. CAPTAIN SOUL(30 Minute Break)$28.99Vinyl LP - Sealed Buy Now
Another DimensionNow heavily influenced by the earth-shaking creations of two master musicians (John Coltrane and Ravi Shankar)the Byrds began recording their new single, Eight Miles High and Why, along with tracks for their upcoming album Fifth Dimension at Columbia Studios in Hollywood. Growing more confident by the day in their studio acumen and songwriting skills, the Byrds logged long nights of hypnotic in-studio jamming, then hammered the white-hot magma into songs that will live forever. McGuinn's solos soared as never before, his technique now fusing the familiar, melodic overtones of the Rickenbacker 12-string with a powerfully new staccato dissonance absorbed from the majestic saxophone of John Coltrane. Michael Clarke's drumming never sounded better, his Elvin Jones-like cymbal splashes and rolling-tom thunder driving the band like an atomic generator approaching critical mass. Chris Hillmanï¿½s swooping bass lines took on a McCartney-esque timbre that filled in every corner of the canvas with bold, melodic strokes. But it was perhaps David Crosby, playing in a brashly percussive way no one had ever heard before from a rhythm guitarist, who best digested and interpreted the Eastern influences of the day: the ragas and talas of Ravi Shankar. Crosby's contribution to Fifth Dimension was as outspoken and defiant as the man, himself. Acreative zenith in the Byrd's career, these fascinating sessions deserve closer scrutiny than they've previously been afforded. Alternate instrumental takes and extended experimental workouts give essential insight here into the songs' final versions. Also included are early versions of songs before the addition of any studio Sweetening of strings, percussion or sound effects. To top things off, we've included a small handful of unique finds that give a fly-on-the-wall glimpse into the creation of one of the most important records of our time.1. Eight Miles High
3. Ryder (I Know My Rider)
4. John Riley I
5. 2-4-2 Fox Trot (The Lear Jet Song)
6. Psychodrama City
7. John Riley II
8. Wild Mountain Thyme
9. Hey Joe (Where You Gonna Go)
10. I See You
11. What's Happening?!?!
12. Captain Soul (30 Minute Break)$24.9910 Vinyl LP Gatefold Set - 2 LPs Sealed Buy Now
40th Anniversary Limited Edition
Mastered Impeccably By Joe Reagoso At Friday Music Studios And Pressed At R.T.I.
In 1973 Carlos Santana and The Santana Band were now one of the world's most loved rock and fusion
bands of all time. After several studio albums and the two collaboration albums with Carlos Santana & Buddy
Miles Live and Love Devotion Surrender with John McLaughlin the world was now
buzzing around the energy that these superstars would lay down on vinyl with the soon to be rock/jazz/funk
Featuring a cross section of Santana classics like Going Home, Light Of Life and When I Look Into Your Eyes,
plus the exotic rhythms and jams on workouts like Santana and John McLaughlin's Flame-Sky, and the stellar
John Coltrane masterpiece interpretation Welcome, Carlos Santana's guitar was truly a voice heard around the
The original vinyl version of this masterpiece has been out of circulation for decades - that is until now
Friday Music continues our exclusive Santana 180 Gram Audiophile Vinyl Series with the groundbreaking first
time North American audiophile vinyl release of the 1973 smash Welcome. Mastered impeccably by Joe Reagoso
at Friday Music Studios and pressed at R.T.I., this super limited first time North American 180 Gram masterwork
is truly one of Santana's finest ever, and we are very excited to offer you this authorized audiophile vinyl LP today.
Along with the legendary Carlos Santana on guitar and vocal, he is joined with original Santana band mates
Michael Shrieve on his dynamic drums, Doug Rauch on his prolific bass, Jose Areas on hard hitting percussion,
plus the brilliant acid jazz superstar Leon Thomas on vocals, the celebrated Latin percussionist Armando Peraza,
the legendary John McLaughlin on guitar, Joe Farrell on flute, and the stellar keyboard work of long time Santana
associate Tom Coster.
As an added 40th Anniversary Welcome bonus, we are including a super fine gatefold cover, restoring the
original album cover elements to their full glory which will further enhance your listening experience.
Let's all celebrate the 40th Anniversary of the classic mega rocker Welcome by Santana. Authentic,
Authorized and Absolutely Santana as only you would expect from your friends at Friday Music!1. Going Home
2. Love, Devotion & Surrender
3. Samba De Sausalito
4. When I Look Into Your Eyes
5. Yours Is The Light
6. Mother Africa
7. Light Of Life
9. Welcome$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Paris 1969Blue Note Records has announced Thelonious Monk Paris 1969, a fascinating and important late-career document of the legendary jazz pianist and composer in performance with his Quartet at the Salle Pleyel concert hall in Paris, France on December 15, 1969. Beautifully captured on B&W film, the concert also featured a surprise guest appearance from renowned drummer Philly Joe Jones. Also included is a rare on-camera interview with Monk that was conducted by the French bassist Jacques Hess after the concert.
