Customer Reviews

John Coltrane: His Life and Music (The Michigan American Music Series)

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John Coltrane - His Life and Music

I have probably read nearly every biography on John Coltrane that is available in the hope of finding writing that is worthy of the scope of this jazz master's genius. Most of the reading I've done has been fairly disappointing...more like glorified fanzine articles rather than serious discussions of the man and his music. Eberhard Jost in his book Free Jazz does do some pretty in-depth analysis of the music of Coltrane, but almost all other books focus more on gossip and life details and leave the musical analysis to vague lofty sounding phrases that have very little meaning on a real level.

So Lewis Porter's book is a breath of fresh air, not just in writing about Coltrane, but also in jazz scholarship in general. Porter's is the first jazz biography I've read that is a really musicological biography and worthy to stand up to the biographies written about classical music figures. Rather than create a portrait with personal meditations, as J.C. Thomas did in Chasin' the Trane, or beating a predetermined ideological drum, as Frank Kofsky did in John Coltrane and the Jazz Revolution of the `60s, or create a fanzine kind of portrait, as Bill Cole did (by far the best of the pre-Porter bios, but still lightweight musically) or create a sort of modern day hagiography, as Eric Nisenson did in Ascension, John Coltrane's Quest, Porter gives us a straight biography, with little personal interjection, and a lot of penetrating insights based on the actual music Coltrane produced.

Porter's book has the benefit of more years of research into Coltrane's life and legacy. Increasingly, as the years since the 60s have worn on, it has become clear that the influence of Coltrane is perhaps the biggest single influence on all facets of jazz, arguably equaling or maybe even exceeding the influence of Charlie Parker. His is certainly the most all-pervading voice since Bird and the influence doesn't seem to be waning as the millennium turns. Porter's book relies on the best of the earlier biographies. He quotes Thomas and Cole with some frequency. But he also relies on a welter of recorded interviews with Trane, interviews with those who knew Trane, and with surviving family members, including much precious information about Trane's early years from his cousin Mary and from many of his childhood and Philly friends. The picture that emerges is not radically different than the picture we get from earlier biographies. All of the elements of the Coltrane mystique are there; the obsessive practicing, the drive to succeed, the drug addicted years, the dramatic kicking of the habit, the later search for musical and spiritual Truth, and the sudden and tragic death. But devoid of interpretation, these facts loose some of the legend surrounding them. To me, this can only be a good thing. Coltrane would not have wanted the worship that has developed around him. The details of Trane's life as outlined by Porter show a man who was deeply gifted, haunted by childhood loss, driven to perfect his art, and yet also daunted by lingering addictions and the physical havoc that he had played on his body early in his life. This Trane is no less worthy of honor than the legendary Trane, and a bit more loveable and human.

Where the Porter biography has it over all others is in the copious musical examples. Porter analyzes many recorded solos in detail, including Giant Steps, My Favorite Things, a Love Supreme, and perhaps most impressively Venus, from Coltrane's last recorded album. Porter's skill as a musicologist is quite impressive and a gift that is rarely given to jazz literature. He analyzes Trane's changing improvisational technique, from the early "sheets of sound" period, where pattern after pattern of complex, harmonically based scales are piled over chords, to the more melodically based modal material, based on the manipulation of short melodic cells. Porter gives us a glimpse into the mind of a genius here, showing the amazing logical processes behind Coltrane's font of inspiration. Also, for those who don't want this type of musical analysis, the chapters are located at dramatic breaks in the biography, and are easily skipped without loss of any significant information. This makes the book still accessible for the non-musician.

This is not a perfect book. Porter does occasionally make himself known as an author, something which is not usual in scholarly biographies. This usually happens when he interjects the phrase, in my opinion. It's not a real fault, but in a book of such scholarly aspirations, these comments probably should have been edited out or reworded so that they didn't jar quite as much. More serious is the chapter that discusses the medical issues with Trane's death. Much nonsense has circulated about Trane's death, which Porter attempts to correct. Unfortunately, he does so with poorly drawn medical arguments. For instance, cirrhosis of the liver has very little if anything to do with liver cancer, and while he is correct that for cirrhosis to occur the patient has to be an active alcoholic or drug abuser, some studies indicate liver cancer can be affected by abuser, even years after the patient stops using. The causes of Trane's death are probably complex and may never be fully explained, but Porter should have checked his medical sources a bit more carefully or steered clear of this potential minefield.

But despite those fairly small points, this is a major step forward in Coltrane scholarship and in the whole field of Jazz Studies. Porter has set a new high for jazz writing; one that I hope will be met by a new crop of scholars. If any American art form deserves this kind of scrutiny, jazz is it.

