Unarthed Live "A Love Supreme" by John Coltrane and 12 other new songs

When John Coltrane recorded his masterpiece, “A Love Supreme”, at the end of 1964, he demanded an escape from the confines of modern jaz...


When John Coltrane recorded his masterpiece, “A Love Supreme”, at the end of 1964, he demanded an escape from the confines of modern jazz. He improvised on the level of the sound, as much as of the notes, and he had already started to bring new collaborators more free to join his quartet. Partly because of this change, and partly because of the intimacy of the room for him, he barely performed “A Love Supreme” live. But this week Impulse! Records revealed the existence of a 56-year-old cassette of him performing the sequel in Seattle, in the fall of 1965, with an expanded version of the quartet. This is the only known recording of Coltrane playing it for a club audience, and it will be released as a full album on October 8. “Psalm”, the serene finale of the suite and the only piece released to date, is the most personal part: Coltrane had set the melody of “Psalm” to the rhythm of a praise poem he had written, and in Seattle he played it without either of the other two saxophonists in the orchestra that night. More than an hour later, with the energy of the decor permeating the stage, he transforms pieces of the melody into little incantations, cajoling a deep cry from his horn. GIOVANNI RUSSONELLO

SZA released a trio of intimate songs on SoundCloud this week, possibly as a placeholder ahead of their next album. On “Nightbird”, the atmosphere is toxic and the vocals are supple. SZA has a frank and dull way of telling deeply complex emotional experiences, drawing on the melodic structures of 1990’s R&B, but also adding some of the sonic distance that has been built into the genre over the years. last decade. “Nightbird”, both flippant and devastating, is among his best. JON CARAMANICA

“Rolling Through California” has a twangy country-soul groove reminiscent of the late 1960s San Francisco of Creedence Clearwater Revival and the Grateful Dead, all affable and brilliant. But Fantastic Negrito, with Miko Marks tuning over his blues chuckle, sings about how the old Californian dream gave way to wildfires and the pandemic; the chorus of the feet says, “Can you hear the sound / It burns to the ground.” JON PARELES

This “to-do list” begins with the daily tasks – “Go to the bank and deposit checks” – but escalates quickly, casually and beautifully towards more lofty goals: “Defy all natural laws”, ” Proclaim Lasting Peace ”,“ Discover a wonder drug. True to the band’s location in upstate New York, the Felice Brothers recall the band, with hand-played instruments and upbeat rhythm; that’s honky-tonk existentialism. PARÉLES

Hear the mechanical rhythm of the drums and the super-precise mesh of twin guitars in “Ain’t No Use”, an unrequited love song that complains, “There’s no point in talking to you about love.” It’s a track that was put aside on Randy Travis ‘1986 album “Storms of Life”, and even with Travis’ conversational voice, it’s also a harbinger of the computerized country to come. PARÉLES

“Someone is cooking with my spices!” Satomi Matsuzaki complains in “Plant Thief”: just one reason the song’s drums, bass and guitar are arguing in stereo with quirky and constantly changing jabs. The song starts frantically and builds from there, piecing and rejecting dissonant patterns, changing bar and ending with a fiercely open conclusion: “They never were!” ” she sings. PARÉLES

No influence weighs more heavily on the Grammy-winning pen of Terence Blanchard – an esteemed jazz trumpeter known for his Spike Lee film scores – than saxophonist Wayne Shorter, with his laconic but seemingly horizonless compositions. On “Absence”, a new album paying homage to Shorter, the trumpeter pays a visit with some rarely taken Shorter gems. Blanchard’s version of the ballad in the clouds “Diana” opens with the strings of the Turtle Island Quartet (featured throughout “Absence”), entering one at a time; finally his quintet, the E-Collectif, takes over. Wrapped in synthesizers and trumpet effects, avoiding a firm tempo, Blanchard relishes every unorthodox harmonic gain, not feeling the need to take a solo. RUSSONELLO

In “999”, Selena Gomez rivals Camilo for those who can whisper-sing more softly. Their voices, harmonizing and dialoguing, share a duet on infatuation, distance and anticipation: “I don’t have any photos with you, but I have a space on the wall. It’s tuned to a bassline and stealthy percussion that wouldn’t wake up neighbors, enjoying the teasing, build-up, and an almost vanished experience of the 21st century: intimacy. PARÉLES

For Lil Baby, it’s new day, new flow on this collaboration with Detroit favorite Icewear Vezzo. Raping first, Lil Baby bends over laconic bars, tightening his flow until tense: When Icewear Vezzo arrives, the fog rises very slightly – its subject matter is the same, but its subject matter. flow dances and sparkles. CARAMANIC

A duo of brothers from Nigeria, Umu Obiligbo share tight harmonies over the vertiginous six-beat, two-chord electroacoustic groove of their band – Nigerian highlife – with ever-evolving tandem guitars and choral harmonies that tease and carry on. mutually. Most of the lyrics are in the Nigerian Igbo language, but the glimpses of the English are crisp: “What a man can do, a woman can do better.” »PARÉLES

Bassist, singer and songwriter Esperanza Spalding brought together not only musicians but also experts – in neuroscience and psychology, among other fields – as she wrote the therapeutic songs for his album “Songwrights Apothecary Lab”, due September 24th. This did not detract from the virtuoso playfulness of his music. “Formwela 10” is an excuse for mistreating a lover: “I put you through hell / It’s a way to clear up the damage so I don’t do another one that way”; it’s also a bouncy, twisted, syncopated melody, chromatic rambling, and time signature that dissolves and realigns around her as she makes peace with her regrets. PARÉLES

Mary Lattimore’s music is powerfully simple. The delicate pluckings of a harp and the buzz of a synth are all she employs on “We Wave from Our Boats,” a four-minute meditation with an arrangement that reflects the aquatic quality of its title: ripples of plucked strings overlap. , like the waves lapping on the shore. But there is also a kind of sympathetic intimacy in the song. Under its marine textures hides the glow of proximity: perhaps an aperitif shared with friends, a tender embrace, a laugh that fills the stomach with warmth. ISABELIA HERRERA

There are breakup songs that express the deep heartbreak over the end of a relationship. And then there are songs that explore the more delicate feelings of its denouement, like “Anymore” by Nite Jewel from his new album, “No Sun”. Its brilliant synths and divine harmonies belies the true content of the song: “I can’t describe anything that I want,” sings producer and singer Ramona Gonzalez. “I can no longer count on my desire.” It’s a song about the uncertainty and distance of a separation: the feeling of no longer recognizing yourself, of no longer trusting your own desires to find a way forward. HERRERA

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Newsrust - US Top News: Unarthed Live "A Love Supreme" by John Coltrane and 12 other new songs
Unarthed Live "A Love Supreme" by John Coltrane and 12 other new songs
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