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| 4.270 Ft
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| 1. | Ptah, the El Daoud
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| 2. | Turiya and Ramakrishna
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| 3. | Blue Nile
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| 4. | Mantra
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Jazz
Recorded at the Coltrane home studio, Dix Hills, New York on January 26, 1970
Alice Coltrane - Harp, Piano
Ben Riley - Drums
Chuck Stewart - Bells, Photography
Joe Henderson - Flute (Alto), Sax (Tenor)
Pharoah Sanders - Bells, Flute (Alto), Percussion, Sax (Tenor)
Ron Carter - Bass
As the bold, firmly integrated sound of the unit washes over the listener, the value of Alice Coltrane's experience stands out in bold relief. Hearing her function in this capacity, feeding and interweaving with the horns and rhythm section, we encounter another aspect of Alice Coltrane. Gradually the portrait is rounded out - a handsome likeness of a woman who has lived, loved, suffered, who has brought to her art a very special sense of esthetic universality.
* Ed Michel - Producer
* Erick Labson - Digital Remastering
* Hollis King - Art Direction
* Jason Claiborne - Graphic Design
* Leonard Feather - Liner Notes
* Michael Cuscuna - Reissue Producer
Sometimes written off as an also-ran to her more famous husband, Alice Coltrane's work of the late '60s and early '70s shows that she was a strong composer and performer in her own right, with a unique ability to impregnate her music with spirituality and gentleness without losing its edges or depth. Ptah the El Daoud is a truly great album, and listeners who surrender themselves to it emerge on the other side of its 46 minutes transformed. From the purifying catharsis of the first moments of the title track to the last moments of "Mantra," with its disjointed piano dance and passionate ribbons of tenor cast out into the universe, the album resonates with beauty, clarity, and emotion. Coltrane's piano solo on "Turiya and Ramakrishna" is a lush, melancholy, soothing blues, punctuated only by hushed bells and the sandy whisper of Ben Riley's drums and later exchanged for an equally emotive solo by bassist Ron Carter. "Blue Nile" is a case where the whole is greater than the sum of its parts; Coltrane's sweeping flourishes on the harp nestle in perfectly with flute solos by Pharoah Sanders and Joe Henderson to produce a warm cocoon of sound that is colored by evocations of water, greenness, and birds. Perhaps as strong as the writing here, though, are the performances that Coltrane coaxes from her sidemen, especially the horn players. Joe Henderson, who can always be counted on for technical excellence, gives a performance that is simply on a whole other level from much of his other work -- freer, more open, and more fluid here than nearly anywhere else. Pharoah Sanders, who at times with John Coltrane seemed like a magnetic force of entropy, pulling him toward increasing levels of chaos, shows all of the innovation and spiritual energy here that he is known for, with none of the screeching. Overlooked and buried for years in obscurity, this album deserves to be embraced for the gem it is.
--- Stacia Proefrock, All Music Guide
Alice Coltrane
Active Decades: '60s, '70s, '80s and '00s
Born: Aug 27, 1937 in Detroit, MI
Died: Jan 12, 2007 in Los Angeles, CA
Genre: Jazz
Styles: Avant-Garde, Avant-Garde Jazz, Free Jazz, Modal Music
Music obviously ran in Alice Coltrane's family; her older brother was bassist Ernie Farrow, who in the '50s and '60s played in the bands of Barry Harris, Stan Getz, Terry Gibbs, and especially Yusef Lateef. Alice McLeod began studying classical music at the age of seven. She attended Detroit's Cass Technical High School with pianist Hugh Lawson and drummer Earl Williams. As a young woman she played in church and was a fine bebop pianist in the bands of such local musicians as Lateef and Kenny Burrell. McLeod traveled to Paris in 1959 to study with Bud Powell. She met John Coltrane while touring and recording with Gibbs around 1962-1963; she married the saxophonist in 1965, and joined his band -- replacing McCoy Tyner -- one year later. Alice stayed with John's band until his death in 1967; on his albums Live at the Village Vanguard Again! and Concert in Japan, her playing is characterized by rhythmically ambiguous arpeggios and a pulsing thickness of texture.
Subsequently, she formed her own bands with players such as Pharoah Sanders, Joe Henderson, Frank Lowe, Carlos Ward, Rashied Ali, Archie Shepp, and Jimmy Garrison. In addition to the piano, Alice also played harp and Wurlitzer organ. She led a series of groups and recorded fairly often for Impulse, including the celebrated albums Monastic Trio, Journey in Satchidananda, Universal Consciousness, and World Galaxy. She then moved to Warner Brothers, where she released albums such as Transcendence, Eternity, and her double live opus Transfiguration in 1978.
Long concerned with spiritual matters, Coltrane founded a center for Eastern spiritual study called the Vedanta Center in 1975. Also, she began a long hiatus from public or recorded performance, though her 1981 appearance on Marian McPartland's Piano Jazz radio series was released by Jazz Alliance. In 1987, she led a quartet that included her sons Ravi and Oran in a John Coltrane tribute concert at the Cathedral of St. John the Divine in New York City. Coltrane returned to public performance in 1998 at a Town Hall Concert with Ravi and again at Joe's Pub in Manhattan in 2002.
She began recording again in 2000 and eventually issued the stellar Translinear Light on the Verve label in 2004. Produced by Ravi, it featured Coltrane on piano, organ, and synthesizer, in a host of playing situations with luminary collaborators that included not only her sons, but also Charlie Haden, Jack DeJohnette, Jeff "Tain" Watts, and James Genus. After the release of Translinear Light, she began playing live more frequently, including a date in Paris shortly after Hurricane Katrina in 2005, and a brief tour in fall 2006 with Ravi. Coltrane died on January 12, 2007, of respiratory failure at Los Angeles' West Hills Hospital and Medical Center.
---Chris Kelsey, Scott Yanow & Thom Jurek, All Music Guide |
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