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They say: Lightning never strikes twice. But there are exceptions. In the jazz world, lightning will now strike a second time! In June 2018, Impulse! Records released “Both Directions At Once,” a “lost album” by John Coltrane recorded in 1963 that brought to light for the first time new compositions by Coltrane recorded with his Classic Quartet featuring McCoy Tyner (piano), Jimmy Garrison (bass) and Elvin Jones (drums). As expected, the response from media and fans was huge, with the decades-old album landing at No. 21 on the U.S. Billboard charts (Coltrane’s highest debut ever), topping jazz charts around the world, and putting Coltrane in the top-20 on pop charts in the U.K., France, Germany, Japan, Italy and many other countries. To date, “Both Directions At Once” has sold more than a quarter million albums worldwide Although it looked as if this was a find of the century, fate has now pulled a second “Coltrane ace” out of its sleeve, because research in the wake of “Both Directions At Once” turned up another tape with a previously completely unreleased session by the master in 1964, John Coltrane and his Classic Quartet went to Rudy Van Gelder’s studio and recorded new versions of some of his most famous compositions in an unprecedented move for Coltrane. The year he also recorded “A Love Supreme,” Coltrane was contacted by Gilles Groulx, a Canadian filmmaker. Groulx was preparing his film “Le Chat Dans Le Sac,” a love story set in Montreal with political undertones. Groulx, a die-hard Coltrane fan, was determined to have the saxophonist, considered difficult, create a soundtrack for his film. Groulx approached Coltrane through a personal contact with bassist Jimmy Garrison, and he surprisingly agreed On the spur of the moment, Coltrane rounded up his quartet mates Jimmy Garrison, Elvin Jones and McCoy Tyner at Van Gelder Studios in June ’64, right between the recording of the now legendary albums “Crescent” and “A Love Supreme,” to do something unprecedented in the Coltrane world: reinterpret and re-record earlier works Director Gilles Groulx was present for the recording. Today it is unclear how much creative input the filmmaker had and how much creative coordination took place between him and Coltrane. Recorded on ¼-inch analog mono tape, the session was not only recorded but also mixed and mastered by Rudy Van Gelder in his studio on June 24, 1964. Overjoyed, Groulx took the master tape to Canada the following day, although only ten minutes of the 37-minute recording ended up being used in his film. For the world’s first release of the music, “Blue World” has now been remastered from the original analog tape by Kevin Reeves at Universal Music Mastering in New York, and the vinyl edition was cut by Ron McMaster at Capitol Studios “Blue World” demonstrates Coltrane’s artistic development together with his Classic Quartet at a fixed point in his career. It is significant that this session took place between two of Coltrane’s most expansive, spiritually transcendent records that would define his perception from then on Another Coltrane discovery of world renown! Reviews “‘Blue World’ was recorded in the summer of 1964 between the two legendary albums ‘Crescent’ and ‘A Love Supreme,’ a gripping addition.” (Stereo, December 2019) |
