View allAll Photos Tagged JohnColtrane
U-Comix / Heft-Reihe
Comic Strips für Erwachsene
> Alain Dister: Magma
art: Jean Solé, Marcel Gotlib
Reprints from Fluide Glacial (Audie, 1975 series) #21 / Frankreich
Volksverlag (Linden / Deutschland; 1981)
ex libris MTP
Memories from my last week's stay on Earth.
The man who lived in books
Turned another page
And stepped into the fading evening light.
He thought of all the words that had brought him to this place,
As the parchment wind blew in his face.
The man who lived in films
Turned the houselights up
And wandered from the darkness into light.
He thought of all the images he'd borrowed from the screen,
As the nitrate trail showed all that he had seen.
The man who lived in songs
Sang a haunting tune
And turned his face towards the dawn
He thought of all the rhymes that hadn't changed a thing
As he realised there were no notes left to sing...
Week sixteen theme - The Spaceship
Week 16 - 115/365
John Coltrane recorded A Love Supreme in December of 1964 and released it the following year. He presented it as a spiritual declaration that his musical devotion was now intertwined with his faith in God. In many ways, the album mirrors Coltrane's spiritual quest that grew out of his personal troubles, including a long struggle with drug and alcohol addiction.
From the opening gong and tenor saxophone flutter, a four-note bass line builds under the sound. This simple riff becomes the musical framework for the rich improvisations that comprise John Coltrane's 33-minute musical journey.
"I remember they cut the lights down kind of," says McCoy Tyner, who played piano on A Love Supreme as a member of Coltrane's band in the early and mid-'60s. "The lights were dimmed in the studio. I guess they were trying to get a nightclub effect or whatever. I don't know if it was John's suggestion or whatever. I remember the lights being dimmed."
It made sense to try to imitate the dim-lighted intimacy of a club during the studio recordings, he says, because it was on stage during live shows where the quartet would explore, practice and rehearse new material. He says there was an amazing unspoken communication during the "Love Supreme" sessions. In fact, he says, Coltrane gave very few verbal directions. Tyner calls the album a culmination and natural extension of chemistry honed through years of playing together live.
"You see, one thing about that music is that it showed you that we had reached a level where you could move the music around. John had a very wonderful way of being flexible with the music, flexing it, stretching it. You know, we reflected that kind of thing. He gave us the freedom to do that. We thought of something, 'Oh, then we'll play it,' you know? And he said, 'Yeah, I have a feeling'—you know? And all that freedom just came together when we did that record."
It was that free-wheeling openness which allowed the musicians—Coltrane, Tyner, along with drummer Elvin Jones and bassist Jimmy Garrison—to build a complex four-part suite around a relatively basic musical idea.
Lewis Porter heads the masters program in jazz history and research at Rutgers University-Newark. He's the author of John Coltrane: His Life and Music. Porter says that simple idea culminating in the first movement with an unprecedented verbal chant by Coltrane forms the foundation of the entire suite. It's a theme Coltrane consciously uses in subtle and careful ways throughout A Love Supreme. For example, toward the end of part one, "Acknowledgement," Coltrane plays the riff in every key.
"Coltrane's more or less finished his improvisation, and he just starts playing the 'Love Supreme' motif, but he changes the key another time, another time, another time. This is something very unusual. It's not the way he usually improvises. It's not really improvised. It's something that he's doing. And if you actually follow it through, he ends up playing this little 'Love Supreme' theme in all 12 possible keys," says Porter. "To me, he's giving you a message here. First of all, he's introduced the idea. He's experimented with it. He's improvised with it with great intensity. Now he's saying it's everywhere. It's in all 12 keys. Anywhere you look, you're going to find this 'Love Supreme.' He's showing you that in a very conscious way on his saxophone. So to me, he's really very carefully thought about how he wants to present the idea."
While A Love Supreme is a recognized musical masterpiece, it had enormous personal significance for Coltrane. In the spring of 1957, his dependence on heroin and alcohol lost him one of the best jobs in jazz. He was playing sax and touring with Miles Davis' popular group when he became unreliable and strung out. Alternately catatonic and brilliant, Coltrane's behavior and playing became increasingly erratic. Davis fired him after a live show that April.
Soon after, Coltrane resolved to clean up his act. He would later write, in the 1964 liner notes to A Love Supreme, "In the year of 1957, I experienced, by the grace of God, a spiritual awakening, which was to lead me to a richer, fuller, more productive life."
