Other Sellers on Amazon
+ Free Shipping
+ $3.99 shipping
+ $3.99 shipping
|Listen Now with Amazon Music|
|Amazon Music Unlimited|
|New from||Used from|
Frequently bought together
Customers who bought this item also bought
Customers who viewed this item also viewed
In 1964, the National Film Board of Canada asked John Coltrane to record the soundtrack for a French-language film titled "Le chat dans le sac" ("The Cat in the Bag"). In June of that year, Coltrane's `Classic Quartet' entered Rudy Van Gelder's studio and recorded five previously-recorded Coltrane originals. For many years, viewers of the film who recognized the music thought that they were listening to the original recordings, though in fact they were new and had never been heard.
There was a problem filtering reviews right now. Please try again later.
This is an unknown (to all but a very few people) set of recordings from '64 for use in the movie "Le chat dans le sac", by Canadian filmmaker Gilles Groulx. Groulx was a jazz lover and wanted Coltrane's music as the film score. On talking with Coltrane they decided on the music. Instead of original compositions, Coltrane and his "classic quartet", with McCoy Tyner-piano Jimmy Garrison-bass, and Elvin Jones-drums, recorded slightly different versions of older recordings--without Coltrane ever seeing the film before he recorded.
Coltrane rarely looked back, as he had so many ideas for his music as it progressed and evolved. Its important to remember in 1964 he also recorded the albums "Crescent" and "A Love Supreme", albums far away from this set of tunes. In one afternoon in Rudy Van Gelder's studio the group recorded these eight tracks, with the filmmaker in attendance, who was given the tape and that was it. In the movie the only tracks heard (either complete or partially) are "Naima (Take 1)", "Village Blues (Take 2)", and "Blue World" (inspired from the Harold Arlen tune "Out Of This World"), which are tracks 1-3 on this album.
But takes 1 and 3 of "Village Blues", while still sticking to the melody, do have musical interest making these tracks worthwhile. Likewise Take 2 of "Naima" is also worth hearing simply because its one of Coltrane's most beautiful compositions. "Like Sonny" and "Traneing In" have worthwhile moments too and give an added feel to this session. This is one of those rare instances where Coltrane looked back to older recordings, and with his great band, slightly reinterpreted these tunes. And while this set of tunes doesn't have the electricity of the group playing new music--more of a workmanlike feel--it is Coltrane and his (I feel) best band.
The mono sound is from the original 1/4" tape and actually sounds very good from this source. There's a slight loss of dynamics due to the 1/4" tape plus being in mono compared to stereo tapes from this same period. But it is a chance to hear this great band on unknown recordings, and this set is another interesting piece of the Coltrane musical puzzle from one of his best musical periods. Is this the place to start if Coltrane's music is new to you? No. For that go to his albums on the Atlantic label, and then his Impulse label albums.
The disc slips into a pocket in the four-fold cardboard package. The 10 page booklet, has a good essay on the period, the music, plus recording details and a few atmospheric photos in collage form, which also fits into its own pocket. This isn't a lengthy album--somewhere around 37 minutes in length. Even at this short duration, Coltrane fans who want to hear everything he recorded will probably want to add this to their shelf of his music.
Great but not so great.
8 songs. 2 different versions of "Naima" which already appears beautifully on Giant Steps. These other versions are nice to hear though but not really essential.
3 different versions of "Village Blues" which already appears on Coltrane Jazz. Kind of overkill. Sorry.
"Like Sonny" is a tribute to Sonny Rollins and a longer better version is already on Coltrane Jazz.
"Traneining In" is a shorter version of the song already on John Coltrane with the Red Garland Trio. But I actually prefer Red Garland, Paul Chambers and Art Taylor better on that song.
"Blue World" which I originally thought was the only "new" song on here is actually just a different take of "Out Of This World" which already appears as a 14 minute song on the great Coltrane - Coltrane Impulse! album.
So I'm kinda disappointed. I don't really care for the studio talking in-between songs either that much.
