John Coltrane

Like the recently published alternate version of “To Kill a Mockingbird”, or more appropriately a newly discovered different director’s cut of a classic film, the live version of John Coltrane’s seminal work offers a deeper understanding of the suite. Featuring four interludes among the familiar themes and three additional sequences along with the initially recorded four, the program is now more than twice the length of the original release.

Despite the new time there isn’t any excess on Live in Seattle. Recorded in a nightclub setting less than a year after the original studio taped suite, the program shows that the never satisfied Coltrane was already tinkering with A Love Supreme’s sound and format. Lacking the vocal chant, instead the piece is opened up for more expressions from the original participants and guests. For instance the final interludes are given over to an extended solo by bassist Jimmy Garrison where his supple and sliding thumps take on flamenco power while also reasserting to the theme. Drummer Elvin Jones’ constant barrage of cymbal and drum power is showcased as well. His rhythmic strength is confirmed as he directs the narrative forward, while several interludes give him space to emphasis bass drum pounding, ringing mallet-on-cymbal tones and a collection of shuffles and backbeats. Pianist McCoy Tyner not only provides the proper accompaniment for the three saxophone soloists, but also constructs solos as on “Pursuance “, which are both modal and melodic. While he digs deep into his instrument’s lowest pitches to expand his enthralling time shifting, sparking swing asides prevent the program from becoming too so-called far out.

Except for a sequence in which he and Garrison trade descriptive vamps, second bassist Donald Rafael Garrett mostly sticks to the background. That can’t be said for additional saxophonists Pharoah Sanders (tenor) and Carlos Ward (alto). Sanders who would be a part of the Coltrane ensemble during its final two years, screams and screeches dissonant split tones throughout, with his speaking-in-tongues interludes echoing with frenetic cries. He also advances the guiro-like scratches and bell-like jangling that distinguishes this Love Supreme version from the first, and also linking it to the Africanized rhythms of Sanders later bands. Ward is more circumspect, with his intense altissimo trilling most prominent on “Acknowledgement”. Still his reed bites fit in with the multiphonic forays expressed by the other saxophonists.

From “Acknowledgement” though “Psalm” Coltrane’s reed motifs take on repeated technical onslaughts, including intense altissimo, vibrating flattement, doits and sequences where he appears to be eviscerating his horn’s innards/ All demonstrate his searching nature. As he continues to introduce and repeat the main theme, usually over tinkling piano comping or dual double bass thrusts, this confirms that Coltrane was still rooted in basic Jazz language. Despite expected nightclub cross talk and noise the group also had enough showmanship to elicit applause at points.

Just as new takes on plays, films and novels don’t replace the original classics, so A Love Supreme: Live in Seattle won’t take the place A Love Supreme has gained in the Jazz pantheon. Fascinating in itself, its alternate treatment of the material gives us a further demonstration of Coltrane’s capability and deserved reputation.

–Ken Waxman

Track Listing: 1. A Love Supreme: Part 1 Acknowledgement 2. Interlude 1 3. A Love Supreme: Part 2 Resolution 4. Interlude 2 5. A Love Supreme: Part 3 Pursuance 6. Interlude 3 7. Interlude 4; 8. A Love Supreme: Part 4 Psalm.

Personnel: Carlos Ward (alto saxophone); John Coltrane (tenor saxophone); Pharoah Sanders (tenor saxophone. percussion); McCoy Tyner (piano); Jimmy Garrison, Donald Rafael Garrett (bass) and Elvin Jones (drums)