By Ashley Kahn
Few albums within the canon of renowned tune 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 chic. Bringing an identical clean and interesting method that characterised his severely 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 that includes interviews with a couple of hundred musicians, manufacturers, pals, and relations; unpublished interviews with Coltrane and bassist Jimmy Garrison; and ratings of never-before-seen images, A Love Supreme balances biography, cultural context, and musical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
Pianists Though there are many contemporaneous accounts of Beethoven’s improvisations, few reports give technical and interpretative details relating to his performances of his published works. Only one such anecdote refers to any of the sonatas from 1802–3. Ferdinand Ries recalled that Beethoven chose to play his newly published D minor Sonata at a salon in 1803. Earlier that evening Ries had been publicly ticked off by the composer for some inaccuracies in his playing. When Beethoven himself came to play, a princess ‘who probably expected that [he] too would make a mistake somewhere’ stood behind him.
27 sonatas (along with Op. 26) in the AMZ on 30 June 1802, he took for granted the high quality of the music. Emphasising the elitism of the sonatas, he warned off unsuspecting amateurs, and set out to disparage the taste of those who might object to music of such technical and intellectual complexity. He believed that the difficulties were justified because they were a necessary vehicle for the profound sentiments Beethoven wanted to express in his music: the composer had a supreme understanding of the instrument; the figures were not ‘without effect’, and they served the music’s principal quality, ‘expression’; the ‘horrible key’ of C minor was used ‘for good reasons’.
1. Sources of sketches for Op. 27 and Op. 31 Landsberg 7 (SPK) Sauer (various collections)34 Kessler (Bonn, Bh) Wielhorsky (Moscow, CMMC) f. 52 f. 69 f. 1–5 f. 88r, f. 91v-96v f. 65v, f. 90v f. 93r, f. 95v pp. 1–11 Op. 27/1/i Allegro Op. 27/1/i, ii, iv Op. 27/2/iii Op. 31/1 Op. 31/235 Op. 31/3/i? Op. 1r staves 1–12); although the final version’s third theme (bars 43 to 56) is missing, the exposition’s closing theme – marked ‘Schluß’ above the first bar – appears in a more expansive form than in the sonata on staves 1–6 of f.
A Love Supreme: The Story of John Coltrane's Signature Album by Ashley Kahn