It's a lost album I guess but it's just basically different outtakes of the same songs that if you're a Coltrane fan, you've already heard before and have them on better albums than this.
To be honest, I may not keep this album. I'd rather hear these songs on Giant Steps, Coltrane Jazz, John Coltrane with the Red Garland Trio, and Coltrane (Impulse!).
The prospect of a revisiting of older songs in Coltrane's repertoire at a time as he was truly ascending to the apex of personal expression is fascinating. He is well documented as being a man who did not look back in his artistic journey, so these recordings don't really represent that in any practical sense. As the liner notes state, there was a specific reason these songs were chosen, and their brevity alone excludes them from being as explosive as the group's live performances were at the time. But the songs being brief is not a bad thing in this case. It shows that Coltrane was not a musician who had lost the ability to make a direct statement. One writer has said that Trane's lengthy solos became novels where most artists strove to make a solo like a perfect little poem. These recordings show that he had lost no poetic ability whatsoever, and they are potent because of that.
It is, however, a bit disappointing that the album is so short, with multiple takes of "Village Blues" and "Naima" filling out the runtime. Regardless, I would say that each song is an improvement in the overall feel over each original studio track ("Naima" and "Blue World" being the possible exceptions). To hear the speedy piano run McCoy Tyner plays in the intro of take two of "Village Blues" (track two on the CD) would delight all but the tone deaf. "Like Sonny" is very short, but far more spirited than the original version, and features Coltrane playing in a far bluesier fashion than he did originally. His control and personal command of music is evident in many places here, but especially so in his solos on the versions of "Village Blues", with some beautifully subtle and inventive note choices. Elvin Jones comps along wonderfully throughout, a genius of percussion as always, never lacking in taste, creativity, or bombast as needed. His ending to "Blue World" is fierce and brilliant, a contender for most memorable moment of the whole album.
It has been mentioned in some pre-release reviews how the bass is extremely prominent in this record, and that is something to be thankful for. This is perhaps the best showcase of Jimmy Garrison's talent I've heard. In fact, I think it should lead to a reappraisal of the man I believe to be the overlooked and underrated heart of the great quartet. His playing on each song is creative, and truly lithe, for lack of a better word. The recordings are significantly "boomy" for the bass presence, but I think this album and "Both Directions at Once" are some of the most "ear-pleasing" Coltrane releases ever. Admittedly, I also love the scruffy, bootleg quality of the European concert releases out there of this group; but any flaws in each of these recent album just make the music seem as a spiritual being, straining to escape containment in an earthly prison.
As such, Coltrane's art should ever be. I can't personally rank "Blue World" as highly as I did "Both Directions", due mostly to the brevity, but it is no less beautiful, and no less a new glimpse of true musical mastery. It might even be the best album ever assembled to introduce a newcomer to this remarkable group, accessible like "Ballads" was, but far more evident of the power that was at their collective command.
Top international reviews
They were intended for the soundtrack to 'Le Chat Dans Le Sec' by Quebec film director Gilles Groulx but only 10 minutes of music were used.
The original 37 minutes, recorded in New Jersey at Rudy Van Gelder's studio on June 24, 1964 with John Coltrane(tenor sax); McCoy Tyner(piano); Jimmy Garrison(bass) & Elvin Jones(drums) have now been mastered from the original analogue tapes provided by the National Film Board of Canada.
The eight tracks include new studio versions of 'Village Blues'(3 takes), 'Traneing In', 'Like Sonny', 'Naima'(2 takes) and the title-track 'Blue World'(aka 'Out Of This World').
These previously unheard mono recordings are from a peak period of the classic Coltrane Quartet and the vibrant, spiritual music is essential for all followers of passionate, questing modern jazz.
In jüngster Zeit gesellten sich zu diesem bekannten Werk noch zwei dazu, die allein beim Hören gewahr werden lassen, wie sphärisch und reflektiert es im französischen Underground Film der Sechziger Jahre zuging. Vor nicht allzu langer Zeit erschienen Thelonious Monks Einspielungen zu „Les liaisons dangereuses“ (Gefährliche Liebschaften, 1960), die das Spektrum dessen, was von ihm bekannt war, noch einmal um eine weitere inspirierende Note erweiterten.
