JAZZY REVIEWS: A Love Supreme - John Coltrane

There are two names in jazz that remain as revered today as they were nearly 60 years ago, Miles Davis and John Coltrane. It seems that anyone born after the baby boomer generation (of which I am a part of) have only two rails and one direction. The truth of the matter is there are far better and more listenable jazz musicians than either of these men! I am sure I will be verbally chastised for my opinions here; nevertheless, I will hold fast and steady to the words I write regarding John Coltrane and his monumental selling album of 1965 “A Love Supreme”.

Recorded in one take at the VanGelder studios in New Jersey in December 1964, this album did indeed pave the way for a new breed of jazz known as free jazz, but often referred to as post-bop or avant-gard. Regardless of what it was called, to me it was awful. Coltrane wrote all four movements of the album and performed them along with pianist McCoy Tyner, drummer Elvin Jones, and bassist Jimmy Garrison. The group worked well together, as each of them knew what the other was expecting, what they wanted it to sound like, and what message Coltrane was portraying. It has been said that it was a religious experience for Coltrane, an homage to his creator, and yet, I just don’t get it. All 4 movements put Coltrane in the forefront blowing what can only be referred to as a squawky pointless series of notes, as if you were hearing a middle school student practicing on a budget tenor sax. Coltrane’s tone is harsh and at times straight out flat, and when did squeaking a reed become acceptable from a professional musician? Tyner’s piano is a bit better, Jones on drums has a passable solo on the third movement but overall, I cannot see what all the hype is about. How did it sell half a million copies?

Don’t get me wrong, Coltrane does have talent, there is no doubt about that. For me “Giant Steps” was a bit better, “Ballads” and “Coltrane Plays the Blues” are far more listenable examples of his style. But, if you want to hear a melodic tenor sax player, I’d suggest Stan Getz, who was making beautiful bossa nova recordings during this same time period. Or, if alto is your preferred key, try Paul Desmond, Julian “Cannonball” Adderley or Johnny Hodges.

For me, “A Love Supreme” left me wanting to never give Coltrane another chance, sounding closer to fingernails on a chalk board and playing 33 minutes of nothing more than noise. It did not make me feel spiritual, nor did it make me understand or appreciate the universe and its maker more. It simply annoyed me, knowing that inside that beautiful tenor saxophone were melodies held captive, while a tonal atrocity was set free!  Even Miles Davis, Coltrane’s former bandleader said the record "reached out and influenced those people who were into peace. Hippies and people like that". “If a listener is "in the mood", he wrote, "it's majestic and compelling; if you're not, it's interminable and pretentious."  Sadly, Davis was just as bad by then.

Performance: 2 out of 10- I’m not a fan. Give me cool jazz, west coast jazz or be-bop anytime over this!

Recording: 8 out of 10- If you can get past the dreadful content, the engineering and sound quality are great! As with most Impulse albums, VanGelder knew how to obtain the best sound of the time.

Content: 1 out of 10- Perhaps just too deep for me, but try “Ballads” and listen to just how much more enjoyable Coltrane can be when he plays a recognizable melody. Better yet just spin your copy of “Getz/Gilberto” and avoid the frustration all together!