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John Coltrane left an indelible mark on the world, but what was the essence of his achievement that makes him so prized forty years after his death? What were the factors that helped Coltrane become who he was? And what would a John Coltrane look like now--or are we looking for the wrong signs?In this deftly written, riveting study, New York Times jazz critic Ben Ratliff answers these questions and examines the life of Coltrane, the acclaimed band leader and deeply spiritual man who changed the face of jazz music. Ratliff places jazz among other art forms and within the turbulence of American social history, and he places Coltrane not just among jazz musicians but among the greatest American artists.
Reading all this back-and-forth, the puffs and pans, about this fascinating book, I get the impression that everybody has missed the point. This is indeed the story of a sound---the incredible sound that John Coltrane evolved and what he could do with it---and, as a retired musician who worked in the various areas of music (symphonic, chamber music, opera, ballet, shows and---yes, jazz), I enjoyed it thoroughly. I have in my library this one, "Coltrane on Coltrane", and a third volume---"The John Coltrane Companion", which was sent to me as a gift---and I consider all the necessary gaps filled to my satisfaction. As to the "pans", I'm reminded of a fellow who had been the jazz critic of the New York Times many years ago, a guy with one glaring fault---he had his head in the sand, but he wasn't looking for water. He considered Dixieland the only true jazz, and for him nothing else existed; he would go to this concert and that, and no matter how great the performance or the performers he would put it down unmercifully BECAUSE IT WASN'T DIXIELAND! Anyhoo, with these three great reads to complement my own experiences with jazz---and some of the guys who played it and all who shared it with me---I'm as happy as a clam in the key of B-flat. Thank you.