By Ashley Kahn
Few albums within the canon of well known song have had the impression, resonance, and persistence of John Coltrane's 1965 vintage A Love Supreme-a checklist that proved jazz used to be a becoming medium for religious exploration and for the expression of the elegant. Bringing an identical clean and fascinating process that characterised his seriously acclaimed Kind of Blue: The Making of the Miles Davis Masterpiece, Ashley Kahn tells the tale of the genesis, construction, and aftermath of this vintage recording. that includes interviews with a couple of hundred musicians, manufacturers, buddies, and kin; unpublished interviews with Coltrane and bassist Jimmy Garrison; and ratings of never-before-seen photos, A Love Supreme balances biography, cultural context, and musical research in a passionate and revealing portrait.
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Extra resources for A Love Supreme: The Story of John Coltrane's Signature Album
30. Ravel, Ravel Reader, 45–46. 31. Paul Valéry, “Je disais quelquefois à Stéphane Mallarmé,” in Œuvres, vol. 1, ed. Jean Hytier (Paris: Gallimard, 1957 [Pléiade edition]), 646. 32. Ravel, “Mes souvenirs d’enfant paresseux,” Musical 4 (1987): 13. 33. Joseph Szigeti, With Strings Attached: Reminiscences and Reflections (New York: Knopf, 1947), 139–40. 34. May Garrettson Evans, Music and Edgar Allan Poe—A Bibliographical Study (New York: Greenwood, 1968), 6. 35. Maurice Ravel, Lettres, écrits, entretiens, ed.
Perfection and emulation of great masters of the past: Fargue’s description of Ravel’s craft recalls two of Valéry’s ways of understanding the classical. Yet all of this seems entwined in a marriage of souls cultivated on urban perambulations. ”70 And in the mind’s eye one sees him draw up to an artisan’s window with Ravel to admire the handiwork—perhaps after recalling a verse or two of Mallarmé. 71 Their camaraderie did not outlive the circle itself, and just how close they ever were certainly remains open to further questioning (Ravel did not dedicate one of the Miroirs to him).
Long, Au piano avec Maurice Ravel, 124. 106. The poem “Sainte” plays upon the unheard music that the wooden saint plucks with the delicate tip of her finger on the “harpe par l’Ange / Formée avec son vol du soir,” and Ravel matches this with a ritualistic block-chord ostinato that Jankélévitch aptly called musique blanche (La musique et les heures [Paris: Editions du Seuil, 1988], 10).
A Love Supreme: The Story of John Coltrane's Signature Album by Ashley Kahn