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Description

In 1964, the National Film Board of Canada asked John Coltrane to record the soundtrack for a French-language film titled "Le chat dans le sac" ("The Cat in the Bag"). In June of that year, Coltrane''s `Classic Quartet'' entered Rudy Van Gelder''s studio and recorded five previously-recorded Coltrane originals. For many years, viewers of the film who recognized the music thought that they were listening to the original recordings, though in fact they were new and had never been heard.

Track Listings

1 Naima (Take 1) (4:34)
2 Village Blues (Take 2) (3:41)
3 Blue World (6:08)
4 Village Blues (Take 1) (3:51)
5 Village Blues (Take 3) (3:45)
6 Like Sonny (2:43)
7 Traneing In (7:42)
8 Naima (Take 2) (4:10)

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4.7 out of 54.7 out of 5
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Top reviews from the United States

Stuart JeffersonTop Contributor: The Beatles
4.0 out of 5 starsVerified Purchase
COLTRANE UPDATES SOME OLDER MATERIAL IN THIS RARE SET OF RECORDINGS.
Reviewed in the United States on September 28, 2019
"OK I get it, I know what you want." Coltrane to filmmaker Groulx. This is an unknown (to all but a very few people) set of recordings from ''64 for use in the movie "Le chat dans le sac", by Canadian filmmaker Gilles Groulx. Groulx was a jazz lover and... See more
"OK I get it, I know what you want." Coltrane to filmmaker Groulx.

This is an unknown (to all but a very few people) set of recordings from ''64 for use in the movie "Le chat dans le sac", by Canadian filmmaker Gilles Groulx. Groulx was a jazz lover and wanted Coltrane''s music as the film score. On talking with Coltrane they decided on the music. Instead of original compositions, Coltrane and his "classic quartet", with McCoy Tyner-piano Jimmy Garrison-bass, and Elvin Jones-drums, recorded slightly different versions of older recordings--without Coltrane ever seeing the film before he recorded.

Coltrane rarely looked back, as he had so many ideas for his music as it progressed and evolved. Its important to remember in 1964 he also recorded the albums "Crescent" and "A Love Supreme", albums far away from this set of tunes. In one afternoon in Rudy Van Gelder''s studio the group recorded these eight tracks, with the filmmaker in attendance, who was given the tape and that was it. In the movie the only tracks heard (either complete or partially) are "Naima (Take 1)", "Village Blues (Take 2)", and "Blue World" (inspired from the Harold Arlen tune "Out Of This World"), which are tracks 1-3 on this album.

But takes 1 and 3 of "Village Blues", while still sticking to the melody, do have musical interest making these tracks worthwhile. Likewise Take 2 of "Naima" is also worth hearing simply because its one of Coltrane''s most beautiful compositions. "Like Sonny" and "Traneing In" have worthwhile moments too and give an added feel to this session. This is one of those rare instances where Coltrane looked back to older recordings, and with his great band, slightly reinterpreted these tunes. And while this set of tunes doesn''t have the electricity of the group playing new music--more of a workmanlike feel--it is Coltrane and his (I feel) best band.

The mono sound is from the original 1/4" tape and actually sounds very good from this source. There''s a slight loss of dynamics due to the 1/4" tape plus being in mono compared to stereo tapes from this same period. But it is a chance to hear this great band on unknown recordings, and this set is another interesting piece of the Coltrane musical puzzle from one of his best musical periods. Is this the place to start if Coltrane''s music is new to you? No. For that go to his albums on the Atlantic label, and then his Impulse label albums.

The disc slips into a pocket in the four-fold cardboard package. The 10 page booklet, has a good essay on the period, the music, plus recording details and a few atmospheric photos in collage form, which also fits into its own pocket. This isn''t a lengthy album--somewhere around 37 minutes in length. Even at this short duration, Coltrane fans who want to hear everything he recorded will probably want to add this to their shelf of his music.
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Jacob Hedgecoth
5.0 out of 5 starsVerified Purchase
A New Shine on Some Old Gems
Reviewed in the United States on September 27, 2019
Coming shortly on the heels of the remarkable "Both Directions at Once", "Blue World" offers another fresh dose of John Coltrane''s classic quartet, although it may be even more surprising in a sense than its predecessor. The prospect of a revisiting of older... See more
Coming shortly on the heels of the remarkable "Both Directions at Once", "Blue World" offers another fresh dose of John Coltrane''s classic quartet, although it may be even more surprising in a sense than its predecessor.

