Customer Reviews

Ascension: John Coltrane and His Quest

5 star:		(3)
4 star:		(6)
3 star:		(2)
2 star:		(2)
1 star:		(1)

 

 

Too often the words written about the career of John Coltrane lapse into idolatry or overanalysis. Biographies by J.C. Thomas and Cuthbert Simpkins lack a sense of critical judgment, while Bill Cole's work is fine for the musician but difficult for the lay listener. Frank Kofsky's "Black Nationalism and the Revolution in Music," meanwhile, attempted to put Coltrane's music in a political framework he never intended.

Eric Nisenson's "Ascension," refreshingly, focuses on Coltrane's music, attempting to understand not only where it came from but also the extent of its influence on jazz since the saxophonist's death in 1967. Nisenson is clearly a fan of the music, but to his credit, his admiration does not cloud his critical judgment.

One important accomplishment of Nisenson's book is to establish a context for Coltrane's creativity and his late-life forays into free jazz. He revisits Coltrane's early life in North Carolina, where he grew up in relatively comfortable surroundings, exposed to the music of the church and of his father, a tailor and amateur musician. Nisenson also emphasizes Coltrane's early apprenticeships with Dizzy Gillespie, Earl Bostic, Cleanhead Vinson and his time in Philadelphia, a hothouse of jazz playing that produced many an important contemporary, including Lee Morgan, Benny Golson and Jimmy Heath.

In addition, Nisenson thoroughly explores Coltrane's important time with Miles Davis, during which he mastered not only his chordal approach but also the modal approach to music and improvisation that Miles took on with "Kind of Blue." And he thoroughly documents Trane's later interest in the Eastern, African and other world music, which strongly influenced many of his albums as a leader.

In fact, Nisenson's attention to the searching quality of Coltrane's mind and his music generates the key theme of the book: that the saxophonist's greatness was derived not only from his musical mastery but from his unceasing search for new modes of expression. It was this search, Nisenson argues, that ultimately led Coltrane to embrace the avant-garde experiments undertaken by younger musicians such as Archie Shepp, Albert Ayler and Pharaoh Sanders in the last few years of his life.

Nisenson does not downplay the courage required of Coltrane to push the limits of his music long after his fame had been established, and he could have played it safe, but neither does he shy away from being critical of some of the musician's later cacophonous efforts.

The sole criticism I have of the book is that it seems to reach the conclusion that since Coltrane, Miles and Ornette Coleman, there has been little in the way of true creativity on the jazz scene. A response would require another review, but suffice it to say that I disagree; that the current jazz scene may be more fragmented, and undoubtedly many musicians are playing it safe, but also that there are many young and older jazz musicians making very creative music on small labels.

That aside, this is a very worthwhile read for long-time listeners of Coltrane or for those coming to his music for the first time.

It is difficult, I believe, to write a biography about a man such as John Coltrane without annoying the reader. When listening to John Coltrane, one person responds to a slight turn of notes, a particular sound heard. Two people probably respond to different turns and different sounds from one another, yet the music is nonetheless moving. In regards to this book, I find the author's discussions on what John Coltrane must have been thinking to be particularly irritating. Who truly knows what somebody is thinking? How can you take music, a nonrepresentative form of art, and conclude that a concrete thought is represented or a specific notion is held in mind? I would argue that you can't. This occurs throughout this book and is unsettling. Most interesting about this biography is the subject matter, if one knows the music. John Coltrane must be listened to again and again to be felt, especially for one who is unfamiliar with jazz. Then, one unexpected day, you might hear a phrase lasting 1 second in the middle of a ten minute solo which will change the way you listen to music. For the tribute and information, I rate this book above average. For the psychoanalysis and often harsh criticism of other artists, I would hold back praise.

John Coltrane lived from 1926 to 1967.

The author warns that "although the most important facts of Coltrane's life are contained within, this is not a formal biography of John Coltrane. This book is an attempt to understand the ideas and passions behind Coltrane's music, music that even his detractors concede was unique in its intensity and its effect, both on listeners and fellow musicians." (p. ix) On the same page are listed three biographies available at the time (1993): J. C. Thomas' 1975 Chasin' The Trane, C. O. Simpkins' 1975 Coltrane: A Biography, and Bill Cole's 1976 John Coltrane: John Coltrane. "While none of these books is completely satisfactory, the Thomas book is the most thorough." (p. ix)

If I were limited to listening to only one musician for the rest of my life, I'd choose the complete works of John Coltrane. Having only that, the music I'd miss most would be string quartets, but I'd choose Coltrane first. This is the first book on him I've read. When I bought it, used, there was next to it a copy of Cole's book. Comparing the two, I chose this. The next day, at another used bookstore, I found a copy of Thomas' book and bought that. I have not seen the other books. I'm actually more than halfway through Thomas' book as I write this review, and I prefer this book to that one.

