John Coltrane - Olé Coltrane mp3 download

Avarm

I found this to be a strangely noisy pressing. To be fair, underneath that the mastering is very nice and neutral. If I remember correctly, the mastering level is a bit low which exacerbates the noise issue.The jacket is of high quality, but annoyingly tight. I have a hard time getting the record out, even after removing the odd poster inside that just duplicates the front and back covers.

Azago

A daring album filled with nuance, pedigree and a large lush sound, one in a line of Coltrane albums that not only takes considered steps forward and back, but from side to side as well, causing me to wonder … what is it that John Coltrane’s looking for in music, or perhaps more aptly, within himself that he’s been attempting to bring to fruition. While listeners are inspirationally delighted with his offerings, this man who genuinely appears spiritually shaken for his cause, has never offered up anything that hasn’t been breathtakingly original, emanating nothing short of a pure life filled with exploration from his saxophone. And Ole’ Coltrane is nothing less.With everyone except Elvin Jones soloing on Ole’, an album awash with the interplay of twin bass leads rides on a mysterious current, often infused, though at times I’d like to say infected with traditional blues intonations, all delivered while Trane dances between his traditional soprano saxophone and that of the tenor, where the lineage of his scripted musical thoughts flow from one instrument to the other, as if he were ambidextrous in his use of these two, instruments that do not stand in juxtaposition to each other, but as seamless bookends, deriving from and delivering a single continuous thought. Ole’ is nothing like Trane’s advanced sonically challenging later years, nor is it encapsulated as were his early and very accessible bodies of work, placing him here at the proverbial crossroads, where he’s never sounded more delicate, yet with a definable resolve that will carry him further. Yet right here, right at this moment, and for all of time, listeners have the privilege of hearing a Coltrane transition as he explores the dynamics of a large group format and the emancipation it has to offer, spotlighting Elvin Jones, McCoy Tyner, Reggie Workman, Freddie Hubbard, and of course Eric Dolphy … making me wonder if this gathering is an ensemble, a band, or a septet of some sort.With the presentation of only three tracks, it’s easy to settle in for the ride, shake off the worries and wash yourself in Trane’s enunciations. I’ve always admired this body of work, always considered it to be essential, though only recently have come to consider that perhaps it’s the transitional nature of this album, the fact that he was departing Atlantic records, where he stood in the doorway, one foot deeply rooted in his past acting as a balance, while the other foot was already stepping into the future, where this record can be seen as parting gift of sorts to Atlantic and those who’d taken so many steps with him.The album is not explorative in its nature, nor is it conceptual, though that being said, it is fresh passionate and rewarding, casting a nearly hypnotic spell, parting the curtains, overlooking some sort of imagined white stuccoed village on the coast of north Africa, a place I’ll never discover in reality. Nevertheless, in my mind, a place filled with bohemian values and a comforting lifestyle of wanderlust, where I can lounge about in silk pajamas in a room feathered with thick carpets, floor pillows and an overly stuffed listening chair. Review by Jenell Kesler

Alsalar

Sounds good - I'm listening to it with a mono cart (Grado MC+) - no surprises.

Quashant

Someone knows wich edition sounds better?opinions?thank you all in advance

Pettalo

Does anyone have a CD version which does NOT have a mastering/pressing fault at 15:16 on "Olé"? I have three versions of this album: 1989 on Atlantic Jazz, a much later Atlantic reissue, and the version on Real Gone's "Seven Classic Albums Vol.3" and all have the same fault. The downloadable version available on 7Digital also has the same issue (fortunately, I only wasted £0.89 to find this out).As this is such a great album, and "Olé" is one of my favourite pieces of music of all-time (of any genre), I'd really like to hear it without any digital "jumps"! It's easy enough to edit it out of the ripped digital file, but that's not the point!Anyone?

Risa

Is this release back-cover have "STEREO" printed on right corner like on John Coltrane - Olé Coltrane ?

Gianni_Giant

Anyone know How is the sound quality of this pressing?

Qane

just wondering if you got the record by now ? and how it sounds ??

Ylal

is this the one that contains a paper sheet that is identical with the front and back cover?