The prospect of a revisiting of older songs in Coltrane''s repertoire at a time as he was truly ascending to the apex of personal expression is fascinating. He is well documented as being a man who did not look back in his artistic journey, so these recordings don''t really represent that in any practical sense. As the liner notes state, there was a specific reason these songs were chosen, and their brevity alone excludes them from being as explosive as the group''s live performances were at the time. But the songs being brief is not a bad thing in this case. It shows that Coltrane was not a musician who had lost the ability to make a direct statement. One writer has said that Trane''s lengthy solos became novels where most artists strove to make a solo like a perfect little poem. These recordings show that he had lost no poetic ability whatsoever, and they are potent because of that.

It is, however, a bit disappointing that the album is so short, with multiple takes of "Village Blues" and "Naima" filling out the runtime. Regardless, I would say that each song is an improvement in the overall feel over each original studio track ("Naima" and "Blue World" being the possible exceptions). To hear the speedy piano run McCoy Tyner plays in the intro of take two of "Village Blues" (track two on the CD) would delight all but the tone deaf. "Like Sonny" is very short, but far more spirited than the original version, and features Coltrane playing in a far bluesier fashion than he did originally. His control and personal command of music is evident in many places here, but especially so in his solos on the versions of "Village Blues", with some beautifully subtle and inventive note choices. Elvin Jones comps along wonderfully throughout, a genius of percussion as always, never lacking in taste, creativity, or bombast as needed. His ending to "Blue World" is fierce and brilliant, a contender for most memorable moment of the whole album.

It has been mentioned in some pre-release reviews how the bass is extremely prominent in this record, and that is something to be thankful for. This is perhaps the best showcase of Jimmy Garrison''s talent I''ve heard. In fact, I think it should lead to a reappraisal of the man I believe to be the overlooked and underrated heart of the great quartet. His playing on each song is creative, and truly lithe, for lack of a better word. The recordings are significantly "boomy" for the bass presence, but I think this album and "Both Directions at Once" are some of the most "ear-pleasing" Coltrane releases ever. Admittedly, I also love the scruffy, bootleg quality of the European concert releases out there of this group; but any flaws in each of these recent album just make the music seem as a spiritual being, straining to escape containment in an earthly prison.

As such, Coltrane''s art should ever be. I can''t personally rank "Blue World" as highly as I did "Both Directions", due mostly to the brevity, but it is no less beautiful, and no less a new glimpse of true musical mastery. It might even be the best album ever assembled to introduce a newcomer to this remarkable group, accessible like "Ballads" was, but far more evident of the power that was at their collective command.
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Somebody of no consequenceTop Contributor: Blues Music
4.0 out of 5 starsVerified Purchase
Worthy of your Coltrane collection
Reviewed in the United States on March 19, 2020
Let''s start with the basic point that reviewing a Coltrane archival discovery is difficult. This is John Coltrane. If you are reading this, that alone says something important. 1964 Coltrane. You already know a lot of what you are getting, and as I write this review,... See more
Let''s start with the basic point that reviewing a Coltrane archival discovery is difficult. This is John Coltrane. If you are reading this, that alone says something important. 1964 Coltrane. You already know a lot of what you are getting, and as I write this review, the date is just shortly after the passing of McCoy Tyner. Listening to Coltrane and Tyner together means you are going to get something special. So how does one review this? Very differently from anything else. It''s like uncovering a previously unknown Shakespearean sonnet, or Leonardo da Vinci sketch. This is John Coltrane, 1964, with McCoy Tyner. The scale is just different. This is not A Love Supreme, but nothing is A Love Supreme.

If you are looking at Blue World and asking yourself, how many versions of Naima you need, that''s understandable. These are not sketches. These are not bum takes, unearthed by someone trying to make a quick buck off of Coltrane''s name. This is an interesting listen, and Coltrane didn''t phone it in. This is a collection for a serious fan, and a scholar, who wants to hear the breadth of ideas that the man had, and his capacity to play, fully, even when running through pieces that were, to him, standards. That''s a serious artist. That''s commitment. That''s Coltrane.

The collection itself gives you the bleeps and bloops of studio noise as the producer chats with John and introduces the takes. I could do without that, but it does at least present Blue World as what it is, rather than a long lost album. So, points for realism, I suppose, even if the noises can be a little irritating. The sound quality, though, is about as good as we can expect.

