John Coltrane - COLTRANE The Classic Quartet: Complete Impulse! Studio Recordings
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Artist: John ColtraneEdition: Music CD
Audio: English (Original Language)
Format: Box set
CD Release Date: 1998-11-17
Music Label: Grp Records
Soundtracks:
Music CD 1
- Greensleeves
- It's Easy To Remember
- The Inchworm
- Big Nick
- Out Of This World
- Soul Eyes
- Miles' Mode
- Tunji
- Nancy (With The Laughing Face)
- What's New?
- Up 'Gainst The Wall
- Too Young To Go Steady
- All Or Nothing At All
- I Wish I Knew
- You Don't Know What Love Is
- Say It (Over And Over Again)
- Vilia
- After The Rain
- Dear Old Stockholm
- Your Lady
- Alabama
- Lonnie's Lament
- The Drum Thing
- Wise One
- Crescent
- Bessie's Blues
- A Love Supreme, Part I - Acknowledgement
- A Love Supreme, Part II - Resolution
- A Love Supreme, Part III - Pursuance
- A Love Supreme, Part IV - Psalm
- Nature Boy (First Version)
- Nature Boy
- Feelin' Good
- Chim Chim Cheree
- Brasilia
- Song Of Praise
- After The Crescent
- Dear Lord
- One Down, One Up
- Welcome
- The Last Blues
- Untitled Original 90314
- Transition
- Suite: Part I - Prayer And Meditation: Day/Part II - Peace And After...
- Living Space
- Dusk Dawn
- Vigil
- Untitled Original 90320
- Dearly Beloved
- Attaining
- Sun Ship
- Ascent
- Amen
- Meditations (Quartet Version): Love
- Meditations (Quartet Version): Compassion
- Meditations (Quartet Version): Joy
- Meditations (Quartet Version): Consequences
- Meditations (Quartet Version): Serenity
- Meditations (Quartet Version): Joy (Second Version)
- Works In Progress: Crescent (First Version)
- Works In Progress: Bessie's Blues (First Version, Incomplete)
- Works In Progress: Song Of Praise (First Version)
- Works In Progress: A Love Supreme, Part II-Resolution (Alternate Take)
- Works In Progress: Feelin' Good (Alternate Take)
- Works In Progress: Dear Lord (Breakdowns & Alternate Take)
- Works In Progress: Living Space (Breakdown & Alternate Take)
Music reviews of COLTRANE The Classic Quartet: Complete Impulse! Studio Recordings
Music Review: ESSENTIAL, BUT NEEDS A RE-DO
Rating: 5 Stars
Posting a "review" or "critique" of such music? Might as well toss off another review of Merton's Seven Storey Mountain, New Seeds or Asian Journal- and pat myself on the back for CONTRIBUTING something. (To quote Churchill : "slush, mush, and gush." ) But since I've already posted reviews of the Pablo LIVE TRANE set and Merton's INNER EXPERIENCE, you can call me a hypocrite if you want.
Still, I will mention that the transfers are stellar, and the content of this box is as complete as it could have been at the time of its release, in 1998. But since then, and in the wake of producer Bob Thiele's death, some additonal tape sources from his collection have come to light. If I am not mistaken, these include :
1) The tape masters of this Classic Quartet's very first studio date in December 1961, including four alternate takes of "Greensleeves", done "a la My Favorite Things". Sadly, the first-generation tape master of the best, Trane-chosen take (i.e., the one which was issued on 45 RPM in 1962) remains lost. This means that, for both this boxed set and the later, deluxe edition of BALLADS, a vinyl copy of the issued "45" had to be dubbed.
2) Additional takes from the 1962 COLTRANE and BALLADS sessions, including two relatively short, studio versions of "Impressions" and a newly discovered piece called "Not Yet".
3) A newly discovered tape source for A LOVE SUPREME (December 9, 1964). Until 2002, what we had been hearing was from a 3rd generation tape with added compression and equalization - not to mention a left channel flaw at the beginning of the third track. But a flawless, non-equalized, non-compressed tape source, only one generation down from the original master, was located in EMI's London vaults. (It had been sent there as the basis for British LP pressings.)
