Jazz Critique: John Coltrane A Love Supreme - Case Study Example

Jazz Critique: John Coltrane – A Love Supreme Introduction The album under examination is John Coltrane’s A Love Supreme. The album’s importance to the 20th century jazz canon has led to high amounts of research on the subject, with a variety of opinions advanced on its intention and meaning. One of the prevailing theories on the influences of the album is Coltrane’s hometown Dix Hills, Long Island (Porter). With the extreme emphasis on stylistic dexterity and experimental arrangements and improvisation to many it may initially seem absurd to attach such a prosaic interest as a hometown to the album’s influences, but as one gains an appreciation of the album they gain a perspective on it wherein its reveals its subtle emotions and impressionistic qualities. This critique examines and contextualizes the album in terms of its historical background, considers its influences, and examines the qualitative aspects of its individual songs. Background The album was recorded in 1964 and released in 1965 and has become one of the most seminal and influential albums of the 20th century. While its influence is demands examination, as such a legendary album it is important to contextualize the album within the pantheon of all-time jazz greats, and consider the circumstances of its production. Recorded in December 1964 by the John Coltrane Quarter in Van Gelder Studio in New Jersey, the album marked a revolutionary contribution to jazz. Perhaps the most amazing element of the album is that it was recorded in a single day. There were a diverse variety of musicians and producers involved in the project, but the core contributors to the album were the members of the quartet. Coltrane’s quartet consisted of John Coltrane who played tenor saxophone, and provided vocals; Jimmy Garrison who played double bass; Elvin Jones who played drums; and McCoy Tyner who played piano. Additional musicians included Art Davis who played double bass on alternative tracks of ‘Acknowledgement’; and Archie Shepp who played tenor saxophone on the same tracks as Art Davis. Rudy Van Gelder offered the main production contributions, working as an engineer and mastering the album. Influences In terms of Coltrane’s oeuvre it has been noted that the sound he pervaded on this recording was at a crossroads between the hard bop style of his earlier recordings, with the more experimental free jazz style that came to be a seminal element of his later style. In these regards, Coltrane’s A Love Supreme is influenced in great part by earlier albums by experimental jazz artist Ornette Coleman. Coleman, whose 1959 album the Shape of Jazz to Come, and his 1961 album Free Jazz: A Collective Improvisation, were revolutionary in that they freed jazz from its accepted standards of chord structures and improvisation to a more highly experimental style that advanced very limited or unrecognizable chord structures, and included improvisation wherein more than a single musician improvised at a single time (an element that had not been implemented in a major jazz recording at that date). In considering Coltrane’s A Love Supreme, it’s clear, even from an initial listen, that the album is highly influenced by this experimental approach. It is not a jazz album like Miles Davis’ Kind of Blue or similar works that attempt to create a melodic and instantly enjoyable listen; instead, Coltrane’s A Love Supreme is in large part abrasive and challenging, what some individuals have deemed an album for musicians. In these regards, one can detect great influences from the hard bop style that was thematic throughout Coltrane’s earlier work. Analysis The album itself is structured like a concept album with varying movements. In these regards, one might even contend that it in great part it mirrors the structure of a symphony with its varying movements, moods, climaxes, and conclusions. The album is divided into a four part structure, with four distinct tracks. The first track is ‘Acknowledgement’ and it contains the vocal track wherein Coltrane repeats the phrase, “a love supreme” in rhythm with the accompanying music. The second track is ‘Resolution’, the third ‘Pursuance’, and the fourth ‘Psalm’. It’s clear merely by the track names that the album has a strong spiritual context. While it is difficult to ascertain Coltrane’s deeper intentions regarding meaning throughout the album, a number of theorist have advanced interpretations on the album’s thematic significance. One such interpretation is that the album’s spiritual nature refers to Coltrane’s quest for purity and that his music ability is not a product of his own doing, but an element of metaphysical or transcendental being (Porter). The