John Coltrane Blue Train MFSL Gold CD Neu OVP Sealed UDCD 547 Ultradisc 1 Japan Pressung

Erscheinungsdatum: 1. Juli 1991
Label: Mobile Fidelity Sound Lab
Import aus: USA
Format: Audio CD

     Tracks


1. Blue Train (10:44)
2. Moment's Notice (9:10)
3. Locomotion (7:14)
4. I'm Old Fashioned (7:57)
5. Lazy Bird (7:03)


 

Produktbeschreibungen

Stereoplay
Die Wiederveröffentlichung definitiver Klassiker ist die Maxime von Michael Grantham. "Als Vorlage dienen uns hierbei ausschließlich Mastertapes, deren Potential die Voraussetzung für einen audiophilen Sound bietet", versichert der Repertoire-Verantwortliche der kalifornischen Platten-Edelschmiede MFSL. Vor einem knappen Jahrzehnt war die Firma erfolgreich ins CD-Geschäft eingestiegen. Als Sammelerstücke taugen die seit 1987 ins Programm genommenen, jeweils limitierten 24-Karat-Gold-CDs der Reihe "Ultradisc". Zu den spektakulärsten Jazz-Titeln der Serie gehört "Blue Train" von 1957, ein Highlight des Saxophonisten John Coltrane. Ein weiterer Meilenstein aus demselben Jahr ist das Blue-Note-Album "Somethin' Else" (UDCD-563, 44:10, I:10, K:09, R:10, 1 Bonustrack). Altsaxophonist Cannonball Adderley wird hier begleitet von Miles Davis, Hank Jones, Sam Jones und Art Blakey. Exklusiv bei MFSL auf CD gibt es "Blues At Carnegie Hall" (UDCD-596, 41:23, I:09, K:07-08, R:09), ein elegantes Konzert mit dem Modern Jazz Quartet aus dem Jahr 1966, sowie "Minugus At Carnegie Hall" (UDCD-599, 46:29, I:08-10, K:06-07, R:09), eine typische Session des Bass Man Charles Mingus mit Musikern, die sich aus seinen berühmt gewordenen Workshop-Konzerten rekrutierten. In Bälde plant MFSL die Veröffentlichung von John Coltranes Meisterwerk "Giant Steps" und Stan Getz' Bossa-Nova-Klassiker "Getz/Gilberto". Zusätzlich wollen die Soundfreaks auf Wunsch vieler Kunden wieder eine begrenzte Anzahl von LPs in ihren Katalog aufnehmen. ** Interpret.: 09-10
© Stereoplay

Review by Lindsay Planer
Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on Blue Train — Coltrane's only collection of sides as a principal artist for the venerable label. The disc is packed solid with sonic evidence of Coltrane's innate leadership abilities. He not only addresses the tunes at hand, but also simultaneously reinvents himself as a multifaceted interpreter of both hard bop as well as sensitive balladry — touching upon all forms in between. The personnel on Blue Train is arguably as impressive as what they're playing. Joining Coltrane (tenor sax) are Lee Morgan (trumpet), Curtis Fuller (trombone), Kenny Drew (piano), Paul Chambers (bass), and Philly Joe Jones (drums). The triple horn arrangements incorporate an additional sonic density that remains a trademark unique to both this band and album. Of particular note is Fuller's even-toned trombone, which bops throughout the title track as well as the frenetic "Moments Notice." Other solos include Paul Chambers' subtly understated riffs on "Blue Train" as well as the high energy and impact from contributions by Lee Morgan and Kenny Drew during "Locomotion." The track likewise features some brief but vital contributions from Philly Joe Jones — whose efforts throughout the record stand among his personal best. Of the five sides that comprise the original Blue Train, the Jerome Kern/Johnny Mercer ballad "I'm Old Fashioned" is the only standard; in terms of unadulterated sentiment, this version is arguably untouchable. Fuller's rich tones and Drew's tastefully executed solos cleanly wrap around Jones' steadily languid rhythms. Without reservation, Blue Train can easily be considered in and among the most important and influential entries not only of John Coltrane's career, but of the entire genre of jazz music as well. [In the spring of 1997, The Ultimate Blue Train CD was released, boasting 20-bit remastered audio as well as one alternate take of both "Blue Train" and "Lazy Bird." Additionally, the disc includes "At Least Listen" — an interactive CD-ROM program featuring video clips and interview clips with Fuller circa 1995, as well as many brilliant photographs taken during the recording sessions.]