I just completed review and reading of Porter's Bio. on Coltrane and I must agree with most of the positive comments on this book. I also found the comments regarding Dr. Simkins book to be a little unforunate, because I spent a lot time verifying much of Simkins work. However, I believe this to be the best book on Coltrane I've read. It compares with Bill Coles book which I also think is particularily good with respect to the musical analysis. As a musician, I was fascinated by the explanations on Coltranes' musical formulas and use of wonderful motifs. I have numerous transcriptions from Andrew White, but without the discussion of some of the mechanics it was difficult to understand how to apply the works. I wish Mr. Lewis would have included additional photos. I believe there is a wonderful opportunity for someone to issue a photo Bio. on coltrane which would be well received. I consider myself a Coltrane expert and own almost all legally published materials (some bootlegs too)on "Trane", but I actually learned some new "stuff". I recommend Lewis' book wholeheartly. This book will give you a real opportunity to appreciate Coltrane and understand how "bad" this "cat" really was.

Lewis Porter deserves praise for his outstanding work on John Coltrane. Once I started reading it, I couldn't put it down! I was interested to learn about his family background and musical influences that developed into his unique signature style. I enjoyed the Chapters devoted to "Giant Steps" and "A Love Supreme."
I agree with one reviewer's comment that the musical theory was difficult to absorb. This book is well referenced with footnotes for further readings and study.
After reading this book, I have a better understanding of what Coltrane was trying to achieve an artist and ambassador for humanity. Mr. Porter, thank you for taking me on this journey!

Porter's book is easily the most meticulous and rigorous historical and musical assessment available of the life and music of John Coltrane, the most influential and fascinating jazz saxaphonist of all time.

Porter has read everything, talked to everyone, and know musical theory inside and out. The latter virtue will--at times--leave behind some readers (such as myself) who are less educated in the techical aspects of music. But one may skip over these sections without destoying the flow of the book.

The book engages in little cultural or biographical intepretation and instead is more of a detailed chonicle and analysis of Coltrane's life and incomparable music.

Douglas Groothuis, Ph.D. Associate Professor of Philosophy Denver Seminary

I am almost finished with this book and it has been a generally positive experience. Porter includes loads of information; stories, interviews, copies of Coltrane's musical scriblings etc. He also disects the music quite intensely-perhaps a bit much for me. I do play a variety of instruments and I read choral music ok, but some of the discussions contained herein are frankly, too difficult for me to understand on paper-I have always learned music by listening to it. So if you are like me, you may want to go to a bookstore and page thru this work before buying it. As I said, it has been a good experience but I probably would have finished it last year if it were a less technical read. Thankfully, Porter does a good job of breaking up the more technical portions of the book with great narrative. I have been able to pick out and understand his larger points without completely grasping all the music theory. My hat is off to those who can read this cover to cover and understand it all! If you are looking for a simpler bio there are plenty out there-some better than others.

This is a nearly perfect biography in every way. It is comprehensive, objective, and written with a good understanding and appreciation of Coltrane's music. The tone is scholarly without being too dry -- a difficult balance to achieve.
The book is fairly long, providing in-depth coverage of Coltrane's life and music from his early development through his controversial late work. There is a good balance between discussion of his musical and personal development. There are lots of quotes included from people who knew him and worked with him.
For non-musicians, the theory and analysis may be intimidating and un-necessary. For musicians, it is good reading, but non-musicians may not understand some parts that deal strictly with music theory. I don't really think there is any way to explain the significane of Contrane's music in any depth without going into this type of explanation, so I cannot count this as criticism. How can one explain the significance of Giant Steps, for example, without describing the innovative harmonic movement by thirds? How can you give a good discussion of Interstellar Space without analyzing specific examples of motivic development? For non-jazz musicians or non-musicians, these parts can probably be skipped when they go over their heads without significant loss to the value of the book, but perhaps they should at least skim through them to get an idea of why Coltrane is such an important figure in jazz history.
There is adequate criticism and praise for Coltrane's music from many different, reliable sources included throughout. For example, McCoy Tyner's displeasure with the direction Coltrane took with his groups in the mid-60's is included, along with quotes from people who loved playing with him at that time.
Overall, this biography is objective, comprehensive, and enlightening to anyone interested in jazz or in the development of a remarkable talent in general. Very much recommended.

