Ask just about any jazz musician, scholar or fan for a list of the greatest jazz albums ever recorded, and John Coltrane’s A Love Supreme — recorded 50 years ago today — resides on it. My own first experience with it was in 1975, on a late evening in a dark, smoke-filled, back alley cottage on North Oakland’s Alcatraz Avenue. My listening was guided by a dear friend who understood that this was not just music — it is what happens when musical genius meets intensity, sensitivity, and spirituality. So many details of that evening remain with me 40 years later, not the least of which was how I sunk into the couch, eyes closed, the worn Impulse album jacket never leaving my grip. I was amazed and I was hooked.
Over the years, I have found that a favorite discussion among jazz fans is their recollections of their first experience with this album. When I began developing content for Jerry Jazz Musician, one of the first ideas I had was to interview people who were either
A successful recording generally entertains and communicates passion on an earthly, mortal level. We typically respond to an effective performance by humming the melody, tapping our feet, and sharing it with friends. It might even “stomp the blues,” as the critic Albert Murray suggests.
Few recordings, however, actually challenge a listener to address one’s personal essence.
Brown University professor Michael Harper, the first Poet Laureate of the State of Rhode Island, and author of the National Book Award nominated collection, Dear John, Dear Coltrane, discusses John Coltrane and reads his poems.
Joshua Redman entered the jazz world with tons of expectation and perhaps an unreasonable amount of hope. Pat Metheny went so far as to suggest Redman is “the most important new musician in twenty years.”
While Methenys point can be argued, Redman has created some of the most consistently compelling jazz during the last ten years. His music borrows from a storied past and experiments with an elegant future.”
While Methenys point can be argued, Redman has created some of the most consistently compelling jazz during the last ten years. His music borrows from a storied past and experiments with an elegant future.
Philadelphian Francis Davis is the author of several books, including The History of the Blues, Bebop and Nothingness and a forthcoming biography of John Coltrane. A contributing editor of The Atlantic Monthly, he also writes regularly about music for the New York Times, among others.
Nat Hentoff was born in Boston in 1925 and lived there until he moved to New York City at the age of twenty-eight. For many years he has written a weekly column for the Village Voice. His column for the Washington Times is syndicated nationally, and he writes regularly about music for the Wall Street Journal. His numerous books cover subjects ranging from jazz to civil rights and civil liberties to First Amendment issues.
Few musicians have had the impact on the world of music that McCoy Tyner has. His sound has influenced pianists in each of his six decades as a performer. Noted jazz critic Scott Yanow says, “Along with Bill Evans, Tyner has been the most influential pianist in jazz of the past 40 years with his chord voicings being adopted and utilized by virtually every younger pianist.”
While his career continues to move ahead, he will forever be best known as the pianist in John Coltrane’s famed Quartet of the early 1960’s, a group long since recognized as the ultimate jazz combo, whose eclectic, spirited work constantly demanded listeners to reach well beyond their safest star. A Love Supreme, recorded in 1964, is a landmark in music, and to this day the centerpiece to the Quartet’s vast, unparalled universe.