HOLY SHIT! Lost Impulse! era John Coltrane tapes discovered.

...nope, can't see why this would be interesting to anybody.

ok people we gotta make 'em release this stuff immediately

There's no recordings of that here, but the fact that something like this can turn up all this time later gives me hope.

Or hell, physically headbutting? That would account for the lump, anyway.

-- Ned Raggett (ne...), August 17th, 2005 11:10 AM.

all you need to know about idiot Ragget, in a nutshell.

I can't believe there aren't more people going totally apeshit over this news.

I couldn't think of much to say beyond the expected "HOLY FUCK" and "MUST HEAR NOW" exclaimations.

Huh? If this refers to the session with Archie Shepp and Art Davis, wasn't it already released as Love Supreme Deluxe (or something like that) two-disc a couple of years ago.

If (you believe that) "that's what anglophilia does to you", is that because (you (also) believe that) all English people behave like this?

Steady old chap, steady, don't want to let the side down, what?

Gee, sucks. No way I'd purchase THAT.
-- Ned Raggett (ne...), February 6th, 2004 5:10 PM. (Ned)

You could also direct potential Fall fans to www.emusic.com where they could get a 50 download free trial and use it to pick up Palace of Swords Reversed, Hex Entroduction Hour, This Nation's Saving Grace, and Live at the Witch Trials legally.

Shucky-darn, how horrible that would be! ;-)

-- Ned Raggett (ne...), May 22nd, 2004 3:26 PM. (Ned)

He may be an anglophile, but he'll never actually be English.

I would've made a mint.

What is that, a compliment?

I love how the anti-canon impulse, born of the desire to read/hear works that the canon had excluded often on grounds of difficulty or political unseemliness, is, in its degenerate/decadent period, now actually against the canonical works themselves. It's not enough to say that there were lots of good bands in the eighties who haven't received their due: no no, the bands loved by so many actually suck, they're part of the "shite canon"! This is why universities should be secret societies, so that people who don't actually understand things like interrogating the canon won't end up trying to flip memes they can't use

No, a statement of fact.

Ned Raggett circa 2015.

"Egad! Is that a Chameleons bootleg?"

For the interested:

Tape Op did a really really cool interview with/article about Rudy Van Gelder and his studio last year...you might be able to find it online somewhere or on tape op's archives...anyway, he seems like a really funny and bright guy and told lots of cool anecdotes about yee olde days....but, which i thought was very cool, he def. still keeps up on modern recording techniques, technology etc...he'd def. not a luddite or anything....

...and who sez Ned has no interest in jazz? He emailed me a year ago to ask if it was true that I'd shaken hands with Sun Ra. (Unless my memory's malfunctioning more than usual and it's actually Stewart I'm thinking of.)

That I do not post much at all on the jazz threads should not be taken as a sign that I do not listen to jazz or that I hate it.

There's no recordings of that here, but the fact that something like this can turn up all this time later gives me hope.

The recordings sound like:

"THWACK!"

"Ow"

"THWACK!!!"

"Owwwwwww..."

"BONK!"

"OW. Fuck this man, I'm leaving"

"Heh heh heh..."

Rah for Ra? (SORRY COULDN'T RESIST.)

Anyhow, it was February of '91 in Toronto when I saw the Arkestra. Ra was unfortunately confined to a wheelchair, recovering from a stroke.

-- s/c (theundergroundhom...), August 16th, 2005.

Porgie! Tirebiter! He's a spy and a girl de-lighter! Porgie! Tirebiter! Just a student like youuuuu!

Not me, 'though I would certainly have liked to shaken the great man's hand myself.

"Hahah, where the hell's THAT from."

http://www.simpsonspark.com/images/whitepages/lovejoy_timothy.jpg

It's in Revelations, people!

As far as the other stuff goes, lets hope the answer is soon.

A comparatively inferior copy of takes 1 and 2 only—based on a flawed tape reel that was until now the only known source of music from this date—was recently issued on CD in a “Deluxe Edition” of A Love Supreme. Here, unbelievably, hiding all these years on Naima’s side of the family, are perfectly clean, 15-inches-per-second, high-fidelity reel-to-reel copies of those two takes, as well as the remaining four “lost” takes, two of which are complete.....

The resulting performance, take 6, is beyond belief. After all these decades of admiring the quartet version of “Acknowledgement,” indeed cherishing it as one of the landmarks of music, anywhere, anytime, it feels somewhat heretical to then suddenly turn around and say, “This sextet version is even better.” But there it is. This version is even better, with Coltrane and Shepp playing with an intensity that makes it sound at some points as if there were three saxophonists present, and then goading each other onwards as they joyously trade the four-note “love supreme” motive.

any other news with this? eh? eh?

I was hoping you were telling me.

sorry! i got nothing! but uhh, sure is an intriguing thing, right?

Cosign with Oilyrags.

seriously this shit needs to come out NOW, especially the new Hartman stuff & the sextet Love Supremes

yeah, i might be just as excited about the Hartman sessions as the Love Supreme stuff. That is such a nice album. Wonder what the hold-up is, anyway? Coltrane Family wanting too much $$$? Just seemed like the discovery of that Monk/Coltrane concert and its release were what -- less than a year apart?

