In July 1966, a year before his far-too-early death at age 40, John Coltrane and his quintet toured Japan amid a period of American turmoil. The escalation of the Vietnam War, riots at Watts in Los Angeles the prior summer, the assassination of Malcolm X earlier in 1965, and the much else marked the period. In jazz, a tumult was at hand, as well, as so-called "free" jazz arose to the consternation of critics and the horror of traditionalists, while the rise of rock, soul and R&B music were of great concern, as well.
For John Coltrane, who released his masterpiece, A Love Supreme, at the dawn of 1965 and who was one of the most popular jazz musician of his era, his relentless search for expression led him to move further away from more standard forms of harmony, rhythm and melody. Later that year, he recorded the astounding Ascension, which confounded many fans, as well as critics, but which is a powerful testament to his current musical calling and evocative of Ornette Coleman's large-ensemble masterwork, Free Jazz, from five years earlier.
Towards the end of the year, Coltrane recorded Meditations, which may be seen as an extension of A Love Supreme, but in a far more intense, open and relentlessly searching manner, with the softer "Love" and "Serenity" contrasted with such searing performances as the awesome "The Father, The Son and The Holy Ghost" and the excoriating "Consequences." 1965 was also the year when his famed Classic Quartet with pianist McCoy Tyner, drummer Elvin Jones and bassist Jimmy Garrison was pushed to its limits and then dissolved.
Jones was the first to go, unable to accept the changes that affected his inimitable style, while Tyner was increasingly concerned, as well, about his place and departed not long after. Garrison remained as the solid grounding force of what was expanding mightily in sound, thanks to the continued presence of Pharoah Sanders and his shrieking and keening saxophone playing juxtaposed to the leader's performances and the additions of Coltrane's wife, Alice, and her stunning exploratory piano work, very different from that of Tyner, and drummer Rashied Ali, whose work fit in extremely well with the new direction.
Recorded at a pair of Tokyo dates on 11 and 22 July, the four-disc Live in Japan (only one disc of which was previously released in 1973 as a double LP) tests the limits of the listener on every level. First, the shortest of the half-dozen pieces on three discs is 25 minutes with the longest approaching an hour. Those used to hearing symphonies or Indian ragas, for example, may have no issue with this at all, but it is more the sonic openness and freedom that is, perhaps, the greater challenge. As noted above, typical ideas of melodic expression, rhythmic underpinnings and harmony among the ensemble are deconstructed and refashioned.
The sheer intensity and power of these performances can be overwhelming, even though there are moments of calm and reflection, and coruscating solos, filled with microphonics and overtones, by Coltrane and Sanders are countered by the expansive, shimmering and swirling solos of Alice Coltrane. Garrison, as always, holds down the bottom with precision and power and, for those who take the time to list, solos to open "Crescent" with innovation and invention. Ali's endurance is truly remarkable as he makes incredible use of his kit through these lengthy and dense pieces and his solo on "Leo" is awesome.
The two versions of "Peace on Earth" are the most ballad-like and especially powerful given the war in Vietnam and the fact that it was just two decades after America's atomic bomb attacks on Japan. "Leo" is especially intense and any expectation (as with 1966's Live at the Village Vanguard Again) that the signature "My Favorite Things" will be anything like the hit 1960 recorded version is soon dashed by the complete reworking of the standard.
This was purchased new in 1991 and memories are very clear of sitting on an apartment balcony and taking this in through several dedicated listening sessions. Coltrane was a near-obsession, starting the prior year with, of course, the My Favorite Things record but including his freer work, and Live in Japan is perhaps the most daunting listening experience on multiple levels, but highly rewarding at the end of some four hours of among the most intense and immersive music out there (and "out there" is meant literally!)
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