A Lost (and Found) John Coltrane Recording, and More New Songs

The most powerful live recording John Coltrane has ever made, one that seems to capture his locomotive shape-shifting power at full speed and without limits, was recorded at the Village Van in the fall of 1961. It was played over a long period of time in the guard. Write complex Fibonacci-like harmonic patterns. Having studied the spiritual music of India and Africa in particular, he doubled down on his obsession with structural simplicity. Soon, he would be assembling the line-up we now know as his classic quartet. You can hear all of that happening in these Vanguard recordings. He’s moving quickly, unburdening the past, trying out new lineups, and reshaping his repertoire in real time.

But this was an ongoing process. There is always a backstory. And this week is Impulse! Records announced a July release of an album of newly discovered recordings Coltrane recorded at Village Gate, just a few blocks from the Vanguard, two months before the show.

There are some big headlines here. For starters, the album contains the only known live capture of Coltrane performing his own composition, “Africa.” But the big draw is that visionary multi-lead player Eric Dolphy, who played a key role in Coltrane’s musical development and appeared on the Vanguard tapes, plays almost as important a role here as the bandleader. It means that it is fulfilling. In the 10-minute version of Coltrane’s “Impressions”, the album’s lead single, Dolphy’s bass clarinet overlaps McCoy Tyner’s piano as Coltrane plays it. A melody inspired by “Pavanne”, then both horn players perform a spiraling, smoky solo that draws smoke from the song’s simple form. Drummer Elvin Jones and bassist Reggie Workman charge so hard they barely have time to swing.Giovanni Russonero

Mexican songwriter Peso Pulma continues his collaboration with hitmaker Argentinian electronic music producer Bizarup for audiences around the world. As Bizarup quantifies the acoustic sounds of the Mexican region: brass band syncopations and trombones, bajosexto’s slapping basslines, and taut Mexican guitar solos, he’s shunned, drunk, and rebounding. Or sing about flaunting his Philippe watch with a flashy Patek. — on a computerized track. Peso Pluma’s growl also seems to have his Auto-Tune added. Near the end, Bizarrap plays some chords from his EDM synthesizer, suggesting that his club track is complete with just a remix.John Pareles

It’s a cowbell-driven critique of dystopian social media dynamics from the soundtrack to HBO’s new show, The Idol. Over his track of sleek, minimal funk, The Weeknd sings, “Kill anyone to be popular/Sell your soul to be popular.” He enlisted the ultimate celebrity-savvy pop star, Madonna, to have backup. “My life has been spent running away from your flashing lights,” she claims. “You can’t take my soul.” Not everyone is in this predicament, but The Weeknd bet listeners care about it.parel

Ty Dolla $ign finds a new groove on breezy, house-inspired single “Motion,” driven by looped piano and a thumping beat. On a summery track produced by Will Larsen and Striff, he sings lightheartedly, “Something takes over when you’re dancing.” “The surrounding bodies were swept up in the waves.” Lindsey Zoraz

“Hard to Be a Human” is off Betty Lovett’s upcoming album, LaVette!, out June 16. A collection of songs by Randall Bramblett. Lovett sings about humanity as a flawed creation. He sings, “You have to stop and wonder/Baby, why were you born?” . Every time her voice cracks or breaks, she also sounds like she’s overcome an obstacle.parel

High Pulp is a Los Angeles collective that originated in Seattle, fusing jazz, funk, math rock and indie rock. The third album is “Days in the Desert” which will be released on July 28th. On the musically time-shifting fusion track “Dartmouth,” he plunges into a minimal cycle with breath and vigor, enlisting the help of saxophonist James Brandon Lewis. , sprinting, stop-and-start human presence disrupts the systematic composition.parel

Canadian songwriter Hannah Georgius rouses herself to delve into her own insecurities, fight them, and confront someone who can “disrespect me lightly.” She doesn’t want a rupture. Understated folk As her work soars from her rock strums to big harmonious choruses, she just hopes to clear the air by being honest. Then she said, “I can love you more.”parel

Chicago singer-songwriter Claude says on this gentle, quiet acoustic tune from July’s Supermodels, “I can feel the little things piling up. I feel,” he muttered. Gently shrugging Register reminds us of Clyro, and Claude uses they/them pronouns to vividly stack snapshots of a stagnant relationship. But at the end they sing with a resigned sigh, “I do it for you, I do it for you, whatever you want.”Zoraz

Most of the songs that jazz-loving Mexican songwriter Silvana Estrada released on her Marquita and Abraso EPs in 2022 were sparse and pensive. “Milagro y Desastre” (“Miracles and Disasters”) begins in the same spirit, with simple keyboard chords and the possibility that “no one dares to save himself.” But along the way, she finds her companion. She decided to stay with someone until morning. She joins her ever-growing string ensemble, enhanced by traditional beats and vocal harmonies. Repeating her title sounds like she is content and ready to face miracles and disasters.parel

Guitarists Steve Gunn and Bill Nace and drummer John Truszynski, improvisers who have made their way in various ensembles, produced the trio’s instrumental album Glass Band. It will be released in July. The work includes the rolling, less-than-ambient song “On Lamp,” through a stereo dialogue of syncopated acoustic guitars and understated tom-toms, in which a wandering slow-motion melody traverses a distant caravan. It flows like a glimpse.parel

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