35. John Coltrane - Live At Birdland
Listening through and writing about Pitchfork's top albums by decade lists chronologically, currently working through the Top 200 Albums Of The 1960's.
Familiarity: 0
Rating: 9
For the first half of the decade, this list is rather heavy on the John Coltrane, which makes sense, as jazz was where the album format was most vibrant at this time and Coltrane is one of the defining figures in jazz history. My coverage of this list started with Coltrane, with an album that is considered quite revolutionary, although I probably wasn't primed to fully hear that when I started this project. Now that I've digested a lot more jazz from this era in a shorter period of time, it's become easier to understand the trajectory of the genre, which makes it pretty clear that this release marks a further evolution for Coltrane. I'll soon be getting around to covering what is often considered his apex, A Love Supreme, which is the highest ranked album on this list from 1965, coming in at #3. But this hybrid live/studio outing feels like a clear transition from his earlier, more stridently avant-garde informed recordings to the spiritual jazz that would cement his legacy.
The album opens with the soulful and yearning "Afro-Blue," an early highlight that combines those qualities with a thrilling upbeat pace, striking a precise balance. It's a complex yet accessible sound, opening with an instantly memorable motif. As much as Coltrane's sax commands attention, this is also a great showcase for McCoy Tyner's head spinning piano chops. About halfway through its well-merited eleven minute runtime, the band really lets it fly for the majority of the remaining time, with Coltrane's ecstatic playing going full force. It's an incredibly impressive and engaging way to start off the album.
The follow-up, "I Want To Talk About You," is a number that dates back to a 1958 album, and feels like the odd man out on the album. The mood is quite different, with a more outwardly romantic tint while also being a bit more avant-garde in Coltrane's playing, which is the dominant force throughout the track. He even gets an extended solo in the middle, and this one ends up feeling like it's much more for the devotees than the casual listener. "The Promise," on the other hand, picks back up with the tone set by the opener, tapping into the more spiritual, approachable melodic lines. It gets deep in the pocket of a serious groove, and offers up a prolonged piano showcase. Coltrane is able to strike a balance of restraint and unbounded freedom with his wailing that is striking.
The final two tracks on the album are studio recordings, with "Alabama" being the other major highlight after "Afro-Blue." Fitting its inspiration, the church bombing that killed four black girls, it sets a contemplative, foreboding and mournful mood from the very start. It gives off an exploratory impression, as though Coltrane is trying to work through his emotions via his instrument in real time, occasionally coming off as tentative and uncertain in a way that's purposeful and effective. His playing displays a great deal of subtlety here, and it makes this an extremely tender and moving piece of music. The album ends on a note of comparative levity after the heaviness of "Alabama" with the more joyful "Your Lady." Even here, Coltrane's playing reflects the expressive restraint of this period in his career, and while it doesn't stand out as much as some of the previous tracks, it's a fitting capper to an album that is understandably considered one of Coltrane's finest.
Up next: 36. Stan Getz & João Gilberto - Getz/Gilberto
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