This album belongs on any short, 5-6 album, list of John Coltrane recordings. It's indispensable if only for John's inspired playing on Billy Eckstein's "I Want to Talk About You" (also, available on the collection "The Gentle Side of John Coltrane." Surprisingly, many of the fans and musicians who rave about "My Favorite Things," "Giant Steps," and "A Love Supreme" are unaware of the stunning, pyrotechnical cadenza Trane played on this version of "I Want to Talk," which is equal to anything by Trane on record. I have a theory--I caught John at Birdland in '63, and his group was playing opposite the Terry Gibbs Quartet, featuring an attractive young pianist by the name of Alice McCleod. She captured not merely his eye and ear but his heart as well. If anyone belongs to the Promethean, Romantic tradition of visionary art, it's John Coltrane. He is jazz' foremost romantic poet, the musical equivalent of the Shelley of "To a Skylark." John was not only talking about love and freedom, he was talking about and to Alice, the soon-to-be Mrs. Coltrane.

As inspired as his playing is on this recording, his performance of the same tune on "Soultrane" is also practically mandatory listening. Billy Eckstein wrote and performed the tune in C. John raised it to E flat, giving it a fresher, more floating quality (Miles had done exactly the same with "On Green Dolphin Street," issuing his first recording in C, his second a minor 3rd up). It's a lovely, simple 32 bar AABA song with unpretentious lyrics (you'll need to acquire the Eckstein version for those). But Trane mines meanings that go far beneath as well as beyond any verbal meanings. James Baldwin once wrote, "The only thing I know about music is that most people don't hear it." To hear the music of this performance of "I Want to Talk about You" is, in effect, to share the consciousness of jazz' Apollonian creative genius, and to be as much the recipient of the exquisite lyricism as the young lady who inspired it one night down at Birdland back in 1963.

I have posted what I hope are at least thoughtful reviews of LIVE TRANE, the "COMPLETE" IMPULSE QUARTET recordings and the COMPLETE 1961 VILLAGE VANGUARD RECORDINGS...So let it not be said that I don't "understand" or appreciate Coltrane's genius.

But oh dear, goodness gracious, and, if I may add, heavens to Betsy. It seems I am the only one to rain on this particular parade, but (as I gingerly don my bulletproof vest) here goes...The three live Birdland performances, from which this album takes its name ("Afro-Blue," "I Want to Talk About You" and "The Promise," recorded October 8, 1963) ARE truly great. But...But, they are rendered excruxiating by the out-of-tune piano which McCoy Tyner is condemned to play.

Since I discovered this album, 25 years ago, I've tried - I really have - to pretend it doesn't bother me, but there's just NO DENYING IT. Did I say "out-of-tune"? I mean "oi sheesh" out of tune. I mean "Vibrations-that-can-put-a-hurt-on-the-old-fillings-in-your-teeth" out of tune. I mean, this miserable "ax" makes the average Sunday School pie-anah sound like Sergei Rachmaninov's custom-built, freshly tuned Steinway. Now, I'm no expert on the history of Birdland, but it sounds as if their piano tuner had been granted a lengthy sabbatical.

Thankfully, in the Pablo LIVE TRANE box, there are even greater performances of these three works by the Classic Quartet - with a TUNED piano - recorded only weeks later in Stockholm and Berlin. Not only are these versions of "Afro-Blue" and "The Promise" taken at more energetic tempos, but in fact, in LIVE TRANE you can find two live "Talk"s - both of which outshine the Birdland version- especially in terms of Trane's phantasmagorically daring, unaccompanied cadenza.

The "essential" part of this disc ? That would be the studio-recorded tracks from November 18, 1963: the very dark "Alabama" and the lithe "Your Lady" (a Mixolydian modal romp). (The March 1963 bonus track, "Vilia" - an attempt to "swing" Franz Lehar - is okay, but nothing to set one on fire.)

