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A review by joerichards90
A Love Supreme: The Story of John Coltrane's Signature Album by Ashley Kahn
5.0
Having enjoyed several entries in the "33 ⅓" book series, each dissecting a different album in detail in around a hundred pages or less, I found myself wondering if a near 350-page book on a single album might prove excessive. Having just finished Ashley Kahn's book on John Coltrane's "A Love Supreme" however, I'm feeling like I could have read double its length and still be left wanting more.
As is probably the case with most people reading this book, I'm a Coltrane nerd and obviously a fan of the spotlight album; just so I'm not mincing my words, I think it's the most inspiring, well-constructed, socially relevant and spiritually potent album ever made. I'm obviously not alone in these opinions; there's something about its mythos, its legendary status, its position and relevance in Coltrane's musical evolution, its pure, vivid and unrivalled intention, and its life-changing potential that draws people to it analytically as well as musically, spiritually, artistically and historically.
I believe that the enjoyment of any jazz record can be increased with a degree of context, basic awareness of the genre's fundamental form, and an understanding of artistic intent - all of which this book provides in shedloads. Kahn is a familiar, trusted source of knowledge in Trane's world, presenting his extensive research in a collected and relatable manner, building the musical context for the album without venturing too far into theory as to alienate any readers.
The first third focuses on Coltrane's evolution - musically and personally - to the point of 1964. It reveals how the 'classic quartet' was constructed, and how their individuality shaped the direction and substance of the album. Kahn talks about John's life up until the point of recording "A Love Supreme", shedding plenty of new light on a personal history that is already well accounted for. Without the context of Trane's post-heroin spiritual awakening, his personal relationships, his artistic development under Miles and Monk, and his deepening interest in the musics and religions of the world, the album is sold short.
We are then treated to a detailed study of the creation of the album - from its inception at Trane's home though to the studio minutiae of Rudy Van Gelder's microphone placement, Bob Thiele's quiet guidance and contributions as producer, the band's approach to rehearsing, and a breakdown of alternate takes (including the fabled lost session with Archie Shepp and Art Davis augmenting the quartet). Kahn describes each of the four tracks in full, exploring everything from the overarching vision to studio overdubs and the significance of individual solos.
Lastly, the album's impact is accounted for, from contemporary reactions and reviews from critics, fans and musicians, to its now established place in wider historical, sociopolitical and artistic contexts. Whilst the second edition ends with reflections from the surviving musicians on their place in the creation of a classic (and opens with a wonderful foreward from Elvin Jones), I can't help but feel a third, definitive version might be beneficial, now that every member of the quartet has passed on, allowing for an overarching analysis on their complete careers. Otherwise, it's a must read for any Coltrane fan and would, I believe, make for a suitable entry point into the genre of jazz.
As is probably the case with most people reading this book, I'm a Coltrane nerd and obviously a fan of the spotlight album; just so I'm not mincing my words, I think it's the most inspiring, well-constructed, socially relevant and spiritually potent album ever made. I'm obviously not alone in these opinions; there's something about its mythos, its legendary status, its position and relevance in Coltrane's musical evolution, its pure, vivid and unrivalled intention, and its life-changing potential that draws people to it analytically as well as musically, spiritually, artistically and historically.
I believe that the enjoyment of any jazz record can be increased with a degree of context, basic awareness of the genre's fundamental form, and an understanding of artistic intent - all of which this book provides in shedloads. Kahn is a familiar, trusted source of knowledge in Trane's world, presenting his extensive research in a collected and relatable manner, building the musical context for the album without venturing too far into theory as to alienate any readers.
The first third focuses on Coltrane's evolution - musically and personally - to the point of 1964. It reveals how the 'classic quartet' was constructed, and how their individuality shaped the direction and substance of the album. Kahn talks about John's life up until the point of recording "A Love Supreme", shedding plenty of new light on a personal history that is already well accounted for. Without the context of Trane's post-heroin spiritual awakening, his personal relationships, his artistic development under Miles and Monk, and his deepening interest in the musics and religions of the world, the album is sold short.
We are then treated to a detailed study of the creation of the album - from its inception at Trane's home though to the studio minutiae of Rudy Van Gelder's microphone placement, Bob Thiele's quiet guidance and contributions as producer, the band's approach to rehearsing, and a breakdown of alternate takes (including the fabled lost session with Archie Shepp and Art Davis augmenting the quartet). Kahn describes each of the four tracks in full, exploring everything from the overarching vision to studio overdubs and the significance of individual solos.
Lastly, the album's impact is accounted for, from contemporary reactions and reviews from critics, fans and musicians, to its now established place in wider historical, sociopolitical and artistic contexts. Whilst the second edition ends with reflections from the surviving musicians on their place in the creation of a classic (and opens with a wonderful foreward from Elvin Jones), I can't help but feel a third, definitive version might be beneficial, now that every member of the quartet has passed on, allowing for an overarching analysis on their complete careers. Otherwise, it's a must read for any Coltrane fan and would, I believe, make for a suitable entry point into the genre of jazz.