Black History Music Pt. 18
In celebration of Black History Month, the Ear Candy Update intends to celebrate landmark recordings by black artists that have shaped the collective consciousness, mentality, and sense of cool the world over. Next, John Coltrane's "A Love Supreme."
First the backstory. Before he was the towering titan of "Blue Train," "My Favorite Things," or "Giant Steps," John Coltrane was a junkie.
It was a trait he acquired from one Charlie Parker. Heroin had a romantic aura and Coltrane punctuated his addiction with periods of binge drinking. This led to sustained periods of underachievement. Given his otherworldly talent, it was an insult to us all, but we all have our demons.
In 1957, having been fired from Miles Davis' band and also catching a furious punch from the trumpeter, Coltrane had what he called in the liner notes to this album,
On December 9, 1964, he walked into the Van Gelder Recording Studio in Englewood Cliffs, New Jersey with his tenor sax and the other three members of his classic quartet: Jimmy Garrison (bass), Elvin Jones (drums), and McCoy Tyner (piano). He purposefully did not explain to them his vision.
This session was to be a love letter to God - a soundtrack to his 1957 epiphany.
A modest undertaking, yeah?
Composed of four parts, "Acknowledgement," "Resolution," "Pursuance," and "Psalm," each has a theme coursing in its veins. Part one is about moving from the darkness into spiritual life. Part two navigates the sometimes violent emotions that arise on the path to spiritual understanding. Three is soothing and reaches for understanding beyond that turbulence. Four is a meditation upon reaching understanding and peace of mind.
There are breathtaking moments in each. BREATHTAKING. John paints in modal colors while the band syncs perfectly into his vision - his gambit of explaining as little as possible proved to be a wise choice. They weren't intimidated by the scope of John's concept and had next to no time to react. They moved on well-honed instincts and a powerful understanding of their friend and bandleader.
Here John is at his most searching, prayerful, and hopeful. He is not displaying his dazzling adventurous ability or overstepping his considerable reach. The fellas add the appropriate accents at exactly the right time, never failing to land and never overshadowing John.
Logic and emotion have rarely if ever, worked so comprehensively, beautifully, or as colossally as on "A Love Supreme." It's required listening, even if you're not a believer. Few things would make me second guess that. This is one.
It was a trait he acquired from one Charlie Parker. Heroin had a romantic aura and Coltrane punctuated his addiction with periods of binge drinking. This led to sustained periods of underachievement. Given his otherworldly talent, it was an insult to us all, but we all have our demons.
In 1957, having been fired from Miles Davis' band and also catching a furious punch from the trumpeter, Coltrane had what he called in the liner notes to this album,
"...experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life."He then went out a tear, releasing some of the most profoundly inventive and untethered music in recording history. He went to work repairing damaged relationships with former friends and luminaries in Cannonball Adderly, Thelonious Monk, and his former boss, Miles Davis. In getting clean, John found his creative voice. His solos became crystallized. His ability and direction as a bandleader evolved. He became what everyone knew he was capable of.
On December 9, 1964, he walked into the Van Gelder Recording Studio in Englewood Cliffs, New Jersey with his tenor sax and the other three members of his classic quartet: Jimmy Garrison (bass), Elvin Jones (drums), and McCoy Tyner (piano). He purposefully did not explain to them his vision.
This session was to be a love letter to God - a soundtrack to his 1957 epiphany.
A modest undertaking, yeah?
Composed of four parts, "Acknowledgement," "Resolution," "Pursuance," and "Psalm," each has a theme coursing in its veins. Part one is about moving from the darkness into spiritual life. Part two navigates the sometimes violent emotions that arise on the path to spiritual understanding. Three is soothing and reaches for understanding beyond that turbulence. Four is a meditation upon reaching understanding and peace of mind.
There are breathtaking moments in each. BREATHTAKING. John paints in modal colors while the band syncs perfectly into his vision - his gambit of explaining as little as possible proved to be a wise choice. They weren't intimidated by the scope of John's concept and had next to no time to react. They moved on well-honed instincts and a powerful understanding of their friend and bandleader.
Here John is at his most searching, prayerful, and hopeful. He is not displaying his dazzling adventurous ability or overstepping his considerable reach. The fellas add the appropriate accents at exactly the right time, never failing to land and never overshadowing John.
Logic and emotion have rarely if ever, worked so comprehensively, beautifully, or as colossally as on "A Love Supreme." It's required listening, even if you're not a believer. Few things would make me second guess that. This is one.
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