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Ole Coltrane
 
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Ole Coltrane

8 Oct 2012 | Format: MP3

5.49 (VAT included if applicable)
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Song Title
Time
Popularity  
1
18:19
2
10:52
3
7:44
4
9:00


Product details

  • Original Release Date: 8 Oct 2012
  • Label: Revolver Records
  • Copyright: (p) 2012 Revolver Music Limited
  • Total Length: 45:55
  • Genres:
  • ASIN: B009OFWQPE
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (10 customer reviews)
  • Amazon Bestsellers Rank: 24,070 in MP3 Albums (See Top 100 in MP3 Albums)

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9 of 9 people found the following review helpful By Keith M TOP 1000 REVIEWER on 16 May 2012
Format: Audio CD
John Coltrane's 1962 album Olé was his final album for Atlantic, and, stylistically, bore considerable resemblance to his album My Favourite Things (which had been recorded around a year earlier), again featuring Coltrane on soprano saxophone on a couple of the numbers. As is perhaps suggested by the album's title, Ole also displayed some Spanish musical influences, particularly on the album's title track. For Olé, Coltrane used his regular rhythm players, McCoy Tyner on piano, Elvin Jones on drums and Reggie Workman on bass (whose playing was sometimes augmented by adding - or being replaced by - bass player Art Davis). As additional horn players, Coltrane employed the services of Freddie Hubbard on trumpet and Eric Dolphy on flute and alto sax - both of whom would feature on other notable Coltrane recordings.

The album showcases the 18-minute title track, which is a superb, modal Coltrane composition which, for me, ranks with his very best extended recordings such as Out Of This World, Impressions, My Favourite Things, Afro Blue and Blue Train. The composition Olé is a superbly judged, crescendo-building masterwork, featuring some of Coltrane's most impressive soprano sax playing, but also great solos from Hubbard, Dolphy (with probably the best jazz flute I have heard) and Tyner, plus Messrs. Workman and Davis excelling themselves with some inventive 'bowing'. Olé is a composition I would have loved to have heard Miles Davis play with Coltrane - that would have been mindboggling! The album's other standout number is the McCoy Tyner composition Aisha (which is dedicated to Tyner's then wife), a beautifully heartfelt ballad featuring some beautiful tenor playing from Coltrane and a heavenly, measured solo from Hubbard.
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6 of 6 people found the following review helpful By os TOP 500 REVIEWER on 31 Dec 2012
Format: Audio CD
It is difficult to know why this might be 'Ole' superb album though it is,has never really gained the recognition that it deserves. This is a real shame because there is plenty great music in these grooves to keep just about jazz fans happy.Perhaps the album suffers from not being enough of one thing or another. There is an air of experimentation and 'openness' about the whole enterprise,but despite some great individual performances from the likes of Hubbard and Dolphy,there is little in the way of fireworks or variation of mood. However, if your jazz tastes extend to contemplative trance-like grooves such as the 18 minute vamp that is the title track, then this set is definitely for you.

For my money, 'Ole' is an excellent album,best enjoyed at one sitting as the tunes all sit very well together in terms of tone and approach. The remastering is excellent , the sleeve notes informative and just for once the bonus track 'To Her Ladyship' is a little beauty,worthy of inclusion in the original release,had space allowed.
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3 of 3 people found the following review helpful By Jazzrook TOP 500 REVIEWER on 13 May 2013
Format: Audio CD
This was the final ATLANTIC album by the great saxophonist John Coltrane(1926-1967) recorded on May 25, 1961 around the same time as his 'Africa/Brass' sessions for the new IMPULSE! label.
With Coltrane(soprano & tenor sax) were Eric Dolphy(flute & alto sax); Freddie Hubbard(trumpet); McCoy Tyner(piano); Reggie Workman & Art Davis(bass) & Elvin Jones(drums).
Highlights of the four varied tracks include Coltrane's 18-minute title track based on a Spanish folksong waltz 'Venga Vallejo', 'Dahomey Dance' inspired by a field recording of two African singers and McCoy Tyner's haunting 'Aisha'.
The fascinating music on 'Ole' still sounds fresh and exhilarating over 50 years later and this overlooked album shouls appeal to anyone who appreciates passionate and questing modern jazz.
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Format: MP3 Download Verified Purchase
One of the all time greats on top of his game. Fantastic performances all round. Really "on the edge" complex music which makes you stop and listen - a very rewarding experience.
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15 of 21 people found the following review helpful By mark snowden on 3 Nov 2003
Format: Audio CD
It's great to hear Coltrane playing not only with Eric Dolphy but also Freddie Hubbard at this stage in their musical evolution. The playing throughout this album is vital; the band plays like one scary but beautiful black hexapus.
Reggie Workman (bass) stands out as his simultaneous bowing and plucking unearths the voodoo in even the most androgenous of specacled librarians. Elvin Jones (drums) ebbs and flows in his polyrhythmic orchestra while McCoy Tyner (piano) can be both tympany drum and sparkling water spring.
Freddie Hubbard is an epileptic snake, writhing and thrashing his limbless body around the open harmony and when Eric eats a banana... Eric Dolphy is a master of his 3 horns: alto, flute and bass clarinet, the lattter of which can be heard live with Coltrane at the village vanguard 1961 - listen to his solo on "Naima". John Coltrane, although outshadowed somewhat by his wife Alice and later their son Derek (only joking) plays with strength, vitality and a glossy coat.
To compare, listen to any of his quartet recordings (eg A Love Supreme, Ballads...) and then to larger groups. Afro Brass has a wonderful large brass group playing McCoy Tyner style harmony arranged by Eric Dolphy. Ascension (The Major Works of John Coltrane) is a very free but still musical recording with the regular quartet but also Archie Shepp and Pharoah Sanders (tenors) Freddie Hubbard (trumpet) and multiple bassists and percussionists. It is really what Ornette Coleman tried to do with Free Jazz but here you can really hear the musicians listening and responding to what is going on. Sing along if you know the words.
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