No jazz musician incarnates the legend of late style more than the saxophonist John Coltrane. His early style is undistinguished; he was a bluesy sideman whose grasp of the instrument falls short of the reach of his ear. His middle style, stertorous and ambitious, began in his mid-1950s stint with Miles Davis’s quintet. Coltrane in this period is still less melodious than Hank Mobley and less witty than Sonny Rollins, but his chops are catching up with his ear. Only Johnny Griffin has fleeter fingers and only Rollins can beat him for persistence. Coltrane thinks aloud and never stops thinking; he is the perfect foil for Davis, who is also ironic and intellectual, also latent with eroticism and violence, but who never shows his working, only the finished idea. Coltrane’s sound waves are square and heavy, metallic and dark like lead. He is both implacable and lazy, like a bull elephant: You never know where the charge will take him, only that — as he himself admitted to Davis — once he gets going, he doesn’t know how to stop.
Coltrane’s late style emerged in his 1960s quartets. Now leading and writing for his own group, and newly clean of drink and drugs, he was finally able to pursue his vision and the possibilities of the music to the limits of form and expression — and ultimately beyond both. The further he went, the more ambitious and less accessible the music became, until it was incomprehensible to almost all of his audience and even to some of his closest collaborators. In the logic of modernism, further means better. But “faster” and “louder” aren’t necessarily better, so why should “further” be the supreme critical value? To judge Coltrane’s late-style art is, in an important sense, to judge modernism itself, and especially American modernism.
Dominic Green, “John Coltrane and the End of Jazz”, The Weekly Standard, 2018-08-26.
December 21, 2020
QotD: The evolving style of John Coltrane
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