Monk/Coltrane is so good

yeah it is! it was one of those things where I expected to be let down -- what with all the hype surrounding its discovery. But it really delivers, doesn't it? Def. one of the best live jazz records I've ever heard. And there are a lot of good ones!

There's a bunch of new Coltrane liveage coming on DVD in September; stuff from '60, '62 and '65, all taped on Scandahoovian public TV.

want

I think I have a bootleg DVD of some of that material. Pretty good.

supposedly there's also tapes of coltrane's appearance at the 1966 "titans of tenor" concert (philharmonic hall, nyc). coltrane, rashied ali, jimmy garrison, alice coltrane, pharoah sanders, and special guests albert and don ayler. you heard me: coltrane, the aylers, and pharoah in the same lineup.

sorry once again, no info on the stuff that this thread started with BUT:
2011 marks the 50th anniversary of Impulse Records. The label will kick off its year-long commemoration of this auspicious occasion with the release of First Impulse: The Creed Taylor Collection (April), which includes the first six albums Creed Taylor produced for the label as well as a disc of rarities.

The label’s search for rarities yielded a truly remarkable discovery: unheard and never before available performances by John Coltrane, the leading light of the Impulse Record label. The three tracks were originally recorded in a demo session exactly fifty years ago - sometime in early 1961 - for Africa/Brass, Coltrane’s groundbreaking debut album on Impulse Records, and present Coltrane soloing in the company of an all-star ensemble heavy on reeds and brass.

The session was produced and conducted by trumpeter and composer Cal Massey - a longtime friend of Coltrane’s - and had been in the possession of his son Zane Massey. The three performances include the standard “Laura” and two original compositions by Massey: “The Damned Don’t Cry” (later recorded at the Africa/Brass sessions) and “Nakatini Serenade” - a slower version than the one Coltrane recorded for Prestige in 1958.

When Creed Taylor launched Impulse Records in January 1961, the label was an immediate success, attracting the attention of Coltrane, whose contract to Atlantic Records was ending. Taylor offered ‘Trane the opportunity to record in whatever band format he chose, which ultimately resulted in the album Africa/Brass - his quartet augmented by an unusual combination of horn instruments, conducted by Eric Dolphy.

Though this demo recording was long-rumored to exist, it has not seen the light of day until now. Coltrane joined with Massey to assemble and record this rehearsal session in order to try out various ideas and arrangements. The resulting tape offers a revealing look at the care and planning that went into one of the most pivotal recording projects in Coltrane’s legendary career - his first big band project and his first for Impulse.

Thanks to the families of both Coltrane and Massey, these historic performances are now available to the world for the first time, exclusively on the 4-CD set First Impulse: The Creed Taylor Collection.

also in re: to the wes montgomery stuff posted many years ago:
John Coltrane Session 61-09-26 to 61-10-01:

Date: 26 September – 01 October 1961.

Place: San Francisco Jazz Workshop, CA.

Ensemble: John Coltrane Sextet: John Coltrane soprano sax, tenor sax, Eric Dolphy as bass clarinet, flute, McCoy Tyner piano, Wes Montgomery gtr, Reggie Workman bass, Elvin Jones drums,

Recording: Private audience tape.

Recording Engineer:

Alternative Issues:

Recent Available Issue:

1. Unknown set list (?:??) (Unissued.)

from here: http://www.kyushu-ns.ac.jp/~allan/Documents/JC_S_60-64.HTML

sooo maybe someday?

Wow. That'd be mind-blowing.

Still holding out for the 1966 "Titans Of Tenor" show (the Ayler brothers and Carlos Ward joined Trane & Pharoah) and the private recording of Trane messing around with a Varitone that supposedly exists.

are there examples of other dudes playing the varitone? don't know if i've heard what it sounds like.

http://ecx.images-amazon.com/images/I/51gNUZoaRlL._SL500_AA280_.jpg

(not saxophone, but still)

wait, ok, here we go:
http://s.ecrater.com/stores/118695/4ae9dc2046770_118695n.jpg

haha, those covers are great. the new thing! check it out!

https://www.youtube.com/watch?v=6Ym0ndTmsk4
Recorded: Van Gelder Studio, Englewood Cliffs, NJ Sept. 23, 1968

Personnel:
Sonny Stitt - Tenor Sax/Varitone
Don Patterson - Hammond B-3 Organ
Billy Butler - Guitar
Billy James - Drums

* The Varitone was an electric saxophone/devise
developed by H&A Selmer Inc., in 1965. In this 1968 recording Sonny Stitt makes use of the Varitone. It enabled a player to produce, among other effects, not merely his own sound, but the same sound an octave higher or lower. This "Octavizer" effect can be heard most clearly from 3:10 to 3:20.

tbh i can't really hear all that much diff in that song.

Wish I had sound at work...if I recall correctly, though, the effect is much more pronounced on the Terry record (as it should be, or the Varitone people would be pretty pissed).