Trane emerged as the process of historical clarification itself, of a particular social/aesthetic development. When we see him standing next to Bird and Diz, an excited young inlooker inside the torrent of the rising Bop statement, right next to the chief creators of that fervent expression of new black life, we are seeing actually point and line, note and phrase of the continuum. As if we could also see Louis and Bechet hovering over them, with Pres hovering just to the side awaiting his entrance, and then beyond in a deeper yet to be revealed hover, Pharoah and Albert and David and Wynton or Olu in the mist, there about to be, when called by the notes of what had struck yet before all mentioned.
From Digging: The Afro-American Soul of American Classical Music by Amiri Baraka (University of California Press, 2009).
These words act in my mind to begin to explain just why the music of John Coltrane remains so relevant and continues to do so long after they were written.
Without a shadow of a doubt in terms of albums, 2018 will be remembered for the appearance of Both Directions at Once: The Lost Album by the John Coltrane classic quartet the tapes of which date back to 1963 and which gained a release for the first time back in late-June.
Every musician who plays jazz, everyone who listens needs to rise to being their own Coltrane on the inside and the out right now. The somehow is the question and the answer. SG