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Evenings At The Village Gate: John Coltrane with Eric Dolphy

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Coltrane switched bass duties to 23-year-old Reggie Workman and backed his combo with a slew of auxiliary musicians. Anomalous on the surface, such albums offered a blueprint for Coltrane’s future: screeching, unsettled melodies; bottom ends that churned and thrashed; a sprawling palette that mixed in music from India and Africa. Evenings at the Village Gate holds its own against that, and against the Complete Village Vanguard Sessions from the same year.

Or, maybe, it's the nostalgic memories of having lived together in that era that makes it so, I'm not sure. The New Yorker 's Richard Brody praised all of the performers and connected Coltrane's musical evolution here with the 1964 recording of A Love Supreme; he sums up his review "the new release exemplifies, in its passionate strivings, the essence of jazz modernity and the spirit of the age". Within a month of the Gate performances, Ornette Coleman released Free Jazz: A Collective Improvisation, which used two bassists.The best track has to be the opener, My Favourite Things, with Dolphy on skittering flute and Coltrane's sound concentrated to its essential essence sounding both beautiful and ugly all at once (which so alarmed the critics of the time who were mystified by how anyone could do this). According to the review aggregator Metacritic, Evenings at the Village Gate: John Coltrane with Eric Dolphy received "universal acclaim" based on a weighted average score of 91 out of 100 from four critic scores. Evenings at the Village Gate: John Coltrane with Eric Dolphy, a new archival release, captures the 34-year-old artist as he comes to grips with his music’s remarkable possibilities. Dolphy’s feature on bass clarinet on ‘When Lights Are Low’ has something of a bassoon-ish quality that is hauntingly eerie. label, recording the defiant Africa/Brass and briefly augmenting his piano/bass/drums line-up of McCoy Tyner, Reggie Workman and Elvin Jones with 34-year-old experimental multi-instrumentalist, Eric Dolphy.

Although this was a very common 'miking' technique in the forties, fifties and early sixties, you should not expect a stellar soundscape.

Evenings at the Village Gate: John Coltrane with Eric Dolphy by John Coltrane with Eric Dolphy Reviews and Tracks – Metacritic". If you play in a place where they really like your group,” Coltrane told Downbeat magazine in 1962, “they can make you play like you’ve never felt like playing before. By 1970, Coltrane’s former boss Miles Davis was using two bassists on a game-changing release in a far different vein, Bitches Brew. The single microphone means the music is in mono, and as with many bootleg recordings, some instruments are recorded better than others.

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