Alice Coltrane – Eternity (1975)

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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