"The 1969 Paris concert captures the power and the undiminished beauty of Monk's music, reminding us that even as his body aged his musical imagination knew no limits," writes Monk scholar Robin Kelley in his liner notes essay. However, Kelley also illuminates what a peculiar and challenging moment 1969 was for the 52-year-old pianist. Monk hadn't achieved true success until the late-50s with his legendary run at the Five Spot CafÉ in New York City with John Coltrane (a band that was brilliantly captured on the lost recording Thelonious Monk Quartet with John Coltrane at Carnegie Hall from 1957 which was discovered and released on Blue Note in 2005). By the early-60s Monk's success had peaked when he signed with Columbia Records and was eventually featured on the cover of TIME Magazine in 1964.
However, by 1969, in addition to health issues, Monk's success was beginning to wane with the emergence of rock and the resulting jazz fusion movement. His recording contract with Columbia had just come to end after an ill-advised attempt at marketing him to a younger rock audience. That disappointment was followed by the departure of drummer Ben Riley and bassist Larry Gales from his band which left Monk with two chairs to fill on short notice before his European tour.
Monk eventually found two young musicians - bassist Nate Hygelund and drummer Paris Wright - to fill out the Quartet with his longtime tenor saxophonist Charlie Rouse. Luckily the inexperienced rhythm section had some time to gel before hitting the stage in Paris with a lengthy engagement in London followed by stops in Germany and Italy. By the time they reached the Pleyel the band was in fine form, which made for a triumphant return for Monk to the very stage he had made his Parisian debut on in 1954 in front of a hostile audience who felt that Monk was too avant-garde. 15 years later the situation could not have been more different with an enthusiastic audience and the concert being broadcast on television.
In addition to rollicking Quartet versions of Monk classics such as "I Mean You," "Straight No Chaser," and "Blue Monk," the set also includes three stunning solo piano performances on "Don't Blame Me," "I Love You Sweetheart Of All My Dreams," and "Crepuscule With Nellie." However, an undeniable highlight of the concert was when the veteran drummer Philly Joe Jones who was an expat living in Paris at the time comes from backstage to borrow the sticks from the 17-year-old Wright, providing a palpable spark on Monk's "Nutty."1. I Mean You
2. Ruby My Dear
3. Straight No Chaser
4. Bright Mississippi
5. Light Blue
7. Don't Blame Me
8. I Love You Sweetheart of All My Dreams
9. Crepuscule With Nellie
10. Bright Mississippi
12. Blue Monk$19.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
IntoLionel Williams leaves behind the murkier lo-fi production of his 2012 debut full-length, Lemniscate, for the somnambulant pop of Into. The new album-out July 24th on Chaz Bundick's (Toro Y Moi, Les Sins) Company Records-moves Lionel's Vinyl Williams alias into a more vivid, multi-colored dream world. Unlike the dramatic film scores of his grandfather (famed composer and conductor John Williams), this 25-year-old Los Angeles-based musician's songs are far more introspective, effortlessly blending ambient, electronic, Krautrock, psychedelia and shoegaze influences into a uniquely visceral listening experience that often mirrors the surrealism of his own collage-based visual artwork.
Like staring at the intricate geometry of a nautilus shell through a rippling aqua lens, Into's detailed arrangements shimmer across the stereo field with Williams' breathy, yearning melodies bathed in warm reverb. The gentle, rhythmic percolation of breezy album opener "Gold Lodge" imagines CAN at their most ethereal, as if vying for a release on 4AD Records during the label's halcyon days. Similarly, Cocteau Twins-esque guitars ring above the pulsing kosmische atmosphere of "Hall of Records" and then later, the 10-plus-minute "Xol Rumi" takes a detour across the Autobahn using Neu!'s motorik precision. Elsewhere, the celestial "Greatest Lives" shuffles through a thick, gooey cloud of synths, while instrumental "The Tears of an Inanimate Object" pays tribute to the spiritually minded explorations of Alice Coltrane and Dorothy Ashby, with astral harp strums guiding the light electronic accompaniment.
