JOHN COLTRANE - Offering: Live At Temple University
Impulse / Resonance Records B1963202 (double CD set)
John Coltrane (tenor & soprano Saxes, voice) Pharaoh Sanders (reeds & flute) Alice Coltrane (piano) Sonny Johnson (bass) Rashied Ali (drums) with local guest saxophonists and percussionists
Recorded live at Temple University, Philadelphia, November 11th 1966
This impressive release captures a late concert performance by John Coltrane that has only been hitherto available in a fragmentary, bootleg format. Recorded six weeks after his fortieth birthday and nine months before his untimely death it provides us with a glimpse of a performer operating at the height of his powers showing no signs of the affliction that would shortly silence him.
The music is stark and uncompromising but infused with energy and passion that cannot fail to impress even those at odds with the Coltrane aesthetic and must leave everyone who hears it –like it or not - with a profound impression of his artistic integrity and magisterial command. The circumstances of the concert and its reception are fascinatingly detailed in the accompanying booklet by Ashley Kahn, author of the definitive account of the making of Coltrane’s magnum opus, `A Love Supreme` and the two disc set is packed and presented a manner that replicates the appearance and style of the classic Impulse label, all of which contributes to its desirability.
The first disc gives us extended versions of `Namia` and `Crescent` that allude briefly to their original melodic sources before embarking on mesmeric protractions that border on the cathartic religious fervour we associate with African –American church music. In the second track Coltrane is joined by Pharaoh Sanders on tenor and his solo is one of such painful angst and nihilistic anger that it could easily qualify as a soundtrack to one of Hieronymus Bosch’s visions of hell. Whereas Sanders seems to use his sax as an assault weapon, Coltrane by contrast seems to be reaching for a mode of expression that lies almost beyond the capability of his instrument’s compass and his available technique but is searching for something more than a purgative release of negativity. There is a passion in his music that is transcendent and sublime in the awe-inspiring meaning of the word. A terrifying beauty is perhaps the best way of describing the overall ethos.
The performance of the other musicians is somewhat diminished by the limited availability of microphones: there was only one. Consequently the piano, bass and rhythm section are somewhat recessed until the horns lay out allowing the power of Alice Coltrane’s harmonies and harp like arpeggios come floating through as does the polyrhythmic ferment of the several percussionists. It would have been nice if a better balance could have been achieved but the principal horns come over very clear and in no way could this production be accused of bootleg deficiencies.
The second disc provides a frenzied account of `Leo` underpinned by pounding ritualistic drumming and vocalised urgings which include chanting and breast beating sound effects by Coltrane himself. This is followed by a lyrical rendition of the hymn like `Offering` before a bass solo leads into a twenty three minute rendition of `My Favourite Things` in which Coltrane on soprano engages with one of the local sax players invited to participate in the gig and is joined by Sanders on piccolo before finishing up with more `singing` and chest beating.
Though the music on these two discs is challenging and not of the highest audio qualityquality it is too important to be regarded as some archaeological curiosity only intended for die hard completists and should be heard by everyone who has a conscientious interest in Coltrane and his singular contribution to modern jazz.
Reviewed by Euan Dixon
Impulse / Resonance Records B1963202 (double CD set)
John Coltrane (tenor & soprano Saxes, voice) Pharaoh Sanders (reeds & flute) Alice Coltrane (piano) Sonny Johnson (bass) Rashied Ali (drums) with local guest saxophonists and percussionists
Recorded live at Temple University, Philadelphia, November 11th 1966
This impressive release captures a late concert performance by John Coltrane that has only been hitherto available in a fragmentary, bootleg format. Recorded six weeks after his fortieth birthday and nine months before his untimely death it provides us with a glimpse of a performer operating at the height of his powers showing no signs of the affliction that would shortly silence him.
The music is stark and uncompromising but infused with energy and passion that cannot fail to impress even those at odds with the Coltrane aesthetic and must leave everyone who hears it –like it or not - with a profound impression of his artistic integrity and magisterial command. The circumstances of the concert and its reception are fascinatingly detailed in the accompanying booklet by Ashley Kahn, author of the definitive account of the making of Coltrane’s magnum opus, `A Love Supreme` and the two disc set is packed and presented a manner that replicates the appearance and style of the classic Impulse label, all of which contributes to its desirability.
The first disc gives us extended versions of `Namia` and `Crescent` that allude briefly to their original melodic sources before embarking on mesmeric protractions that border on the cathartic religious fervour we associate with African –American church music. In the second track Coltrane is joined by Pharaoh Sanders on tenor and his solo is one of such painful angst and nihilistic anger that it could easily qualify as a soundtrack to one of Hieronymus Bosch’s visions of hell. Whereas Sanders seems to use his sax as an assault weapon, Coltrane by contrast seems to be reaching for a mode of expression that lies almost beyond the capability of his instrument’s compass and his available technique but is searching for something more than a purgative release of negativity. There is a passion in his music that is transcendent and sublime in the awe-inspiring meaning of the word. A terrifying beauty is perhaps the best way of describing the overall ethos.
The performance of the other musicians is somewhat diminished by the limited availability of microphones: there was only one. Consequently the piano, bass and rhythm section are somewhat recessed until the horns lay out allowing the power of Alice Coltrane’s harmonies and harp like arpeggios come floating through as does the polyrhythmic ferment of the several percussionists. It would have been nice if a better balance could have been achieved but the principal horns come over very clear and in no way could this production be accused of bootleg deficiencies.
The second disc provides a frenzied account of `Leo` underpinned by pounding ritualistic drumming and vocalised urgings which include chanting and breast beating sound effects by Coltrane himself. This is followed by a lyrical rendition of the hymn like `Offering` before a bass solo leads into a twenty three minute rendition of `My Favourite Things` in which Coltrane on soprano engages with one of the local sax players invited to participate in the gig and is joined by Sanders on piccolo before finishing up with more `singing` and chest beating.
Though the music on these two discs is challenging and not of the highest audio qualityquality it is too important to be regarded as some archaeological curiosity only intended for die hard completists and should be heard by everyone who has a conscientious interest in Coltrane and his singular contribution to modern jazz.
Reviewed by Euan Dixon
