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In Reply to: Re: A lot of latter day revisionism takes place with Coltrane... posted by Allan Songer on December 02, 2002 at 16:13:06:
Allan, there is for sure some value to the Prestige stuff. Traneing In, Soultrane, Black Pearls, Settin The Pace - all excellent, particularly the latter two. But Prestige viciously milked the outtakes and released tons of albums after he had made it big, Standard Coltrane, The Last Trane, and so on being not very good. Also, looking back on the Prestige/Miles stuff, I like the Cookin/Relaxin/Steamin/Workin sessions, but it is obvious that Coltrane was struggling to get his intonation and technique straight. So the Prestige stuff is often good, but in my opinion, if that were all there was of Coltrane, this stuff would be long forgotten. Dexter, Sonny Rollins, and plenty more tenor men could blow him off the bandstand in that era, on the nights Coltrane was awake enough on the bandstand to notice.To answer your analogy, if you want to start at the beginning, that's fine, just avoid most of the post-contract Prestige stuff and stick to the albums released at the time. Do you really want to read all of Melville's novels BEFORE Moby Dick? Maybe, but you would surely avoid the early ones that aren't very good, and concentrate on the good ones, that really show his talent in full bloom. Fully formed Coltrane really begins at Blue Train, and comes to complete fruition with Giant Steps.
Follow Ups:
"Dexter, Sonny Rollins, and plenty more tenor men could blow him off the bandstand in that era, on the nights Coltrane was awake enough on the bandstand to notice."
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.
Yes, Monk was *The* turning point.I tend to gravitate around Trane's Impulse recordings, along with "Ole'" and his work with Miles after he returned from that critical sojourn with Monk. Monk was an inspirational master of space, time, and harmonics. During his time with Monk, Trane rid himself of various encumberances and devoted himself to a musical and spiritual quest that he pursued for the last decade of his life.
....."blow him off the bandstand"?! I seriously doubt if Dexter and Sonny share your views, not to mention Miles, who complained about the length of Trane's solos, but sure as hell NOT his technique or intonation problems. Though I'm by no means advocating this, I would also point out that Bird played stoned out of his brains many times. Sometimes this was an obvious detriment, other times the playing was somehow still technically masterful, extremely soulful, and innovative to the bone.Robert, I'm not claiming this was Trane's "best". "Ragtime", "Tango", "Greeting Prelude" may not be Stravinsky's "best" either, but its still GREAT MUSIC, and most composers would give their ass to be able to write as well. If I went to the Vanguard tonight and heard somebody playing as well as Trane did on those sessions I'd be talking about the fantastic player I just heard.
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