Yes, gentle reader, the first-generation tape masters for not only the preferred take of "Greensleeves", the original COLTRANE and CRESCENT albums, but even for A LOVE SUPREME - the album which not only changed countless lives but probably made Coltrane AND Impulse more moola than any other - were reportedly ERASED. (Whoever made that "executive decision" gets my vote for the ANNUAL 'HECKUVA JOB, BROWNIE' AWARD.)
Now, I am NOT one of those "original cover art" fanatics - with the exception of the unsurpassedly beautiful album covers which Alex Steinweiss created for Columbia Masterworks, in the late 1930s to early 50s. (He's still alive and kicking : God bless him.) And of course the unique 50s-60s, "post-Bauhaus" Blue Note covers of Reid Miles...But I have to agree with the other reviewers who find this set's metal packaging to be graceless and UGLY.
Even worse, the provided "notebook" sleeves tend to scuff the discs. (Upon purchasing this set, I immediately rescued the discs by placing them in seperate jewel boxes.) WHEN will you CD marketing people ever outgrow these "clever" absurdities? As if, for all the world, you were aiming a Heavy Metal boxed set at the early-to-mid-teen market? In a full-price historical re-issue, yet? Why should it be "asking too much" to demand packaging worthy of John Coltrane : something durable, "disc-safe," AND clean and simple?
"Classic Coltrane Quartet Completists" (look, Ma - alliteration) who own this set will also have to purchase the subsequent 2-CD deluxe editions of the COLTRANE and BALLADS albums. The new BALLADS tracks are not ABSOLUTELY essential Trane...I have to agree with the reviewer who wrote that seven alternate takes of "It's Easy To Remember" may be too much of a good thing. Not to mention that "Greensleves" works only so well, "a la My Favorite Things," to sit through five takes of it - in spite of the Dorian modality common to both tunes. But the new COLTRANE tracks ("Miles' Mode", "Tunji", "Not Yet", and those two short "Impressions") are obviously more "central" to the Coltrane Canon. For instance, the pristine drive and ELAN of the alternate take of "Miles' Mode", and almost unearthly "groove" which the Quartet reaches in "Not Yet" - captured in astoundingly visceral sound quality - must be heard to be believed. In any case, for completists who must have it ALL, it's out there.
A WARNING : Over 60 percent of this set is composed of the Classic Quartet's final - and highly prolific - sessions of February through September 1965. So if you just aren't into the post-LOVE SUPREME period, but you feel ready for a boxed set of Trane in which to "lose yourself," then you may want to go with the Pablo LIVE TRANE set (Euro concerts from 1961 to 1963)...Then, the Impulse discs : the deluxe edition of COLTRANE, LIVE AT BIRDLAND, CRESCENT and the latest transfer of A LOVE SUPREME. And if post-SUPREME Trane still scares you, then by all means, check out TRANSITION for perhaps the best and most lucid of the post-SUPREME works. (The February '65 tracks which made up the album immediatley following SUPREME - THE COLTRANE QUARTET PLAYS - are actually darker, more dense and harmonically "outside" than some of the work which came just afterwards.)
Granted : overall, the 1965 sessions are a challenge for even the most sympathetic listener (you wouldn't play these at a dinner party), but they give back far more to the listener than they initially demand...which is why I recommend TRANSITION. The "Suite" (June 10, 1965) is a kind of abbreviated, slightly wilder LOVE SUPREME, and for those who will brave it, "Vigil" (June 16, 1965), a duet for Trane and drummer Elvin Jones, is a safe gateway to the post-Quartet Trane (e.g., the February '67 INTERSTELLAR SPACE tracks). But I especially recommend the other two TRANSITION tracks as ESSENTIAL listening - even for those who "want no part of" post-SUPREME Trane :
(1) "Welcome" (June 10, 1965) is similar to the 1963 "After the Rain", but more serene. It strikes me (and many others) as a stretch of hard-won peace : a tranquil island, if you will, in the midst of an increasingly stormy tonal sea. By comparison, the gentler and better known "Dear Lord" (May 26, 1965) is less compelling.
