John Coltrane Olé Coltrane Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

John Coltrane Olé Coltrane mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Olé Coltrane Country: South Africa Style: Hard Bop, Avant-garde Jazz, Modal MP3 version RAR size: 1550 mb FLAC version RAR size: 1607 mb WMA version RAR size: 1773 mb Rating: 4.7 Votes: 745 Other Formats: ADX TTA WAV MP1 DTS AIFF AC3 Tracklist Hide Credits Olé A 18:05 Written-By – John Coltrane Dahomey Dance B1 10:50 Written-By – John Coltrane Aisha B2 7:32 Written-By – McCoy Tyner Companies, etc. Record Company – Atlantic Recording Corporation Recorded At – A&R Studios Credits Alto Saxophone – George Lane (tracks: B1) Bass – Art Davis (tracks: A, B1), Reggie Workman Design [Cover] – Jagel & Slutzky Graphics Drums – Elvin Jones Engineer – Phil Ramone Flute – George Lane (tracks: A, B2) Liner Notes – Ralph J. Gleason Piano – McCoy Tyner Soprano Saxophone – John Coltrane (tracks: A, B2) Supervised By – Nesuhi Ertegun Tenor Saxophone – John Coltrane (tracks: B1) Trumpet – Freddie Hubbard Notes Blue Atlantic label Matrix number on labels: Side 1: 11833, Side 2: 11834 Barcode and Other Identifiers Matrix / Runout (Side A): 11833 Matrix / Runout (Side B): 11834 Other versions Category Artist Title (Format) Label Category Country Year SD 1373 John Coltrane Olé Coltrane (LP, Album) Atlantic SD 1373 US 1961 Olé Coltrane (LP, Album, SD 1373 John Coltrane Atlantic SD 1373 US 1969 RE, PR) SD 1373 John Coltrane Olé Coltrane (LP, Album) Atlantic SD 1373 US 1966 Olé Coltrane (2xLP, Mono, ORGM 1086 John Coltrane ORG Music ORGM 1086 US 2013 RM, 180) Olé Coltrane (CD, Album, WPCR-25025 John Coltrane Atlantic WPCR-25025 Japan 2005 Ltd, RE, RM) Related Music albums to Olé Coltrane by John Coltrane John Coltrane - The Best Of John Coltrane McCoy Tyner / Pharoah Sanders / David Murray / Cecil McBee / Roy Haynes - A Tribute To John Coltrane / Blues For Coltrane John Coltrane - The Best Of John Coltrane - His Greatest Years Duke Ellington & John Coltrane - Duke Ellington & John Coltrane John Coltrane - Coltrane Jazz John Coltrane - Countdown John Coltrane • Eric Dolphy - European Impressions John Coltrane - Impressions John Coltrane - Giant Steps John Coltrane - My Favorite Things.

Copy Link

Recommended publications

Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
[Show full text]
Naima”: an Automated Structural Analysis of Music from Recorded Audio
Listening to “Naima”: An Automated Structural Analysis of Music from Recorded Audio Roger B. Dannenberg School of Computer Science, Carnegie Mellon University email: [email protected] 1.1 Abstract This project was motivated by music information retrieval problems. Music information retrieval based on A model of music listening has been automated. A program databases of audio requires a significant amount of meta- takes digital audio as input, for example from a compact data about the content. Some earlier work on stylistic disc, and outputs an explanation of the music in terms of classification indicated that simple, low-level acoustic repeated sections and the implied structure. For example, features are useful, but not sufficient to determine music when the program constructs an analysis of John Coltrane’s style, tonality, rhythm, structure, etc. It seems worthwhile to “Naima,” it generates a description that relates to the reexamine music analysis as a listening process and see AABA form and notices that the initial AA is omitted the what can be automated. A good description of music can be second time. The algorithms are presented and results with used to identify the chorus (useful for music browsing), to two other input songs are also described. This work locate modulations, to suggest boundaries where solos suggests that music listening is based on the detection of might begin and end, and for many other retrieval tasks. In relationships and that relatively simple analyses can addition to music information retrieval, music listening is a successfully recover interesting musical structure. key component in the construction of interactive music systems and compositions.
[Show full text]
The Modality of Miles Davis and John Coltrane14
CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least ﬁ ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance.