opening song, ‘Acknowledgement,’ begins with Coltrane’s tenor saxophone blasting through and then gives way to a subtle drum solo. This is followed by the beginning of a piano melody and light drumming. Coltrane then interjects with his characteristic saxophone playing. Throughout the album one comes to realize that perhaps the most initially recognizable characteristic is the virtuous means by which Coltrane is able to move effortlessly up and down elaborate musical scales. It’s unclear the extent that Coltrane’s saxophone playing is improvised, but it can be reasonably assumed from the chaotic nature of much of the playing that a considerable amount of it is improvisation. Towards the middle of the song, however, what had been chaotic saxophone improvisation and equally uncontrollable drumming underneath suddenly agree upon a melody; Coltrane’s saxophone follows this melodic rhythm for a few moments until the saxophone playing finally ceases and his vocals take its place, repetitively stating the album’s title, ‘a love supreme.’ These words are repeated until the song fades off into oblivion. It is a highly compelling opening song, and while it may initially be difficult to digest, after repeated listens one gains a deep rooted appreciation for its brilliance, dexterity, and overall spiritual transcendence. The album continues with the song ‘Resolution’. While for a moment it begins slowly and one immediately believes it will be a slower song, the listener is suddenly hit with a wall of sound that constitutes perhaps the most compelling melody of the entire album. In these regards it’s clear that this section is not improvised and well rehearsed. In addition to Coltrane’s melodious playing, the drum accompaniment and later piano solo are soundly structured. It’s toward the middle of the track that the piano is freed and constitutes the central improvisatory emphasis of the track. Qualitatively it’s an extremely strong balance from the last track wherein the saxophone dominated, as the muted piano tones give the listening a respite from the sharper sounds of Coltrane’s tenor saxophone. Towards the end of the saxophone Coltrane returns to the thematic melody of the song’s opening until it fades at the song’s conclusion. Many will find this song the most enjoyable as it offers a distinctly recognizable melody and the piano improvisations are not as abrasive for casual listeners. The third song ‘Pursuance’ returns to many of the musical themes that were advanced in the album’s opening track ‘Acknowledgement’. It’s clear that this track gives way in great part to both Coltrane’s improvisations, but also improvisations of piano player McCoy Tyner. While the incredibly dexterity of Coltrane’s saxophone playing receives the most attention for both its skill and emotion, on this track Tyler’s chaotic improvised piano playing should not be discarded, as it presented a perfect counterpoint between Coltrane’s impassioned playing. For many listeners this track may be the most challenging to enjoy as it seems to give way to Coltrane’s inclinations towards pure improvisation, wherein he indulges entirely in his musical whims. That is not to say the track is poorly constructed, but that it requires a genuine appreciate for the album’s experimental arrangements and Coltrane’s over the top saxophone to grasp the track in all its glory. The album concludes with ‘Psalm’. It begins with a slow and deliberate saxophone melody that would fit just as easily on Miles Davis’ Kind of Blue as it would on this album. It is accompanied by muted percussion that builds towards crescendos. In many regards the track resembles a funeral dirge, as its slow nature and weeping saxophones seem to be moving towards more the recognition of a death than the completion of an album. In another sense, one can read this track as the ultimate realization of Coltrane’s spiritual quest that had been explored throughout the album, with this track representing a sort of Nirvana state. In any regards, perhaps the most experimental aspect of the track is not Coltrane’s saxophone, but the eccentric percussive elements. It’s an odd, but fitting ending to an album that equally explores hard bop, experimental, and spiritual elements. Ultimately, while the album makes great demands on the listener, it is also highly rewarding upon repeated listens. One ultimately begins to grasp that Coltrane’s saxophone is not simply demonstrating dexterity, but the impassioned pleas of an artist attempting to achieve a transcendent spiritual connection, and an album that comes as close to the sublime as is artistically possible. References Porter, Lewis (2000). John Coltrane: His Life and Music. Michigan: University of Michigan Press. Read More