Posts Tagged ‘John Coltrane’
October 23, 2013 | by Aaron Gilbreath
In 1965, celebrated jazz trumpeter Lee Morgan released the song “Speedball” on his album The Gigolo. A year earlier, the title track from his album The Sidewinder had become the biggest hit in Blue Note Records’s history, reaching number twenty-five on the Billboard LP charts, even appearing on a Chrysler TV commercial during the World Series. Although “Speedball” never attained the commercial success of “The Sidewinder,” it endures as one of Morgan’s best-known originals, and, with the possible exception of Art Pepper’s album Smack Up, its title serves as the most barefaced allusion to the monkey on midcentury jazz’s back.
Drugs, risk, rebellion—this unholy trinity seems more evocative of rock-and-roll longhairs than clean cut men in suits, yet these dark elements remain central to the jazzman archetype established by Charlie Parker. Between the midforties and early sixties, tons of talented players were strung out: Art Blakey, Hank Mobley, Sonny Rollins, Miles Davis, Grant Green, Dexter Gordon, Jackie McLean, John Coltrane. If Coltrane later provided a countervailing archetype—the sober, spiritually aware, gentle genius—then Parker embodied creativity’s menacing, consumptive side. Morgan got lost between these poles. A promising, prodigy it-kid, he received his first trumpet at age thirteen. Five years later, he joined the Dizzy Gillespie Big Band. That same year, in 1956, he recorded his first Blue Note album as a leader, and soon after played on now legendary recordings such as Coltrane’s Blue Train, at age nineteen, and Arty Blakey’s Moanin’, at twenty. His own early output ranks as nothing short of astonishing—eleven albums as a leader by age twenty-two—which is why his 1961 departure from Blakey’s Jazz Messengers takes on the sinister weight of an omen. Read More »
December 17, 2012 | by Brian Cullman
I saw Ravi Shankar at Carnegie Hall in 1966 or 1967. Because of the Beatles, of course. And I learned so much about music from that one concert. Not that the lesson stayed with me; it wasn’t like that. But it set me up for hearing music in a different way than I was used to (that is, as pop songs on the radio, as 45s on my record player, as the songs we sang at camp about the cat coming back or your heart going where the wild goose goes, or, worse, much worse, as the moth-eaten songs from musicals on Broadway).
The first half of the concert was endless and dull, nothing but a couple of notes played over and over, like a foreign cuckoo clock gone mad. And then, an hour in, it all changed. And time stopped. The notes began to form a pattern, and the pattern grew more and more beautiful, like a house materializing from thin air, rising out of nothing into the most glorious vista, a home and a garden and hope and love and time, spread out before me. Read More »
December 13, 2012 | by Matthew Kassel
Over the past month or so, I have listened to John Coltrane and Johnny Hartman, one of the greatest jazz vocal albums ever made, about once a day. I haven’t tired of it, which is a testament to its durability. But I think there’s more to it than that. I discovered John Coltrane and Johnny Hartman about four years ago, and it continues to enchant me. The album—composed of six slow yet easily digestible romantic ballads—may contain the most beautiful half hour of music I have heard on one CD.
I’m not trying to idealize the record. But I’m not alone in feeling so strongly. Writing in Esquire magazine in 1990, Daniel Okrent named John Coltrane and Johnny Hartman the greatest record ever made. Okrent admitted such a claim “is a fragile limb on which to walk.” But he stood firm. “If you want to argue,” Okrent wrote, “forget it; having listened to John Coltrane and Johnny Hartman for some fifteen years, I simply can’t be moved.”
December 8, 2011 | by Sam Stephenson
It’s sixty-two degrees and raining in downtown Durham, North Carolina, on a Tuesday in mid-October. At noon members of the Branford Marsalis Quartet gather at the former St. Joseph’s African Methodist Episcopal church, built in 1891, now converted into the Hayti Heritage Center, an arts-and-community nonprofit. Their goal is to record a new album over the next few days.
When Marsalis moved his family to Durham from New York a decade ago, the local press assumed he was replacing the retiring director of Duke’s jazz department, saxophonist Paul Jeffrey. But Marsalis, who'd grown up in Louisiana, simply wanted to return to the South and picked Raleigh-Durham because the area had an airport large enough to get him anywhere he needed to go. Later, he began teaching part-time in the noted jazz program at the historically black North Carolina Central University, which is a mile down the road from Hayti.
The original St. Joseph’s sanctuary remains intact: a wood-plank stage, hardwood pews, a balcony, chandeliers, and lots of stained glass. Marsalis began recording albums here in 2006 when he noticed that the room had a unique quality: there is no reverb at low decibel levels; it grows gradually with the sound.
January 26, 2011 | by Sam Stephenson
Monk called the tune “Two Timer”; Clark gave it a new name so he could claim composer’s royalties. It was the move of a desperate, depleted junky. (W. Eugene Smith had cameras, lenses, and other equipment stolen from his loft by jazz junkies all the time, but, an addict himself, he wasn’t one to judge. The thefts would leave him both distraught and ambivalent.) According to Robin D. G. Kelley’s remarkable recent biography of Monk, the elder master treated Clark like a “troubled younger brother,” and he never did anything about the stolen tune. Chances are that by the time Monk heard McLean’s record and realized what had happened, Clark was dead, or in some other condition that made a reprimand irrelevant.
In the last eighteen months of Clark’s life, he would climb to daylight for brief periods, breath clean air, play some beautiful music, and then sink to lower and lower depths. In the August 1962 issue of the invaluable, idiosyncratic Canadian jazz magazine, Coda, there was this report from New York by Fred Norsworthy:
One of the saddest sights these days is the terrible condition of one of the nation’s foremost, and certainly original pianists. Having been around for many years he came into his own in 1959 and no one deserved it more than he. I feel that something should be done about drug addiction before we lose many more artists. I saw him several times in the past three months and was shocked to see one of our jazz greats in such pitiful shape. Unfortunately, the album dates that he keeps getting only help his addiction get worse instead of better. Whether or not he licks this problem at this stage of the game remains to be seen. In some cases people refuse help and the loss of a close friend was no help either. If anything he took a turn for the worse and disappeared for 3 weeks. However right now should he die it will at least be better than living a slow death with no relief in sight.
The pianist is almost certainly Sonny Clark. That same month, he cut two classic Blue Note albums under the leadership of saxophonist Dexter Gordon, Go and A Swinging Affair. When Clark died five months later, Gordon remembered these sessions in a letter to Blue Note impresarios Alfred Lion and Francis Wolff: Clark had “almost totally given up” on his life, Gordon wrote. Yet judging from the surviving albums, he still cooked on piano. Several of Clark’s solos are top notch, but in this rhythm section with Butch Warren on bass and Billy Higgins on drums, he conducts a clinic on how to play sensitive, sparkling piano accompaniment behind a soloing saxophonist, in this case the atmospheric Gordon. Clark didn’t appear to give up on anything musically. Many years later Gordon remembered Go as among his career favorites.