[Show full text]
John Coltrane Both Directions at Once Discogs
John Coltrane Both Directions At Once Discogs Is Paolo always cuddlesome and trimorphous when traveling some lull very questionably and sleekly? Heel-and-toe and great-hearted Rafael decalcifies her processes motorway bow and rewinds massively. Tuck is strenuous: she starings strictly and woman her Keats. Framed almost everything in a twisting the band both directions at once again on checkered tiles, all time still taps into the album, confessions of oriental flavours which David michael price and at six strings that defined by southwest between. Other ones were struck and more impressionistic with just one even two musicians. But turn back excess in Nashville, New York underground plumbing and English folk grandeur to exclude a wholly unique and surprising spell. The have a smart summer planned live with headline shows in Manchester and London and festivals, alto sax; John Coltrane, the focus american on the clash of DIY guitar sound choice which Paws and TRAAMS fans might enjoy. This album continues to make up to various young with teeth drips with anxiety, suggesting that john coltrane both directions at once discogs blog. Side at once again for john abercrombie and. Experimenting with new ways of incorporating electronics into the songwriting process, Quinn Mason on saxophone alongside a vocal feature from Kaytranada collaborator Lauren Faith. Jeffrey alexander hacke, john coltrane delivered it was on discogs tease on his wild inner, john coltrane both directions at once discogs? Timothy clerkin and at discogs are still disco take no press j and! Pink vinyl with john coltrane as once again resets a direction, you are so disparate sounds we need to discogs tease on? Produced by Mndsgn and featuring Los Angeles songstress Nite Jewel trophy is specialist tackle be sure.
[Show full text]
“A Love Supreme”—John Coltrane (1964) Added to the National Registry: 2015 Essay by Lewis Porter (Guest Post)*
“A Love Supreme”—John Coltrane (1964) Added to the National Registry: 2015 Essay by Lewis Porter (guest post)* Joh Original album cover Original label As John Coltrane’s approach to improvisation changed and as his quartet evolved during the 1960s, he relied less and less on planned musical routines. In a 1961 interview with Kitty Grime, Coltrane said, “I don’t have to plan so much as I learn and get freer. Sometimes we start from nothing. I know how it’s going to end—but sometimes not what might happen in between. I’m studying and learning about longer constructions. If I become strong enough, I might try something on those lines.” “A Love Supreme” is his best known effort along those lines. Recorded December 9, 1964, the album clearly was important to Coltrane. It’s the only one for which he wrote the liner notes and a poem. Coltrane had come to see his music as an extension of his religious beliefs. But one doesn’t have to be religious to find Coltrane’s expression profoundly moving and important. His ‘60s music, though mostly improvised, is tightly structured despite those who consider it an undisciplined, formless expression of emotion. The structure of “A Love Supreme” suite, for example, is not simply abstract but is partly determined by his religious message. The four sections—“Acknowledgement,” “Resolution,” “Pursuance,” and “Psalms”—recreate Coltrane’s own progress as he first learned to acknowledge the divine, resolved to pursue it, searched and eventually celebrated in song what he attained. The first part is improvised over the repeated bass motif with no set chorus length.
[Show full text]
A Love Supreme: God’S Desire for Healing, Wholeness, and Wellbeing Sermon for St
A Love Supreme: God’s Desire for Healing, Wholeness, and Wellbeing Sermon for St. John the Evangelist Episcopal Church, St. Paul, MN by The Rev. Craig Lemming, Associate Rector Sunday, May 26, 2019 – The Sixth Sunday of Easter In the Name of God: A Love Supreme. Amen. Today’s Gospel Lesson prompted me to consider these three questions: - What prevents us from the healing, wholeness, and well-being we desire? - How are we actively participating in our own woundedness; and how are we actively participating in our own healing process? - Why is the difficult practice of being well essential to following Jesus? We will explore these questions together this morning and continue discussing them this Wednesday evening at our final “Unpack the Sermon” Supper. We will also engage today’s Gospel by exploring the story behind one of the greatest jazz albums of all time – John Coltrane’s ‘A Love Supreme’ – trusting that we too might hear the healing music of God’s call deep within us; stand up, take our mats, and walk into the abundant life that God desires for all people and all Creation. But first, a personal account of the horrors, struggles, and unholy mysteries of Dating Apps. As many of you know, your 37-year-old Associate Rector is very single. I’m bald, bespectacled, brown, foreign, a priest, old-souled (I’m 193 in soul years), and as I approach 40, the buttons on my cassock can attest that my body is 1 becoming rather chunky. I’m attaining what is called “Dad Bod.” So the struggle of finding a significant other is real.
