01. Andromeda's Suffering; 
02. Sri Rama Ohnedaruth; 
03. Excerpts from The Firebird (I. Stravinsky ); 
04. Lord of Lords; 
05. Going Home.

Personnel:
Alice Coltrane - Harp, Piano, Organ, Timpani, Percussion
Charlie Haden – bass
Anne Goodman, Edgar Lustgarten (2), Jan Kelly, Jerry Kessler, 
Jesse Ehrlich, Raphael Kramer, Ray Kelley – cello
Ben Riley – drums , percussion
David Schwartz, Leonard Selic, Marilyn Baker, Myra Kestenbaum, 
Rollice Dale, Samuel Boghosian - viola
Bernard Kundell, Gerald Vinci, Gordon Marron, James Getzoff, 
Janice Gower, Leonard Malarsky, Lou Klass, Murray Adler, Nathan Kaproff, 
Ronald Folsom, Sidney Sharp, William Henderson (2) – violin

The two Impulse albums by Alice Coltrane presented on this single CD are actually the bookends of a trilogy, representing the artist's final recordings for the label. Universal Consciousness was recorded in three sessions in 1971 and released in 1972, and Lord of Lords, recorded in a single 1972 session, was released in 1973. The album between them is World Galaxy. Universal Consciousness utilized a small string section to augment its trio and quartet settings; by contrast, Lord of Lords emulated its immediate predecessor (World Galaxy) in employing a 16- piece string section behind the trio of Coltrane, bassist Charlie Haden, and drummer Ben Riley. The former album features bassist Jimmy Garrison on four of its six tracks, and drummer Jack DeJohnette on three. Rashied Ali assists on two others; Clifford Jarvis plays with DeJohnette on "Hare Krishna" and holds down the kit himself on "Sita Ram."

Coltrane plays organ and harp on both recordings, and adds her piano and percussion to the mix on Lord of Lords. Even with World Galaxy missing form this trilogy, the listener gets the picture. UC reveals the beginning of Coltrane's string work in earnest, and its ultimate fruition on LOL. An elaborate tension between improvisation and composition -- with sometimes jarring juxtapositions -- makes both albums sound ahead of their time even in the 21st century. The opening title track of UC, with its interplay between violins and Garrison's arco work, is texturally expanded by DeJohnette's triple-timed breaks, rolling fills, and accents, as Coltrane employs her organ to maximize the free play available within a given (Eastern) mode. "Oh Allah" brings jazz firmly back into the picture with its lilting melody and her pulsing, minimal chord changes amid the Wurlitzer's more futuristic tones. Here, the strings act as a bridge and an anchor to the jazz lineage. The traditional Hindu tunes, "Hare Krishna" and Sita Ram," are droning exercises in the sublime.

The latter album is knottier, with Coltrane, Riley, and Haden playing off one another intuitively on "Andromeda's Suffering" and its dramatic string section flares. The haunting and beautiful adaptation from Stravinsky ("Excerpts from the Firebird") reveals a startling union between Eastern and Western classical musics. The title track is a fiery yet restrained free piece with scripted sections for strings, while the closing "Going Home" brings the blues to the fore inside Hindustani drones and the dynamic harmonic palette of Western jazz. Taken as a whole, these two albums offer a thoroughly engaging and edifying listening experience, and the price can't be beat. ---Thom Jurek, Rovi

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1 "Andromeda's Suffering" – 9.26
2 "Sri Rama Ohnedaruth" – 6.14
3 "Excerpts from The Firebird" – 5.42	play
4 "Lord of Lords" – 11.19
5 "Going Home" – 10.30

Personnel
Alice Coltrane : harp, piano, organ, tympani, percussion
Charlie Haden : bass
Ben Riley : drums, percussion
STRING ORCHESTRA - Murray Adler (concertmaster), 
Nathan Kaproff, Lou Klass, William Henderson, Ronald Folsom, 
Leonard Malarsky, Gordon Marron, Janice Gower, Gerald Vinci,
 Sidney Sharp, James Getzoff and Bernard Kundell  -  violins; 
Myra Kestenbaum, Rollice Dale, Leonard Selic, David Schwartz, 
Samuel Boghosian and Marilyn Baker - violas; 
Jesse Ehrlich, Jerry Kessler, Jan Kelly, Anne Goodman, Edgar Lustgarten, 
Ray Kelley and Raphael Kramer  - cellos.

