Search - John Coltrane :: Live in Seattle

Finally....I get it.

S. Kragh | NJ USA | 04/22/2005

(5 out of 5 stars)

"I've been a fan of Coltrane for a while now, slowly building up my library, I was warned of the wild later period so I began with his early stuff and continued in that way. I remember the first time I listened to A Love Supreme, I was speechless, it blew my mind! Then I listened to Live at Birdland, when Coltrane came in for his solo in Afro Blue I thought my heart was gonna stop! AHH. So once I listened to the Quartet albums for the thousandth time, I decided it was time to go forward. For some reason I picked Live in Seattle for my step into Coltrane's later formed world, I think it was because I loved Birdland so much I jumped at another Live album. When I first listened, I couldnt get through Cosmos, Though I liked Out of this World and some parts of others songs. So having trouble with the album I didnt listen to it for a while. Though I didnt go out and buy more albums right away, I started reading and knowing as much about Coltrane as I could. Being a musician, hes always been one of my musical idols, but then he became an idol on its own, I truely admired him for all he was worth, there is no like him! I started listened to Sun Ship and I dug it so I decided to try out Live in Seattle once again, and when Cosmos began, I felt like I was falling into a trance. I closed my eyes and my body swayed back and forth, I felt the music deeply in my heart and soul, when I got to Body and Soul I had tears in my eyes. I LOVE JOHN COLTRANE!"

Experimental Coltrane

Billy Willy | Chicago | 02/15/2005

(4 out of 5 stars)

"This is an experimental recording in all senses. Coltrane was in search of new sounds, probably helped not insignificantly by LSD. The old urban legend has it "Om" (recorded the day after this live record, I believe) was recorded on LSD, but this double disc is the more likely candidate.



Elvin Jones and Mccoy Tyner do an excellent job grounding this music. Despite leaving the band soon after they both excel in their modified idioms here. Tyner's solos are amazing, especially considering that he was making it up as he went along--i.e., how to push his piano into this new free jazz realm. Cecil Taylor was the only other free jazz model at the time and Tyner here stylistically sidesteps him, as on other late period Coltrane records, producing some amazingly virtuosic "free jazz" statements that are also conventionally musical.



Sanders and Garrett solo heavily on sax and bass clarinet, respectively. Garrett's quite savvy and fits well, though his musical career was not afterwards so illustrious. Sanders here hasn't developed his musical ideas much beyond screaming and alternating that with a kind of spooky melodic exploration. The Sanders of just a year later is much more sonically diverse and effective, but the core of his style is set. His solos are a bit thin here, but kudos to Coltrane for recognizing his talent and nurturing it.



Coltrane seems to be mostly listening and engaging in the several group improvisations, akin to "Ascension." Despite the long track lengths, Coltrane's solo presence is almost null. If you're buying the record just for Coltrane's saxophone, I'd look elsewhere.



Otherwise this is a great free jazz document. Somehow through their interplay the band creates uniquely frightening textures. While the sudden and hideous growling of "Om" from the possibly tripping-balls Coltrane on "Evolution" contributes to this mood, the band alone does a good, terrifying job by itself.



"

Live in Seattle: It will blow your mind

Eric Parker | USA | 02/28/2000

(5 out of 5 stars)

"I first heard this music in 1971 when I was 15 years old, in junior high school. It shook me then and it shakes me still. Coltrane blows with such ferocity, yet beauty you literally can't believe your ears. Pharoah leaves the planet. Not for the light-hearted. Get ready for the real trip. Free-jazz Coltrane style."