But for non-excruxiating versions of "Afro-Blue," "Talk" and "The Promise," you would need LIVE TRANE. Yes, it's a 7-CD box that "lists" at around $100; but if you go hunting, you can probably shave between 1/3 and 1/2 off that amount. Now, let's assume that you care more than just a little about John Coltrane...There are many top-drawer Coltrane treasures in this box, available NOWHERE ELSE - in addition to the four live tracks I have just mentioned. So, even if, budget-wise, it means eliminating a month's worth of unnecessary driving, eating-out tabs or other "impulse " buying, I'd say you need LIVE TRANE, period.

It may not have the overt spirituality of A Love Supreme, but Live at Birdland is one of the greatest recordings by the Classic Quartet. The performances of "Afro Blue" and "I Want to Talk About You", two live staples in this phase of Coltrane's career, are arguably the best on record. "Afro Blue" has an outstanding McCoy Tyner piano solo, while Elvin Jones thunders underneath; and when Trane comes in with that unearthly cry on soprano, Elvin EXPLODES (well, not literally - this isn't Spinal Tap). "I Want to Talk About You" has Trane turning the old Billy Eckstine ballad inside out, and then wrapping the performance up with an unaccompanied coda of sublime intensity. The third live tune, "The Promise", isn't as well known but equals the other two in quality. The album closes out with two more sedate studio tunes; the free-time ballad "Alabama" is a solemn meditation on then-recent church bombings, while "Your Lady" is a melodic romp as the JC Quartet knows best. Finally, there's a bonus track ("Vilia") which is not quite as great as the original album, but who's going to complain about additional material? This is one of the essential John Coltrane albums and not a bad place to start exploring his music.

I agree 100% with the following

A music fan

Of all the reasons I love this album, the one I would say most warrants checking it out is the piano solo on the first track, "Afro blue." Like most of the quartet's stuff, it isn't exactly one player that makes the music interesting, its just the interplay that makes these four guys seem like four different kinds of Koolaid being mixed up in a bucket. Elvin's playing on this track borders on insanity, and is my favorite piece of drumming on any jazz recording I've ever heard. this is about as hypnotic a solo as McCoy Tyner ever had in him, and it builds and builds to absolute Orgasm when John jumps in...chills will run down your spine, I promise....check it out

A live recording of uncommon power, "Live at Birdland" gives a good sampling of the playing of Coltrane and his quartet in a pivotal year, 1963. The recording contains some tunes for which the band became famous and others that should have received more attention than they have.

"Live at Birdland" is an interesting companion to "Live at the Village Vanguard," recorded two years earlier and in some ways a more challenging listening experience. The latter featured Eric Dolphy and included some longer, freer improvisations. The two musicians were strongly criticized after the date in 1961 and some critics feel that the criticism had an inhibiting effect on the material Coltrane released in 1962.

Whatever your feeling on that, "Live at Birdland" shows that Coltrane's playing at the time of this show was at its powerful best, and he put together a superb set, well represented by this disc. "I Want to Talk About You," the Billy Eckstein standard, which he had recorded for Prestige in 1958, gets an extended coda treatment, one that became famous and which he was to experiment with off and on throughout the rest of his life. Also included is the Eastern-influenced "Afro-Blue," which features a dominant piano solo by McCoy Tyner and a brilliant, extended soprano flight by Coltrane.

Much less frequently heard, but equally affecting, is the mysterious "The Promise," another fine example of Coltrane's soprano playing and gift for darkly colored, memorable compositions.

There is also fine studio work included, particularly the haunting "Alabama," Coltrane's eloquent tribute to fallen civil rights workers. The great strength of the performance lies in the power of Elvin Jones' drumming, Coltrane's poignant lyricism, and the ability of the composition to make a statement without overtly suggesting its political theme.

This CD contains some of the quartet's most inspired performances. The listener is further rewarded by a comparison with the Vanguard sets and by a reading of Amiri Baraka's fine analysis in "Black Music."