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With previously unreleased live recordings from 1961, 'Evenings at the Village Gate' is a vault revelation / TIDAL

In the summer of 1961, John Coltrane headlined at the celebrated music venue, the Village Gate. With a lineup of musicians that included McCoy Tyner, Reggie Workman, Elvin Jones, and the fiery playing of Eric Dolphy, Evenings at the Village Gate captures the creative and transformative spirit that sprang from the pairing of Coltrane and Dolphy, and the evolving short-lived quintet.

Evenings At The Village Gate: John Coltrane With Eric Dolphy releases globally today!! July 14 on Impulse! Records/UMe. The first track from the fabled performances, “Impressions,” is available now and you can listen to the track and pre-order the album here.  You can also order a special edition orange vinyl variant here.

Recently discovered at The New York Public Library for the Performing Arts, the recordings on this album—recorded by engineer Rich Alderson as part of a test of the club's new sound system—were seemingly lost, then found, and then disappeared again into the vast sound archives of the Library for the Performing Arts.  The tapes’ circuitous route over several decades seemingly mirrors Coltrane's ongoing musical journey in August of 1961.

Recorded during Coltrane’s month-long Village Gate residency with his quintet (often with a revolving cast of musicians), the album consists of eighty minutes of never-before-heard music. It offers a glimpse into a powerful musical partnership that ended much too soon – Dolphy sadly passed away three years later and this recording is the only live recording of their legendary Village Gate performances. In addition to some well-known Coltrane material (“My Favorite Things,” “Impressions,” and “Greensleeves”), there is a breathtaking feature for Dolphy’s bass clarinet on “When Lights Are Low,” and the only known non-studio recording of Coltrane’s composition “Africa,” that includes bassist Art Davis.

Evenings at the Village Gate showcases the poignant, brief relationship between John Coltrane and Eric Dolphy. Coltrane first met Dolphy in Los Angeles and, when Dolphy moved to New York in 1959, they renewed their friendship. They recognized many of the same analytic and driving qualities in each other. Both came of age at the height of bebop, both were deeply interested in harmony and emotive expression and both employed vocal-like effects and a wide emotional range in their playing. The combination of their signature sounds—Dolphy's distinctively bright, sharply-stated voice set against Coltrane's darker, slurred phrasing—is a unique and evocative feature of their historic run at the Village Gate.

Accompanying the release are essays from two participants from those evenings at the Village Gate, bassist Reggie Workman and recording engineer Rich Alderson. Additionally, historian Ashley Kahn and jazz luminaries Branford Marsalis and Lakecia Benjamin offer valuable and insightful essays on the recordings.    Tracklist

1) My Favorite Things (15:45)
2) When Lights Are Low (15:10)
3) Impressions (10:00)
4) Greensleeves (16:15)
5) Africa (22:41)


TIDAL's Brad Farberman writes…..On Aug. 8, 1961, saxophonist John Coltrane commenced a month-long stint at the Village Gate in New York City. As on his most recent album, the eternal My Favorite Things, he had pianist McCoy Tyner and drummer Elvin Jones in the band. The bass chair had switched over to Reggie Workman, but the real onstage surprise was the addition of a second horn player: Eric Dolphy. Best known at that point for his involvement with Charles Mingus’ group, Dolphy was an epically unpredictable player, capable of avant-leaning pursuits on bass clarinet, flute and alto saxophone. On the previously unreleased — or even located — Evenings at the Village Gate, Dolphy and Trane are peers hard at work, kicking the tunes off at ecstatic peaks and staying there.

“My Favorite Things” begins with six-and-a-half minutes of swirling flute; “When Lights Are Low” starts with a bass clarinet journey that lasts even a minute longer. On “Africa,” both Dolphy and Trane step away when a sixth musician, bassist Art Davis, joins in for a lower-register conversation with Workman.

Three years later, in 1964, Dolphy recorded Out to Lunch! — just months before his tragic death at 36 — and Coltrane cut A Love Supreme. It’s hard not to see this month in the summer of 1961 as an important stepping stone toward both essential albums.   It's a TIDAL: Curator’s Pick:

Credit: Herb Snitzer, courtesy of UMG.

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