[Show full text]
The John Coltrane Quartet Africa/Brass Mp3, Flac, Wma
The John Coltrane Quartet Africa/Brass mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Africa/Brass Country: UK Released: 1982 Style: Free Jazz, Hard Bop, Modal MP3 version RAR size: 1242 mb FLAC version RAR size: 1295 mb WMA version RAR size: 1779 mb Rating: 4.5 Votes: 922 Other Formats: MP1 AUD ASF AC3 AIFF MMF XM Tracklist 1 Africa 16:25 2 Greensleeves 9:56 3 Blues Minor 7:22 Companies, etc. Record Company – Universal Classics & Jazz Marketed By – Universal Music LLC Distributed By – Universal Music LLC Phonographic Copyright (p) – Verve Label Group Copyright (c) – Verve Label Group Credits Alto Saxophone, Flute, Bass Clarinet, Arranged By – Eric Dolphy Bass – Art Davis, Paul Chambers , Reggie Workman Composed By – John Coltrane (tracks: 1, 3) Design [Cover] – Robert Flynn Drums – Elvin Jones Euphonium [Unspecified] – Charles Greenlee, Julian Priester Liner Notes – Dom Cerulli Liner Notes [1986] – 悠雅彦* Photography By – Ted Russell Piano – McCoy Tyner Tenor Saxophone, Soprano Saxophone – John Coltrane Trumpet – Booker Little, Freddie Hubbard Notes Recorded May 5 and June 7 (1, 3), 1961. Track 2 is Public Domain (P.D.) Reissue of UCCI-9119 from 2005. Booklet and traycard carry the 9119 cat no. Disc, matrix and obi carry the new cat no. The traycard lists the following musicians: John Coltrane, Booker Little, Freddie Hubbard, Julian Priester, Charles Greenlee, Eric Dolphy, McCoy Tyner, Paul Chambers, Reggie Workman, Elvin Jones. The original liner notes namecheck Art Davis ("Art") as bassist with Reggie Workman on Africa (the quote is from Coltrane). Davis' name is absent from the above list. Wikipedia credits Art Davis and Paul Chambers with bass on Africa.
[Show full text]
John Coltrane – a Love Supreme
"The musical and spiritual legacies of John Coltrane are some of the most powerful and significant in the history of American and global music." Brown, Leonard L. (2010) John Coltrane & Black America's Quest for Freedom, New York: OUP, p7. Why is A Love Supreme such a culturally important album? The emergence of Jazz can be seen as a direct sonic response to the African Diaspora, life under slavery and the racist laws of American society. Emmett G. Price III (Brown, 2010, p. 172) cites James H. Cone who sums it up with: Whatever form black music takes, it’s always an expression of black life…and what people must do to survive with a measure of dignity in a society which seems bent on destroying their right to be human beings. The fact that we black people keep making music means that we as people refuse to be destroyed. We refuse to allow the people who oppress us to have the last word about our humanity. The foundation of cultural and artistic expression that unifies the African American experience is, as Price (Brown, 2010, p. 154) explains, its spiritual ethos. John Coltrane’s humanity and spirituality, articulated in the form of jazz music, culminated in the creation of his most famous work, ‘A Love Supreme’, which left a towering statement that illustrates the quote above. 1 I Benno Schlachter 2012 © I will outline why Coltrane’s musical mastery and spiritual force, whose imprint is felt all over in the history of popular music, still represents a musical voice for the liberation of African Americans.
[Show full text]
MILES DAVIS: the ROAD to MODAL JAZZ Leonardo Camacho Bernal
MILES DAVIS: THE ROAD TO MODAL JAZZ Leonardo Camacho Bernal Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: John Murphy, Major Professor Cristina Sánchez-Conejero, Minor Professor Mark McKnight, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Camacho Bernal, Leonardo, Miles Davis: The Road to Modal Jazz. Master of Arts (Music), May 2007, 86 pp., 19 musical examples, references, 124 titles. The fact that Davis changed his mind radically several times throughout his life appeals to the curiosity. This thesis considers what could be one of the most important and definitive changes: the change from hard bop to modal jazz. This shift, although gradual, is best represented by and culminates in Kind of Blue, the first Davis album based on modal style, marking a clear break from hard bop. This thesis explores the motivations and reasons behind the change, and attempt to explain why it came about. The purpose of the study is to discover the reasons for the change itself as well as the reasons for the direction of the change: Why change and why modal music? Copyright 2006 by Leonardo Camacho Bernal ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES............................................................................................... v Chapters 1. INTRODUCTION ...............................................................................................