Und nun, 2019, gesellen sich die Aufnahmen John Coltranes zu dem franco-kanadischen Film „Le chat dans le sac“ (Die Katze im Sack, 1964) hinzu. Insofern haben wir nun die großen Revolutionäre des amerikanischen Modern Jazz als Filmmusiker beisammen: Miles Davis, Thelonious Monk und John Coltrane.
Dass die Untermalung eines Filmes um eine junge Beziehung, der im Montreal der Sechziger Jahre spielt mit John Coltranes Titel Naima beginnt, zeigt, wie auch die filmische Avantgarde ihre spirituellen Eingebungen aus dem zeitgenössischen Jazz speiste. Naima selbst ist aus heutiger Sicht ein Titel, dem eine eigene Rezeptionsgeschichte gebührt. Coltrane komponierte ihn für seine erste Frau, er gehört bis heute zu den in bestimmten amourösen Situationen am meisten gespielten Titeln und reicht bis zur Namensgebung für die Tochter eines deutschen Schauspielers. Auf der hier und jetzt neu vorliegenden Aufnahme von Coltranes Label Impulse ist das Stück mit zwei Aufnahmetakes vertreten und, wie sollte es anders sein, beide Versionen überzeugen, weil ein anscheinend gut gelaunter Coltrane allein durch seinen legendären, für ihn immer noch so eigenen, nie mehr erreichten Ton eine Sphäre schafft, die das vegetative Nervensystem der Hörenden in Wallungen bringt.
Die anderen Titel, die den Film untermalend und akzentuierend bereichern, sind Village Blues, Blue World, Like Sonny und Traneing In. Keines dieser Stücke ist obsolet, alles ist stimmig, es wird beim Hören deutlich, dass sich niemand bei diesen Aufnahmen gedacht hat, es handele sich ausschließlich um schnell verdiente, immer so bitter nötige Dollars. Die Produktion fand in den legendären Rudy van Gelder Studios statt und Coltrane spielte zusammen mit großartigen Musikern wie McCoy Tyner, Jimmy Garrison und Elvin Jones.
Das Ergebnis liegt vor, das Einzige, was zu bedauern ist, dass noch niemand auf die Idee gekommen ist, die CDs aller drei genannten Akteure zusammen mit den jeweiligen Filmen zu veröffentlichen oder gar alle drei in ein Paket zu schnüren. Das wäre eine großartige Aktion, die der zwar kurzen, aber kulturhistorisch markanten Epoche einer franco-amerikanischen Kooperation die Aufmerksamkeit schenkte, die sie verdient. In den USA sind diese Projekte übrigens bis heute nahezu unbemerkt und die Rolle des französischen Films wird nahezu ignoriert.
Was bleibt, ist, John Coltranes Blue World zu empfehlen, weil es sich um großartige Aufnahmen handelt. Aber, wer Coltrane erst noch empfehlen muss, der hat schon verloren.
UMG scrapping the bottom of the barrel here
Normally you get a great quality gatefold sleeve from Impulse! records ,but not with this album
The recording is OK
Very few new tracks/composistions though.
Far to many alternate takes
Purchase this at your peril
In my book if John Coltrane were alive, he would not have agreed to release this recording
The same thing has happened with “Blue World”.
I have a complete collection of Coltrane most on cd but vinyl is superior by far in audio quality. Why in 2019 can I not obtain playable vinyl?
It really bothers my ears!
Chiaro che con un quartetto così tutto riesce a meraviglia.
Del precedente recensore non approvo il giudizio poco positivo sulla precedente uscita inedita, a mio avviso straordinaria pure quella.
Di questa uscita però vogliamo parlare della copertina e della confezione in generale?
Brutta, sciatta e striminzita (ecco la stella in meno!!).
Si poteva fare sicuramente meglio e Coltrane lo meritava sicuramente.