(Reprinted from the September 2021 issue of New York City Jazz Record)
In the mid-1970s, Alice Coltrane—then a keeper of her late husband John’s legacy—began to remove herself from the hectic world of touring and recording, instead delving ever more deeply into the contemplative philosophies of Eastern spiritual traditions. By the early 1980s, she had changed her name to Turiyasangitananda and founded an ashram at The Vedantic Center, northwest of Los Angeles. Rough recordings from that time, never widely distributed, reveal that her music had changed, too.
In July, Impulse! Records/UMe released Kirtan: Turiya Sings, a 1981 recording of Alice on just Wurlitzer organ and voice—a first-ever such combination for the prolific multi-instrumentalist. Both John and Alice had released early seminal recordings on Impulse!, so it’s fitting that the legendary label would include this long-forgotten collection as part of its 60th anniversary celebration this year. Both of the Coltranes created musical worlds outside of Impulse!, but it’s hard to imagine the label without their all-important contributions.
On the album’s nine tracks, Alice sings in Sanskrit, her voice reverential and chant-like as the organ holds blues and gospel chords underneath. On cuts like “Jai Ramachandra” and “Rama Katha” she uses simple repetition to create mood and wide spaces to generate tension; she doesn’t move until the right moment arrives. Though you can hear references to both American roots music (“Charanam”) and European classical (“Yamuna Tira Vihari”) in these meditative pieces, she doesn’t improvise or ornament any of the passionately phrased lines in expected ways—the focus remains on the mantram, as fit Alice’s devotion. The purpose of this music is “to praise the name of the Supreme”, writes saxophonist Ravi Coltrane, Alice and John’s son. “On this album, your heart and spirit will be turned toward divine inspiration and appreciation.”
The Coltrane album isn’t the only new historic release now on offer. This summer, BMG/ Montreux Sounds started releasing two-disc, live recordings of iconic singers who played the Montreux Jazz Festival over the years, each release a part of the label’s massive UNESCO-cited heritage collection. The first, Nina Simone: The Montreux Years, presents Simone’s full program from her first Montreux performance in 1968 and culls tunes from her subsequent four, 1976 through 1990. Schooled at Juilliard, Nina Simone didn’t like playing festivals much, but she used their spotlight to her advantage. Hear the 1976 version of “Little Girl Blue”, with its altered lyrics about liberation, and Langston Hughes’ searing words on “Backlash Blues.”
The second release from the series, Etta James: The Montreux Years, chronicles Etta James’ first European concert in 1975, and her five festival concerts from 1977 to 1993. The high-octane blues singer, backed by rock and jazz heavyweights of the day like pianist Rick Wakeman and saxophonist David Newman, sets the ear aflame with tunes like “Breakin’ Up Somebody’s Home” and “Tell Mama”—James’ voice is simply irrepressible in these live performances. (The next two installments, one featuring Marianne Faithfull and the other Muddy Waters, drop on Sept. 17.)
Grammy-winning singer Ledisi recreates some of Simone’s most powerful musical statements on Ledisi Sings Nina (Listen Back). These seven tracks pull the activist-singer’s message into current musical parlance, integrating a large-ensemble sound with a modern R&B sensibility. Ledisi, who credits Simone’s music with lifting her out of a debilitating depression, sings full throttle, in contrast with Simone’s low-growling contralto. These two emotional powerhouses share a talent, though: the ability to slay with a song.
Not all historic recordings are newly found, but when they are, what a joy. Sony Music’s Sarah Vaughan Live at the Berlin Philharmonie 1969: The Lost Recordings has Vaughan still at her interpretive best on standards and pop tunes of the day by Burt Bacharach, the Beatles and Jimmy Webb. And this month Capri Records will release Sheila Jordan’s Comes Love: Lost Session 1960, recorded at New York’s Olmsted Sound Studios for the now-forgotten Chatam Records. The names of the players in the trio remain lost, but Jordan’s innate bop perspicacity and confident charm are unmistakable. This record, predating Jordan’s 1963 debut on Blue Note, is now her first known album.
As more performance spaces reopen and gigs return, it’s important to turn out. Catch Kurt Elling and Jazzmeia Horn honoring Jon Hendricks’ legacy at Dizzy's Sept. 9-12; Cecile McLorin Salvant at Town Hall on Sept. 20; Gregory Porter at NJPAC on Sept. 24 and Duchess at Birdland on Sept. 30.