It’s great to see all the documentation you’ve assembled about the poem and the music. But it amazes me that anyone would doubt the connection between them. I saw it when I was back in high school, many (fifty?) moons ago, listening and looking at the album gatefold. I'd say it was unmissable.
Yes, for you it was unmissable, and of course I and others noticed it. For some reason it jumped out to some people, but not to most. And of course my hope is that even for people who have known this for years, the details I provide will be of interest. THANK YOU MICHAEL
I picked up the album when it came out in 1964 and to me it was a no brainer to get that in ”Psalm” he tried to play the poem syllable by syllable. I’ve never given it a second thought. It was just natural. I’ts incredible though that this fact (which I agree with you it is) has passed unnoticed over the years and that it required a discovery from you to bring it to the light. It might be that my acceptance that he played the poem literally came from reading the liner notes and interpret the notes differently by not being English spoken?
Like you on the Seattle recording I have noticed that he handles the poem freely and only touches it in the beginning and occasionally thereafter. My view on that is that he simply forgot the exact words and didn’t think it was important in light of the overall free form music he had ventured into at that point in his musical development. Anyway, thank you for your meticulous covering of all aspects of his career. As a fan it is a true gem reading your reports!
Yes, as I said I knew that other people had noticed it as well. That's a good point that you may have understood his liner note differently from an English speaker. I appreciate your comments. THANK YOU BERTIL
Although I listened to the album many, many times since getting it as a high school saxophonist in the early 70s, the literal syllabic "recitation" didn't occur to me until you pointed it out. I read your dissertation before your book came out, and was 100% convinced by your explanation. I feel it's obvious when listening, especially confirmed by the "Thank you, God" phrases. (I believe I read the Simpkins book around the same time in the late 1980s, but it must have been just after reading your dissertation. I taught a couple of courses on Coltrane at Tufts and used and cited your work extensively, along with the other books.) I've been intrigued since then by a Coltrane quote I can't place at the moment, but I'm sure you're aware of it: paraphrasing "Everything I play is a prayer now." Something like that. Besides the motive of "The Father and the Son and the Holy Ghost" from _Meditations_, I can't cite any proof, but I'm intrigued and I look forward to your next posts for more info. By the way, anyone who finds this strange is probably forgetting that many jazz saxophonists have the lyrics in mind when playing ballads -- even me, to the extent I can remember them, and certainly their syllabic content, poetic rhythm, and contour. If you know standards as done by singers, the connection between melodic phrasing and embellishment and words is an essential element of jazz playing. And with his family connection to preaching, hymns, etc., this seems to be a very natural development.
All great points, Allan. Yes, I'm going to talk about lyrics to ballads etc in a future post. Of course, Lester Young was the one who said it helps to know the lyrics: "A musician should know the lyrics of the songs he plays, too." THANK YOU ALLAN
I have to say I was one who missed the connection until you brought it to my attention way back when you were at Tufts. I seem to remember a radio broadcast that you had someone read the poem to the music which made the point crystal clear. But I like this presentation on youtube as well. All very fascinating, a great read. Thank you Lewis!
It’s great to see all the documentation you’ve assembled about the poem and the music. But it amazes me that anyone would doubt the connection between them. I saw it when I was back in high school, many (fifty?) moons ago, listening and looking at the album gatefold. I'd say it was unmissable.
Yes, for you it was unmissable, and of course I and others noticed it. For some reason it jumped out to some people, but not to most. And of course my hope is that even for people who have known this for years, the details I provide will be of interest. THANK YOU MICHAEL
I picked up the album when it came out in 1964 and to me it was a no brainer to get that in ”Psalm” he tried to play the poem syllable by syllable. I’ve never given it a second thought. It was just natural. I’ts incredible though that this fact (which I agree with you it is) has passed unnoticed over the years and that it required a discovery from you to bring it to the light. It might be that my acceptance that he played the poem literally came from reading the liner notes and interpret the notes differently by not being English spoken?
Like you on the Seattle recording I have noticed that he handles the poem freely and only touches it in the beginning and occasionally thereafter. My view on that is that he simply forgot the exact words and didn’t think it was important in light of the overall free form music he had ventured into at that point in his musical development. Anyway, thank you for your meticulous covering of all aspects of his career. As a fan it is a true gem reading your reports!
Yes, as I said I knew that other people had noticed it as well. That's a good point that you may have understood his liner note differently from an English speaker. I appreciate your comments. THANK YOU BERTIL
Although I listened to the album many, many times since getting it as a high school saxophonist in the early 70s, the literal syllabic "recitation" didn't occur to me until you pointed it out. I read your dissertation before your book came out, and was 100% convinced by your explanation. I feel it's obvious when listening, especially confirmed by the "Thank you, God" phrases. (I believe I read the Simpkins book around the same time in the late 1980s, but it must have been just after reading your dissertation. I taught a couple of courses on Coltrane at Tufts and used and cited your work extensively, along with the other books.) I've been intrigued since then by a Coltrane quote I can't place at the moment, but I'm sure you're aware of it: paraphrasing "Everything I play is a prayer now." Something like that. Besides the motive of "The Father and the Son and the Holy Ghost" from _Meditations_, I can't cite any proof, but I'm intrigued and I look forward to your next posts for more info. By the way, anyone who finds this strange is probably forgetting that many jazz saxophonists have the lyrics in mind when playing ballads -- even me, to the extent I can remember them, and certainly their syllabic content, poetic rhythm, and contour. If you know standards as done by singers, the connection between melodic phrasing and embellishment and words is an essential element of jazz playing. And with his family connection to preaching, hymns, etc., this seems to be a very natural development.
All great points, Allan. Yes, I'm going to talk about lyrics to ballads etc in a future post. Of course, Lester Young was the one who said it helps to know the lyrics: "A musician should know the lyrics of the songs he plays, too." THANK YOU ALLAN
I have to say I was one who missed the connection until you brought it to my attention way back when you were at Tufts. I seem to remember a radio broadcast that you had someone read the poem to the music which made the point crystal clear. But I like this presentation on youtube as well. All very fascinating, a great read. Thank you Lewis!
Yes, the producer Steve Rowland had someone sing it on his first Trane radio show, which I helped with. THANK YOU GERARD