Jeremy Sassoon's Ray Charles tribute project comes to Love Supreme 2019 Jeremy Sassoon's Ray Charles Project Announced SOME TICKET CATEGORIES ARE VERY CLOSE TO SELLING OUT. Dec 31, 2008 John Coltrane - A Love Supreme - Acknowledgment - 1st Pressing - Impulse Records.
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in U.S.Amoeba Review
Michael Keefe 06/15/2010
Recorded in December1964 and released early the following year, John Coltrane's A Love Supreme is a deeply spiritual and moving jazz album that captures the great tenor sax player at the height of his powers. It was recorded with his indomitable 'classic quartet': pianist McCoy Tyner (a legend in his own right), highly sympathetic bassist Jimmy Garrison, and the hard-swinging Elvin Jones on drums. At this stage in his career, Coltrane was nearing the end of a particular phase, and A Love Supreme is the ultimate expression of that era. He would soon augment and then dismantle the quartet heard here and plunge into free jazz. On this LP, though, he and his sidemen play deep and exploratory jazz, while generally remaining within the confines of hard bop and modal jazz. Moreover, the music on A Love Supreme evokes a profound striving for unity with a higher power. The titles of the album's four lengthy tracks suggest this, as well: 'Acknowledgment,' 'Resolution,' 'Pursuance,' and 'Psalm.' The name of the album comes from a vocal chant toward the end of 'Acknowledgment,' in which Coltrane repeats the words 'a love supreme' as a mantra. Intensely moving and passionately performed, A Love Supreme has appeared on many lists of the greatest albums of all-time and is certainly among the very best that jazz has to offer.
Track Listing
Artist | ||
|---|---|---|
Part 1 - Acknowledgement | John Coltrane | 07:42 |
Part 2 - Resolution | John Coltrane | 07:17 |
Artist | ||
|---|---|---|
Part 3 - Pursuance | John Coltrane | 10:42 |
Part 4 - Psalm | John Coltrane | 07:02 |
When the Love Supreme festival made its debut in 2013 as the first big outdoor jazz extravaganza in decades to risk the climate and park a teeming music village on an English country estate, it felt like jazz’s long-missing Glastonbury – an eclectic, cross-generational, multifaceted celebration of a music often snubbed as marginal. In the years since, Love Supreme (the title comes from the 1965 John Coltrane hit which similarly mixed tough jazz and a communal music that caught the ears of rock and pop fans) has gone from strength to strength.
Plenty of Saturday’s rainswept punters were there for a rare date with Grace Jones, but if the day’s more jazz-oriented artists were mostly disinclined to let improvisation roam too long before igniting a dance beat under it, the mood was exuberant and the music often likewise.
Paintshop pro 2019 key. Moon Hooch, a trio of former New York buskers, apparently favour yoga, meditation and organic food, but they unleashed enough rumpus with just two saxophones, a drum kit and the incendiary brew they’ve dubbed “cave music” to blow stereotypes of serene hippiedom into the next county. They set the big top howling in the afternoon with a blitz of hammering low sax hooks, techno/house bass snortings and walloping percussion breaks, and hit their peak when tenor saxophonist Mike Wilbur took off on a seamless circular-breathing marathon that began as an almost stately swirl of notes before low-register blurts barged in, the pulse quickened, and the elephantine roar of Wenzl McGowen’s baritone sax and James Muschler’s ferocious percussion swept the music to a finale.
A more better-known US threesome – guitarist John Scofield, pianist Brad Mehldau, and drummer Mark Giuliana – also explored electronic sounds and dance grooves, though more patiently. Scofield’s tonally subtle massaging of a simple melody was a compatible partner in the long-established relationship of Mehldau and Giuliana. But if the pianist’s Fender Rhodes lines were lost amid orchestral synth hums at first, and Scofield didn’t sound entirely at ease doubling on bass guitar, the mists soon cleared. The guitarist cut through a shivery, baleful drum pattern with his signature blues-rock wail, a quiet funk pulse was met by a synth sound like a Headhunters riff being played on a bass sax, and in the closing stages Mehldau’s narrative elegance on acoustic piano was matched by Scofield’s clipped, discreetly coaxing phrases.
In the adjoining arena, fast-rising US vocal star Kandace Springs was launching her Blue Note album Soul Eyes, and showcasing the ringing upper register, soulful expressiveness and jazz flexibility that sometimes recalls Lizz Wright and confirms why Prince was a fan. Later, the Swiss-French world-jazz trumpeter Erik Truffaz proved that his warm brass sound can flourish in the funkiest settings, though bass maestro Stanley Clarke, a virtuoso with a legendarily exquisite touch, protected his own subtler qualities less effectively in his own set, which was overly dominated by the remarkable but inexorable funk-percussion histrionics of Michael Mitchell.
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- The Stanley Clarke Band play the Jazz Cafe, London, on 4 July. Box office: 020-7485 6834. Moon Hooch play Brudenell Social Club, Leeds, on 11 July. Then touring.