John Coltrane A Love Supreme The Complete Masters
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Don't Tell Me! NPR Shop. Taken as a whole, though, it still plays as a fitting tribute. Any remaster of the album itself seems superfluous, and there's no major change to the sound to ignite or incite fans, though this one seems to put Coltrane higher in the mix, to my ear. The important thing is we've got the moment captured around the creation of the album. Fellini is the master of blurring the lines between the real John Coltrane A Love Supreme The Complete Masters the surreal, demonstrating the overriding imbrication of the familiar and the fantastic.
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John Coltrane. Modal jazz avant-garde jazz free jazz hard bop post-bop. Jazz portal Religion portal. The Cambridge Companion to American Islam. Cambridge University Press. Retrieved Future Islands Singles 15, Rockdelux in Spanish.
Retrieved August 3, Recordsback cover notes. All About Jazz. Retrieved July 2, Retrieved October 17, Down Beat. Encyclopedia of Popular Music 5th ed. Omnibus Press. Music Sales Corporation. Penguin Books. October The Mojo Collection 4th ed. Canongate Books. The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz 8th. New York: Penguin. The Daily Telegraph.
Religion and Popular Culture: Rescripting the Sacred. In Koskoff, Ellen ed. If you can think of Coltrane's work on a continuum, from Ernest Ranglin From Kingston JA To Miami USA gorgeous melodicism of "My Favorite Things" or Ballads or his album with Duke Ellington on one end and the brutal noise assault of the concerts collected on Concert in Japan on the other, A Love Supreme sits perfectly at the fulcrum, challenging enough to continually reveal new aspects but accessible enough to inspire newcomers.
Coltrane may have structured the record for just this effect. He had already been further "out" than the music heard on A Love Supremeincluding some of the knotty extended jams like "Chasin' the Trane" recorded at his sessions at the Village Vanguard.
He was fascinated with the innovations of Ornette Coleman from the minute he heard them in the late '50s, and though he never completely abandoned chord changes, he regularly flirted with atonality, improvising outside of a fixed key. With A Love Supremeit was almost as though Coltrane knew he had to dial things back a little in order to share his message of spiritual rebirth with a wider audience.
Though conventionally beautiful in many ways, A Love Supreme is, for many, the exact point beyond which jazz becomes too experimental. It's possible to hear on this set how the album might have gone even further. John Coltrane A Love Supreme The Complete Masters a time when a single track might have a dozen collaborators working on it over the course of weeks, it's a little mind-boggling to consider that the music on A Love Supreme was recorded on a single day, December 9, This wasn't uncommon for jazz records of the time.
But though they had the music in the can from that first day, Coltrane wanted to try something else. So on December 10, he called the young tenor saxophonist Archie Shepp, and a second bassist, Art Davis to play with his quartet. The six musicians then ran through two versions of The Itals In Deh Jah Glory Love Supreme 's opening "Acknowledgment", so that Coltrane could explore what the Paul Simon Still Crazy After All These Years might sound like with another horn and additional low-end rhythm.
Shepp was an up-and-comer deeply influenced by Coltrane; the two takes of "Acknowledgment" featuring Shepp find him serving as a kind of textural counterpoint, his more brittle and biting tone commenting on the melody from an oblique angle and hinting at possibilities existing outside of the version recorded the day before. You sense a more abrasive Mulatu Astatke Mochilla Presents Timeless not taken, one that almost certainly would have found a smaller audience.
We hear a different perspective on the fantastic live version of the suite recorded in France five months after the album's release.
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