I cannot imagine having the nerve even to TRY to do an original Coltrane composition and actually stand in the shoes of Coltrane, Eric Dolphy, McCoy Tyner, Elvin Jones, Jimmy Garrison, Cecil McBee, Freddie Hubbard....and then to put this together and do each and every number successfully and originally - no mimicking of the original version, every musician adding something new, the arrangements so superb. This is one of the most electrifying pieces of music I've seen in years.
Yes Dr Davis played bass on this though, first time I cried listening to a song. One of my all time favs. I was lucky enough to know him he was an even better psychologist and teacher than he was a bass player too.
@@iangordon8078 You're right - I remembered incorrectly and looked it up again (I long ago ripped the CD and don't know where I put it) - forgot that Dr. Davis and Mr. Workman were the bassists this time. Thank you for bringing it up. How neat to have know Dr. Davis too!
@@iangordon8078 Dr. Davis was present at the live recording of the Barry Harris LP, For The Moment at the Jazz Cultural Theatre. Friday, March 2, 1984. He was one of several Jazz notables who came out to support Barry. He did not bring his bass. As things were being set up for the recording Barry's current bassist apparently called and bowed out. I don't know why. But he didn't send a sub. A cardinal sin on the NYC scene. But little black address books came out of suit jacket pockets and someone worked the pay phone in the front. How do you find a world class jazz bassist on a Friday evening in NYC who is available? But Rufus Reid answered the call. I watched him rehearse with Barry from just a few feet away. One of my greatest experiences on the edges of the Jazz LIfe in the Big Apple. Barry Harris, piano; Rufus Reid, bass: Leroy Williams, drums. A great Jazz piano trio.
I know Im asking randomly but does someone know of a way to get back into an Instagram account?? I somehow lost the account password. I would love any assistance you can offer me
man just look at the face of the guys next to who ever takes a solo, the reactions are fantastic, everyone was in it and feeling it that night, fantastic rendition
I am deeply agnostic but Olé is one of those pieces that bring me somewhere within my soul that I cannot visit without the help of Coltrane. The closest to a religious experience I will ever come. When you listen to it on full range speakers and you hear those bows touching the bass, it is cathartic.
Thank you Maria, from the bottom of my soul, thank you. I've done some research on this tune, which is actually titled "El Vito", composed we do not know exactly when or by whom, but it is definitely from Andalucia, Spain - also once known as Al-Andaluz when Moors ruled a huge portion of the Iberian peninsula, as a previous commenter noted. The Arabic feeling is intense, assertive, hypnotic. No wonder Coltrane was enticed into adding it to his repertoire. Of course McCoy Tyner helped take it to new heights. With his intuitive feeling for Africa, Spain and the Arab world, he voiced chords in beautiful modal patterns that kept the original ancient force, and propelled it into the modern jazz lexicon. This sensual tune, riding Elvin Jones', Trane's, Art Davis 's and Reggie Workman's ferocious swing, was like the rush of a firestorm, a volcano erupting. Blanding and Marsalis updated it again with a gorgeous, majestic arrangement, wailing solos, and a graceful yet monstrous swing. ¡Viva España! The song will live forever, thanks in large part to 'Trane and Jazz at Lincoln Center. If you can't feel this music, you can't feel anything.
This track and album it comes from, the 1961 classic Ole Coltrane of course, remains to me, one of the top three greatest jazz records of all time...wonderful rendition by the orchestra here!
I don't know who is better, the bass players or the trombone player, or the flute player, or the trumpet players, or the saxophones, or the drums, or the......GOOD GOD!!!!
I love this band, my dream as a young musician growing up was to play in this saxophone section. Walter and Ted are my favorite soloists and they both did a phenomenal job! Carlos too, he has incredible depth to his solo too. Bravo!
Olé! is a Spanish expression, common in flamenco culture. The vibe you feel is Andalusian (from Andalucía, aka Southern Spain). Olé is used to encourage or show appreciation for what the artist or the matador (in bullfighting) is doing.
