This thing comes from the center of the universe. I listened to it over and over as teen in Queens imagining what it must have been like to be in the room when it was created. The opening, and Coltrane’s howl as his solo takes off, never fail to give me chills. His groove was so strong it’s hard to believe he was able to cut himself off!! But management probably had a time limit on sets so they could sell more drinks.
@@michaelhoffman5486Francis Lewis and Hollis by the bowling allies Hollis lanes and Cardinal lanes. 25 cents a game and 20 cents for shoes. 25 cents for burgers and 20 cents for fries.
This track changed everything for me as to the direction of my musical tastes. As a teenager in the mid 70's, I randomly selected and borrowed this album from my local library, and continuously renewed it; I couldn't get enough of it!. A mesmerizing, insanely complex and soul wrenching performance by J.C.. Garrison, Jones, and Tyner sound sublime and Dolphy's top notch as well. This particular track is not often documented and I thank you for sharing it, it never gets old.
@@eulissbeniot9024 I/Many wouldn't agree. To me/many, "great" doesn't mean wowie zowie as much as fresh, new, previously not done--and pointing out new paths in art, music, etc. So by this usage, one can easily appreciate that Napoleon, a flick, a jazz concert, or an interpretation of classical are "great" without the person or artist suiting one's bones. I've mentioned Mozart in a review WITH PRAISE, but don't "like him," don't gravitate to his soundworld/never put him on my platter. (Haydn, yes!) I simply acknowledge his genius. Schoenberg is another, for many: "great" in being unique and paving a path for many to follow, but his music has little appeal for me. Ornette Coleman for some in jazz: they can see his merits and not question that without digging him. (I do)
@@BrianCarnevaleB26 You don't need to play an instrument to have musical talent bruv. Ella Fitzgerald was dummy full of talent and she sang, plus some of Selena's songs bop too ngl.
Garrison at his finest, seriously those opening minutes especially from around 1:11 where he probes at the groove are some of the finest chosen underpinning notes of jazz history.
to break through the prison walls of tonality, meter, modality, harmony, the syntax of bar lines, and yet still communicate universal understood truth. So if the musical language and rules here are inscrutable, what is it about this that is so accessible? and not just accessible but encompassing total in its reach and depth? why? why them and so far it seems only they can go there and yet reach out and touch all of us with this reality? and through a barrier of 70 years of time no less, and counting.
When Trane takes it out he's still in , but when Eric Dolphy takes it out , he is way out.. totally free jazz not in the key center at all. but random preconceived patterns....
Hendrix was also told that every note he played was musically transformative, the work of a "genius." Well, no; sorry: when both these guys played live, they .could. be not just bad but positively the worst. And I count many passages here where things go way off the rails. Stinker stuff. And tell me not that I lack "understanding," for I too kneel unto the altar to St John de Coltrane. I just haven't lost all musical discernment, perspective. (Nor does he, in his studio releases. In not one does he go so gratingly off key, so way off-base, as now and then we find here) May he and St Thelonious and St Jimi live on, for they are about as good as 20th century USAmerican musical culture gets. (And St Blakey, too, for all the talent he fostered)
Plenty of people consider themselves 'fans' and can't listen to Insterstellar Space. That was me too, until I started learning the notes he was playing, then I went from lacking understanding, AS YOU DO, to understanding. Point out a passage where he plays stinker stuff.
@@simhendra2377 Forget it man, he doesn't get it. It's not about "bad passages," it's the lived experience, the risk, the journey. And I don't know the "notes" to I.S. but I can dig it anyway.
@@strangersname I love the fact that Coltrane took risks. Yeah, at times things didn't sound great, but he left it out there. The rewards are worth the risks in listening to this. Jimi took risks. Zeppelin took risks, the f'ing Grateful Dead took risks.... And because of that some shows ended up much better than others. Oh well!
@@milest3560 What do you consider "free" ? No chord changes? Ornette wouldn't really qualify, at least in the beginnning. Maybe Evan Parker who just played whatever came into his head? Ayler? Shepp? Free jazz is like a woman's beauty-- in the ear of the behearer. Towards the end Trane was about as free as a bird in the sky.
