The release of A Love
Supreme in 1964 changed the face of jazz forever. The four part epic
introduced a much more spiritual side to the genre, one that took reference
from the slave spirituals that represented the rough beginnings of the music,
but also the eastern philosophies that became prevalent in the music of players
like Sun Ra and Pharoah
Sanders. Coltrane’s A Love Supreme
arose out of probably the darkest part of his life and how he overcame it. All
if the analysis of the album is done by listeners because, sadly, Coltrane is
never recorded speaking about the album or its significance. That being said, I
will analyze parts one, two, and four, and try to interpret them as best I can.
https://www.youtube.com/watch?v=qagOblqhBhk
Part one of
the suite is titled, “Acknowledgement.” The track opens with the low rumble of
a gong hit, immediately followed by a mellow, yet soaring saxophone lick from
Coltrane. The piano joins in with Coltrane and the cymbals as it begins to
fade. Eventually the band dies away to nothing but the cymbals gently rolling
and out of the ringing, the bass enters. The idea that the bass enters with is
actually the melody for the entire piece. It is the interval of a minor third
followed by a perfect from the same root pitch. After the band joins in on the
modal afro-cuban groove, Coltrane arrives with what seems to be a second melody
but it quickly melts away into a very tonally adventurous sax solo that takes
up most of the piece. The solo grows in intensity for about four minutes and
then there is a gradual drop. Coltrane abandons the screaming and harsh
vibrancy of the solo and instead begins to play the bass melody from the
beginning. After he plays it in the home key, Coltrane plays the same melodic
theme in all twelve keys. Then in one of the most interesting sections of the
album we here Coltrane’s actual voice dubbed over the track, he recites a chant
which provides some insight into the piece. It is revealed that the bass melody
actually is the words “A love supreme.” After Coltrane recites his chant a few
times, the band gently fades away to nothing but the bass playing a slightly
altered version of the melodic theme.
Obviously
this piece of music has a lot of meaning. The concept of this piece is one that
no one had seen from Coltrane before and there is a lot to take in. The first
thing to think about is the name of the piece, “Acknowledgement.” If this piece
is representative of acknowledgement than the opening gong hit and sax lick are
the original epiphany. The opening of this piece of music is representative of
Coltrane’s first realization that there is some form of ultimate power. Out of
all the darkness of his drug ridden past, this opening seems to represent, his
first time realizing the greatness of God. After the opening fanfare, the next
thing we here is the bass come in with the melody. This melody is probably the
most important part of the piece because we later learn that the words to the
melody are the title of the entire suite. What is interesting about the melody
is the fact that it is almost constantly represented in one shape or form
through out the entire piece and most of the time it’s in the bass line. That
being said, I believe that by doing this Coltrane is saying that, “A Love
Supreme,” is the consistent foundation for the acknowledgement of God’s light.
This takes us to the section in which Coltrane plays the melody in all twelve
keys. To me it is clear that in this section, Coltrane is trying to show that
God’s love, or “A Love Supreme” exists everywhere and within everything. The
piece ends with the band gently dying away to bass playing the original motif
and this is representative of the idea that after we have run our course God’s
Love will exist undisturbed.
https://www.youtube.com/watch?v=CsxtKQW9ggg
Part 2,
“Resolution,” opens, yet again with bass but this time not a melody, but a
harmonized tribal sounding riff. Out of that comes Coltrane and the rest of
band with a much more conventional melody than that of “Acknowledgement.” The
form of the melody is closest to what could be called an ABA, with the B being
an improvised section. After Coltrane’s interpretation of the very unique head,
the song drifts into a piano solo from McCoy Tyner, which is more
straightforward than Coltrane’s solo on part one but still relies heavily on
the tonal shifting strategies of Coltrane. Following the climax of the solo,
Tyner seems to let the intensity relax and fade into Coltrane’s solo. Coltrane
plays a solo which is very much his own but it also seems to reference back to
the previous piano solo, in a way that really showcases the connection between
the musicians. After Coltrane’s solo, in a very idiomatic fashion, the melody
is restated and the band plays the last two bars of the melody as a tag before
landing on a short lived fermata.
Movement
number two of the four part suite is definitely the most straightforward and I
believe this is very intentional. The piece opens with the bass solo that ends
the first movement, this is representative of the idea that the “Resolution”
that Coltrane is trying to show, is only there because of the revelation that
the first movement represents. The next important aspect of this movement is
the melody. The melody is definitely not conventional, but the layout of the
entire piece is very conventional, for listeners who are accustomed to jazz,
this movement can seem like the only resolution in a work of art that turned
jazz on its head. Even the ending is much more resolute than that of the
opening, “Acknowledgment,” whose finale bass solo carries over into the second
movement. For me this movement represents the time when Coltrane realized that,
for him, faith was the ultimate resolution and that the knowledge that a love
supreme exists all around is the pinnacle of existence.
The final
movement of A Love Supreme, “Psalm” is by far the most strikingly
adventurous and unique. It’s a seven minute long poem, but instead of speaking
Coltrane recites the poem through his saxophone. He weaves a melody that
matches the pace and syllables of the poem in a way that is reminiscent of a
southern preacher. While he plays, the bass, piano, and timpani, provide a
swirling foundation of sound for Coltrane to interact with. As he grows in
intensity the band responds exactly as you would expect, almost like the crowd
in a hot church on Sunday. Even though there is no true melody, Coltrane keeps
listeners interested with his highly emotional phrasing and wildly varying
tone. As he climbs higher into the register the notes crack and falter but the
intensity is raw and so powerful that its fitting. The piece does not follow a
specific form and neither does the intensity, like an orator, Coltrane does not
build to one specific spot, but rather he builds to many and the listener
experiences the ups and downs of his voice. The last note of the piece is a
fermata with timpani and piano, and it is the only time on the record when
Coltrane adds a second sax line.
“Psalm” is
representative of the whole album. The emotion behind Coltrane’s playing is
like nothing before. As previously stated, the piece is actually a poem written
by Coltrane himself, which basically outlines all of his religious views. I
have included the poem here, it’s at the bottom of the liner notes.
Here is the audio to the movement along with the
corresponding lyrics.
https://www.youtube.com/watch?v=8kOu61AtFVk
Obviously
this piece is very personal to Coltrane and the lyrics show that. But the one
thing that stands out to me the most is the choice of a second saxophone line
on the final note of the piece. To me this represents the idea that through
this process of discovery, Coltrane has found something greater than himself.
The choice of including that line is representative of the idea that he is not
alone and A Love Supreme exists in
its purest form all around him.
Word Count: 2526
Comments:
Installment 1:
https://cophilosophy.blogspot.com/2015/12/v-behaviorurldefaultvmlo.html?showComment=1481055184994#c3413562976113581649
"Coltrane has found something greater than himself" - true of all creative people, musicians included? Or is there something distinctively different about musical transcendence? What would Plato say?
ReplyDelete"what should be the end of music if not the love of beauty?"https://theoryofmusic.eu/2008/08/04/music-in-platos-republic/