Tag: jazz

Back to Sax

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Those who visit my webpage (as opposed to reading it via RSS) will notice that over the last few months I changed my gravatar (to a friend’s caricature from 1995 of me with a saxophone, which you can see to the right), and then I changed the template and the layout of the pages in the top menu, and added a lot of headers, including a few with me playing saxophone, like these below: The template change had been necessary for a while, but the selection of images of me playing music in the headers has not been incidental. Ever …

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The Traneumentary, Shooting for Trane, and Pound/Trane in Comparison

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This entry is part 3 of 58 in the series Blogging Pound's The Cantos

First of all: if you’re interested in John Coltrane, there’s a wonderful podcast series (titled The Traneumentary) which has now concluded, but which is worth working your way through — the segments are brief but contain interviews with all kinds of jazz musicians, producers, and other folks, as well as discussions of specific tracks in voiceover on the tracks themselves.  For more on the origins of the project, see here. It’s wonderful, and full of bite-sized chunks, and very professional — and for those Trane fanatics out there whose significant others or friends ask, “So, why Trane?” I think it …

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Coltrane: The Story of a Sound by Ben Ratliff

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Ben Ratliff — a jazz critic for The New York Times, among other things — is like Trane in that he comes straight out with what he’s up to, though it might not be right away that you realize it. The title Coltrane: The Story of a Sound, if you look at it carefully, tells you what this book is really about, and it’s not just John Coltrane — it’s the story of the sound (or rather, the sounds) that burst into one’s mind when Trane’s name is mentioned: how Coltrane developed that sound from the beginning, how it evolved …

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A Particular American Fervency? (How It Might Connect to SF?)

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I just ran across a really interesting quote on American culture, which was embedded in a discussion of jazz, but seems to apply quite well to American SF as well. Apparently, from 1961 to 1965, a British literary critic named A. Alvarez ran a show on BBC radio where writers talked about the intellectual scene in the United States. Alvarez collected the interviews  in a book, published by Penguin in 1965, under the same title as the radio program: Under Pressure. One of the Americans interviewed was Robert Lowell, and he’s what he had to say about it: We have some …

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David Amram on John Coltrane and Albert Einstein

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Not long ago, I mentioned John Coltrane’s youthful interest in SF and pulp zines. But he was apparently also quite interested in science itself, something I’d suspected but don’t remember seeing confirmed as clearly as in this anecdote from David Amram, a French horn-playing jazz man who knew Trane in New York in the 1950s, and ran into him just outside a club, where Amram had just finished playing a set with Charlie Mingus. Coltrane was eating  a slice of pie, and: [Trane] said, “How are you?” I [Amram] said, “Everything’s fine.” And then he said to me, “What do …

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John Coltrane and the Pulp Connection

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Arguably one of the most significant musicians in American history (and unarguably one of the most significant saxophonists and jazz musicians ever), John Coltrane grew up in High Point, North Carolina. It might be a weird thing to bring up —  where he grew up, that is — except that, when we think about major artists, we so often imagine them having sprung into being fully-formed, if not in technique or approach, then at least in their essential selfhood. This is also often how we tell their stories: for example, in Coltrane: Story of a Sound (a book I’ve just …

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Traneing Up…

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Some John Coltrane-related links, because yes, I’m working on that story that involves him again: John Coltrane, Avant Garde Jazz, and the Evolution of My Favorite Things is a thesis by Scott Anderson which he has generously (and stylishly) put online. It traces the development of the Coltrane Quartet/Quintet’s handling of the tune “My Favorite Things.” Also a wonderful example of how a project-focused website should look. A link I discovered on the above site, which is also amazing, is to Improviz, a project by Jon Syndal to render visual representations of jazz improvisations. There are links to various PDFs …

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Jazz and SF

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I’ve heard people, time and again, compare jazz to SF in terms of them both being very “American” artforms, and, along with the cowboy movie, among America’s original contributions to the common human repository of art and culture. The cowboy movie, I’m afraid, has roots that go way deeper than American history, which is why it resonates so powerfully with other forms of literature and narrative. I see a lot of the Gothic novel in the Western, and a lot of the Bible too. As for SF, let’s be honest: it didn’t really begin in America: the historian/theorists can fight …

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Clawing at the Limits of Cool: Miles Davis, John Coltrane, and the Greatest Jazz Collaboration Ever by Salim Washington anmd Farah Jasmine Griffin

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Clawing at the Limits of Cool: Miles Davis, John Coltrane, and the Greatest Jazz Collaboration Ever by Salim Washington anmd Farah Jasmine Griffin. The University of Michigan Press (Ann Arbor, 1998.) The collaboration between Miles Davis and John Coltrane is an interesting topic, and it’s especially interesting that it’s framed as such right from the title of this book. Coltrane, after all, started out as a “junior” to Davis, if not in age then certainly in credentials and in the establishment of a personal, individual style. It’d be difficult to argue otherwise, but Griffin and Washington acknowledge this. However, they …

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