爱丽丝·科尔特兰——《普塔，埃尔·达乌德》（1970）
作者：拉菲·默瑟
Alice Coltrane’s Ptah, the El Daoud, recorded in her own basement studio in Dix Hills, New York in 1970, is more than a jazz album. It is a portal. With Pharoah Sanders and Joe Henderson on tenor saxophones, Ron Carter on bass, and Ben Riley on drums, Coltrane leads from harp and piano, creating a sound that is both cosmic and intimate. This was her third solo album, but it is the first where her voice as a composer and bandleader feels fully revealed.
The title track glides with modal energy, its theme simple yet radiant, the improvisations stretching skyward. “Blue Nile” introduces her harp in dialogue with flutes, an ethereal sound that feels like light refracted through crystal. “Turiya and Ramakrishna” slows the pace into meditation, Coltrane’s piano offering chords that seem to hover in prayer. “Mantra” closes the album with relentless drive, Sanders and Henderson weaving saxophone cries over a rhythm section that churns like a river.
On vinyl, the harp resonates like liquid light. Each pluck sends ripples through the room, while the saxophones roar with raw fervour. The mix captures not just sound but devotion — you feel less like an audience than a participant in ritual. In a listening bar, the album turns the room into a sanctuary, not solemn but uplifted, communal in its intensity.
Ptah, the El Daoud remains one of Coltrane’s greatest achievements. It embodies the fusion of jazz improvisation with spiritual searching, music as quest. Drop the needle and you step into a temple of sound, one still open to seekers fifty years on.
拉菲·默瑟（Rafi Mercer）致力于书写那些音乐举足轻重的空间。如欲阅读更多《Tracks & Tales》的精彩内容，请订阅，或点击此处阅读更多。