Music arranged and conducted by Alice Coltrane

Radha-Krsna Nama Sankirtana was issued in the mid-'70s by Warner Bros. Forgoing jazz altogether, this set is a series of devotional songs from the Hare Krisha religion that Alice Coltrane practiced. Three of the tracks here are chants, with Coltrane backing a vocal chorus on Fender Rhodes and organ. They are memorable, catchy, and moving given the joy of the singers. The other two tracks here feature Coltrane's interpretations of Indian songs. On "Ganesha," she plays harp and is accompanied only by Sita Coltrane on tamboura. This is not jazz in any sense of the word, but it is engaging, utterly interesting music, particularly for Alice's juxtaposition of space against melody. "Om Nama Sivaya" is the album's closer, and at 19 minutes is over half of the disc's entire length. Here is where the great jazz musician shows her face. Playing Wurlitzer organ, Alice is backed only by John Coltrane Jr. on drums. She improvises against a traditional Indian mode and stretches it until it turns back on itself, breaks, moves into other modalities of harmonic invention, and rebuilds itself. It's driving, with a circular rhythm and head that reveals itself at odd junctures, and is full of great soloing. This track alone makes the set worth its purchase price. --- Thom Jurek, AMG

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1 	Transfiguration 		11:43
2 	Spoken Introduction & One For The Father 	7:25
3 	Prema		9:16
4 	Affinity 		10:50
5 	Krishnaya 	3:21
6 	Leo, Part One 		16:35
7 	Leo, Part Two 		20:10

Bass – Reggie Workman
Drums – Roy Haynes
Piano, Organ – Alice Coltrane
+
Cello – Christina King, Ray Kelley
Viola – Janice Ford, Pamela Goldsmith
Violin – Jay Rosen, Murray Adler, Noel Pointer, Sherwyn Hirbod, Michelle Sita Coltrane

Alice Coltrane never had an easy time of it with critics. That she was able to pursue her rugged musical vision in the midst of controversy (many claimed she was "the Yoko Ono of the John Coltrane Quartet," in that she replaced McCoy Tyner when Trane decided to shift the focus of his band) is, in retrospect, a heroic act, though, humble as she is, she would never see it that way. This double-LP live set recorded at UCLA in 1978, reveals in total the ambitious and profound free jazz and universal musical frontiers Ms. Coltrane was able to explore in both small and larger groups. The lion's share of the music here features her in a trio setting with bassist Reggie Workman and drummer Roy Haynes. Ms. Coltrane performs on piano and organ. The opening moments of the title track, which opens the album, offer the careening subjectivity through the whole-tone improvisation that Alice Coltrane made her own.

Certainly there is the influence of her late husband here, but her sense of phraseological articulation and accent is far different. She moves with one hand over a difficult series of arpeggiattic concerns, creating a strong harmonic line for Workman and Haynes to develop into a rhythmic construct. When a standard modal interlude develops in the rhythm section, Coltrane stretches it to its breaking point until a new one must be developed; it's nothing less than breathtaking. But expectation is thwarted when Coltrane plays a piano solo on "One for the Father," where the depth dynamics of Shostakovich meet the strident harmonic vistas of Stravinsky and Messiaen and engage the profound spiritual emotionalism of gospel music in a seven-minute piece that is so moving, it would seem that the set should end there. But there is so much more. On "Prema," another solo piano piece which opens an Eastern drone in a near-impressionistic (à la Debussy) manner was later overdubbed with a string section, adding more dimension to the droning, whole tones that lie at its root. When the work shifts into a section that reflects transcendence, the dynamic is actually quieter and more lush and reflective than in the music's searching passages.