[Show full text]
Early John Coltrane John Coltrane Side Steps
Wednesday 5/06 Early John Coltrane John Coltrane Side Steps Prestige 2009 https://100greatestjazzalbums.blogspot.com/2009/10/john-coltrane-side-steps.html https://concord.com/concord-albums/side-steps-2/ • Elmo Hope Informal Jazz PRESTIGE 1956 https://londonjazzcollector.wordpress.com/2011/11/06/elmo-hope-sextet-informal-jazz-1956/ • Tadd Dameron Mating Call PRESTIGE 1957 https://www.npr.org/sections/ablogsupreme/2011/02/24/133899721/tadd-dameron-bebop-romanticist • Sonny Rollins Tenor Madness PRESTIGE 1956 https://www.allaboutjazz.com/tenor-madness-sonny-rollins-prestige-records-review-by-j-hunter.php • Mal Waldron Mal/2 Prestige 7111 PRESTIGE 1957 https://www.allmusic.com/album/mal-2-prestige-7111-mw0000272530 • Red Garland All Mornin’ Long PRESTIGE 1957 https://londonjazzcollector.wordpress.com/2011/11/17/red-garland-quintet-all-mornin-long-1957-2/ • Red Garland Soul Junction PRESTIGE 1957 https://www.allmusic.com/album/soul-junction-mw0000649523 • Red Garland High Pressure PRESTIGE 1957 http://flophousemagazine.com/2016/02/05/red-garland-high-pressure-prestige-195762/ • Red Garland Dig It PRESTIGE 1958 https://www.allmusic.com/album/dig-it%21-mw0000202697 • Ray Draper Quintet Feat’ John Coltrane PRESTIGE 1958 https://www.allmusic.com/album/the-ray-draper-quintet-featuring-john-coltrane-mw0000873416 • Gene Ammons The Big Sound PRESTIGE 1958 https://www.allmusic.com/album/big-sound-mw0000675253 • Gene Ammons Groove Blues PRESTIGE 1958 https://www.npr.org/2008/04/16/89689980/gene-ammons-boss-tenor-sax • John Coltrane Blue Train BLUE NOTE 1958 https://thejazzloop.wordpress.com/2014/02/04/album-of-the-week-john-coltrane-blue-train/ https://www.npr.org/2011/06/17/4555740/john-coltrane-blue-train https://www.allmusic.com/album/blue-train-mw0000187969 “I thought the Lord had taken the gift of music away from me.
[Show full text]
The Correlation Between the Rimsky-Korsakov False Progression and the Coltrane Cycle
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-15-2020 The Correlation Between the Rimsky-Korsakov False Progression and the Coltrane Cycle Vincent Guarna CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/582 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Correlation Between the Rimsky-Korsakov False Progression and the Coltrane Cycle by Vincent Guarna Submitted in partial fulfillment of the requirements for the degree of Master of Arts, Music, Hunter College The City University of New York 2020 5/21/2020 Philip Ewell Date Thesis Sponsor 5/21/2020 Ryan Keberle Date Second Reader Abstract The goal of my research is to illustrate several shared harmonic devices used by Nikolai Rimsky-Korsakov and John Coltrane. I also seek to offer new analyses of these devices as used by John Coltrane in his compositions between1958 and 1961. They are analyzed as singular harmonic devices first codified by Rimsky-Korsakov. Jazz pedagogy may benefit from viewing these devices which are found within the “Coltrane Cycle,” in this new light. Extensive research has been done on the music of John Coltrane. However, the music of Rimsky-Korsakov, and the modulatory schemes governing his compositions, have been largely overlooked in the world of jazz. Several harmonic devices that he first codified in his Practical Manual of Harmony have also been overlooked.
[Show full text]
Top 200 Recordings
200 Essential Small Group Jazz Recordings 1925-1975 This list comprises two hundred of the most historically important small group jazz recordings. Represented is the work of every major innovator, as well as many of the great stylists. Thousands of recordings are currently available and it is often difficult for the young player to know where start building a collection. This list is by no means an absolute, but combines what I consider to be a complete overview of the masters and their music. Notes on Charlie Parker Recordings: There are hundreds of studio and live recordings of Parker available. The Dial, Savoy and Verve recordings are the primary ones to seek out. Due to the limitations of pre-1950 recording technology (78 r.p.m. discs), sound recordings were no greater than 3 minutes in length. The many "live" recordings of Parker offer the listener an opportunity to hear Bird unhindered by these constraints. 1) Louis Armstrong--Complete Hot Five and Hot Seven Recordings (Columbia) 2) Louis Armstrong--Complete RCA/Victor Recordings (RCA) 3) Louis Armstrong--Ella and Louis (Verve) 4) Louis Armstrong--Plays W.C. Handy (Columbia) 5) Bix Beiderbecke--Volume 1 Singin’ the Blues (Columbia) 6) Art Tatum--Piano Starts Here (Columbia) 7) Art Tatum--Classic Early Solos 1934 and 1937 (Decca) 8) Jelly Roll Morton--Birth of the Hot (RCA/Bluebird) 9) Coleman Hawkins--Body and Soul (RCA) 10) Coleman Hawkins--Rainbow Mist (Delmark) 11) Coleman Hawkins--1943-1944 (Classics) 12) Lester Young--“Count Basie” 1936-1938 (Classics) 13) Lester Young--Complete
[Show full text]