Alice Coltrane – Lord Of Lords - 1972 Spiritual Jazz - Original U.S. LP
Alice Coltrane – Lord Of Lords
Impulse! – AS-9224, ABC Records – AS-9224
Vinyl, LP, Album, Stereo
Record is VG++ has some light wear (listen to our copy)
Cover is VG+ VG++ has ring wear and punched hole in bottom left corner (see our pic)
Record comes in generic white inner sleeve
Gatefold jacket includes track times different from those printed on the center labels.
Track duration for this submission taken from center labels.
Free Jazz, Avant-garde Jazz
A1 Andromeda's Suffering 9:04
A2 Sri Rama Ohnedaruth 6:12
A3 Excerpts From The Firebird 5:43
B1 Lord Of Lords 11:17
B2 Going Home 10:02
Phonographic Copyright (p) – ABC Records, Inc.
Copyright (c) – ABC Records, Inc.
Recorded At – The Village Recorder
Mixed At – The Village Recorder
Pressed By – RCA Records Pressing Plant, Indianapolis
Bass – Charlie Haden
Cello – Anne Goodman, Edgar Lustgarten, Jan Kelly, Jerry Kessler, Jesse Ehrlich, Raphael Kramer, Ray Kelley
Drums, Percussion – Ben Riley
Engineer – Baker Bigsby
Harp, Piano, Organ, Timpani [Tympani], Percussion, Arranged By, Conductor – Alice Coltrane
Lacquer Cut By – T.S.
Producer – Ed Michel
Viola – David Schwartz, Leonard Selic, Marilyn Baker, Myra Kestenbaum, Rollice Dale, Samuel Boghosian
Violin – Bernard Kundell, Gerald Vinci, Gordon Marron, James Getzoff, Janice Gower, Leonard Malarsky, Lou Klass, Murray Adler, Nathan Kaproff, Ronald Folsom, Sidney Sharp, William Henderson
Produced by Ed Michel under the direction and inspiration of Alice Coltrane
Recorded and mixed at The Village Recorder, Los Angeles, from July 5 to July 13, 1972
Center labels mark sides as Side A and Side B.
Label variant: says "A Product of ABC Records Inc. © 1971"
Barcode and Other Identifiers
Matrix / Runout (Side A run-out): AS 9224 A RE1 I - Λ2 T.S.
Matrix / Runout (Side B run-out): AS 9224 B RE1 I - T.S. Λ1
"It isn’t fair to Alice’s work to speculate as to whether she was furthering John Coltrane’s legacy with Lord of Lords. None of the stuff John did in his brief but productive life suggests that he would have gone in this direction—and we’ll never know for sure. Density, however, was something he seemed to think a lot about toward the end of his life—witness The Olatunji Concert—and Lord of Lords is nothing if not dense. That’s mostly because the orchestra—at 25 instruments strong, way larger than any string group she’d recorded with before—exists to provide melody as much as texture. The violins, violas, and cellos work in unison, putting forth lines that smuggle in gospel phrasing, like a Duke Ellington composition but more abstract.
Lord of Lords consists of three searching, original compositions alongside two covers: “Going Home,” the spiritual based on a section of Dvorak’s “New World” Symphony, and “Excerpts From the Firebird,” which incorporates some of the melodies from Stravinsky’s suite. In the liner notes, Coltrane writes of “receiving a visitation from the great master composer,” nearly a year after his death in 1971. In the vision, Coltrane recalls, Stravinsky brought her a vial of clear liquid, which she drank. “Divine instruction,” Coltrane writes, “has been given to me throughout the entire arranging of this music.”
By the time she made Lord of Lords, Coltrane was moving away from jazz and heading toward a kind of spiritual music that used drones and chanting and lots of organ. She had recently traveled to India with her guru, Swami Satchidananda, and she was on her way to becoming a full-blown swamini herself. But she never entirely abandoned her roots. Coltrane was reared on gospel music in Detroit churches and mentored for a time by Bud Powell—and on Lord of Lords you can hear the vestiges of bebop in her fleet-fingered organ improvisations. Whether or not Coltrane’s influence extends into modern jazz, however, is harder to discern. Her music was, philosophically speaking, focused on the universality of being—a “totality concept,” as she called it—but it didn’t actually sound all that universal. Lord of Lords is an especially stark example of the single-mindedness—the oneness—of Coltrane’s vision." ( amazon)