Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24bit remastering. Includes an alternate take of "Blue Train" for the first time in the world. Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on Blue Train – Coltrane's only collection of sides as a principal artist for the venerable label. The disc is packed solid with sonic evidence of Coltrane's innate leadership abilities. He not only addresses the tunes at hand, but also simultaneously reinvents himself as a multifaceted interpreter of both hard bop as well as sensitive balladry – touching upon all forms in between.
The fifth and final volume in Universal's massive John Coltrane: The Impulse! Albums in the Originals series, contains five recordings, all issued posthumously between 1970 and 1973. Two of these, Transition and Sun Ship, feature Coltrane's classic quartet with McCoy Tyner, Jimmy Garrison, and Elvin Jones. Of the remaining albums, two are live recordings – Live in Seattle and Concert in Japan – the remaining one being the infamous Infinity.
Packaged together in this five-disc box set from Verve/Hip-O-Select, these titles represent the albums Impulse issued following John Coltrane's death in 1967, and remain some of the most controversial in his catalog (numerous critics thought – and many still do – that dubious choices were made in assembling them).
Recorded on August 26, 1965 (and not released until after his death), Sun Ship was the final recording by John Coltrane's quartet with drummer Elvin Jones, pianist McCoy Tyner, and bassist Jimmy Garrison. Pharoah Sanders would join the group the following month, and Tyner and Jones would depart in January of 1966 to be replaced by Alice Coltrane and Rashied Ali. It is also one of the saxophonist's most intense taped performances. After nearly four years together, this band had achieved a vital collective identity. When Coltrane moved toward metrically free styles of rhythm and melody (with tunes often based on one chord or a short series of notes as themes), the quartet's rhythmic pulse and collective interplay evolved accordingly.
One of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing, that at once compiled all of the innovations from his past, spoke to the current of deep spirituality that liberated him from addictions to drugs and alcohol, and glimpsed at the future innovations of his final two and a half years. Recorded over two days in December 1964, Trane's classic quartet–Elvin Jones, McCoy Tyner, and Jimmy Garrison– stepped into the studio and created one of the most the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship. From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical and emotionally varied soloing, while the rest of the group is completely atttuned to his spiritual vibe.
This single-disc Concert in Japan by John Coltrane's 1966 quintet is a reissue of the original double LP that was released as IMR 9036C in 1973. Its three selections include two long instrumental pieces and a spoken introduction of the musicians in Japanese. These performances are compiled from two Tokyo dates. This set is not to be confused with the four-disc document that includes both Tokyo concerts in their entirety. The band here performs a 25-minute "Peace on Earth," a ballad that Coltrane wrote especially for the tour, to express his empathy and sympathy for the nuclear destruction Japan experienced during WWII. The tune moves outside, but stays well within the realm of spiritual boundary-pushing that the band was easily capable of.
Recorded at several sessions in the two years prior to his death but not issued until 1972, Infinity was the subject of much controversy among Coltrane aficionados when it finally appeared. The horror on the part of Coltrane purists was directed to the posthumous string arrangements written by Alice Coltrane, his widow, which were grafted onto the performances. But however much the strings softened or unnecessarily augmented the music, it must be said that Alice Coltrane really didn't do such a bad job and the ultimate result is an unusual and oddly attractive work.