Finally, after two more selections, the concert's finale begins, a 37-minute read of John Coltrane's "Leo." Ms. Coltrane and her band begin slowly to articulate a system devised by John, where all 12 tones were related to the 12 signs of the zodiac. Alice Coltrane's organ soloing here is very much in the angular shifting, shaping, and contouring that her husband's soprano playing had. It articulates a phrase repeatedly until every ounce of emotion and spirit have been wrung from it and then dives straight into the next. The interplay between Workman and Haynes was so telepathic, it pushed Ms. Coltrane into new realms further inside these shimmering harmonics until their shards gave way to a series of symbols and meanings that opened onto new vistas in tonal metalinguistic post-tonalism. It's an exhausting work, but one that leaves the listener in a state of near disbelief at what just transpired. If you can only own one Alice Coltrane record, this should be it. ---Thom Jurek, Rovi

download (mp3 @320 kbs):

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1 Impressions
2 Lonnie's lament
3 A love supreme

Personnel:
Alice Coltrane - harp, piano 
Ravi Coltrane - saxophone 
Reggie Workman - bass 
Roy Haynes - drums

Alice Coltrane was an uncompromising pianist, composer and bandleader, who spent the majority of her life seeking spiritually in both music and her private life. Music ran in Alice Coltrane's family; her older brother was bassist Ernie Farrow, who in the '50s and '60s played in the bands of Barry Harris, Stan Getz, Terry Gibbs, and especially Yusef Lateef. Alice McLeod began studying classical music at the age of seven. She attended Detroit's Cass Technical High School with pianist Hugh Lawson and drummer Earl Williams. As a young woman she played in church and was a fine bebop pianist in the bands of such local musicians as Lateef and Kenny Burrell. McLeod traveled to Paris in 1959 to study with Bud Powell. She met John Coltrane while touring and recording with Gibbs around 1962-1963; she married the saxophonist in 1965, and joined his band -- replacing McCoy Tyner -- one year later. Alice stayed with John's band until his death in 1967; on his albums Live at the Village Vanguard Again! and Concert in Japan, her playing is characterized by rhythmically ambiguous arpeggios and a pulsing thickness of texture.

Subsequently, she formed her own bands with players such as Pharoah Sanders, Joe Henderson, Frank Lowe, Carlos Ward, Rashied Ali, Archie Shepp, and Jimmy Garrison. In addition to the piano, Alice also played harp and Wurlitzer organ. She led a series of groups and recorded fairly often for Impulse, including the celebrated albums Monastic Trio, Journey in Satchidananda, Universal Consciousness, and World Galaxy. She then moved to Warner Brothers, where she released albums such as Transcendence, Eternity, and her double live opus Transfiguration in 1978.

Long concerned with spiritual matters, Coltrane founded a center for Eastern spiritual study called the Vedanta Center in 1975. Also, she began a long hiatus from public or recorded performance, though her 1981 appearance on Marian McPartland's Piano Jazz radio series was released by Jazz Alliance. In 1987, she led a quartet that included her sons Ravi and Oran in a John Coltrane tribute concert at the Cathedral of St. John the Divine in New York City. Coltrane returned to public performance in 1998 at a Town Hall Concert with Ravi and again at Joe's Pub in Manhattan in 2002. She began recording again in 2000 and eventually issued the stellar Translinear Light on the Verve label in 2004. Produced by Ravi, it featured Coltrane on piano, organ, and synthesizer, in a host of playing situations with luminary collaborators that included not only her sons, but also Charlie Haden, Jack DeJohnette, Jeff "Tain" Watts, and James Genus. After the release of Translinear Light, she began playing live more frequently, including a date in Paris shortly after Hurricane Katrina in 2005, and a brief tour in fall 2006 with Ravi. Coltrane died on January 12, 2007, of respiratory failure at Los Angeles' West Hills Hospital and Medical Center. ---Chris Kelsey, Rovi

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1.Spiritual Eternal	2:55
2.Wisdom Eye	3:07
3.Los Caballos	11:22
4.Om Supreme	9:33
6.Morning Worship	3:30
7.Spring Rounds	5:59	

