Coltrane (Impulse) - John Coltrane

Nov

18

Coltrane (Impulse) - John Coltrane

≡ Category: 1960s, Music Reviews, Post Bop, Recommended |
≅ Written by: Michael Kydonieus

JAZZBO NOTES RECOMMENDED RECORDING

Rating:

There’s probably something I should make clear. When I put on a John Coltrane CD, what I’m listening for is a clarity of thought and a willingness to go deeper than you’d think was possible.

Coltrane had incredible stamina as a player and an inexhaustible well of inspiration. He could spin out endless improvisations on a theme. He wasn’t afraid of playing simply. Many times, he would emphasize the tonic and the fifth in his improvisations. But sometimes, out of nowhere, he would come up with spellbinding inventions.

Basically, when I listen to Coltrane, I want to be astonished.

Does Coltrane (on the Impulse label — another album of that name was recorded for the Prestige label) fit that criterion? Not entirely.

Out Of This World is certainly a good start. Most of the way through the 14 minute piece, Coltrane expounds on the implications of one minor modal scale. And it’s not just aimless noodling either. These are searching, passionate statements. Adding to the excitement is the awesome groove generated by pianist McCoy Tyner and especially drummer Elvin Jones. McCoy provides a spare but effective comping style behind the leader, but Elvin is something else again. Elvin comes up with a unique loping 6/8 that gives Out Of This World an incantory power. It puts you into a trance, so much so that it’s a shock when the tune briefly abandons it’s predominant minor mode and passes through a bridge. It doesn’t get much better than this, folks.

Comparatively speaking, the rest of the date is a bit of a letdown.

Coltrane’s version of Mal Waldron’s Soul Eyes is indeed soulful, but Coltrane doesn’t exactly turn the tune inside out. It’s a quiet, respectful reading. Nothing wrong with that, but it doesn’t capture the excitement of some of his live ballad performances like Billy Eckstein’s I Want To Talk About You from the Live At Birdland session.

The Inch Worm is a sing-songy ditty, and it just doesn’t seem to inspire Coltrane all that much. I mean, it’s listenable — after all, it’s Coltrane with the classic quartet — how could it not be? But it’s not great.

Tunji (Toon-Gee) is another minor modal tune, a low-key amble through a graveyard. It sounds like Coltrane is about to nod off. Frankly, most of the interest here accrues from Elvin Jones’ off-kilter drum style. He’s not playing time here, but rather pulse.

On Miles’ Mode, Coltrane recovers a bit of the intensity he displayed on Out Of This World. Miles’ Mode is yet another minor modal tune, this time taken at mid-tempo. The melody is memorable, outlining an unusual turnaround into the minor mode that dominates the proceedings. The implied chord changes of the melody occasionally find themselves referenced in both Coltrane’s and Tyner’s improvisations. Sadly, the tune ends just about the time Coltrane starts exploring it in depth. I could’ve used at least five more minutes of Coltrane tearing into the implied changes.

If I haven’t mentioned pianist McCoy Tyner and bassist Jimmy Garrison much in this review, it’s because they play mostly supportive roles. Garrison especially tends to fade into the grooves. Even Tyner, who would develop into an incredibly aggressive player, is tactful here, providing a soothing contrast to Coltrane’s restless horn.

On the whole, Coltrane (Impulse) finds the master on low burn. It’s unusually ruminative, even for him. There aren’t a whole lot of fireworks to satisfy the thrillseeker, just high quality modal jazz for the most part.