|
Music Lane It's all about the music, dude! Sit down, relax and listen to some tunes. |
|
|
|
Music Lane It's all about the music, dude! Sit down, relax and listen to some tunes. |
|
In Reply to: Re: A lot of latter day revisionism takes place with Coltrane... posted by Robert H. on December 2, 2002 at 18:07:10:
I'd have to agree with the pro-Prestige camp. I've been listening to Coltrane recordings for more than 20 years, from his Miles Davis collaborations to his "advanced" recordings in his late Impulse period. While critics typically favor his last work as his most innovative, I believe their stance reflects a critical prejudice held over from romantic tastes formed in the 19th century: that is, an artist's most important work must break from tradition and establish a distinct voice in order to be regarded as "great."Funny, but it seems that the Prestige recordings have held up best over time, particularly those recorded AFTER Coltrane's celebrated collaboration with Monk; I'd argue that his 5 Spot days with the pianist mark his true transition from a quality hard-bop tenor to an artist whose command of rhythm and melodic variation -- and for sheer emotional impact -- set him apart as something special. Rollins may have been more inventive, and Gordon more wry, but Coltrane found a lyricism that few had equalled before or have reached since.
The Atlantic recordings? Many beauties here, particularly the oft-neglected Plays the Blues. But some of the material, such as the famed Giant Steps, can feel a bit self-conscious, a little too much like difficult exercises for advanced saxophone players.
Impulse? Again, there are gems; I'm particularly fond of the the Johnny Hartman and Ellington albums, and the justly-praised Live at Birdland. But when you get into Sun Ship and similar recordings, look (or listen) to what has happened to Coltrane's playing. Dynamics? Not much -- most of the music is played at one unvarying and very intense level, without the dramatic tension and release that comes by moving among the full sonic range, whisper to a scream. Rhythm? Elvin Jones does his damnedest, but Coltrane's playing feels monolithic: rigid and unmoving. Melodic imagination? If you hear it here, God bless you.
To some minds, Coltrane's best Prestige recordings weren't enough to completely distinguish him from the many excellent tenor saxophonists playing in the late '50s. But damn, put on Traning In or Settin' the Pace, and you'll hear an imaginative, engaging music of an intensity and lyrical strength that remains unmatched.
This post is made possible by the generous support of people like you and our sponsors:
Follow Ups
- The turning point: Monk - Jonathan Kranz 08:15:59 12/03/02 (1)
- Re: The turning point: Monk - SEK 12:57:00 12/03/02 (0)
Top of Page ]
[ Contact Us ]
[ Support/Wish List ]
[ Copyright © 2025, Audio Asylum, all rights reserved ]