From the mysterious, nocturnal drive of first single "World Soul" to the gauzy, space-age funk of "Allaz," Vinyl Williams nicely blurs the line between melodicism and experimentation, his impressionistic song-craft being as inviting as it is beguiling. In this modern era of shuffled playlists and musically short attention spans, Into is that rare album created to be listened to uninterrupted from beginning to end, and one that is sure to reveal itself again and again after each successive play.1. Gold Lodge
2. Space Age Utopia
4. World Soul
5. Hall Of Records
6. The Tears Of An Inanimate Object
7. Iguana City
8. Greatest Lives
9. Zero Wonder
10. Axiomatic Mind
12. Plinth Of Uncanny Design
14. Xol Rumi$18.99Vinyl LP - Sealed Buy Now
Includes 1 Bonus Track
By the time that jazz icon/bandleader/percussionist Art Blakey and his Jazz Messengers began recording for Riverside in the fall of 1962, Blakey had already been the spiritual center of the group for nearly 15 years. The unprecedented caliber of performers who had already passed through the revolving-door personnel reads like a who's who of 20th century jazz. On Caravan -- his first of several notable sides for the venerable label -- he is joined by a quintet of concurrent and future all-stars. Likewise, it could be argued that each has never again been presented in such a fresh or inspired setting as on these recordings. In order to establish with any authority just how heavy (even for purveyors of hard bop) the players in this band are, they need only to be named: Curtis Fuller (trombone), Freddie Hubbard (trumpet), Wayne Shorter (tenor sax), Cedar Walton (piano), and Reggie Workman (bass). With Blakey (drums) firmly at the helm, these Jazz Messengers deliver a scintillating synergy that doesn't sacrifice intensity for the sake of cadence. The trademark give-and-take that graces the laid-back and sophisticated pop and jazz standards Skylark and In the Wee Small Hours of the Morning likewise is responsible for the palpable energy brought to the sizeable contributions from Shorter and Hubbard -- which make up half of the album's material. The title and leadoff track liquefies Duke Ellington's original arrangement and ignites it, fueling this extended fiery interpretation. Hubbard's first solo harks back to his own recording of Caravan, which can be heard on the Impulse release Artistry of Freddie Hubbard and was recorded earlier the same year. Coincidentally, that disc also features Curtis Fuller as well as a rare non-Sun Ra-related appearance from John Gilmore (tenor sax). Blow for blow, however, this reading has more than just an edge -- it possesses the entire blade. The melody snakes in and out of Blakey's strident flurry of syncopation. Another highlight is Shorter's interjectory solo, recalling his ability to succeed John Coltrane in Miles Davis' coterie. Among the original compositions, Shorter's upbeat Sweet 'n' Sour stands out as the most cohesive and ensemble-driven, although the singular group dynamic is well applied to the lively This Is for Albert as well. By contrast, Hubbard's Thermo is more angular -- taking full advantage of the musicians' aggressive chops. The 2001 20-bit remaster from Fantasy contains two bonus tracks: take four of Sweet 'n' Sour and take two of Thermo. This release can be considered definitive Blakey, bop, and Jazz Messengers.
- Lindsay Planer (All Music)1. Caravan
2. Sweet 'n' Sour
3. In The Wee Small Hours Of The Morning
4. Sweet 'n' Sour [Alternate Take] *
5. This Is For Albert
*Bonus Track (From The Same Sessions. Not On The Original LP)$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Modes and Blues: 8th February 1964
Live At Ronnie Scott's
This is a previously unreleased mono recording of Modes and Blues from the Tubby Hayes Quintet's weekly Ronnie Scott's residency on 8th February 1964. Regarded as one of the masterworks of British modern jazz, Modes and Blues shows the Quintet at the very height of its powers, channelling the new musical flavours and inspiration that Tubby Hayes had absorbed from the cutting edge of jazz and the new directions of John Coltrane.
Recorded with Hayes' approval by Les Tomkins on his Ferrograph tape recorder, this is one of the most engrossing of all his stretch-out epics. Hayes digs in deep with marathon and breathtaking soloing, trumpeter Jimmy Deuchar delivers his characteristically lyrical improvisation, and there's dynamic interplay and drive from the great Terry Shannon, Freddy Logan and Allan Ganley rhythm section.
The Quintet had barely a few months left to run at the time of this performance, splitting in August 1964, fearing its music had atrophied into self-parody. Modes and Blues is among its many triumphs, a performance that shows how high the band had set the aspirational bar for British modernism, and, as such, is as much a cultural document as a musical souvenir.1. Modes and Blues (Part One)
2. Modes and Blues (Part Two)$23.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
So It IsPreservation Hall Jazz Band have announced the release of their new album, So It Is, the septet's second release featuring all-new original music, releasing via Legacy Recordings. So It Is finds the classic PHJB sound invigorated by a number of fresh influences, not least among them the band's 2015 life-changing trip to Cuba.
In Cuba, all of a sudden we were face to face with our musical counterparts, says bandleader/composer/bassist Ben Jaffe. There's been a connection between Cuba and New Orleans since day one - we're family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it's part of something much bigger. It was almost like having a religious epiphany.
Producer David Sitek, a founder of art rock innovators TV on the Radio who has helmed projects by Kelis, the Yeah Yeah Yeahs and Santigold among others, offered both a keen modern perspective and a profound respect for the band's storied history. Upon arriving in New Orleans to meet with the band, Sitek recalls he and Jaffe accidentally stumbling into one of the city's famed second-line parades. I was struck by the visceral energy of the live music all around, this spontaneous joy, everything so immediate, he says. I knew I had to make sure that feeling came out of the studio. It needed to be alive. It needed to sound dangerous.
