We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. The contributions by Coltrane and multi-instrumentalist Eric Dolphy are clear, as is Elvin Jones‘ drumming, but McCoy Tyner‘s piano and Reggie Workman and Art Davis‘ basses can be indistinct, especially when other instruments are soloing. Seminal Never-Before-Heard 1961 Recordings Released On 'Evenings at the Village Gate: John Coltrane with Eric Dolphy' ". Four years had passed since Coltrane quit heroin and resolved to become a “preacher” on his instrument, and now he eschewed the bohemian archness of giants like Charlie Parker and Dizzy Gillespie to propound an earnest, devotional relationship with his art.

Evenings at the Village Gate: John Coltrane with Eric Dolphy by John Coltrane with Eric Dolphy Reviews and Tracks – Metacritic". A sound technician installed his reel to reel tape deck and recorded the Coltrane Quintet with a single microphone hanging from the ceiling. After the first track the listener gets acustomed and you're ready to enjoy Coltrane and his sparring partner Dolphy in full glory. Evenings at the Village Gate: John Coltrane with Eric Dolphy is a live album recorded in 1961 featuring jazz musicians John Coltrane and Eric Dolphy, released on Impulse! John Coltrane With Eric Dolphy Evenings At The Village Gate Reviewed: Newly rediscovered sessions show a genius in transition".

Coltrane’s Classic Quartet was not as fully established as it would soon become and there was a meteoric fifth member of Coltrane’s group those nights - visionary multi-instrumentalist Eric Dolphy. John Coltrane moved from Atlantic to Impulse this year, developing his signature Sheets of Sounds and exploring new heights. He adapts it for another soloist, and rebuilds it into other tracks, one of which he dedicated to Africa. On the next track, “When Lights Are Low,” Dolphy’s bass clarinet simmers below Coltrane’s tea-kettle sax tones.

Just imagine, this was recorded on an evening at the Village Gate which also included the groups of Horace Silver and Art Blakey. Coltrane’s road to the avant-garde was built from his ability to compose, arrange, and imagine new roles for diverse instruments on his bandstands. But listening to this recording, captured at Art D’Lugoff ’s cavernous basement venue in the heart of Greenwich Village by sound engineer Rich Alderson (see Back Story), is to hear an artist – Coltrane – trying to push through, playing tracks from old setlists but in a new way that rejects the old structures and, yes, that does invoke notions of anarchy. Then again, Coltrane once said that he considered “My Favorite Things” to be the best recording he ever made.The shows included on Evenings at the Village Gate were shot by photojournalist Herb Snitzer, who claimed that the room was half empty; he imagined Coltrane had made five or “maybe ten bucks” from the concert. John Coltrane With Eric Dolphy Evenings At The Village Gate Reviewed: Newly rediscovered sessions show a genius in transition Rediscovered performances from 1961 document the saxophone colossus’s short-lived quintet including multi-instrumentalist Eric Dolphy. In the second half of “Africa,” the highlight of the two bassists, Reggie Workman and Art Davis, is waiting.

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He flails against orthodoxy, rattles the bars of swing time and jeers at the expectations of consistency that percussionists have to shoulder. Ostensibly a timekeeper, Jones was the wildest member of Coltrane’s ’61 quartet, and perhaps as a result he was the last player of this era that Coltrane would replace. Compared to “My Favourite Things”, the less familiar “When the Lights Are Low” seems almost ordinary, but it contains some beautiful playing, including a superlative solo by Tyner. Baraka’s comment became writing on the wall—in 1965, Coltrane replaced Tyner with his wife, Alice Coltrane. The sound quality is not up to Impulse’s own recordings of Coltrane with the same group made three months later, originally issued as Live at the Village Vanguard.

Evenings at the Village Gate,” which captures the height of the Coltrane Quintet, was never recorded with commercialization in mind. Squabbles about sound quality, and comparisons between various iterations of his quartet, are never convincing: John Coltrane cared about change, not perfection. Patrick Hadfield lives in Edinburgh, occasionally takes photographs, and sometimes blogs at On the Beat.Evenings at the Village Gate holds its own against that, and against the Complete Village Vanguard Sessions from the same year. Fans expecting this treatment may be displeased, but their reactions befit the artist—Coltrane never liked meeting expectations. Basslines are sometimes difficult to unearth from the tumult, with the notable exception of “Africa”—ditto Dolphy’s more delicate trills. It also includes the album’s only drum solo, although the sheer physicality of Jones’ drumming generally pushes the music along and the band re-entering after his solo provides its most exciting point. Editors at Pitchfork chose this as one of the Best New Reissues and critic Daniel Felsenthal scored it a 9.