Alice Coltrane
Ptah, the El Daoud

THE REVIEW

The archaic cover is already a first warning of the aura of mystery that envelops the music born from this session. Alice Coltrane, a high-level pianist and harpist, had already explored the most improbable and extreme realms of jazz alongside her partner John; in the quest to transcend all canons and in the various attempts to transcend, Alice was a faithful companion, after McCoy Tyner's departure, to a John Coltrane determined to elevate jazz to spiritual music. Grounding the foundations of this musical quest in Free-jazz, the maestro of the tenor sax created some unforgettable sessions like "Expression" and a quantity of material that would be retrieved by Impulse even after his death.

"Ptah the El Daoud" is the third work of the pianist, partner of a jazz genius who, having passed to a better life, left her an inheritance not only of the musical experience accumulated over years of collaboration but also an exceptional tenorist like Pharoah Sanders, who contributed to making some of Coltrane's sessions so exciting and full of charm. Accompanying her is a quartet that needs no introduction; besides the aforementioned Sanders (tenor sax, alto flute), Joe Henderson (tenor sax, alto flute), Ron Carter (bass), Ben Riley (drums).

 The sonic excursions of the two tenorists often take on haunting and dramatic tones, delving into free in the title track and especially in the very long "Mantra"; Coltrane's arpeggios accompany the beautiful and mysterious "Blue Nile" performed by the flutes of Sanders and Henderson.

But it is above all when she wants to be the absolute protagonist on the piano that the lady gives her best, doing so by creating "Turiya and Ramakrishna," a true gem of the album in 8:19 minutes of pure sonic enjoyment; an irresistible and fascinating "ballad" where the experiments that characterize the rest of the session are put aside for a more traditional progress that still manages to be original thanks to the musician's skill in creating emotions through her phrases; Ron Carter does his work with dignity, essential but intense in the bass solo, providing fundamental support to the success of this performance. An album that can be appreciated from the first to the last note, to be listened to while keeping any kind of prejudice, doubt, or fear of tackling the listening of difficult and not easily assimilated music away; The only thing I can suggest is to listen carefully to "Mantra," to grasp every nuance. A beautiful record that will offer more than a few emotions to lovers of the genre, intense and mysterious, at times unsettling... in a word, ingenious.