Naima - John Coltrane (1966)
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- Опубликовано: 12 мар 2016
- Live At The Village Vanguard Again!
May 28th 1966
John Coltrane - Tenor
Pharoah Sanders - Tenor
Alice Coltrane - Piano
Jimmy Garrison - Bass
Rashied Ali - Drums
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The most wonderfully and creative music that I ever experienced !!!
Pharaoh Sanders adds an extraordinary dimension to this extraordinary musical experience !!!
John Coltranes music was on the highest level ever !!!
My God, the passion! Unparalleled. Naima is Coltrane's ballad, his very own, unmatched. This version, unleashing Pharaoh as well as McCoy & of course Trane is a bold leap into the free & expressive at the outer limits of jazz circa December 1966. The evolution from Trane's first rendition of Naima in December of 1959 to that of 1966 with Pharaoh & Co. is a testament to freedom of expression without restraints, full stop. Now, 50 plus years having passed, Naima has continued to be interpreted modernly, as it were. Most versions, I've noted, have been modeled more after the ballad version circa 1958. That's understandable, as the later version with Pharaoh & Co. would be hard to reproduce. Long live, in any case, the lovely ballad Naima!
This and the 'My Favourite Things' from same night are easily some of the best things in music to have ever happened. Along with Miles' Lost Quintet performance in Rome,Oct. 27th 1969.
I love what Pharoah Sanders is doing in this actually. Really pushing the limits and as i have always thought about free jazz its the emotions that go through you that matter. I wish Eric Dolphy, Coltrane and Sanders could have all played together in this phase. Be absolutely electrifying
By this time Coltrane had embraced free jazz. His playing showed the free jazz influence.
both Coltrane and Sanders were like the Jimi hendrix of saxaphone.... the sounds they got ..very transcending
Jimmy Salatino not being a dick but *transcendent
@@esltogo6898 People that have very poor or mediocre grammar may still have interesting opinions ...some of which may be a little more illuminating than a grammatical error correction. Without spellcheck I may myself be lost in an illiterate foggy transcendental quag of pisswit. I know some clever folk that dunt spel so good.Tis orl 'tuh do' with education and the somewhat fortunate lack of it in some respects. I had very shitty s'coolin ...dunt mean Im a fuckwit - So to summerise my point - 'COMUNICATION' is key really.
Been looking for this version. Thanks so much for posting!
Wow. That was intense. Such feeling!
Pharoah's communicating with the whales! That's all, guys. He tuned in.
I thought I’d put this on at 45 when I bought it
This song has remained in his repertoire. Unlike the original, he added elements of free jazz.This was his later interest.
Sanders is INSANELY GREAT!!
Anyone here should check out the g
Great Jazz Trio's cover of Naima
This is not for people with an heart condition
Or toooo much heart! ;)
facts........ASE"🌚🖤🔺🔺🔺
7:13 damn that's nasty
It's kind of scary almost, it freaked me out the first time, very expressive solo
Pharoh
Pharoah Sanders is the jazz equivalent of the 1-800-Kars-4-Kids commercials.
Free jazz was not everyone's taste. The same thing happened with bebop and modern classical composers like John Cage.
John Cage was not a classical composer.
Late Trane is a bit of a mixed bag for me but holy shit he sounds incredible here. Easily the most emotionally intense playing of Naima I've ever heard from him.
You should listen the 'Temple University' version played a few months after this one, to me that one is the highest deep level of this piece.
@@carloscc4179 The ending of that one breaks me every time!
The name of the last song it´s Wee, not Move. Very curious that figured Move in the Album (Fantastic album, that´s true)
what are you talking about?
Quote by ERIC NISENSON ( From his Book ~ Ascension: John Coltrane And His Quest) ~ "In Spring of 1966, Coltrane returned to the Village Vanguard to record a live album with his new group. "Naima" here is simply stunning. His Tenor sound has such weight now, so much power, that it, by itself mesmerizes the ear. This spellbinding mood, however, is ripped asunder when Pharoah follows Coltrane's opening statement. Pharoah plays a series of sputtering notes, building up to the inevitable screams. One is reminded of a child having a tantrum who begins by whining and complaining and builds to out of control howls and shrieks. You can justify screaming and shrieking when it is musically relevant, but here Sanders is infuriatingly inappropriate."
a little bit sharp on the edges..
Joaquin Odriozola give over.
Ras al Hanout 😂😂👏🏻👏🏻
I have to agree, at risk of severe censure from the Free Jazz Police, but Pharaoh doesn't bring much to the party here.
Cool, that's your opinion.
6:10 though...
@@greenhotdog12345 amazing altissimo
I really like the contrasting styles here. In my opinion it really adds something the music. But we all have our likes and dislikes. Until I really started "listening" to it I wasn't a fan of free jazz. I went back and started listening to when Coltrane first started experimenting with it and gained more of an appreciation for it.
This is good example of Pharoah Sanders ruining a Coltrane track. John Coltrane begins the track with such beauty and love. Sanders comes in with his honking and screaming and ruins the beautiful vibe!!!
raul macias that’s free jazz my friend
It’s true, it’s almost like he was trying to hard with the whole free jazz thing
Sanders for the win!!! Beautifully aggressive, expressive and cathartic playing. You can hear his internal frustration and he vents it so uniquely in this track.
@@sterlingweston I love how Trane usually lets Pharaoh solo first because Trane's solos usually serve as a point of resolution on these recordings. It really demonstrates Trane's humility with how many times he doesn't solo first (occasionally not at all) because he thinks that it better serves the music.
@@bounderby99 Coltrane didn't need Ferrell "Pharoah" Sanders in his group! Just listen to the "Stellar Regions" CD! I'm glad Coltrane didn't have Sanders on Tenor Saxophone but on Piccolo on the studio version of the beautiful "Peace On Earth"!
Sanders just destroys the wonderful and spiritual mood Coltrane sets up with his cacophony and pointless screaming and shrieking! I have supplied a quote by Eric Nisenson from his book ~ Ascension: John Coltrane And His Quest in which he criticizes Sanders' obnoxious "playing"!