Alice Coltrane - Arranger, Conductor, Direction, Fender Rhodes, Harp, Organ, Piano, Tambourine, Transcription
Murray Adler - Violin
George Bohanon - Trombone
Oscar Brashear 	- Trumpet
Jo Ann Caldwell - Contrabassoon
Edward Cansino - Vocals
Donald Christlieb - Bassoon
Deborah Coomer - Vocals
Rollice Dale - Viola
Vincent DeRosa - French Horn
John MacArthur Ellis - Oboe
Pamela Goldsmith - Viola
Anne Goodman - Cello
Charlie Haden - Bass
Terry Harrington - Clarinet, Sax (Tenor)
Paul Hubinon - Trumpet
Tommy Johnson - Tuba
Susan Judy - Vocals
Nathan Kaproff - Violin
Ray Kelley - Cello
Jackie Kelso - Clarinet, Sax (Tenor)
Bill Kurasch - Violin
Hubert Laws - Flute
Charles Loper - Trombone
Jacqueline Lustgarten - Cello
Arthur Maebe - French Horn
Gordon Marron - 	Violin
Jack Marsh - Bassoon
Mike Nowack - Viola
Jean Packer - Vocals
Armando Peraza - Congas
Jerome Richardson - Flute (Alto), Sax (Soprano)
Ben Riley - Drums, Drums (Bass), Gong
Alan Robinson - French Horn
Marilyn Robinson - French Horn
Sid Sharp - Violin
Julian Spear - Clarinet (Bass)
Polly Sweeney - Violin
Louise di Tullio - Piccolo
Ernie Watts - Horn (English)

Within the first 30 seconds of "Spiritual Eternal," the opening track on Alice Coltrane's final studio album, Eternity, the listener encounters the complete palette of Alice Coltrane's musical thought. As her organ careens through a series of arpeggiated modal drones, they appear seemingly rootless, hanging out in the cosmic eternal. And they remain there ever so briefly until an entire orchestra chimes in behind her in a straight blues waltz that places her wondrously jagged soloing within the context of a universal everything -- at least musically -- in that she moves through jazz, Indian music, blues, 12-tone music, and the R&B of Ray Charles. This is the historical and spiritual context Alice Coltrane made her own, the ability to open up her own sonic vocabulary and seamlessly enter it into an ensemble context for an untold, unpredictable expression of harmonic convergence. While many other players have picked up on it since, Coltrane's gorgeous arrangements and canny musical juxtapositions never seem forced or pushed beyond the margins. Perhaps, as evidenced by "Wisdom Eye," "Om Supreme," and the "Loka" suite, it's because Coltrane already dwells on the fringes both musically and spiritually, where boundaries dissolve and where everything is already inseparable. But this does not keep her music from being strikingly, even stunningly beautiful -- check out the killer Afro-Cuban percussion under her soloing on "Los Caballaos," which is rooted in a harmonically complex, diatonic series of whole tones. In numerous settings from orchestra to trio, Ms. Coltrane finds the unspeakable and plays it. Nowhere is this more evident than in "Spring Rounds" from Igor Stravinsky's "Rite of Spring," which closes the album. Her faithfulness to the material with a complete orchestra under her control is one of shimmering transcendence that places the composer's work firmly in the context of avant-jazz. Her control over the orchestra is masterful, and her reading of the section's nuances and subtleties rivals virtually everyone who's ever recorded it. Eternity is ultimately about the universality of tonal language and its complex expressions. It is an enduring recording that was far ahead of its time in 1976 and is only now getting the recognition it deserves. ---Thom Jurek, Rovi

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01.Journey in Satchidananda (6:40)
02.Shiva-Loka (6:37)
03.Stopover Bombay (2:54)
04.Something about John Coltrane (9:44)
05.Isis and Osiris (11:29)

Alice Coltrane- Harp
Pharoah Sanders- Soprano Saxofhone, Percussion
Vishnu Wood- Oud
Charlie Haden- Bass
Rashied Ali- Drums
Cecil McBee- Bass
Tulsi- Tamboura
Majid Shabazz- Bells, Tambourine

