The premise of the "New Thing" SUPERB TRANE

CONTEXT
"Olé" is the last album recorded by John Coltrane for "Atlantic Recording Studios". This label is a reference to his credit he fact that albums of Duke Ellington, Dizzy Gillespie, Charlie Mingus, Charles Lloyd, Aretha Franklin, Keith Jarrett, The Velvet Underground, and passes jen
This disc is a new masterpiece of John Coltrane. He succeeds "Giant Steps" (1959) and "My Favorite Things" (1960) and prefigures works recorded for "Impulse" ("The Complete Africa / Brass Sessions", "Live at Birdland", "Crescent" or " A Love Supreme ").

THE MUSICIANS
Of the three pieces of the album include, in addition to leading soprano and tenor saxophones, 6 great jazz musicians: Eric Dolphy, who took the pseudonym of George Lane for contractual reasons (flute and alto saxophone), Freddie Hubbard (trumpet ), McCoy Tyner (piano), Reggie Workman and / or Art Davis (bass) and Elvin Jones (drums).

The album
In one session, 25 May 1961, the septet signs a lyrical album that emanates from the Hard Bop, though the jazz genre reference all these musicians. One approaches the modal Jazz, already present on the album "My Favorite Things" recorded the year before. Coltrane and McCoy Tyner who made the last bit get their ideas in the eastern and exotic music, their musical structure based on three or four chords, allowing to make more room for improvisation.
"Olé" sinscrit in this process and recalls the Spanish music, especially flamenco. One can not help but think of Miles Davis and his very moving "Sketches of Spain" album released davant the year. That of Coltrane seems most successful me because coming off even more of these Iberian influences and folklore inherent sengouffrer on a stronger field, darker and more mystical, to become, perhaps, more universal.
In this, "Olé" is more like the album, sublime, Charlie Mingus "Tijuana Moods", written, recorded in 1957 and released nest quen, 1962 (reissued on double CD in 2000). The interpretation is based on a succession dimprovisations chaotic. But as the Jazz Mingus is neurotic and while ruptures as that of Coltrane and melancholy while strata, each piece being magnified by a succession of solos.

The CD is from the 1961 edition raised an additional title in 2000. The remastered sound is excellent.

FOUR PIECES (45 minutes 42)
1. "Olé" MONUMENTAL
This is the most beautiful and most original beaches of this album where benefits senchaînent as a tormented waterfall. And Spain announced by the title becomes very close to eastern India.
Dune 18 minutes 15, the song begins with a low "hesitant" Reggie Workman. McCoy Tyner's piano and drums Delvin Jones trying him "rescue." But immediately the second low dArt Davis comes as a counterpoint to express his "disagreement": this is not clumsiness but lexpressivité on edge.
After 30 seconds, the soprano saxophone Coltrane just create a link between the four instruments.
Suddenly the dissonant flute Deric Dolphy interrupts "Coltrane harmony" to fly away to unknown lands.
The trumpeter Freddie Hubbard crack after 3 minutes 30 to return to the starting point but the lyrical saxophone swerving Dolphy lont contaminated and lincite overbid in lexaltation.
Two minutes of trance Hubbard later Mc Tyner decides to revert to traditional Hispanic references to calm things down. Difficult to take more than two minutes, as both bass and drums are more and more frantic. McCoy resisted until the tenth minute, when, by a discrete flute net, Dolphy encourages bassists in diverting the original idea pianist. "It was two minutes before us, destroy flamenco".
Thirteen minutes have passed since the beginning of interpretation and John Coltrane emerged from the torpor and where stunning lont dipped low. It in turn is plagued by an ecstatic improvisation, punctuated here and there by stabbing bows. Inflamed dementia ravage everything in its path, the decline is near. But in a last gasp of 9 piano keys, McCoy Tyner eventually carry the song.

2. "Dahomey Dance" HARMONIC
This piece is a bit lantithèse the previous. As much "Olé" like a lyrical excesses cascade with dizzying spirals, as "Dahomey Dance" is all in reserve and control. We may compare him "My Favorite Things": the musicians more respect the "text"; every solo modal offers long beaches. The confrontation between Coltrane on tenor saxophone and Dolphy to lalto is beautiful complementarity.

3. "Aisha": melancholy
This song was written by McCoy Tyner in honor of his wife Aisha. This ballad recalls "Naima," Coltrane's first wife and the sixth title of the album "Giant Steps." The composition is remarkable and the interpretation is moving. Coltrane gives heartrending accents to the music of the pianist.

4. The bonus tracks "To Her Ladyship" written by Billy Frazier (little known saxophonist who played with Dizzy Gillespie and others with Dexter Gordon).
This very melodious and beautifully interpreted ballad could be the twin of melancholy "Aisha", including a solo flute Deric Dolphy dune delicacy on edge.

The only flaw of the album?
QuElvin Jones ny has not made a drum solo.
But during that year, Coltrane offered him magnificent occasions. We thus find the drummer's performance on "The Complete Africa / Brass Sessions" or "The Complete 1961 Village Vanguard Recordings" up lapothéose "A Love Supreme" in 1964.

To listen without moderation by reading the biography of Lewis Porter John Coltrane or "The Case Coltrane" Dalain Gerber. Two complementary and indispensable books.