When you feel like you want a 64 Coltrane album, are you likely to reach for Blue World? Maybe not. But, that''s not really a necessary standard. This was a critical period for the quartet. In 65, Coltrane''s sound started to transition, and by 66, he was deep into some very challenging material that, if I''m honest, doesn''t really do it for me the way this period does. This isn''t just Coltrane playing his heart out, this is Tyner at his sympathetic best, with the best bass/drums combo in the business. You may not want to reach for Blue World as your go-to 64 Coltrane album, but as a Coltrane fan, you should hear it and appreciate it.
4 people found this helpful
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corbin johnston
3.0 out of 5 starsVerified Purchase
Only 37 minutes of music!
Reviewed in the United States on October 1, 2019
With only 37 minutes of music, and somewhat boxy sound, this set is for completists only.
11 people found this helpful
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Paul Jackson
5.0 out of 5 starsVerified Purchase
John Coltrane lives
Reviewed in the United States on October 14, 2019
If you love Coltrane... get it!
3 people found this helpful
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Rita
4.0 out of 5 starsVerified Purchase
Made in Mexico
Reviewed in the United States on October 5, 2019
Giving as a gift. I didn''t realize it was made in Mexico when I ordered it. Kind of pricy considering that fact. It was shipped timely.
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Eric
5.0 out of 5 starsVerified Purchase
Once again Coltrane delivers
Reviewed in the United States on July 23, 2020
This is a near-forgotten treasure. It features songs most know from an earlier period of Coltrane''s music, but here played by the great quartet. It''s also great to hear Coltrane play "Like Sonny" and "Traneing In" at this later stage of his development. This is a collection... See more
This is a near-forgotten treasure. It features songs most know from an earlier period of Coltrane''s music, but here played by the great quartet. It''s also great to hear Coltrane play "Like Sonny" and "Traneing In" at this later stage of his development. This is a collection the Coltrane lover with want to aquire.
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Juan E. Sanchez
5.0 out of 5 starsVerified Purchase
Repeated Listening
Reviewed in the United States on January 3, 2020
This is a very short program but a unique addition to my John Coltrane collection. The never heard titles alone are worth having it. I haven’t taken the CD out of my player yet. Repeated endless listening. I can’t seem to have enough of it.
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Top reviews from other countries