The CD reissue of Alice Coltrane's landmark Journey to Satchidananda reveals just how far the pianist and widow of John Coltrane had come in the three years after his death. The compositions here are wildly open and droning figures built on whole tones and minor modes. And while it's true that one can definitely hear her late husband's influence on this music, she wouldn't have had it any other way. Pharoah Sanders' playing on the title cut, "Shiva-Loka," and "Isis and Osiris" (which also features the Vishnu Wood on oud and Charlie Haden on bass) is gloriously restrained and melodic. Coltrane's harp playing, too, is an element of tonal expansion as much as it is a modal and melodic device. With a tamboura player, Cecil McBee on bass, Rashied Ali on drums, and Majid Shabazz on bells and tambourine, tracks such as "Stopover Bombay" and the D minor modally drenched "Something About John Coltrane" become exercised in truly Eastern blues improvisation. Sanders plays soprano exclusively, and the interplay between it and Coltrane's piano and harp is mesmerizing. With the drone factor supplied either by the tamboura or the oud, the elongation of line and extended duration of intervallic exploration is wondrous. The depths to which these blues are played reveal their roots in African antiquity more fully than any jazz or blues music on record, a tenet that exists today over 30 years after the fact. One last note, the "Isis and Osiris" track, which was recorded live at the Village Gate, features some of the most intense bass and drum interplay -- as it exists between Haden and Ali -- in the history of vanguard jazz. Truly, this is a remarkable album, and necessary for anyone interested in the development of modal and experimental jazz. It's also remarkably accessible. ---Thom Jurek, allmusic.com

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1. JOURNEY IN SATCHIDANANDA
2. SHIVA-LOKA
3. AFRICA
4. LEO

ALICE COLTRANE, harp, piano, percussion; 
PHAROAH SANDERS, tenor and soprano saxophone, flute, percussion, fifes; 
ARCHIE SHEPP, tenor and soprano saxophone, percussion; 
CECIL McBEE, JIMMY GARRISON, bass; 
CLIFFORD JARVIS, EDWARD BLACKWELL, drums; 
TULSI, tamboura; 
KUMAR KRAMER, harmonium. 

Recorded in performance in Carnegie Hall, NYC, February 21, 1971.

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1 Sita Ram
2 Om Rama
3 Rama Guru
4 Hari Rama Hari Krishna      play
5 Hari Rupa & Siva Mantra
6 Radhe Govinda
7 Gopala
8 Krishna Japaye
9 Hari Rama Hari Krishna

Alice Coltrane - Arr, organ, synth
John Panduranga - Male lead singer
Chanting and percussion by students of The Vedantic Center

The late Alice Coltrane's least known works are the series of devotional cassettes recorded for her California ashram in the 1980s and 1990s. Between her last Warner Brothers album released in 1978 and her comeback album "Translinear Light" released a few years before her passing, she had largely disappeared from the jazz world. I've tried to feature everything I could find by her from that period on this blog, and here is the last piece I know of, "Infinite Chants."

Very much in the style of "Glorious Chants" this is far from a jazz recording; and unlike "Turiya Sings" and "Divine Songs," Alice Coltrane does not sing here. She is heard in the background as an instrumental presence, her whooshing synthesizers and noodling organ setting a spacey mood for the exuberant choral chanting. Again the material is all Sanskrit Hindu devotional songs. But I hesitate to call these traditional songs. There are some wonderful new albums of kirtans, sing-along chant albums by American Hindus such as David Newman that meld accessible pop-folk to the religious songs that actually feel somehow more traditional, at least as in the chant-along do-it-yourself-Hinduism new-age bookstore tradition. But the energy of this album is very different than that.

The songs here are flavored more by a gospel sensibility: the massed anonymous voices give way to some remarkable solo moments, and the spiritual fervor communicated is, at least to me, quite affecting. Repeatedly on this album the combination of vocal harmony, percussion, spacey synths, and one of the singers standing out from the mix creates an absolutely sublime moment inside songs that are otherwise, as they are meant to be, repetitious and not particularly melodic or hook-laden. And of course there's the visionary presence of the Swamini Turiyasangitananda, as Mrs. Coltrane came to be called, with its completely off-center, ecstatic, man-overboard commitment to sharing her spiritual quest.

The only thing the All-Music Guide has to say about this album is that some of this music is from a television program called "Eternity's Pillar." I used to have a short VHS clip from that program: it had a bizarre low-budget, public-access flavor, featuring Turiyasangitananda doing her best Sun Ra impersonation, seemingly broadcast from another plane of reality where most of her consciousness was otherwise engaged. Sort of a mesmerizing culty trainwreck at first glance. But as with this album, if you can suspend your disbelief long enough to realize how deeply heartfelt all this stuff is, you can connect not just with its blissful spiritual energy if you're so inclined, but with its musical beauty.

