Comments for Coltrane, John, Coltrane Live at Birdland

Elvin Jones abd McCoy Tyner have a remarkable synergy on the live cuts on this album, especially The Promise. Alabama is on of the quartets best. Your lady is a great cut; Jimmy Garrison's swinging bass along with Elvin Jones' polyrythmic playing cause Trane to dance, and rapidly switch registers over his best solo's of the album. Great Album, one of the best.

This is one of the greatest albums of all time. The energy is stirring so strong, it reminds me of the wind currents of the overcast autumn. Elvin Jones' polyrhythms are outstanding. In fact, I am taking a history of jazz course, and this album "Live at Birdland" are mentioned just as, if not more than any other album to reference in describing various aspects of the musicianship. Coltrane was indeed transcending. Paul Rodriguez Claremont, Ca. Prodrig151@aol.com (e-mails are good)

I bought this album when it came out and had the privilege of seeing the quartet live in the month it was recorded, November 23, 1963, the night after the Kennedy assassination. Listening to it was then, and is now, a quintessentially moving experience. Our Lady is a rhythmic and melodic miracle and the dramatic way voices come in and out on this and the other cuts is typical of the incredible structure Coltrane gave to everything. But I'm surprised nobody is as bowled over as I am at the cathedral of sound Trane developed in the elaborate coda (much more than a coda) to "I want to Talk about You", which for me is the most absolute statement of what God and Henri Selmer made the tenor saxophone to do, without either of them really expecting that it was possible.

I bought this album when it came out and had the privilege of seeing the quartet live in the month it was recorded, November 23, 1963, the night after the Kennedy assassination. Listening to it was then, and is now, a quintessentially moving experience. Our Lady is a rhythmic and melodic miracle and the dramatic way voices come in and out on this and the other cuts is typical of the incredible structure Coltrane gave to everything. But I'm surprised nobody is as bowled over as I am at the cathedral of sound Trane developed in the elaborate coda (much more than a coda) to "I want to Talk about You", which for me is the most absolute statement of what God and Henri Selmer made the tenor saxophone to do, without either of them really expecting that it was possible. Peter Isackson, Bougival, France; pisackson@msn.com

"Afro-Blue" -- the opening phrases Coltrane makes with his horn are just unspeakably stirring. The energy the band punches into this number, especially the drumming, astounds! One of my favorite albums -- and I don't really even know too much about jazz; but all a listener has to do is recognize this kind of absolute beauty. Go immediately and get this record.

"Afro-Blue" -- the opening phrases Coltrane makes with his horn are just unspeakably stirring. The energy the band punches into this number, especially the drumming, astounds! One of my favorite albums -- and I don''t really even know too much about jazz; but all a listener has to do is recognize this kind of absolute beauty. Go immediately and get this record.