Qudanilyr

It does have one, yeah. Well, at least the one I got had.

shustrik

sounds perfect to my ears, and in beautiful sleeve.. the only boring thing about this reissue is parting Olé into two pieces :(

GAMER

1961? This is so forward that it is scary. Why is everything not so amusing? Because of, among others Coltrane... One thousand years ahead. I salute you! Forever and ever.

Daiktilar

Essential album, one my favourites of all time. Coltrane's last recordings with Atlantic, also includes Freddie Hubbard and Eric Dolphy, truly superb.

Gralsa

An excellent, detailed remastering and pressing of this, one of Coltrane's perhaps under-sung gems. Of note, the back of the jacket is a reproduction of the 'Stereo' version, as are the labels on the vinyl. The jacket front is [correctly] a reproduction of the 'Mono' version. This version *is* mono, not stereo, so don't be mislead by the apparent lack of info/disclosure from ORG Music. That being said, I love mono recordings from this era and am not at all disappointed that this record is. It sounds great. Open, detailed, warm & refined. And it's sonic virtues become even more apparent as the gain on the hi-fi is increased. The only other version I have to compare it to is a recent issue 33-rpm stereo European pressing, which also sounds great. The stereo does provide a bit more spacious soundstage and has very nice detail. I give the edge to the ORG Music 45-rpm mono however. Soundscape may be not quite as wide open but, to my ears, it's more refined, cohesive and natural sounding, and with just as much punch.

Tinavio

mazing record

Kifer

I think the release year is 1989 (not 99). Please check it out. Thanks

Shakar

I also think this is 1989 release, it is the only date on cover and on cd, and it is mentioned in "John Coltrane: A Discography and Musical Biography" book by Yasuhiro Fujioka, which was released in 1995 (can be checked in google books)

Ventelone

Olé Coltrane was John Coltrane's final record for Atlantic. Better said, it was the final record that came out with his input and authorization. Atlantic went back to the Coltrane well several times in the years and decades after his death. They released an inordinate amount of (very good) music given how few actual dates he recorded for the label.Interestingly, Olé Coltrane was recorded two days after his first sessions for Impulse!, the ones that yielded the Africa/Brass material. The music could not have been more different.Coltrane brought a smaller group to the Olé sessions: Coltrane on alto and soprano saxophone; McCoy Tyner on piano; Elvin Jones on drums; Art Davis and Reggie Workman on bass; Eric Dolphy on flute and sax and Freddie Hubbard on trumpet.There were only three tracks on the original issue, the side-spanning title track, Coltrane's own "Dahomey Dance" and a McCoy Tyner composition, "Aisha". The 2000 reissue includes the Billy Frazier piece, "Original Untitled Ballad (To Her Ladyship).""Olé" suffers a bit from the length imposed on it; the track comes off the rails a bit as it approaches the 18-minute mark. It might be fair to conclude that Coltrane had already recognized that Impulse! would be a more welcoming home for what he wanted to do and did not want to devote too many of his compositions to this record (which could also be the reason for the inclusion of the Frazier and Tyner tracks on the date).1961 was a phenomenal year of growth for Coltrane and his bandmates. In that context, Olé Coltrane is deserving of a place in any jazz library. Not essential but not too bad for a contractual obligation record.

The Rollers of Vildar

Thinking about it - what an amazing cast of All-Star calibre!

Cetnan

Some of the information seems to be inaccurate.1. George Lane is not used as a name for Eric Dolphy on this recording, as far as I can see from the following text.2. Art Davis and Reggie Workman plays both on tracks 1 and 2. On track 3 only Reggie Workman, on track 4 only Art Davis.3. Eric Dolphy plays alto sax on tracks 2 and 3.

Narim

Superb! a must have for Jazz lovers!

OTANO

This is one of the greates masterpieces of jazz i've ever heart. I find it remarkable that now one has ever wrote a reviewe about this one. Despite some big names gracing it ("Giant Steps," "My Favorite Things"), Coltrane's Atlantic discography sometimes gets overlooked. "Ole," released in 1961, is one of Coltrane's better, if often overlooked, Atlantic releases. The title tune allows Coltrane to unleash his power, which emerges in a searing soprano solo that I can never listen to without getting completely swept up. Coltrane used the two-bass drone (Reggie Workman and Art Davis), over which all the players soar, including Dolphy (disguised on the original release as "George Lane" because of contractual problems), who again displays his prowess on flute. This masterpiece is a must have for all people with a special ear for good jazz