well if you regard listening to music as some kind of onerous chore, it's probably not worth the bother....I don't think I want to spend years of listening to stuff like that to appreciate Coltrane, or Dizzy Gillespie, Thelonius Monk, Charlie Parker.
That applies to any music, what I love one day can grate on another.
well if you regard listening to music as some kind of onerous chore, it's probably not worth the bother....
Can't say it took me years, I liked Coltrane as soon as I heard Kind Of Blue and Parker seemed to be no more difficult than Miles Davis when my mate first played me some Parker after we'd been to the pub..
of course this was long before I played the saxophone and I didn't know that this was supposed to be difficult music to be studied intently for years in order to understand it, I just heard people expressing themselves, just like Jimi Hendrix or BB KIng
It’s just music. It’s playing clean and looking for the pretty notes
Up untill colemann & trane, all the saxophonist where only playing the sweet & bittersweet emotions
While I agree that the sonic vocabulary of free jazz was influenced by blues 'honkers' and Coltrane and Coleman both played in rhythm and blues bands in their early years, there's an essential difference between what they were trying to express and the more 'carnal' nature of RnB - blues was for going out and drinking and having a good time and blues musicians had to be entertainers. Coltrane was a shy modest man who felt uncomfortable with having to be a showman in blues bands, doing stuff like 'walking the bar' and all the other tricks of the trade that were expected of RnB tenor players. The jazz musicians of the post war era wanted to be taken seriously in a time when black people could be beaten or shot by the police merely for the colour of their skin. Not surprisingly, they wanted some dignity and respect for their talents.There was a whole bunch of R&B (ish) players that were honking and screaming and wailing.
We often forget that side of playing as an essential influence on jazz
I can embrace your post but I must disagree with this:
There was a whole bunch of R&B (ish) players that were honking and screaming and wailing.
We often forget that side of playing as an essential influence on jazz.
Anyway I'm sure that there was more than; sweet & bittersweet emotions, but all the Mainstream, big hits, old classics, you know, the stuff the big labels & media corporations showelled at the people, were all in the comforts of our conscience (hence, sweet & bittersweet). That is where i feel that Coltrane, 'broke through' to the public, with this, to me revolting kind of music, now he didn't invent the stuff, but he sure was many peoples first experience with it.
I feel that Coltrane was using his instrument & musicality, to help push the limits of music, it's not just comforting, reminiscant or sad to us. It's also expanding our conciousness about sound, personal fustrations and even the worldly situation, taking the 'tabus' of socioty in mind too, not just painting that pretty picture of the good things in life.
To me, listening to coltranes album 'Sax Impressions' and other somewhat similar, gave me a real insight in the human condition, the frustrations, the tragedy, the borderline suicidal feelings. All theese things is testament to me, that something in socioty, is, or was terribly wrong. Maybe he was disguising some really nasty words and feelings he wanted to express about "the worldy picture", but knew he never would have been allowed to speak the words on a "Globally heard" record, and hence expressed himself through the sax? That's how i interpret it anyway.
That is why i see Coltrane as one of the pioneers of revolutionary music, much as a musical-exploration revolution, but also a socioty wake up call type revolution, about human conditioning.