I think it is a great version of Coltrane's Olé and the pianist is really good at sounding like Mccoy Tyner whom I am so impressed with. what a great performance, the brass, piano, bass, the entire ensemble
world class musicians, world class arraigners, uniquely honoring the master Coltrane with a tremendous cover of one of his most melodic and moving songs ever
I heard this song the first time in 1999, I lived in New Jersey on a temporary assignement. On my way to and back from work I always listened to WKCR New York. If I remeber corretly it was one of Kareem Abdul Jabar‘s special on the music of John Coltrane. I took an unnecessary detour ti not arrive too early, I needed to listen to that song. Next day I bought the CD. It‘s 2021 and I still have that music in my car. I drive a convertble, top down, tune in Olé, crank up the volume an cruize along. Life is perfect.
just listened to this album for the 1st time this week (IT'S SO FAR OUT!) all you folks already knew that,I know Im late to the party,my fave on the album is 'Aisha" Thanks so much for posting this,its wonderful
I couldn't find the 2 hour recording on youtube so I assumed it was copyright striked. Luckily I downloaded it for a flight, so I accidently preserved one of the best jazz recordings out there. The picture quality seems to be worse, but I hope the audio quality isn't. I'll try to reupload it every time it gets taken down.
It's great that they've put together a new arrangement and they obviously all play well (mostly! There are odd phrases that feel a little hesitant by more than one of the musicians) but..... something's missing to my ear. I think it's the "Hoodoo", the "Strangeness" and "darkness" of the original. If I'm being generous, I'd say that, - particularly in the unison sections, - this arrangement sounds nearer to the pieces Mingus wrote for the "Tijuana Moods" album than it does to Coltrane. If I'm being ungenerous, I'd also say that, in other parts, the unison arrangements occasionally sound almost like late 50s, early 60s Hollywood soundtrack sections for a Western of the "Magnificent Seven" variety! I imagine that some may agree with me that the recording(s) of "Africa" from "Africa / Brass" (recorded almost simultaneously with "Ole") had, itself, more "Hoodoo" and "Darkness" than "Ole" but "Ole" did also have its share of these ingredients. I feel this arrangement here fails to capture this. It's too sanitised for me. In saying all that, I did still enjoy this performance by its own lights and I'm glad someone saw fit to attempt it.
Great tribute from that iconic album!!...thanks for posting maria. Could you post if possible some of the up and coming women artists like Zoe Abadia and Veronica Leahy who may be involved with jazz at lincoln center. Thank you.
oh man this was amazing. i don't think i'm knowledgeable enough to catch all the things in here in one listen, i'll have to analyze this and relisten 20 times at least
Me encanta la cara de los otros músicos mientras oyen los solos de sus compañeros. Este disco es de 1961. Alejandro Sanz, Bisbal, Orozco, a ver quién os escucha a vosotros dentro de diez. Por cierto, suena El Vito cordobés.
Fun fact: Coltrane borrowed El Vito from Spain and interpolarized it. You can sing El Vito on top of Olé. Coltrane was and continues to be absolutely amazing.
Please listen to Dan Nimmer's amazing Piano Solo, as nearly every member who's able to, is looking at him with admiration, including the usual great and Critical Trombonist, Chris Crenshaw, yet at the end, Mr. Marsalis mentions Everyone, Except Dan Nimmer!!!!!! He'll be appreciated when one day he leaves the band as Walter Blanding etc.
That piano solo is jaw-dropping astonishing. The very beginning bars, from 7:13, is so evocative of Mr. Coltrane, paying homage and respect and at the same time overflowing with possibility. I'll never tire of this piano solo.
where did you find that video ? is it part of the coltrane tribute from 2015 ? cant find it tho.. also looking for favorite things/africa.. :S thanks !
Thank you very much, this is very Great!!! I usually don't care about orchastrated music, classical or jazz or whatever. But this orchestration has added something to Trane's original, or more correctly, to the song sung by Spanish antifascists. I just wonder how the two basists are sharing the part.
One bassist is handling the low part while the other is playing some dialogue, licks, fills in the upper register (it was the same on the original Coltrane recording with Reggie Workman in the lower register and Art Davis in the upper register), and sometimes they exchange roles.
