By Ashley Kahn
Few albums within the canon of well known song have had the impression, resonance, and persistence of John Coltrane's 1965 vintage A Love Supreme-a list that proved jazz used to be a becoming medium for non secular exploration and for the expression of the elegant. Bringing a similar clean and interesting strategy that characterised his severely acclaimed Kind of Blue: The Making of the Miles Davis Masterpiece, Ashley Kahn tells the tale of the genesis, production, and aftermath of this vintage recording. that includes interviews with multiple hundred musicians, manufacturers, acquaintances, and kinfolk; unpublished interviews with Coltrane and bassist Jimmy Garrison; and ratings of never-before-seen pictures, A Love Supreme balances biography, cultural context, and musical research in a passionate and revealing portrait.
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Extra info for A Love Supreme: The Story of John Coltrane's Signature Album
Stein’s version of the ‘Viennese’ action diﬀers in some details from the type of action made by other makers such as Anton Walter (whose pianos were played by Mozart and Beethoven). However, all versions of the action are fundamentally diﬀerent from the ‘English’ action in both appearance and in feel to the performer. The ‘Viennese’ action is highly sensitive and capable of tiny nuances of articulation, whereas the sense of direct contact with the strings is not so great in the English action. ) Stein’s business was carried on in Vienna after his death by his daughter, Nannette Streicher.
There is also evidence to suggest that some instruments with a 16′ register were built. On many instruments from this period, and from the eighteenth century, there is no means for changing the registers – sometimes the plectra for both 8′s are ﬁxed in a single jack. Brass stringing seems to have been favoured on seventeenth-century Italian harpsichords, as opposed to the earlier preference for iron. A number of sixteenth- and seventeenth-century Italian harpsichords, organs and other keyed instruments were made with split keys in order to distinguish enharmonic equivalents.
332, slow movement, bars 23–4 (ﬁrst edition) work at various stages of its genesis. The establishment of a preferred text may be problematic, since it is not always obvious which source represents the most deﬁnitive thoughts of the composer. Indeed, the composer may not have had any ‘deﬁnitive thoughts’ about a piece – a particular problem with Chopin, for example, who frequently revised his works (see Chapter 6). Decisions about sources are explained in the critical commentaries of scholarly editions, which often illuminate the way in which a composer thought about a work.