(2) To me, perhaps more than any other single recording, the title-track "Transition" (June 10, 1965) is the very essence of Coltrane and of his Classic Quartet. Even before you get to the improvised solos, the D-Phrygian-mode "head" melody is in itself a ruthlessly honest, yet pleading, kind of exploration : bristling and burning, yet lucid and internally CLEANSING. Constantly pushing the "natural" boundries of the tenor sax, Trane aims for notes higher than the instrument is designed to produce - and sometimes gets there. This reaches a culmination from about 11:18 to 12:15, where Trane seems to be caught in a ferocious battle between his inner angels (normal register) and demons ("paranormal," higher register). Listen to this track a few times, each day, for a week, and 'psychotherapy' or 'anger management' may become redundant.
Still, those who truly care about Trane - whether or not they own this boxed set - WILL need to pick up the latest, closer-to-the-source remastering of A LOVE SUPREME (with or without the additional, live 1965 version). The improved tone quality and immediacy IS worth it.
For two essential reasons ( 1 - newly discovered tape masters and 2 - combersome, disc-scuffing packaging), this boxed set could stand a re-do. If it happened, I'd be the first to not only eat crow, but Give Thanks. (Meanwhile, the blue boy in the corner, holding his breath?...That'd be me.)
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Description of COLTRANE The Classic Quartet: Complete Impulse! Studio Recordings
There have been many Coltrane compilations and box sets over the years since the saxophonist's passing in 1967, but this eight-CD complete collection of his quartet's studio recordings between 1961 and 1965 is the must-have. Jazz may be a music blessed with dazzling soloists, but few groups in its history seem up to perfectly matching the intentions of their leaders: Louis Armstrong's Hot Five and Hot Seven, Bill Evans's trio of 1960-61, and Miles Davis's mid-60's quintet are among the few that immediately come to mind. Coltrane's quartet of pianist McCoy Tyner, drummer Elvin Jones, and bassist Jimmy Garrison was another, a group so perfectly matched to his playing that it seems difficult to imagine him without them. Tyner, for example, immerses the group in restless chords and showers of single notes; Jones plays with stentorian power, yet tempers his playing with well-etched detail and a strong sense of melody; and Garrison anchors the quartet with drones and deeply rooted vamps. So powerful was the quartet's conception that even when ringers like Art Davis and Roy Haynes turn up on a couple of tracks, they, too, carry out Coltrane's aims, their individual differences worked into the scheme. On the 66 tracks included in this set (all now remastered) it's possible to follow the evolution of this extraordinary band from Coltrane's very ascetic approach on relatively straightforward albums such as Ballads and The John Coltrane Quartet Plays through devotional efforts like A Love Supreme and First Meditations on to Living Space and Sun Ship, those last moments before his leap of faith into the unknown in his last few years.This quartet's music is marked with a seriousness of purpose that burst the boundaries of jazz, and with a display of authority rare for any music. Yet despite its exploratory passion, it was a music grounded in the blues and the distant memory of swing. Coltrane, always the seeker, had found his kindred spirits and poured himself and all he knew into these performances; and even those who never shared an enthusiasm for his music at least always recognized this much.
The final disc of the set contains seven unreleased tracks, including significantly different versions of "Bessie's Blues" and "Resolution" from A Love Supreme, and others discovered by Ravi Coltrane on his father's original reference records. (For those interested in the culture of the studio, it is fascinating to see that despite its apparent simplicity and the inevitability of its melody, a gem like "Dear Lord" began with the plague of several false starts.) Music spread across 18 albums has been collated and reassembled chronologically here, much of it not always easy to find: examples are the scattered gems "Vilia," "Dear Old Stockholm," and "Big Nick," as well as a version of "Greensleeves," originally issued as an Impulse 45 single. An essential set for understanding jazz at its highest level of achievement. --John Szwed
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