This week’s CJ featured only four selections – but what powerful performances they were! We began with John Coltrane performing live at Temple University in 1966 from a recording that finally emerged last year on Impulse! Records. The saxophonist was relentlessly exploring his music during the last the last two years of his life, frequently deploying extra musicians in expanded groupings. On this night in Philadelphia, he had some additional musicians on stage – a couple of extra saxophone players he knew from the area as well as Umar Ali, Algie DeWitt, and Robert Kenyatta on percussion. But they don’t really intrude into the the performance – Coltrane himself is at the heart of it (there was, after all, only one microphone recording all of this) and the performance is full of explosive atonal blowing – as you can hear on the 26 minutes of Crescent.
As the excellent Pitchfork review attests, ‘trane’s playing is unbearably intense, the brittle shrieking egged on by someone yelling “Hey!” in the background. Melody and harmony are sacrificed at the altar of texture and feeling, anger and joy bleed into sadness. Once in a while you can hear a cowbell in the background, and you get a glimpse of what it might have been like to be here on this night. “
Next up was Miles Davis, perhaps the most iconic of all jazz artists and another restlessly exploring musician. Coltrane didn’t embrace the growth of electric music in jazz in the way that his one time boss did – the intensity of his playing didn’t need any additions. But by the time of this second live track in 1970, Miles was fully electric, playing his trumpet through a wah wah pedal and using two electric keyboards on stage. This performance is from the Isle of Wight Festival where Davis shared the bill with such artists as Chicago, Joni Mitchell, the Doors, Sly and the Family Stone and Jimi Hendrix. This was exactly the audience Miles wanted to bring his new music to and this was to be the biggest audience (600,000 people) ever played to by a jazz artist. The first ten minutes of the continuous set is a version of Bitches Brew, released the previous year as as a double vinyl album.
CJ next played Charles Lloyd whose 1966-68 quartet featured Keith Jarrett on piano, who was earlier heard wreaking havoc on a Fender electric organ with Miles Davis. But this 2007 band is altogether different. Lloyd is very much the elder statesman here leading his young band through a set of mostly Lloyd originals at a Basel concert. Here on CJ we come back to this recording time and again – why? It’s probably the centrepiece of Lloyd’s many recordings for the ECM label and a great place to begin to investigate his music. He had recorded several albums for the German label by time this one was released in 2008 and here he invests several earlier tracks with a new spirit thanks to a superb band. High school classmates Eric Harland on drums and Jason Moran on piano are joined by Reuben Rogers on bass and each pushes their leader to new heights of improvisation. Start with Rabo de Nube and you’ll want to experience all of Lloyd’s work with this astonishing quartet.
The final track in this very special show came from an artist that Miles Davis had huge respect for. Ahmad Jamal, now , is here recorded last year at the Marciac festival in France. Another elder leader invigorated by a young band featuring bassist Reginald Veal, percussionist Manolo Badrena and drummer Herlin Riley, this live show (available with a DVD) captures warmth and good nature of a band who know how to work around Jamal’s quirky take on both standards and originals. Check out our video below which shows Jamal revisiting his Poinciana original in Paris in 2012 with this same quartet.
- John Coltrane – Crescent from Offering: live at Temple University
- Miles Davis – Bitches Brew from Bitches Brew Live
- Charles Lloyd – Migration of Spirit from Rabo de Nube
- Ahmad Jamal – Sunday Afternoon from Live in Marciac