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1.Ptah, The El Daoud (13:58)
2.Turiya And Ramakrishna (8:19)
3.Blue Nile (6:58)
4.Mantra (16:33)

Alice Coltrane - piano & harp
Pharoah Sanders - alto flute, tenor sax, bells
Joe Henderson - alto flute, tenor saxophone
Ron Carter - bass
Ben Riley – drums

Sometimes written off as an also-ran to her more famous husband, Alice Coltrane's work of the late '60s and early '70s shows that she was a strong composer and performer in her own right, with a unique ability to impregnate her music with spirituality and gentleness without losing its edges or depth. Ptah the El Daoud is a truly great album, and listeners who surrender themselves to it emerge on the other side of its 46 minutes transformed. From the purifying catharsis of the first moments of the title track to the last moments of "Mantra," with its disjointed piano dance and passionate ribbons of tenor cast out into the universe, the album resonates with beauty, clarity, and emotion. Coltrane's piano solo on "Turiya and Ramakrishna" is a lush, melancholy, soothing blues, punctuated only by hushed bells and the sandy whisper of Ben Riley's drums and later exchanged for an equally emotive solo by bassist Ron Carter. "Blue Nile" is a case where the whole is greater than the sum of its parts; Coltrane's sweeping flourishes on the harp nestle in perfectly with flute solos by Pharoah Sanders and Joe Henderson to produce a warm cocoon of sound that is colored by evocations of water, greenness, and birds. Perhaps as strong as the writing here, though, are the performances that Coltrane coaxes from her sidemen, especially the horn players. Joe Henderson, who can always be counted on for technical excellence, gives a performance that is simply on a whole other level from much of his other work -- freer, more open, and more fluid here than nearly anywhere else. Pharoah Sanders, who at times with John Coltrane seemed like a magnetic force of entropy, pulling him toward increasing levels of chaos, shows all of the innovation and spiritual energy here that he is known for, with none of the screeching. Overlooked and buried for years in obscurity, this album deserves to be embraced for the gem it is. --- Stacia Proefrock, Rovi

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1. Manifestation 
2. Reverend King 
3. Lord Help Me 
4. Sun

Alice Coltrane - Piano
John Coltrane - 	Clarinet (Bass), Sax (Tenor)
Rashied Ali - Drums
Ray Appleton - Percussion
Jimmy Garrison - Bass
Ben Riley - Drums
Pharoah Sanders  - Flute, Piccolo, Sax (Tenor)

Issued in 1968, more than a year after John Coltrane's death, Cosmic Music is co-credited to John and Alice Coltrane. Trane appears on only two of the four tracks here (they are also the longest): "Manifestation" and "Dr. King." They were both cut in February of 1966 at Coast Recorders in San Francisco, with the great saxophonist fronting his final quintet with Alice, Pharoah Sanders, Jimmy Garrison, Rashied Ali, and Ray Appleton adding percussion. "Manifestation" is also the first recorded instance of Sanders playing the piccolo in addition to his tenor saxophone; he takes an extended solo on the instrument. "Dr. King" was written to honor the civil rights leader during his lifetime. King's assassination occurred less than a year after the saxophonist's death. While it begins with a sketchy modal theme, the track soon moves toward the far side of the quintet's free expression. The mix on both these tracks is a bit problematic. Much like Om, which was also released in 1968, the sound on these two cuts is somewhat muddy, hinting that these were idea sketches and not finished works. The piano and bass are all but hidden except during solos, and Ali's fiery drumming is often out of balance -- either buried or too bright. By contrast, the other two tracks, "Lord, Help Me to Be" and "The Sun," offer exceptional fidelity. They are essentially Alice's first two recorded pieces for Impulse after signing a solo contract with the label. She is accompanied by Sanders, Garrison, and drummer Ben Riley. These are both fine pieces, with Alice's bluesy modal chord constructions at the fore, recorded in their home studio. The final track, while only a touch over four minutes, is a fine vehicle for Alice's signature pianism. While this record holds up quite well -- despite the problems of sound mentioned above -- it is still a minor Impulse album compared to some of the saxophonist's master works. --Thom Jurek, Rovi

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