Free Jazz Music

The fact that this album has not been reviewed yet is a sad reflection on the likely low number of people out there aware of or into it; avante-garde jazz at it's best and most challenging. If you love listening to music that you don't necessarily understand straight away then this is for you. The free sounds and attitudes of the late sixties are sadly not replicable today. This is a document of that time and for fans of DeJohnette and Corea.

I have this from another label... same tracks and track times

"Coltrane Live in Paris" (catalog # BLCD-8023)

Passport Audio has released two recent bootlegs: this and "Bye Bye Blackbird". Unfortunately they chose to release the discs under similar names to two Pablo discs that have been out for decades! This will no doubt cause cussing among veteran collectors.

Well, this "Live in Paris" contains four remarkable performances -

NAIMA:
This is my favourite version of "Naima" by far - and maybe my favourite Coltrane performance of all. This is a version commonly found on bootleg discs, lasting seven minutes and six seconds. It dates from a concert at Antibes, France in 1965. The "Naima" theme has never been deconstructed more thoroughly or effectively, not even by Archie Shepp! The gentle love-song slowly metamorphoses into a welter of screaming and honks, until one wonders how Coltrane will return to the original theme. Then, impossibly, the original theme returns totally unscathed, with a sense of inevitability that makes the screaming sound like an inevitable result of the original melody! A truly shattering performance.

IMPRESSIONS
This version of Impressions is from the same date. This performance leaves out the 10 minute bass solo that preceded it. In my view this is good news! The performance is as fierce as you;d expect from Coltrane in 1965 - yet Trane seems almost tired at times - it is not his best performance.

BLUE VALSE
When Coltrane performed this piece in Paris, a French radio recordist asked what the name of it was. Coltrane mumbled something incomprehensible, which the Frenchman took to be "Blue Valse" - that is, "Blue Waltz".
But put this disc on, and you'll discover that this performance sounds very familiar!
Incredibly, this is indeed a LIVE performance of "Ascension", the recording that raised the hackles of the conservative jazz press. Ascension is so conventional sounding here that it is almost amusing. Coltrane soloes every bit as fiercely as on the album. But the essential insanity of the original is lost here - Ascension sounds almost like "Naima" here - a gentle ballad. There is no "collective improvisation" and no Pharoah Sanders! In fact, without the rest of the squawking you can hear that the original tune was not just five notes, but was actually a fully constructed melody - this was obscured by all the other horns on the original disc.

AFRO BLUE
Perhaps Coltrane was referring to this tune when he said "Blue Waltz"? By 1965 Coltrane was clearly getting a little bit sick of this soprano-waltz, which he had played since late 1963. This is without a doubt the most insane version of Afro Blue I've heard (admittedly I haven't heard the Japanese concert of 1966). Coltrane's attitude to the original theme is: how can I twist this theme to get something new out of it? The answer is: break up the theme with screeching tail-sections, jump registers a LOT, and avoid stating the theme totally straight!
The result is delicious avant garde jazz, a performance that is recogniseably the old "Afro Blue" from "Live at Birdland", yet clearly at a whole new level. The Half Note version of this tune cannot compare! This is truly wild music making.

Yes, the previous reviewers are correct. "Blue Valse" is Ascension! And it's pretty amazing. Our four heroes are not going to fill all the space of the nine musicians who performed the studio event, but the opening crescendo demonstrates once again that the classic quartet can fill all the space required all by themselves.... It's really cool to hear them going straight for it, no doubt still fresh on the piece just a month after the studio session. Garrison's solo is particularly fascinating, as he jumps between plucking and (wonderful) bowing to almost recreate the studio duet with Art Davis; except here, he's almost duetting with himself. It's nice to hear Tyner's voice louder in the mix, as well. All four musicians seem to approach the piece with the same intensity as the studio version; love it. And experimental-wise, very on par with the live Love Supreme performance of two days earlier.
Sorry, I've only heard Naima & Ascension, but the latter warranted a review (and five stars) of its own. Seems to be transferred from vinyl, as the end of Garrison's solo fades out & then back in (no music is lost); a few mild (quaint, I call 'em) crackles & pops are audible during the bass solo, too. Still, excellent sound quality. How lucky we are that people happened to tape these things.
A final note~ that vocal chant just as the bass solo moves into Coltrane's re-entry......not sure if it's Garrison (who can be observed humming during his Jazz Casual solo in Impressions) or someone in the audience. But even if it's the latter, does that not merely demonstrate that the magic of this music is working.....?

It's quite obvious that this bootleg recording has been released many times over the past 40 years on various fringe labels, but anything with Coltrane wailing away will always be valuable because unlike other musicians, even legendary ones, Coltrane never played any song the same way twice. He plays a very scorching verison of "Naima" that's miles away from its "smooth ballad" original, but the real highlight is the 2-part track, "Blue Valse." Coltrane fans will immediately recognize this song as the free-jazz classic, "Ascension," and so far, unless I Google a little further, this is perhaps the only version of the song in the Quartet format. Like many Coltrane bootlegs out there, this is another great CD to add to your collection, at least until the Coltrane family releases an official version of the concert with much-better sound quality.

This album, recorded in 1979 while on tour, is a real gem. Late Stitt, to be sure, a wonderful rhythm section is allowed space, a rarity in many Stitt recordings. The quartet plays as a group and anyone unaccustomed would have little clue as to the featured artist. At the time, Stitt's dental problems (restored later) may have impaired his tone but certainly not his creativity. Curiously, the selections on this recording also appear on another album "Back To My Own Home Town." in which Stitt performs a vocal. Two of the selections have their titles switched. The cover art is also used on other Stitt albums. Nevertheless, this is a very enjoyable album!.

Yet another Stitt-led session in a discography that clearly must exceed the estimate of 150 albums Sonny is said to have issued under his own name. This is late Stitt, recorded in Paris in 1979. I'm not familiar with the pianist and bass player (both are top-flight musicians), but the presence of Bobby Durham on drums was enough to force purchase. He doesn't disappoint, going beyond sensitive support to insistent generator of excitement and swing.

Sonny may be a tad less polished, smooth, and articulate on this recording (his intonation is often suspect in the upper register of his alto), but he plays with aggressiveness, feeling, and at times an unaccustomed abandon. The rhythm section is not about to roll over and play dead, and Sonny has no choice but to meets its challenge.

This is certainly not one of Stitts best works but he plays it like only he could. So if you are a Stitt fan check this one out!

Before I got into classical music, this was hands down the best bargain CD I owned. Some of you out there may not believe this but Chick Corea actually used to play good music. The trio recordings he made for Blue Note in the late 60s, in their own way, are every bit as challenging and rewarding as those by Bill Evans, Paul Bley, and even Thelonious Monk. "Early Days" finds Chick with a larger band (including such greats as Woody Shaw, Dave Holland, Jack DeJohnette, Bennie Maupin and Hubert Laws) playing music similar in style to "Bitches Brew," of which Corea was a contributor. Tracks like "The Brain," "Waltz For Bill Evans" and "Jamala" are as wild as anything from the period. Corea would continue his experiments next with the group Circle, and to a lesser extent with the fusion-oriented Return to Forever. Those who like Corea's Akoustic Band work will be best served skipping this CD (not to mention trading in your CDs for some real music).