Customer Reviews

Ole Coltrane (Dlx)

5 star:		(9)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Ole is possible my favorite single track by Coltrane. Dolphy and Trane are magnificent and the basses are awesome. At 18 minutes, this was the first time (for me anyway) that Trane suspended time and space. He would manage to send his listeners into a trance many times in the future. The remaining tracks are not one the level of the title cut, but perhaps its unfair to judge them that way, after the heights reached on Ole, just about anything else would be a bit of a let down.

Note: I noticed on Charlie Haden's Liberation Music Orch album, one theme in a medley of Spanish protest songs sounds alot like Ole. Also, Check out Pharoah Sanders' equally awesome version of Ole on his Heart is a Melody CD.

The opening flamenco flavored bass lick of the title cut, "Ole" sets the stage for this haunting minor keyed masterpiece. Coltrane's mournful opening on the soprano gives way to a crisp ghostly Eric Dolphy flute vamp that fades into a brassy upper register exploration by Freddie Hubbard's trumpet. All the while McCoy Tyner's block chords weave hypnotically thru the piece, working his solo to a fevered climax. Elvin Jone's pulsing drumwork combine with Tyner's near silent chording to dramatically underscore Art Davis' and Reggie Workman's otherworldly, writhing, twisting plucked and bowed dual bass solo which at one point sounds as if they are literally tearing away high notes never before played on the instrument. The work is capped by a Coltrane soprano solo that floats in like a thunderhead and builds into a frenzied howling, squealing climax, fading back to the mournful theme colored by dual staccato bowing and plucking from Davis' and Workman's ravished instruments. This is some of the most dramatic music of John Coltrane's career, and is easily the album's highpoint. This is acctually sayng quite a bit, because there are plenty inspired performances throughout this cd. For the next two tracks Coltrane sticks to tenor, showing his gentle ballad touch on "Aisha". "Dahomey Dance" has all of the soloists pushing each other to explosive heights, Dolphy's alto absolutely burns. The cd only bonus track "To Her Ladyship" is a tender number with thoughtful solos from Tyner, Hubbard, Dolphy's flute, and Coltrane who returns to soprano. Lost somewhere between "My Favorite Things" and his recordings for Impulse!, this album, Coltrane's last for Atlantic, is a classic it deserves more recogniton and is highly recommended.

Of all the albums John Coltrane made for Atlantic in 1959-61, "Ole Coltrane" is the most often overlooked, yet it is one of his great early masterpieces. Joining 'Trane on this May 1961 session, his last on Atlantic, are Freddie Hubbard and Eric Dolphy on the frontline, both Reggie Workman and Art Davis on bass, and of course his mainstay Quartet partners McCoy Tyner and Elvin Jones. Recorded between the two sessions that comprised the Impulse album "Africa/Brass," Coltrane was clearly interested in exploring his music in a larger ensemble format on "Ole" and at this point in his career.

While not as orchestrated as "Africa," "Ole" is an extended composition in the tradition of "My Favorite Things" that fully makes use of the addition of trumpet, flute and a second bass to the Quartet for a fuller, rounder sound. But while 'Trane plays soprano sax on "Ole," this composition is much starker, more haunting than any version of "My Favorite Things" could ever be. (Well, maybe not as dark as the "My Favorite Things" version on the 1966 4CD "Live In Japan" set.) 'Trane returns to tenor sax and Dolphy to alto sax for the next two tracks, a signature Coltrane modern post-bopper, "Dahomey Dnace," and McCoy Tyner's lovely ballad, "Aisha." The bonus track for this CD is "To Her Ladyship" (it was not on the original vinyl, but was included on the original CD issue). Released at one time as "Original Untitled Ballad," it finds 'Trane and Dolphy returning to soprano and flute respectively, as on "Ole."

This reissue has two improvements over the original CD issue -- better, brighter sound (the early Atlantic CDs, particularly the Mingus titles and Blakey with Monk, were some of the worst sounding discs) and a cool repackaging that features an original "mini-LP" sleeve for the disc. "Ole Coltrane" may be a transition album, but it is one of the greatest transitions of all time by one of the greatest musicians and groups of all time. Couple that with the fact that this is one of only a handful of recordings of Coltrane with Eric Dolphy, and it makes "Ole" an essential purchase.