But Coltrane didn't always stay the clean course. As he also wrote in the album's notes, "As time and events moved on, I entered into a phase which is contradictory to the pledge and away from the esteemed path. But thankfully now, through the merciful hand of God, I do perceive and have been fully reinformed of his omnipotence. It is truly a love supreme."
The album is, in many ways, a reaffirmation of faith. And the suite lays out what you might call its four phases: "Acknowledgement," "Resolution," "Pursuance" and "Psalms." A Love Supreme has even spawned something of a religious sect. Reverend Franzo Wayne King is pastor of the Saint John Coltrane African Orthodox Church in San Francisco. The congregation mixes African Orthodox liturgy with Coltrane's quotes and a heavy dose of his music. Pastor King calls the album the cornerstone of his 200-member church.
"When you look at the composition of titles and the sequence in which John has them laid out, we say that there's formula in that album. When he says, 'Acknowledgements, resolutions and pursuance,' it's like saying, 'Father, Son and Holy Ghost.' It's like saying, 'Melody, harmony and rhythm.' In other words, you have to acknowledge and then you resolve and then you pursue, and the manifestation of it is a love supreme."
While it's unknown whether Coltrane would have wanted to be worshiped or have his art deified, it's clear in every way that he saw A Love Supreme as much more than just another recording. Coltrane took control of every detail of the album, unlike any of his other works, including writing the liner notes and an accompanying poem. The poem, it's been discovered, is written to match the slow music of the fourth movement, "Psalms." It's a connection Coltrane hints at cryptically in the liner notes.
Pastor King remembers the day his congregation made the discovery. "It was so funny. We were here. We had been collected as a community, and we used to just read it and try to put some passion in it, you know. And then one day, we were reading the album, because he said the last part is 'Psalms,' which is in context, written context. And we said, 'Well, what is he trying to say here?' And then we put it on and sang, 'A love supreme. I would do all I can to be worthy of you, oh, Lord.' It's kind of like Pentecostal preaching, you know," Pastor King says. "We had a great day. We woke up and found out that the music and the words went together, and that was like a further encouragement that John Coltrane was, indeed, you know, sent by God and that that sound had really jumped down from the throne of heaven, so to speak."
While Pastor King sees explicit Christian symbolism in A Love Supreme, others point out that Coltrane took a much more general view. Coltrane was careful to say that while he was raised Christian, his searchings had led him to realize that all religions had a piece of the truth.
Only once did Coltrane perform the entire "Love Supreme" suite live, and there are no recorded interviews in which he talks about the album's personal significance. In fact, Coltrane didn't even talk about it with his band mates. "We didn't talk about a lot of things," says Tyner. But he does say the band knew that A Love Supreme had unique chemistry.
"He told me, he says, 'I respond to what's around me,'" remembers Tyner. "That's the way it should be, you know? And it was just—I couldn't wait to go to work at night. It was just such a wonderful experience. I mean, I didn't know what we were going to do. We couldn't really explain why things came together so well, you know, and why it was, you know, meant to be. I mean, it's hard to explain things like that."
From NPR.org
This photograph is copyrighted and may not be used in any way without permission. Contact me at : jackman_on_jazz@yahoo.com concerning use.
Many of Philadelphia's finest musicians gathered in front of Jazz Legend John Coltrane's former residence to help kick off an effort to raise funds for its immediate repair. Philadelphia drummer Charlie Rice (right hand side, first row, last seat on right) received a proclamation from Philadelphia Mayor Michael Nutter for outstanding life-time contributions to jazz.. After, several groups from the Philadelphia Clef Club (both youngsters and young adults) jammed to entertain the many attendees. Jazz is definitely not dead in Philadelphia!
John Coltrane residence 1511 N. 33rd Street Philadelphia, Pennsylvania.
CLICK TO SEE LARGER VERSION
For a fuller version of the house go here:
www.flickr.com/photos/jackman_on_jazz/7074382013/in/photo...
© István Pénzes.
Please NOTE and RESPECT the copyright.
6th April 2024, @home, The Netherlands
Hasselblad X2D 100C
Hasselblad XCD 4/28P
They all lived in St. Albans: William Count Basie, Billie Holiday, Illinois Jacquet, Ella Fitzgerald, Lena Horne, Brook Benton, Milt "Judge" Hinton, John Coltrane
the bird is flown
Copyright 2010 M. Fleur-Ange Lamothe
mixed media on mahogany, 42 in. high x 18 inches
Can be seen larger. Click on All Sizes.
