By Tony Whyton
Recorded by way of his quartet in one consultation in 1964, A Love splendid is commonly thought of John Coltrane's magnum opus and one of many maximum jazz albums of all time.
In past A Love ultimate, Tony Whyton explores either the musical complexities of A Love ultimate and the album's seminal value in jazz historical past. Marking Coltrane's transition from the bebop and tough bop of his prior recordings to the unfastened jazz type perfected through the remainder of his occupation, the album additionally embodies the deep spirituality that characterised the ultimate years of his existence. The titles of the 4 half suite--"Acknowledgment," "Resolution," "Pursuance," and "Psalm"--along with the poem Coltrane composed for inclusion within the liner notes, which he "recites" instrumentally in "Psalm," mirror the non secular element of the album, a high quality that contributes to its mystique and symbolic value in the canon of significant jazz recordings. yet Whyton additionally indicates how A Love perfect demanding situations a few of the conventional, unreflective assumptions that permeate jazz culture--the binary oppositions among improvisation and composition, black song and white track, concert and studio recording. He significantly examines a number of the mythologizing narratives approximately how the album was once conceived and recorded and approximately what it indicates when it comes to the trajectory of Coltrane's own lifestyles. Sifting during the feedback of past due Coltrane, Whyton indicates methods of hearing those recordings that transcend the traditional ideologies of mainstream jazz perform and open the song to a much wider variety of responses.
jam-packed with clean insights into probably the most influential recordings in jazz background, past A Love ultimate is an quintessential source for jazz students, jazz musicians, and enthusiasts and aficionados in any respect degrees.
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Additional resources for Beyond A Love Supreme: John Coltrane and the Legacy of an Album
As such, the movement E L AT I O N — E L E G A N C E — E X A LTAT I O N [ 29 ] is a musical manifestation of Coltrane’s poem “spoken” through his saxophone. The “drugs to divinity” binary in this context provides a very powerful motivation for the artist and a strong narrative for fans to latch on to. And yet, from 1965 to his death in 1967, Coltrane was certainly performing under the influence of LSD. Although we cannot determine the exact influence—either positive or negative—of heroin or LSD on artists and their music, the mere fact that Coltrane was experimenting with LSD at this stage is something that should warrant further discussion, considering both the problems and widespread documentation of his drug use in the 1950s.
My experience of Coltrane on video brings me closer to the artist, even if the experience is far from ideal. As a tactile experience, the album also engenders a type of fetishism that borders on the sensual: through the exploration of sound, the meticulous attention to detail, both in look and feel, and consumption of the gatefold release, consumers can feel physically closer to Coltrane. Conversely, the void created by the absence of body on record leads us to a position where the artist is fetishized in an idealized state: we revel in the absence of physical presence and turn the recording into an idealized object that promotes the idea that music comes from the beyond, away from the physical world.
I would suggest that visual representation is essential in the construction of iconic jazz musicians such as John Coltrane: visual representations not only enable us to make connections with iconic figures, but, by their very nature, the representations [ 36 ] Beyond A Love Supreme themselves can make significant contributions to artists becoming iconic in the first place. These examples provide evidence of the way in which jazz recordings can move beyond the simple documentation of performances and the reproduction of live events toward broader cultural influence and related musical discourses.