Customer Reviews

John Coltrane

5 star:		(2)
4 star:		(2)
3 star:		(1)
2 star:		(4)
1 star:		(0)

 

 

This is the second book on Coltrane that I have read and, while interesting, it has some failings that make it a better choice as the second or third book that an interested party should read. By deifying Colttrane throughout and treating his every move as perfect one does not get to experience the human side of this great artist whose struggle to become the genius that he was is, in my opinion, far more interesting than the idea that any failings on his part are usually the fault of inferior sidemen and economic circumstances. The emphasis on the work of Fela Sowande is interesting in its own right and I am inclined to find his writings purely for their own merits. The structuring of Coltrane's life around these observations is, unfortunately, a backward construction that fails horribly. Often seeming poorly researched, this book assumes far too much about what may have been influencing Coltrane at various points in his carrer. Interesting, but read a more objective study first.

Also, the omission (or worse, maligning of) white musicians who had an impact on the works of Coltrane and his earlier sideman gigs (notably Bill Evans) is a dis-service to the spirit of the music

This reads like an academic's thesis which got published without ever being edited for publication. Conversational on one page, professorially pedantic on the next, straining throughout in its effort to contextualize all of Coltrane's work in the writings of Fela Sowande; this is not an especially fun or insightful read. The book's lack of focus extends to even the placement of photographs, which appear throughout the book with no relationship to the choronology of the text. The best passages are Cole's personal recollections of Coltrane, in particular his recount of Coltrane practicing with a friend in a hotel room. For those sections alone, the book is worthwhile for dedicated Coltrane fans. But newcomers to Coltrane about would do far better to pick up Eric Nisenson's "Ascension: John Coltrane and His Quest."

This should be the last book on Coltrane you read. This author wrote this book obviously trying to find a niche in the Coltrane story that hadn't been covered. His angle is the spritual side of Coltrane which would have been a good topic if he had any research to support that what he proposes Coltrane thought and felt. He doesn't. This book is pure speculation and the majority of citations to other works are to album liner notes and Downbeat articles. Apparently the author conducted no significant interviews but based on almost no evidence, draws the conclusion that Coltrane thought in the ancient ways of the Nigerian "Traditional man" and was the equivilent to an African medicine man although he admits Coltrane had never been to Africa. He claims it was in Coltranes DNA. Hardly a mention of Coltranes Christian upbringing or that his grandfather was a Christian minister or that his mother was a strong Christian. Hardly a mention of drugs and the effect this habit had on Coltrane's life and music. Read this book last, if at all. I like the Lewis Porter book much better.

I agree with other reviewers, that the author tries to be both a hero-worshipping spectator and a musical academician. The two do not always meet, and rarely reinforce each other. Given that his main subject was Miles Davis, it seems that his interest in Coltrane developed more as an ancillary "pop" infatuation, from just being in the jazz environment, than an academic interest.

While I enjoyed the author's recounting of his many encounters with the jazz musicians of the 1950s and 60s, not a lot of light was shed on Trane's music beyond the attempt to make a rather superficial connection with its Nigerian roots. This is rather curious in itself since the author admitted not really understanding Trane's later more spiritual music.

Given these concerns and the fact that the manuscript was rather sloppy written -- especially for a Phd student -- there is not much to recommend about this book. Two stars

This is not a biography, despite the publisher's claim. It is a chronological look at "John Coltrane as a musician, and John Coltrane as a religious person." (p. v) It is based upon the author's doctoral dissertation and incorporates the ideas of the Nigerian scholar Fela Sowande, with a smidgen of Jung, a dash of astrology, a dollop of reincarnation, and a spirited mystic twist to blend the infusion. It includes transcriptions done by Andrew White, of short phrases, a few measure's worth, from some of Coltrane's solos.

The 1993 De Capo Press edition reprints the original 1976 publication with the addition of a "discographical update". The discography does not list album titles but is organized according to recording date and place, with the titles of songs recorded then, along with personnel and instruments played. There is a bibliography and two indices: one of names and subjects, the other of music discussed.

The author occasionally relates his experiences of seeing Coltrane play, the first having been in 1955. The book, then, is not based solely on listening to recordings and the gathering of quotes from others who knew Coltrane, as must unavoidably happen eventually (Eric Nisenson in his 1993 book Ascension: John Coltrane And His Quest also mentions his first time hearing Coltrane, in this case with his classic quartet at the Half Note).

Although I rank this book on the same level as J. C. Thomas' book Chasin' The Trane and below Eric Nisenson's Ascension, I would place it, in fact, between them. I would say that Thomas' book is valuable mainly for its many quotations (I dislike the author's style), that Nisenson's book, which wasn't written as a biography (he says so in the very first sentence of the book), covers the biography well enough to situate the music within Coltrane's life, and the author writes with animation about the music (although his final chapter was a misfire, in my opinion), and that Cole's book (the current) gives more focus to the music in terms of the notes and rhythms played (which Nisenson doesn't do), and in fact relies upon this notational approach to make many of his musical points (which makes them less helpful if that type of analysis is meaningless to you), and that he also puts more emphasis on the musical and cultural differences of African (not African-American) music and how they seem to enter into Coltrane's playing (he interprets this in spiritual terms), and by implication, the playing of others influenced by such differences. These three books are all I've read, thus far, devoted to John Coltrane.

Published by Schirmer/ MacMillan Books, NYC, 1978. 8vo. Interesting musical AND religious biography...With extensive notes and complete session recordings listing...264 pages,

This book is highly informative to anyone who would like to dive into Coltrane. Knowing little to nothing about the man, his work, or Jazz in general I found this book to be very satisfying. There is theory, but not to much too bore. It moves well from talking about Coltrane's motivations as a musician to his practice habits to other musicians around him. I'm not a critic (don't always trust critics), but I made an effort to write because I really think this one of the better music books I've ever read.

This book is great for people who love jazz and have a knowledge of music notation. It reads like a college thesis, but goes into depth about actual musical passages and techniques. A must read for anyone who wants to know what made Coltrane tick in a musical sense and not just how many times he quit heroin or found jesus.

I enjoyed reading this book not only for it's comments on Coltrane but about the detail of his projects with other great musicians. It has a detailed recording list (includes dates, times, people involved, etc.)