Live John Contrane

Charly's live John Coltrane recordings from '61, '63, and '65 reveal just how much the tenor and soprano saxophonist's playing changed in the first half of the decade: a sonic shift from aggressive tonality to unfettered exploration. While the 1965 disc, Live In Paris, does find Coltrane covering familiar song territory with "Naima," "Impressions," and "Afro Blue," it also shows him dismissing solo structure in favor of volcanic flights. The record features the saxophonist's classic quartet of pianist McCoy Tyner, drummer Elvin Jones, and bassist Jimmy Garrison recorded at the Antibes festival and the Selel Pleyel in Paris; these concerts were not only part of Coltrane's last European tour, but would also mark the beginning of the end for the group (Tyner and Jones, traditionalists at heart, would soon depart in the face of their boss' increasing need for freedom, being replaced by Alice Coltrane and Rahsied Ali respectively)…

Known for his distinctive, slightly distorted sound, jazz guitarist John Scofield is a masterful jazz improviser who has straddled the lines between straight-ahead post-bop, fusion, funk, and soul-jazz. One of the "big three" of late 20th century jazz guitarists (along with Pat Metheny and Bill Frisell), Scofield's influence grew in the '90s and continued into the 21st century. He first emerged in the mid-'70s playing with trumpeter Chet Baker and drummer Billy Cobham before launching his solo career with albums like 1977's East Meets West and 1981's Out Like a Light. He was an integral member of Miles Davis' ensemble in the '80s, and continued to issue his own albums like 1986's Blue Matter and 1998's A Go Go with Medeski, Martin & Wood. Well into his fourth decade as a performer, Scofield continues to garner critical acclaim, including winning Grammy Awards for 2015's Past Present and 2016's Country for Old Men.

One of guitarist John Scofield's best sessions for Gramavision, this live date features his regular band of the period, a quartet with keyboardist Robert Aries, electric bassist Gary Grainger and drummer Dennis Chambers, who had been playing together regularly for a year at that point. The close communication between the musicians on such numbers as "Pick Hits," "Protocol" and "Blue Matter" could only come from the players fully understanding each other's musical personalities. The music, electric but adventurous, funky but definitely exploratory jazz, is difficult to describe, but easier for Scofield's fans to enjoy.

Charly's live John Coltrane recordings from '61, '63, and '65 reveal just how much the tenor and soprano saxophonist's playing changed in the first half of the decade: a sonic shift from aggressive tonality to unfettered exploration. While the 1965 disc, Live In Paris, does find Coltrane covering familiar song territory with "Naima," "Impressions," and "Afro Blue," it also shows him dismissing solo structure in favor of volcanic flights. The record features the saxophonist's classic quartet of pianist McCoy Tyner, drummer Elvin Jones, and bassist Jimmy Garrison recorded at the Antibes festival and the Selel Pleyel in Paris; these concerts were not only part of Coltrane's last European tour, but would also mark the beginning of the end for the group (Tyner and Jones, traditionalists at heart, would soon depart in the face of their boss' increasing need for freedom, being replaced by Alice Coltrane and Rahsied Ali respectively)…

This set features some high-quality post-bop guitar playing by the immediately distinctive John Scofield. The four lengthy selections - three originals and an over 15-minute rendition of "Softly as in a Morning Sunrise" - find Scofield, pianist Richie Beirach, bassist George Mraz and drummer Joe LaBarbera really stretching out. The music holds one's interest throughout and shows how mature a player the guitarist was even during his early pre-Miles Davis period.

In common with others these days, and with good musicological reasons, Gardiner re-jigs the ordering of Act III, positioning ‘Dove sono’ somewhat earlier than usual. He departs more radically from tradition by offering, in addition, a reordered version of Act IV. This is convincing as scholarship as well as drama – two qualities which inform the whole of this sparkling yet searching performance, a team effort which nonetheless permits plenty of sharply etched characterisation as well as some exceptionally fine singing.