Search - John Coltrane :: Complete Graz Concert

Exciting concert

07/19/1998

(5 out of 5 stars)

"This is the classical John Coltrane Quartet of November 28, 1962. The CD's sound is a bit dull, because it was recorded possibly as a bootleg by a fan. Despite this the record is a must-buy for the passionate Coltrane/Tyner/Jones/Garrison fan. In that period the audience often expected Coltrane's famous version of 'My favorite things' and J. Coltrane in his quest for constant development always tried to present a new version. The interpretation of this song here is outstanding in its tempo and density. Listen to J.C.'s crylike oriental intro immediately followed by Elvin Jones violently beating the drums in his polyrhythmic manner. Pianist M. Tyner also plays beautiful and inspired at this modal-style period. Buy this record and enjoy !"

An uneven performance

H. Lim | Carlingford, NSW Australia | 09/12/2005

(3 out of 5 stars)

"Bye Bye Blackbird: Alas, the first sets in a jazz concert are often relatively uninspired, and even Coltrane was not immune. After a bit of tuning up, Coltrane and his men play a quite slow, sprightly version of the tune. The sound is quite abominable, with a sputtering sound at the beginning. Coltrane noodles along with an unexpected air of humour - perhaps he was in a good mood - but he is definitely uninspired. After a long, uinvolving solo, he steps back to let McCoy play. As usual, Coltrane's sidemen make up for his lack of inspiration - McCoy soloes energetically and with a fine sense of rhythm. An interminable and almost inaudible Garrison solo leads to a short coda by Coltrane. This is one of the least inspired Coltrane performances I've heard. Get the eponymous album instead.



The Inch Worm is a highly annoying tune which Trane turned into a wild soprano screech-fest on the album "The Paris Concert". Here Coltrane noodles along interminably, never quite reaching that point of nuclear fission, yet refusing to bow out. This is even more uninspired than the first track.



But then we come to Autumn Leaves. This is the only known performance of Autumn Leaves by Coltrane, and it makes me wonder why he never performed it again. The performance wisely begins with a very beautiful solo by McCoy, apparantly to allow Coltrane to gather himself together after two dull performances. Then Coltrane himself enters. Surprise! He is still using the soprano saxophone from Inch Worm - one of the very few recorded Coltrane performances on soprano that is not a waltz. Not bothering to state the theme yet, he makes up for lost time by spraying the listener with an absolute hail of musical ideas. Now fully inspired by Tyner's solo, he shoots through one inspired phrase after another, at a velocity that is astounding after the sloppy pace of the first two tracks. Finally he states the theme with deeply lyrical phrasing. This performance of Autumn Leaves is astounding and deserves to be the equal, I think, of anything in the VIllage Vanguard sessions.



Trane remains on soprano for an undistinguished performance of Every Time We Say Goodbye.





After a drum solo, Coltrane takes up the tenor for Mr PC, in a spirited performance that is almost ruined by poor sound and the noise of some weird chanting. But halfway through the sound improves dramatically. This is a hypnotic and pleasing performance.



Then comes I Want to Talk About You. Trane unexpectedly BEGINS the piece with a short, unaccompanied cadenza - strange, since he usually ENDS the piece in this way. He plays beautifully, segueing into a statement of the theme in a very romantic manner. He solos very slowly and with feeling. Halfway through, he unexpectedly begins to experiment. What is this?? He begins experimenting with multiphonics, playing entire phrases multiphonically - usually this is only done on one note! The result is weird but strangely lyrical. Coltrane plays phrases in a growling, spitting multiphonic, ending each phrase with a normal register tone.

Finally, he does his usual long cadenza. Halfway through he again does multiphonics. This is an unusual performance, but I still think it's not terribly inspired.



Impressions kicks off at such a slow tread that I had to listen twice to make sure it was the same tune I had heard pelting out on "Newport 63"! Taken at such a pace the tune seems peaceful, somehow. Trane soloes very competently - this is a long, but fine, performance that is very unusual in tone.



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