If the title song were the only thing on this CD it would still be worth the price! Freddie Hubbard and Eric Dolphy never sounded better. As the song builds toward its climax, try to figure out where Reggie Workman's upper-register bowed bass solo ends and Coltrane's astounding soprano solo begins. Caramba!

This is an odd one. I can't think of any even remote comparisons in the Coltrane catalogue. That's because, as far as I know, it's the only Coltrane record with a Latin tinge: "Ole" sounds like it came out of nowhere. It's also longwinded, extending three tracks out to over a half-hour. That's not necessarily a bad thing - "Ole" is nearly twenty minutes, and I wouldn't want it shortened. But the other two tracks certainly could've benefited from it. I could've done without "Dahomey Dance" entirely, a song that recalls the feel of "Ole" entirely, but fails to be even a shard as good. And while I like "Aisha" a lot more than I do "Dahomey Dance", even it could've stood for some editing. This is neither among the best nor most important of Coltrane's albums, even if it is likeable enough to earn a respectable rating. Oh, and the bonus track "To Her Ladyship" is amazing. It should've been put on the original LP.

In celebration of Coltranes life(he would have been 75) I decided to review a few of my favorite CD's from his vast and prolific legacy. This particular CD, originally recorded over 40 years ago stands up with some of his best. The latin tinged sound of "Ole" and the experimental modal forays that resulted into solos that have yet to be duplicated let alone superceded are classic Colrtrane at his best. Coltrane challenged his audience but rewarded those who listened carefully. Deep improvisation equates to noise and chaotic sax to some but a trip to heaven and back for others. The title track is worth the price of the CD alone. The alto sax work is reminiscent of the mind bending "My Favorite Things" as performed by Coltrane. The complimentary artistic expressions by his surrounding cast is driven and excels even further by the pounding beats as delivered by Elvin Jones. Elvin Jones's drum work propels like missle fuel as the musicians take turns soaring to new heights. "Aisha" is a fine composition that is penned by pianist McCoy Tyner that gives plenty of room for the other band members to improvise . Tyner brings all the solos back with his lyrical melodies coming through his finger tips via the ivory and ebony keys, all the while creating a beautiful ballad. The bonus track, "Lady Satrship" features the flute work of Eric Dolphy that adds a light touch, creating a new dimension to the always changing Coltrane sound. The guest apperance of Fredie Hubbard, coupled with the tenor work of Coltrane creates an interwoven texture that is both light and airy yet bold and beautiful. This CD is recommended for those that are new to Coltrane because it is accessible yet tantalizes with the possibilities and a view of things to come. The Impulse years were to follow where one could argue he created some of his best work. For old time fans of Coltrane, upgrade now to this remastered CD version. This was one of his best recordings displaying his diversity and artistry, but then you already knew that.

the title track alone makes this disc a five star album. it's so hypnotic and transcending. amazing. the remainder of the album does not dissapoint. i've listened to this many many times and always come back to it to discover something new. a great great Coltrane album.

THe title cut of this album is one of the finest pieces of experimental jazz in the early 60s. Fusing Indian modality and drones (and at one point a two basses, one bowed) with jazz sensibility, Coltrane, complimented by the exhuberantly whimsical Eric Dolphy on alto sax, bass clarinet, and flute electrify every particle within earshot. The first number has to be heard to be believed. "Ole" (the song) clocks in at 18 minutes.

"Dahomey Dance" is a slightly less haunting song about the African land of Dahomey, at which was the one of the earliest sights of the African/West slave trade. This tune has a catchy, simple theme that Trane and friends explore wonderfully.

"Aisha" is a quaintly beautiful McCoy Tyner piece about his fondness for a lady.

Overall, especially the title track, this album is in a class all by itself. It is very different from any previous, or later works by Coltrane, or anyone else. Super intense listening.

I started listening to Coltrane while I was in college in the '60s. When I came across Ole' it was like finding a gold mine. After listening to it a thousand or so times over the years, it is as fresh as ever. Coltrane's soprano sax really takes off in its final appearance and sounds like a bird having an epiphany. All the musicianship is great. Eric Dolphy on flute is sheer beauty. Those dueling bass: never surpassed. McCoy with those chords, what a piano player. Freddie, shorten it just a tad and use it as a business card. Wow, what a piece of music.

I've only heard the title track from a tape recording of a radio show And that blew my mind, buy this buy this buy this.

you won't regret it......................

Dim