Porter's biography is a detailed exploration of Coltrane's musical development, consisting of extensive analyses of selected examples of Coltrane's music, together with what reads like a patchwork of biographical details (much of which is newly researched and not included in other Coltrane biographies). The latter dimension of the work was apparently an afterthought which Porter started working on in 1994 after having spent the previous fourteen years working on the musical analysis (he indicates this in his preface to the book). The analysis of the music is challenging and would probably be inaccessible for someone who does not have some knowledge of music theory.

The biographical portion of the book seems to be well researched and explores parts of Coltrane's life which his other biographies have not delved into (although Porter does rely significantly on two previous biographies - one by J.C. Thomas, the other by C.O. Simpkins, to flesh out his own research). The first chapter, titled "Southern Roots," is an exploration of Coltrane's familial roots and the origins of the Coltrane name. A family geneology, photos of family marriage licenses, the 1920 census of High Point, North Carolina (where Coltrane grew up) and even Coltrane's birth certificate are included. The author then explores Coltrane's childhood through stories recounted by family members and friends who knew Coltrane as a boy. Included in this section is a remarkable photo of Coltrane's grade 3 class, in which the young Coltrane already has a look of concentrated seriousness.

Porter then goes into a lengthy exploration of Coltrane's early musical development through a discussion of Coltrane's encounters with books and teachings the saxophonist used to develop his obviously vast musical knowledge. This section, which dominates the first third of the book, is highlighted by interviews with other musicians, particularly Jimmy Heath, who knew Coltrane during his musically formative years, and by Porter's insights into some of the sources of Coltrane's playing. This section is definitely one of the strengths of the book.

During the second third, Porter makes the usual stops, touching on Coltrane's substance abuse, his membership in the Miles Davis Quintet and his apprenticeship with Thelonious Monk.

The final third of the book begins with Coltrane's final split with Davis and ends at the present time with an examination of the saxophonist's influence on contemporary music. In between, the formation and eventual dissolution of Coltrane's classic quartet is outlined. Within this last third is Porter's most intense analysis of Coltrane's music, highlighted by a very detailed exploration of one of the peaks of his art, "A Love Supreme."

Another chapter, called "The Man:'A Quiet, Shy Guy,'" in the final section presents quotes and interviews drawn from a variety of sources about aspects of Coltrane's personality along with his views on philosophy, religion, race and politics. This chapter, although useful, is somewhat awkward and might better have been integrated into the other chapters. As it is, it highlights one of the problems with Porter's book - it tries to be too many things and does not integrate them into an organic whole.

A particularly valuable part of the book is a forty page chronology which documents all of Coltrane's known performances and interviews. This section alone, might make the book worth purchasing for some readers.

In summary, if you are looking for an analysis of Coltrane's music, this is the place to look. If it's the biography you are interested in, this book cannot be ignored because it presents details not mentioned elsewhere but it still falls short. Porter's writing is dry and academic, which is useful for presenting the facts of an artist's life or for analysing his work, but it fails to evoke a sense of the man and the world he lived in. For that, a writer with a warmer, more imaginative style is needed.

The definitive Coltrane biography still remains to be written, but Porter's book is worth holding onto in the meantime.

And the layout is great too. With loads of musical examples, transcribed solos from Giant Steps, So What and more, plus some very fine pictures of Trane. It also has perhaps the most thorough analysis of A Love Supreme I've ever seen. And all material and things written in this book has a documented source, so that you know everyhting that stands there is true. All Coltrane fans shall rejoice over this book. And if you're not a Coltrane fan, you will be after you've read this book. Marvelous!!!!

Lewis Porter's bio of Coltrane is, so far, the best. After reading 4 bios of Coltrane, each new one more disappointing that the last, I've finally found a reliable source of facts. Mr Porter has done his homework: the chronology, at the end of the book, is worth the purchase alone. He does not get into interpretations, preferring to stick to the facts. He has also avoided the tendency to make Coltrane look like a saint, a tendency so common in other books about Trane. The musical analysis can be hard to follow if you're not familiar with musical theory, even though it looks as Porter has tried to make it as easy to understand as possible. This is the only biography of Coltrane worth reading.

An excellent book that includes thorough analysis and scores from Trane's solos (imagine that, a book about a musician that actually focuses on the guy's music). Chasin' the Trane was full of trite, silly speculation in some places and clearly was not written by someone with a working knowledge of music. THIS book deals with many facts about Trane's music. Porter carefully breaks down Coltrane's "methodology" and shows how, even though the aesthetic of the music changed drastically after 1965, he was actually adhering to the pentatonic scales in thirds approach (albeit without steady rhythm and harmonic anchors). Include many transcripts of pieces ranging from Fifth House (early) to Venus (late). If you are a musician who wants a serious study of Coltrane then THIS is the book to buy.