Olé Coltrane

Two days prior to the recording of Olé Coltrane, Coltrane had made Africa/Brass, his inaugural recording session for his new label, Impulse! Records, at the Van Gelder Studio in Englewood Cliffs, New Jersey.Lewis Porter. John Coltrane: His Life and Music. Ann Arbor: The University of Michigan Press, 1999. {{ISBN|0-472-10161-7}}, p. 364. With one further album due his old label Atlantic, he brought in his working quintet along with two participants in the Africa/Brass sessions, Art Davis and Freddie Hubbard."Olé Coltrane. Rhino R2 79965, liner notes, pp. 2-4. Owing to his concurrent contract with Prestige Records, Eric Dolphy was listed on the credits under the pseudonym George Lane.Porter, p. 212

Coltrane's interest in the music of Spain evident in "Olé", may have been spurred by his ex-employer Miles Davis's Sketches of Spain from the previous year.Porter, p. 212 The structure and melody of the modal jazz vamp "Olé" was borrowed from the Spanish folk song "El Vito" (later used as the tune of "El Quinto Regimiento" from the Spanish Civil War, which was made known by Pete Seeger), while the soprano saxophone work recalled 1961's "My Favorite Things".

The titles for the songs on side two reflect the band's continued interest in African forms as expressed on the May 23 Africa/Brass recordings. McCoy Tyner commented: "On 'Dahomey Dance' [Coltrane] had a record of these guys who were from Dahomey, which is why he used two bassists. He showed that rhythm to Art Davis and Reggie Workman. So the influence was there."{{Cite book|title=The Jazz Musician |last=Watrous |first=Peter |editor-last1=Rowland |editor-first1=Mark |editor-last2=Scherman |editor-first2=Tony |chapter=John Coltrane: A Life Supreme |date=1993 |pages=177–178 |publisher=St. Martin's Press }} Tyner's "Aisha," a ballad, was named after the pianist's then-wife.{{cite web |url=https://musicenthusiast.net/2016/03/26/a-song-i-love-aisha-by-john-coltrane |title=A Song I Love – Aisha by John Coltrane |website=Music Enthusiast |access-date=February 22, 2022}}

On September 19, 2000, Rhino Records reissued Olé Coltrane as part of its Atlantic 50th Anniversary Jazz Gallery series. Included was a single bonus track which had appeared on The Heavyweight Champion: The Complete Atlantic Recordings in 1995.

{{album ratings

|rev1 = AllMusic

|rev1score = {{Rating|4|5}}{{cite web |url=https://www.allmusic.com/album/ol%C3%A9-coltrane-mw0000199455 |title=John Coltrane: Olé Coltrane |first=Lindsay |last=Planer |website=AllMusic |access-date=February 22, 2022}}

| rev2 = Down Beat

| rev2Score = {{Rating|3.5|5}}Down Beat: February 1, 1962 vol. 29, no. 3

|rev3 = The Penguin Guide to Jazz

|rev3score = {{Rating|3|4}}{{cite book|last1=Cook|first1=Richard|authorlink1=Richard Cook (journalist)|last2=Morton|first2=Brian|authorlink2=Brian Morton (Scottish writer)|year=2008|title=The Penguin Guide to Jazz Recordings|edition=9th|publisher=Penguin|page=287|isbn=978-0-141-03401-0}}

|rev4 = The Rolling Stone Jazz Record Guide

| rev4Score = {{rating|4|5}}{{Cite book

|editor-last=Swenson

|editor-first=J.

| author-link =

| year = 1985

| title = The Rolling Stone Jazz Record Guide

| publisher = Random House/Rolling Stone

| location = USA

| isbn = 0-394-72643-X

| pages = 47

}}

|rev5 = All About Jazz

|rev5score = {{Rating|4.5|5}}{{cite web |url=https://www.allaboutjazz.com/ole-john-coltrane-atlantic-review-by-john-ballon |title=John Coltrane: Olé Coltrane |first=John |last=Ballon |website=All About Jazz |date=November 23, 2003 |access-date=February 22, 2022}}

}}

In a review for AllMusic, Lindsay Planer wrote: "The complicated rhythm patterns and diverse sonic textures on Olé Coltrane are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form."

