名盤『至上の愛』半年前の黄金のカルテットによる幻のスタジオ録音が遂に明らかに!ジャズ史上最高のカリスマ、ジョン・コルトレーン(1926-1967)。2018年にリリースされた完全未発表スタジオ録音作『ザ・ロスト・アルバム』は全世界のシーンに衝撃を与え大ヒットを記録。日本でも、第33回日本ゴールドディスク大賞「ジャズ・アルバム・オブ・ザ・イヤー」を獲得。『ザ・ロスト・アルバム』の翌年の1964年に、マッコイ・タイナー～ジミー・ギャリソン～エルヴィン・ジョーンズという通称・黄金のカルテットを率いて吹き込んだ完全未発表スタジオ音源が、録音から55年を経て奇跡のリリース!

発売・販売元 提供資料 （2019/10/09）

A year after the unprecedented release of the John Coltrane Quartets Both Directions at Once: The Lost Album, fans get another gift from the vault. The backstory (detailed in the booklet) combined with the unique place it claims in his catalog (chronologically and aesthetically), make it a fascinating, historically significant addition to his discography. In 1964, between the recently completed Crescent, and six months before the start of the sessions for A Love Supreme, the John Coltrane Quartet cut the music on Blue World. This wasnt an album proper, but music to accompany Quebecois director Giles Groulxs then-unfinished debut feature film, Le Chat Dans lu Sac (it had been shot but was still in the editing stages; neither Coltrane nor his bandmates had seen it). The director, who lionized the saxophonist, reached out through a connection to his bassist Jimmy Garrison. The session was cut in a single day (June 24, 1964) at Rudy Van Gelders New Jersey studio on quarter-inch tape. The director took the tape with him back to Canada, ultimately using only ten of the 37 minutes that appear here (which is available for streaming on the internet). As Coltrane historian Ashley Khan notes in his liner essay, this music has been hiding in plain sight ever since. Musically, Blue World is unique. Its tracks offer then-newly recorded interpretations of material hed issued earlier in his career and had already dropped from his live set, save for Naima, two gorgeous takes bookend the album. Coltrane was always looking ahead, especially during this period of white-hot discovery. There are three takes of Village Blues. The second, which appears first here, is the best of the three. Elvin Jones forceful backbeats and breaks near the end of take two touch liberally on rhythm & blues, adding heft to Coltranes relaxed but emotionally resonant playing. The title track, a cavernous modal blues re-conception of Harold Arlens Out of This World, was first cut by the saxophonist in 1962. This one is a bit over six minutes and includes remarkable drumming from Jones as well as a killer solo from McCoy Tyner. Coltranes solo enters at full tilt, but trails off. Though brief, Like Sonny is as potent as it is on Coltrane Jazz, but deeper and bluer. This version of Traneing In, cut with Red Garlands trio in 1957, has its first half dominated by a brilliant Garrison solo, followed by Tyners deft interaction with modal hard bop and Jones hard-grooving response. When Coltrane enters, hes fully invested, viscerally pushing at the margins of the compositions changes. While completely enjoyable, Blue Worlds true value perhaps lies in revealing the quartet encountering this older material with a fully developed musical character, and changing its shapes, accents, colors, and textures according to its own expressive signature. These versions differ (often significantly) from previously issued ones, making Blue World a necessary addendum to the recognized historical record to be sure. But just as importantly, it adds another very satisfying entry to the music libraries of Coltranes legions of fans. ~ Thom Jurek

Rovi