Since I have no significant basis for comparison, I can only remark that I felt no disappointment or dissatisfaction with the author's approach, except in the lack of an index and bibliography, and in his discussion of jazz after Coltrane's death. There are no pictures, either, which may be missed by some readers.

Incidentally, as far as I recall or can find, there is no mention of Eric Dolphy's death in 1964. This omission is unreasonable, especially since the author says of Dolphy: "Dolphy was the catalyst that had prodded Coltrane to advance the bold expressionism of his music, and to explore more fully what he called the "life side" of his music." (p. 127)

Chapter 13, "after the trane", the final chapter before the epilogue and a selected discography, is dismal. After discussing the directions chosen by those who had played under Coltrane, the author reviews the rise of fusion. What does Coltrane have to do with fusion? Is "Interstellar Space" pointing towards fusion? The author suggests fusion was in part a reaction to the extremes of the New Thing (free jazz), which was seen by many not only as a dead-end but an atrocity to begin with; and he claims that Jimmy Hendrix was in some manner Coltrane's true musical successor. "Basically, "Bitches Brew" is Miles's musical reaction to both the work of Hendrix and that of Coltrane's last few years." (p. 235-36) I would have liked to have read more in that chapter about the avant-garde in jazz after Coltrane, rather than how jazz tried to remain marketable and popular after the 1960s. The author had previously written a book on Miles Davis, so his inclination is to follow that lead rather than discussing, for example, Anthony Braxton (only briefly mentioned) or Peter Brotzmann (not mentioned at all) over in Germany, to name only two.

Not a replacement for the classics focused on Coltrane's personal life, nor a complete exploration of the relationship between Muslim militancy and 'Trane's music, but easily the best, most holistic treatment of the musical and sociological/spiritual factors working through Coltrane's music. In addition to being the best-written book on Coltrane's *music* (rather than focusing on his personal life), brief excursions exploring other significant figures (not just the likes of Miles and Ornette but people like Sun Ra and Albert Ayler) place Coltrane's ground-breaking and timeless work into perspective

So the author tries to link things like Coltrane's music and unified field theory? So what? I didn't care. I found this book to be very informative and fun to read. I'm not sure what some of the complainers were expecting(?) If you are new to Coltrane this is a decent book to give you an idea of his impact on the times and on Jazz music. If you want something with more meat and discussions of Trane's music and music theory, try Lewis Porter's recent book on him.

The author's focus on the role that spiritual beliefs and motivations played in Coltrane's life and art are what attracted me to this book. When backed up by quotes or other sourced information, that focus is proper and rewarding. However, too often the author extends that focus and lapses into suppositions regarding what Coltrane "must have been thinking" when performing a certain piece of music, or doing some other act related to his art.

This is a ovarall a good read, giving a nice overview of Coltrane's life intermingled with good insight. The author gives his opinion often which is fine but sometimes I question how he comes to that conclusion. This book does not add much to Coltrane scholarship, there is no original research. He doesn't always say where he is getting his information from besides reading a few biographies. If someone is already familiar with an outline of the last 50 years of jazz and/or Coltrane, 50% of this book may be boring. But I think Coltrane fans will enjoy reading this book because the author gives some nice insights into interpreting his life and music in light Coltrane's inner spiritual and philosophical longing.

An excellent introduction for newcomers to Coltrane. Highly readable and sustains the reader's interest. No, it isn't perfect - I was amazed the author could discuss Weather Report and make no mention whatsoever of Jaco Pastorius, for one example. But if you want to know something of Coltrane, his music and his times I highly recommend this book.

This is a thoroughly enjoyable brief biographical and analytical sketch of John Coltrane's development from a good sideman to the most influential jazz musician of his era. Coltrane's intensity and his approach to his art is wonderfully portrayed. There are anecdotes from various performances and recording sessions as well as brief forays into his personal life and struggles with addiction. Nisenson writes with the appropriate level of reverence for a man who has given so much through his music and includes numerous quotes from other musicians ,especially Miles Davis on Coltrane and what made him unique. My only complaint is the book is too short. I finished it wanting more.

If you are simply looking for a biography of Coltrane, only trust Lewis Porter's "John Coltrane: His Life And Music" [U of Michigan Press]. Porter's book is well researched. This "Ascension" book is a waste of your money. The author only stated his impressions after listening to LPs by Coltrane - it's just a guesswork (not research).