ian mcintosh
2.0 out of 5 starsVerified Purchase
Hardly essential
Reviewed in the United Kingdom on October 20, 2019
Some great stuff here obviously, given the line up, but the brief highlights are not enough to make this essential listening. 3 versions of ''Village Blues'' on such a short album is overkill, one version of this rather underwhelming track would have more than sufficed, but...See more
Some great stuff here obviously, given the line up, but the brief highlights are not enough to make this essential listening. 3 versions of ''Village Blues'' on such a short album is overkill, one version of this rather underwhelming track would have more than sufficed, but then I guess the album would have been even shorter, too short to put out I guess. If you are a Coltrane fan you, like me, you will not be able to resist buying it. You will probably listen a few times then file it away in your collection and maybe a few years down the line you will give it whirl, maybe.
Some great stuff here obviously, given the line up, but the brief highlights are not enough to make this essential listening. 3 versions of ''Village Blues'' on such a short album is overkill, one version of this rather underwhelming track would have more than sufficed, but then I guess the album would have been even shorter, too short to put out I guess. If you are a Coltrane fan you, like me, you will not be able to resist buying it. You will probably listen a few times then file it away in your collection and maybe a few years down the line you will give it whirl, maybe.
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Gerhard Mersmann
5.0 out of 5 starsVerified Purchase
Der französische Film und der amerikanische Jazz
Reviewed in Germany on September 27, 2019
Der französischsprachige Film der 1960iger Jahre sorgt dafür, dass die herausragenden Akteure des Modern Jazz aus den USA noch einmal mit bisher nicht vermarkteten Aufnahmen zu uns kommen, die an Qualität die Tür zu einer damals kaum bewusst wahrgenommenen neuen Qualität...See more
Der französischsprachige Film der 1960iger Jahre sorgt dafür, dass die herausragenden Akteure des Modern Jazz aus den USA noch einmal mit bisher nicht vermarkteten Aufnahmen zu uns kommen, die an Qualität die Tür zu einer damals kaum bewusst wahrgenommenen neuen Qualität aufstoßen. Die Filmmusik von Miles Davis zu „Ascenseur pour l''échafaud“ (Fahrstuhl zum Schafott) fällt insofern aus dem Rahmen, als dass die Aufnahmen 1968 entstammten, quasi als letzte Sequenz anzusehen sind und sofort als eines seiner großen, bis heute unerreichten Werke beschrieb. In jüngster Zeit gesellten sich zu diesem bekannten Werk noch zwei dazu, die allein beim Hören gewahr werden lassen, wie sphärisch und reflektiert es im französischen Underground Film der Sechziger Jahre zuging. Vor nicht allzu langer Zeit erschienen Thelonious Monks Einspielungen zu „Les liaisons dangereuses“ (Gefährliche Liebschaften, 1960), die das Spektrum dessen, was von ihm bekannt war, noch einmal um eine weitere inspirierende Note erweiterten. Und nun, 2019, gesellen sich die Aufnahmen John Coltranes zu dem franco-kanadischen Film „Le chat dans le sac“ (Die Katze im Sack, 1964) hinzu. Insofern haben wir nun die großen Revolutionäre des amerikanischen Modern Jazz als Filmmusiker beisammen: Miles Davis, Thelonious Monk und John Coltrane. Dass die Untermalung eines Filmes um eine junge Beziehung, der im Montreal der Sechziger Jahre spielt mit John Coltranes Titel Naima beginnt, zeigt, wie auch die filmische Avantgarde ihre spirituellen Eingebungen aus dem zeitgenössischen Jazz speiste. Naima selbst ist aus heutiger Sicht ein Titel, dem eine eigene Rezeptionsgeschichte gebührt. Coltrane komponierte ihn für seine erste Frau, er gehört bis heute zu den in bestimmten amourösen Situationen am meisten gespielten Titeln und reicht bis zur Namensgebung für die Tochter eines deutschen Schauspielers. Auf der hier und jetzt neu vorliegenden Aufnahme von Coltranes Label Impulse ist das Stück mit zwei Aufnahmetakes vertreten und, wie sollte es anders sein, beide Versionen überzeugen, weil ein anscheinend gut gelaunter Coltrane allein durch seinen legendären, für ihn immer noch so eigenen, nie mehr erreichten Ton eine Sphäre schafft, die das vegetative Nervensystem der Hörenden in Wallungen bringt. Die anderen Titel, die den Film untermalend und akzentuierend bereichern, sind Village Blues, Blue World, Like Sonny und Traneing In. Keines dieser Stücke ist obsolet, alles ist stimmig, es wird beim Hören deutlich, dass sich niemand bei diesen Aufnahmen gedacht hat, es handele sich ausschließlich um schnell verdiente, immer so bitter nötige Dollars. Die Produktion fand in den legendären Rudy van Gelder Studios statt und Coltrane spielte zusammen mit großartigen Musikern wie McCoy Tyner, Jimmy Garrison und Elvin Jones. Das Ergebnis liegt vor, das Einzige, was zu bedauern ist, dass noch niemand auf die Idee gekommen ist, die CDs aller drei genannten Akteure zusammen mit den jeweiligen Filmen zu veröffentlichen oder gar alle drei in ein Paket zu schnüren. Das wäre eine großartige Aktion, die der zwar kurzen, aber kulturhistorisch markanten Epoche einer franco-amerikanischen Kooperation die Aufmerksamkeit schenkte, die sie verdient. In den USA sind diese Projekte übrigens bis heute nahezu unbemerkt und die Rolle des französischen Films wird nahezu ignoriert. Was bleibt, ist, John Coltranes Blue World zu empfehlen, weil es sich um großartige Aufnahmen handelt. Aber, wer Coltrane erst noch empfehlen muss, der hat schon verloren.
Der französischsprachige Film der 1960iger Jahre sorgt dafür, dass die herausragenden Akteure des Modern Jazz aus den USA noch einmal mit bisher nicht vermarkteten Aufnahmen zu uns kommen, die an Qualität die Tür zu einer damals kaum bewusst wahrgenommenen neuen Qualität aufstoßen. Die Filmmusik von Miles Davis zu „Ascenseur pour l''échafaud“ (Fahrstuhl zum Schafott) fällt insofern aus dem Rahmen, als dass die Aufnahmen 1968 entstammten, quasi als letzte Sequenz anzusehen sind und sofort als eines seiner großen, bis heute unerreichten Werke beschrieb.

In jüngster Zeit gesellten sich zu diesem bekannten Werk noch zwei dazu, die allein beim Hören gewahr werden lassen, wie sphärisch und reflektiert es im französischen Underground Film der Sechziger Jahre zuging. Vor nicht allzu langer Zeit erschienen Thelonious Monks Einspielungen zu „Les liaisons dangereuses“ (Gefährliche Liebschaften, 1960), die das Spektrum dessen, was von ihm bekannt war, noch einmal um eine weitere inspirierende Note erweiterten.

Und nun, 2019, gesellen sich die Aufnahmen John Coltranes zu dem franco-kanadischen Film „Le chat dans le sac“ (Die Katze im Sack, 1964) hinzu. Insofern haben wir nun die großen Revolutionäre des amerikanischen Modern Jazz als Filmmusiker beisammen: Miles Davis, Thelonious Monk und John Coltrane.