The music on So It Is, penned largely by Jaffe and 84 year-old saxophonist Charlie Gabriel in collaboration with the entire PHJB, stirs together that variety of influences like classic New Orleans cuisine. Longtime members Jaffe, Gabriel, Clint Maedgen and Ronell Johnson have been joined over the past 18 months by Walter Harris, Branden Lewis and Kyle Roussel, and the new blood has hastened the journey into new musical territory. Inspired by that journey and reinvigorated by the post-Katrina rebuilding of their beloved home city, PHJB are redefining what New Orleans music means in 2017 by tapping into a sonic continuum that stretches back to the city's Afro-Cuban roots, through its common ancestry with the Afrobeat of Fela Kuti and the Fire Music of Pharoah Sanders and John Coltrane, and forward to cutting-edge artists with whom the PHJB have shared festival stages from Coachella to Newport, including legends like Stevie Wonder, Elvis Costello and the Grateful Dead and modern giants like My Morning Jacket, Arcade Fire and the Black Keys.
Preservation Hall Jazz Band:
BEN JAFFE - Bass (upright), Tuba, Percussion
CHARLIE GABRIEL - Saxophone (tenor), Clarinet
CLINT MAEDGEN - Saxophone (tenor), Percussion
RONELL JOHNSON - Trombone
WALTER HARRIS - Drums, Percussion
KYLE ROUSSEL - Piano, Wurlitzer, Organ
BRANDEN LEWIS - Trumpet1. So It Is
4. La Malanga
6. One Hundred Fires
7. Mad$19.99Vinyl LP - Sealed Buy Now
Offering: Live At Temple University (Out Of Stock)
Deluxe 2-LP, Limited-Edition, 180-Gram Vinyl Pressed On 12 LP's At 33-1/3 RPM By Record Technology Incorporated (R.T.I.)
Hand-Numbered Gatefold By Stoughton Press
Vibrant Four Panel Insert With Liner Notes By Ashley Kahn
Special Collector Postcards With Photos By Frank Kofsky
Mastered By Bernie Grundman
Offering: Live At Temple University documents a legendary concert by John Coltrane at Temple University in his hometown, Philadelphia, Pennsylvania,
on November 11, 1966, six weeks after his fortieth birthday and nine months before his untimely death. Offering incorporates a look that is contiguous with the graphic identity of Impulse! Records, Coltrane's exclusive label from 1961
until the end of his life. This is the first officially sanctioned release of an undiscovered, complete Coltrane performance since 2005. It captures Coltrane in
exemplary form, navigating the language he had developed during the last phase of his musical path with passion and pellucid logic. Operating at
equivalent levels of invention and energy are three members of his working quintet of one year's standing his wife, Alice Coltrane, on piano; Pharoah
Sanders on reeds and flute; and Rashied Ali on drums.
Offering is emblematic of the efflorescent energies and radical ideas that Coltrane himself had much to do with bringing forth during the seven years after
1960, when he left the employ of Miles Davis to pursue his vision as a leader. There are versions of Coltrane's 1960 hits "Naima" and "My Favorite
Things," a transformational reworking of the 1964 ballad "Crescent," a spirit-raising rendering of "Leo," which he had recorded on several previous
occasions during 1966, and the hymnal "Offering," which he would record on a February 15, 1967 studio session that Impulse! would release during the
'90s as Spiritual Offering.
On Offering, Resonance Records achieves the highest possible audio quality, using direct transfers of original master reels from a location recording by
Temple's WRTI-FM, remastered at 96kHz/24 bit, that were tracked down by Coltrane scholar Yasuhiro Fujioka.
The immense life-force that animates the proceedings on this November 1966 evening in Philadelphia belies the declining state of Coltrane's health. It is
still difficult to grasp and to accept that he was firmly in the grip of the liver cancer that would still his voice on July 17, 1967. As co-producer Ashley Kahn
states in his liner notes, "Coltrane was pointing the way forward for generations of players to come, pushing the music to exhilarating, spiritual heights that
caught most by surprise. In 1966, that wasn't what jazz performances were about not yet."
Recorded November 11, 1966
Mitten Hall, Temple University
John Coltrane - soprano & tenor saxophones, flute & vocals
Pharoah Sanders - tenor saxophone & piccolo
Alice Coltrane - piano
Sonny Johnson - bass
Rashied Ali - drums
Additional musicians include:
Steve Knoblauch, Arnold Joyner alto saxophone
Umar Ali, Algie DeWitt, Robert Kenyatta percussion1. Naima
5. My Favorite Things$59.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock