Search results
Results from the WOW.Com Content Network
[33] Writing for AllMusic, Matt Collar wrote that Coltrane's band "seems to have codified the spiritually infused free jazz, modal, and Indian raga influences Coltrane had been exploring since the early '60s," and describes them as "an ensemble of like-minded musicians unified as much by spiritual concerns as creative ones."
The Olatunji Concert suffers from poor recording quality. According to author Tony Whyton, "Coltrane had employed engineer Bernard Drayton at short notice to record the concert outside of Coltrane's contractual obligations with Impulse records, so the question remains as to whether this recording was to be used for general release or as a simple documentation of a live performance event."
Live At The Village Vanguard Again! is a live jazz album by saxophonist John Coltrane.Recorded in May 1966 during a live performance at the Village Vanguard jazz club in New York City, the album features Coltrane playing in the free jazz style that characterized his final years.
For premium support please call: 800-290-4726 more ways to reach us
John William Coltrane (September 23, 1926 – July 17, 1967) was an American jazz saxophonist, bandleader and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music.
The recordings were made by the radio station WABC-FM, in 1965, for a Friday radio show called "Portraits in Jazz" with Alan Grant (né Abraham Grochowsky; 1919–2012). Coltrane's group played at the Half Note from March 19–April 4 [3] and again from May 4–9 [4] of that year.
Newport '63 is a live album by jazz musician John Coltrane recorded at the 1963 Newport Jazz Festival, with one additional track recorded at the Village Vanguard in 1961. The album features the Coltrane quartet with drummer Roy Haynes substituting for Elvin Jones. [1]
Free jazz, or free form in the early to mid-1970s, [1] is a style of avant-garde jazz or an experimental approach to jazz improvisation that developed in the late 1950s and early 1960s, when musicians attempted to change or break down jazz conventions, such as regular tempos, tones, and chord changes.