Dass die Untermalung eines Filmes um eine junge Beziehung, der im Montreal der Sechziger Jahre spielt mit John Coltranes Titel Naima beginnt, zeigt, wie auch die filmische Avantgarde ihre spirituellen Eingebungen aus dem zeitgenössischen Jazz speiste. Naima selbst ist aus heutiger Sicht ein Titel, dem eine eigene Rezeptionsgeschichte gebührt. Coltrane komponierte ihn für seine erste Frau, er gehört bis heute zu den in bestimmten amourösen Situationen am meisten gespielten Titeln und reicht bis zur Namensgebung für die Tochter eines deutschen Schauspielers. Auf der hier und jetzt neu vorliegenden Aufnahme von Coltranes Label Impulse ist das Stück mit zwei Aufnahmetakes vertreten und, wie sollte es anders sein, beide Versionen überzeugen, weil ein anscheinend gut gelaunter Coltrane allein durch seinen legendären, für ihn immer noch so eigenen, nie mehr erreichten Ton eine Sphäre schafft, die das vegetative Nervensystem der Hörenden in Wallungen bringt.

Die anderen Titel, die den Film untermalend und akzentuierend bereichern, sind Village Blues, Blue World, Like Sonny und Traneing In. Keines dieser Stücke ist obsolet, alles ist stimmig, es wird beim Hören deutlich, dass sich niemand bei diesen Aufnahmen gedacht hat, es handele sich ausschließlich um schnell verdiente, immer so bitter nötige Dollars. Die Produktion fand in den legendären Rudy van Gelder Studios statt und Coltrane spielte zusammen mit großartigen Musikern wie McCoy Tyner, Jimmy Garrison und Elvin Jones.

Das Ergebnis liegt vor, das Einzige, was zu bedauern ist, dass noch niemand auf die Idee gekommen ist, die CDs aller drei genannten Akteure zusammen mit den jeweiligen Filmen zu veröffentlichen oder gar alle drei in ein Paket zu schnüren. Das wäre eine großartige Aktion, die der zwar kurzen, aber kulturhistorisch markanten Epoche einer franco-amerikanischen Kooperation die Aufmerksamkeit schenkte, die sie verdient. In den USA sind diese Projekte übrigens bis heute nahezu unbemerkt und die Rolle des französischen Films wird nahezu ignoriert.

Was bleibt, ist, John Coltranes Blue World zu empfehlen, weil es sich um großartige Aufnahmen handelt. Aber, wer Coltrane erst noch empfehlen muss, der hat schon verloren.
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c
2.0 out of 5 starsVerified Purchase
disappointing
Reviewed in the United Kingdom on July 7, 2020
I agree with what some other reviewers have said - three takes of what is a pretty straight forwards and underwhelming blues track is not very interesting, even given who is playing it. There are definitely some amazing moments, but very little new, and much that feels...See more
I agree with what some other reviewers have said - three takes of what is a pretty straight forwards and underwhelming blues track is not very interesting, even given who is playing it. There are definitely some amazing moments, but very little new, and much that feels superfluous.
I agree with what some other reviewers have said - three takes of what is a pretty straight forwards and underwhelming blues track is not very interesting, even given who is playing it. There are definitely some amazing moments, but very little new, and much that feels superfluous.
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Miguel
5.0 out of 5 starsVerified Purchase
An important addition
Reviewed in the United Kingdom on August 9, 2020
I am a fan of Coltrane. This album comes out of the blue literally in the manner it has been pieced together. Yet it is a memorable and thoughtful contribution - slightly more melodic in some aspects. If you are starting a Coltrane collection you would start elsewhere but I...See more
I am a fan of Coltrane. This album comes out of the blue literally in the manner it has been pieced together. Yet it is a memorable and thoughtful contribution - slightly more melodic in some aspects. If you are starting a Coltrane collection you would start elsewhere but I think this will begin to figure as a curious contribution.
I am a fan of Coltrane. This album comes out of the blue literally in the manner it has been pieced together. Yet it is a memorable and thoughtful contribution - slightly more melodic in some aspects. If you are starting a Coltrane collection you would start elsewhere but I think this will begin to figure as a curious contribution.
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Ms Marianna Dragu
5.0 out of 5 starsVerified Purchase
Does not disappoint
Reviewed in the United Kingdom on January 1, 2020
Blue world is great listening: and you left wanting more - more.
Blue world is great listening: and you left wanting more - more.
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