Painted with life model and listening to John Coltrane's Lazy Bird:
This photograph is copyrighted and may not be used in any way without permission. Contact me at : jackman_on_jazz@yahoo.com concerning use
Yesterday, September 23, 2012, was John Coltrane's birthday. I enjoyed a great festival at the Church of the Advocate and then I went to John Coltrane's residence in Philadelphia for a first time tour of the inside. The tour was very interesting and informative. It was a three story house, where John lived with his mother and several other relatives. There was an old trench coat and hat, plus some old shoes in John Coltrane's 3rd floor apartment, where he lived with his first wife, Naima. I thought they belonged to John Coltrane, but present day pianist, Alfie Polllit, said he had placed them there. Oh well!
From left to right: Dahi Divine, sax, Alex Claffey, bass; Yesseh Furaha-Ali, sax; Immanuel Wilkiins, sax; and Nazir Ebo, drums. Not shown, Jordan Williams, keyboards.
Church of the Advocate Philadelphia, Pennsylvania.
ARTIST: John Coltrane tenor sax
McCoy Tyner piano, Jimmy Garrison bass
Elvin Jones drums, Booker Little, Britt Woodman tb
Carl Bowman euphonium, Julius Watkins french horn
Donald Corrando, Bob Northern
Robert Swissel french h., Bill Barber tuba
Eric Dolphy, Pat Patrick reed, Reggie Workman bass
TITLE: Africa Brass vol. 2
COMPOSERS: Coltrane
YEAR: 1961
LABEL: Impulse AS 9273 publ. 1974
PRODUCER: Creed Taylor
COUNTRY: US
TRACKS: 3
TIME: 33'37
GENRE: jazz, modal
FORMAT: vinyl LP 30 cm
STARS: *****
BOUGHT: LP 10.6.1976 25 mk Kavalkad H:ki
RECORD BEFORE THIS: Miles Davis: Quiet nights 10.6.1976
RECORD AFTER THIS: Coltrane: Kulu se mama 18.6.1976
TRACKS:
1. Song Of The Underground Railroad (Coltrane) (6'37)
2. Greensleeves (Trad. arr. Coltrane) (10'49)
Side 2
3. Africa (Coltrane) (16'11)
Comments:
My 3rd Coltrane-album ever. Beautiful Greensleaves and dramatic ethnic influenced Africa.
John Coltrane: Concert in Japan 1966
Introduction in Japaneese (1'39)
Leo part 1 (17'25) Trane, Phaorah
Leo part 2 (19'40) Ali, Pharoah, Alice
Leo part 3 (8'26) Trane & Pharoah
Peace on Earth part 1 (18'06) Trane, Pharoah
Peace on Earth part 2 (7'58) Trane
John Coltrane saxophone
Pharoah Sanders saxophone
Alice Coltrane piano
Jimmy Garrison bass
Rashed Ali drums
Live Japan Tokyo 22.7.1966
Illustration Honeya Barth
Bought the DoubleLP 21.4.1977 40 mk Kavalkad, H:ki, WAV -> MP3 26.9.06
Ecstatic, meditative, spiritual, legendary...
Never had a chance before to listen the concert as a whole, because it was divided uncomfortable into 4 LP sides.
And now here - after digitalizing the record - a bit better way in order...
Messing around with one of my favorite albums. Yeah, I know the original cover is much better, but hey, how much did this cost you?
photo: Bjørn Christiansen - www.bj0rn.net
model: Ingvild Melby - www.trendmodels.no
mua: Sunniva Moum Danielsen
styling: Kari Indergård Sundli - London College of Fashion
assistant: John Høye Wormdal - john.wormdal.no
Model testing with Ingvild Melby from Trend Models in Trondheim. Doing the styling was Kari Indegård Sundli currently studying at London College of Fashion doing a 2012 autumn fashion theme. Make-up was done by the hair stylist Sunniva Moum Danielsen, thank you for showing up on such a short notice.
