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Cheap Impressions (Music) (John Coltrane) Price

Impressions

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One of John Coltrane's great LPs of the early '60s, Impressions might seem like a hodgepodge, with tracks from three different sessions in three different years. The two long tracks--"Impressions" and "India"--come from Coltrane's November 1961 stand at the Village Vanguard, and together they represent the poles of Coltrane's conception at the time. "Impressions," a personal variant of "So What" that Coltrane had long explored as a member of the Miles Davis quintet, is an uptempo tenor onslaught, a blistering, sustained exploration in which Coltrane and drummer Elvin Jones established new parameters for intensity and sheer physicality. "India," a variant on the earlier "Mr. Knight," has Coltrane's soprano and Eric Dolphy's bass clarinet keening over two pulsing basses, piano, and drums, pressing jazz toward hypnotic depths. Balancing those extraordinary live performances are more compact studio recordings. "Up 'Gainst the Wall," from 1962, is a tautly convoluted blues without piano. "After the Rain," a gorgeous original ballad, and "Dear Old Stockholm" come from a 1963 session when drummer Roy Haynes had temporarily replaced Elvin Jones. The material is also available on the definitive box sets, Complete 1961 Village Vanguard Recordings and Classic Quartet--Complete Impulse! Studio Recordings, but for listeners not ready for those investments, this is a superb portrait of a multifaceted artist. --Stuart Broomer
ARTIST: John Coltrane
CATEGORY: Music
MANUFACTURER: Polygram Records
FEATURES: Original recording remastered
MEDIA: Audio CD
TRACKS: India, Up 'Gainst the Wall, Impressions, After the Rain, Dear Old Stockholm
UPC: 731454341622

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Customer Reviews of Impressions

A special album but not for the casual fan
This is serious music, not for the casual jazz fan. But for Baby Boomers like myself who witnessed the birth of the free jazz movement back in the 1960s, this was a seminal transitional album that opened ears and minds to new post-bop and post-cool jazz possibilities. The highlights of this album are two long and intense live jams that cemented Coltrane's reputation as the most important sax player of his generation.

"India" features Coltrane on soprano sax, an instrument he single-handedly added to the jazz repertoire. On this track he explores the unique sonic as well as melodic possibilities of the instrument while evoking the imagery of the Indian snake charmer. He is ably supported by a brilliant rhythm section as well as fellow free jazz pioneer Eric Dolphy on clarinet.

For me, Coltrane's tenor sax performance on the track "Impressions" is perhaps the single most awesome extended sax solo I've ever heard. The song is based on a simple modal chord structure similar to the Miles Davis/Coltrane collaboration "So What", but Coltrane infuses this track with an animal ferocity that is light years beyond the cool detachment of the famous Davis track. "So What" gets you in the mood, but "Impressions" takes you to the climax.

As for the studio cuts, "After the Rain" is a pretty and evocative tone poem that perfectly captures the mood of the title. The other two tracks are relatively ordinary, but overall this is a special album for serious fans of Coltrane and modern jazz.


One album that leaves an impression...
A year after I had a major spiritual epiphany while listening to this album, I discovered that by the time St. John Coltrane recorded Impressions, he had made a vow to God that he would strive to create music that would inspire that very thing. The album opens with "India", a conversation between Trane and Mingus band alumnus Eric Dolphy, over a spacious and spare groove in spite of the addition of a second bass to simulate a talking drum. At times Dolphy's bass clarinet's timbre beautifully resembles a cello played in its lowest register. "Up 'Gainst the Wall" is a funky blues with a sense of humor. The title track is a vamp on the chord structure to "So What" by Miles Davis, and is one of Trane's finer moments, serving as the perfect middle-ground between the 50's Coltrane and the Father of Free Jazz he was to become. The album is rounded out by the lovely and brooding "After the Rain", arguably one of his greatest compositions. Here we find Elvin Jones playing a drum style consisting of dramatic West African-influenced drum rolls and surf-like waves of cymbal splashes, in a seemingly free-form manner, which was to become a signature sound in the quartet's later years. The moodiness conjures images of streets glistening with neon, steam rising from manholes, a lone couple stepping over a broken umbrella by the curb, breathing the air that only follows a rain...


A FREE JAZZ MASTERPIECE
This record is a perfect sampler of COLTRANE's early free jazz style that will go increasingly difficult to digest later on with ASCENSION.Some people will even question the fact that it can qualify as music.With IMPRESSIONS, JOHN had perhaps reached his peak in all aspects.The interplay with ERIC DOLPHY shows two great musicians willing to experiment and those two were so remarkably talented.COLTRANE was jazz's last great innovator and long pieces like IMPRESSIONS are a battlefield to showcase his machinegun imagination.Not a record to buy if you're not inclined to that kind of jazz,but a delight if you are game.

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