The authors of The Penguin Guide to Jazz awarded the album 3 stars, noting that the presence of Hubbard "helped expand the timbral range, pointing to the new, more orchestrated sound Coltrane was interested in developing at the time," but cautioned: "interesting as it is episodically, Olé never quite holds the attention."

Writing for All About Jazz, John Ballon commented: "A transitional record, Olé Coltrane successfully navigates the line between Trane's sonically challenging later years and his earlier accessibility. A magnificent milestone in Trane's artistic growth, this is an essential recording for any collection."

In an article for Treble Zine, Jeff Terich stated: "You can point to any moment of Coltrane's playing on Olé and it would pretty much seal up why this hovers among the highest tier of the best John Coltrane albums. But it's how the entire ensemble works in harmony to create a stunning whole that this belongs not just in the ranks of the best John Coltrane albums, but jazz’s greatest albums as well."{{cite web |url=https://www.treblezine.com/best-john-coltrane-albums-beginners-guide |title=A Beginner's Guide to the Transcendent Jazz of John Coltrane |first=Jeff |last=Terich |website=Treble Zine |date=September 24, 2019 |access-date=February 22, 2022}}

Recording engineer Phil Ramone recalled that the recording session taught him a great deal about "how to condense a musical thought without diluting its coherence or artistic intention," and acknowledged that Coltrane's ability to self-edit affected the way he shaped other records with which he was involved.{{cite book |last=Ramone |first=Phil |title=Making Records: The Scenes Behind the Music |publisher=Hachette Books |year=2007 }}

Olé has also been performed and recorded by Noah Howard on his live albums Live In Europe, Vol. 1 (1975) and Berlin Concert (1977) and by Coltrane's later sideman Pharoah Sanders, on his live album Heart Is a Melody from 1982.

In 1978, McCoy Tyner recorded a trio version of "Aisha" with bassist Ron Carter and drummer Tony Williams for the album Counterpoints.{{cite web |url=https://www.allmusic.com/album/counterpoints-live-in-tokyo-mw0000307527 |title=McCoy Tyner: Counterpoints: Live in Tokyo |first=Ken |last=Dryden |website=AllMusic |access-date=February 28, 2023}}

In a 1998 interview for Fresh Air with Terry Gross, Ray Manzarek cited Coltrane’s Ole as an influence to his solo in The Doors’ song “Light My Fire.”

{{tracklist

| title1 = Olé

| writer1 = John Coltrane

| length1 = 18:17

}}

{{tracklist

| title1 = Dahomey Dance

| writer1 = John Coltrane

| length1 = 10:53

| title2 = Aisha

| writer2 = McCoy Tyner

| length2 = 7:40

}}

{{tracklist

| title4 = To Her Ladyship

| writer4 = Billy Frazier

| length4 = 8:54

}}

• John Coltrane — soprano saxophone on "Olé" and "To Her Ladyship"; tenor saxophone on "Dahomey Dance" "Aisha" and second part of "To Her Ladyship"
• Freddie Hubbard — trumpet
• Eric Dolphy — flute on "Olé" and "To Her Ladyship"; alto saxophone on "Dahomey Dance" and "Aisha"
• McCoy Tyner — piano
• Reggie Workman — bass on "Olé," "Dahomey Dance" and "Aisha"
• Art Davis — bass on "Olé," "Dahomey Dance" and "To Her Ladyship"
• Elvin Jones — drums

• Nesuhi Ertegun — producer
• Phil Ramone — recording engineer
• Jagel & Slutzky Graphics — cover design
• Ralph J. Gleason — liner notes

• Dan Hersch — digital remastering
• Rachel Gutek — reissue design
• Neil Tesser — reissue liner notes

{{Reflist}}

{{John Coltrane}}{{Freddie Hubbard}}

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Category:1961 albums

Category:John Coltrane albums

Category:Atlantic Records albums

Category:Modal jazz albums

Category:Albums produced by Nesuhi Ertegun