Evenings At The Village Gate: John Coltrane with Eric Dolphy

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Evenings At The Village Gate: John Coltrane with Eric Dolphy

Evenings At The Village Gate: John Coltrane with Eric Dolphy

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He purportedly sat offstage during Dolphy’s solos at the Village Gate, magnanimously handing the reins to an artist who would express himself regardless. His early-’60s classics Giant Steps and “Live” at the Village Vanguard planted seeds for free and spiritual jazz, which flowered into teeming subgenres.

The single microphone means the music is in mono, and as with many bootleg recordings, some instruments are recorded better than others. At over twenty minutes, “Africa” is the longest piece and features an extended bass section, Davis soloing while Workman maintains the groove. Squabbles about sound quality, and comparisons between various iterations of his quartet, are never convincing: John Coltrane cared about change, not perfection. The performance itself is in perfect harmony with the other four songs and does not make you feel any discomfort.Africa/Brass was Coltrane’s most unusual album in the busy year of 1961, and it landed on shelves near the end of his run at the downtown venue. The shows included on Evenings at the Village Gate were shot by photojournalist Herb Snitzer, who claimed that the room was half empty; he imagined Coltrane had made five or “maybe ten bucks” from the concert. It was also in July ‘61 that the quintet Dolphy led with Booker Little played the legendary Five Spot gig. In short, the magnificent and the unknown, a point where both player and audience are simultaneously lost and awestruck.

Meanwhile, Jones tumbles out of a waltz and through a seemingly endless fill on the toms and cymbals. Just as Coltrane did for Miles Davis during their final shows together, Dolphy widened Coltrane’s canvas.Coltrane’s road to the avant-garde was built from his ability to compose, arrange, and imagine new roles for diverse instruments on his bandstands. However, as a general recording condition, the entire performance of the night can be understood well. He liked the composition because he could play it fast or slow, because it “renews itself according to the impulse you give it,” because it was a good place to start. However, back in 1961 the duo’s elemental, modal playing was regarded by some as a step into nihilism and anarchy, an “anti-jazz”, in the contemporary words of Downbeat magazine’s Leonard Feather. The sound from the stage is an elemental force blasting through the soporific climes, shaking the empty seats.

This concert would be a prime candidate for The Beatles AI demixing / remixing technique to rebalance the instruments when it becomes commonly available but until then this superb release will do just fine.Fans expecting this treatment may be displeased, but their reactions befit the artist—Coltrane never liked meeting expectations.

  • Fruugo ID: 258392218-563234582
  • EAN: 764486781913
  • Sold by: Fruugo

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