Record Reviews

JOHN COLTRANE ~ A LOVE SUPREME: LIVE IN SEATTLE IMPULSE! 602438499977 (Barcode: 602438499977) ~ USA ~ Free Jazz / Improvised Music Recorded: 1965 Released: 2021 This is an archival album by iconic American Jazz saxophonist / composer / bandleader / visionary John ColtraneFind albums by this artist, captured live on October 2, 1965 at the Penthouse Jazz club in Seattle with his septet, which also includes saxophonists Pharoah SandersFind albums by this artist and Carlos WardFind albums by this artist, pianist McCoy TynerFind albums by this artist, bassists Jimmy GarrisonFind albums by this artist and Donald GarrettFind albums by this artist and drummer Elvin JonesFind albums by this artist. The album presents eight tracks, the four-part “A Love Supreme” suite and four interludes. The music was recorded informally by local Seattle saxophonist and educator Joe BrazilFind albums by this artist and the tapes were in his private collection for many years, until they were discovered in 2013 but released only eight years later. The recording is pretty rough and primitive, using just two microphones directly plugged into the tape recorder, resulting in a highly unbalanced sound mix with the drums dominating most of the music. Coltrane very rarely performed the suite live after it was recorded in the studio in December of 1964, and there was only one available live recording of it before these tapes were discovered. This is not really surprising considering Coltrane’s very special relation to the suite, which he considered highly spiritual. The decision to perform it on the last day of the Seattle club residence was most probably entirely spontaneous, but the musicians in Coltrane’s septet were obviously not taken aback by that decision and played along as if it was a completely natural one. The music is, despite the difficulty to be able to hear it properly, absolutely stunning, demonstrating and peak of Coltrane’s Free Jazz period, just before he entered the final “wall of sound” period. It is not difficult to distinguish between Coltrane’s and Sanders’ solos of course, as their approach was quite different. Tyner, whenever heard, plays Godly, as usual, with his staccato bombardment of the keyboard, and yet beautifully melodically at all times. The double bass lineup allows the rhythm section to expand its role and using the bow, as well as solo extensively during the Interludes and Jones is what he is, masterly keeping time and playing around the time all at once. Overall, this is a superb document of American Free Jazz at its absolute peak, as well as another “missing link” in the seemingly endless Coltrane discography, which is one of the most important one-man manifestations of American Jazz ever. The bad sound balance gets all forgotten when the music lashes at the listener’s ears, and every split second of the music is an incredible evidence of Genius incarnate.

Updated: 08/07/2024Posted: 28/02/2022

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