For those who know me these are obvious~~cHuCkS and pedicures~~
and Coltrane...
www.youtube.com/watch?v=I_n-gRS_wdI
365 days 364/365 30december2009
Project 366-1 364/365 30december2009
First Meditations (for quartet) 1965
1. Love (Coltrane)(8')
2. Compassion (Coltrane) (9'30)
B-side
3. Joy (Coltrane) (8'53)
4. Consequences (Coltrane) (7'15)
5. Serenity (Coltrane) (5'12)
John Coltrane ts
McCoy Tyner p,
Jimmy Garrison b,
Elvin Jones dr
Rec. 2.9.1965
Prod. Bob Thiele & John Coltrane
Published 1977 - Impulse AS 9332
Art direction: Frank Mulbey, Illustradion: Mamoru shimokochi,
Design: Philip Chiang.
Bought the LP 18.7.1978 33,- Kavalkad H:ki
The quartet with McCoy Tyner on piano. Very strong!
Stuff in my bag that I bring with me to work.
Missing from photo:
bits of paper/receipts, a few pens, 2 old bread plastic bags that I put my sandwiches in.
At Home (but usually here):
portable umbrella to protect me from Toronto's schizofrenik wet weather (Nothing worse than rain in January), gum, natural lip balm, cough drops (gotta buy some). Also my sketch/idea book and 64mb flash drive .
My Metro Pass, mitts and tuque are in my coat.
But hey, no iPod or cell phone ( I don't own any. No need for 'em)!
Sketching break while I work from home. I do love listening to John Coltrane music while working, here from Spotify. His photo is so beautiful that I tried to sketch it.
A wonderful tune by John McLaughlin (guitar), Chick Corea (piano, mini moog), Stanley Clarke (bass) and Jack DeJohnette (drums). Written by JMcL and dedicated to the memory of John Coltrane. From the album Johnny McLaughlin Electric Guitarist.
Week three theme - one object, seven different photos.
Week 3 - 22/365
photo: Bjørn Christiansen - www.bj0rn.net
model: Ingvild Melby - www.trendmodels.no
mua: Sunniva Moum Danielsen
styling: Kari Indergård Sundli - London College of Fashion
assistant: John Høye Wormdal - john.wormdal.no
Model testing with Ingvild Melby from Trend Models in Trondheim. Doing the styling was Kari Indegård Sundli currently studying at London College of Fashion doing a 2012 autumn fashion theme. Make-up was done by the hair stylist Sunniva Moum Danielsen, thank you for showing up on such a short notice.
Miles Davis sextet: On Green Dolphin Street (Washington-Kaper) 1958
Miles Davis trumpet - Cannonball Adderley alto saxophone
John Coltrane tenor saxophone - Bill Evans piano
Paul Chambers bass - Jimmy Cobb drums
Fontana EP TFE 17320 (45 r.p.m) 17 cm
Found this in a record sale sometimes in 60's.
It was a long time my only version of this
beautiful ballad. Then later in 70's the same
track was included in the LP Basic Miles
John Coltrane: Sun Ship 1965/1971
1. Sun Ship (6:12)
2. Dearly Beloved (6:27)
3. Amen (8:16)
4. Attaining (11'29)
5. Ascent (10:10)
(42'28)
John Coltrane tenor saxophone, soprano saxophone, leader, composer
McCoy Tyner piano
Jimmy Garrison bass
Elvin Jones drums
Recorded on August 26, 1965, released 1971
Original superv. Bob Thiele, prepared by Alice Coltrane & Ed Michel
Impulse AS 9211 LP
Bought the LP 30.11.1971 26 mk
My oldest Coltrane LP - but heard him a lot before that. Furious, fantastic, ecstatic... It took a while until I really learned to like it - quite difficult (and I was quite young in those days, 19 and listened more Jimi Hendrix and Eric Clapton... - it's still quite ruff and very strong....
My favourite here is the slow, peaceful and meditative Attaining.
Bar/Cafe in Tromso (Arctic Circle) which has a great collection of vinyl. About to be played (front of the records on the bar) is Crescent by John Coltrane. Magic !
Incidentally, the Mack beer on draft is from the world's northernmost brewery (in Tromso).
the one and only #johncoltrane 90 today . . spiritual music forever #musicistheweapon #alovesupreme #coltrane
"An Ode to Music". Hoffeman Music Mural by Thucydd Ides, Spokane, Washington. John Coltrane, Amy Winehouse, Dolly Parton, Urethra Franklin, Willie Nelson, Ella Fitzgerald, Tom Petty, Jimmy Hendrix, maplestreet, thucydd, thucyddides, Milesdavis, Cher, JanisJoplin, Elvis, ElvisPresley.