A Love Supreme John Coltrane Pdf Files

Add a one-line explanation of what this file represents Summary [ ] Jimmy Garrison's bass line on »Acknowledgement« from the 1964 John Coltrane album »A Love Supreme«, Music Publisher 5 file by the author Licensing [ ] Permission is granted to copy, distribute and/or modify this document under the terms of the, Version 1.2 or any later version published by the; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is included in the section entitled. GFDL GNU Free Documentation License true true This file is licensed under the license. You are free: • to share – to copy, distribute and transmit the work • to remix – to adapt the work Under the following conditions: • attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. • share alike – If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. This licensing tag was added to this file as part of the GFDL.

A Love Supreme is an album by American jazz saxophonist John Coltrane. He recorded it in. If necessary, click Advanced, then click Format, then select Album, then click SEARCH. Create a book Download as PDF Printable version.

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• • • • It’s possible, if not likely, that we are living in a time when nothing matters less than the musical legacy of a Jazz musician, that discussing the influence of an artist like John Coltrane is akin to an in depth analysis of the trebuchet–something best left to the historians and NPR stations at the extreme left of the dial, so to speak. Jazz has long since been pushed to the margins, there if you look for it, but there’s no available bandwidth for it in this moment’s mainstream. If there is a player who is moving through Jazz today the way Coltrane did–starting about 60 years ago, tracing a too-short arc through a music that was still an integral part of Pop Culture–the number of people who might notice is only slightly more than the number of people who would care. For better or worse, however, we’re here for those people who care. We’re here, scribbling in the aforementioned margins, eager to consider the musical legacy of John Coltrane, particularly as it affects our little guitar-centric corner of the world. (Top) Wes Montgomery and John Coltrane at the Monterey Jazz Festival, September 24, 1961, © Jim Marshall (Above) Coltrane during the recording of “Kind of Blue” with Miles Davis, Photo: Don Hunstein And it’s massive, you know. Coltrane’s fingerprints can be found all over guitar players and the music they’ve made for the past half-century plus, from Jimi Hendrix to Duane Allman to Tony Rice.

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