By Eric Nisenson
This isn't a proper biography of the good saxophonist John Coltrane yet fairly an articulation of the passions, rules, and reviews that encouraged his innovative tune. however, in spite of the fact that, we should also say that Nisenson does, in truth, current us with a delicate and brilliant portrait of Coltrane as he stepped forward from a "journeyman bopper" hooked on alcohol and heroin to a profoundly religious "warrior" looking wisdom of God in the course of the making of tune. Nisenson tracks not just Coltrane's occupation as an entire yet now not extraordinarily unique tenor saxophonist in the course of the mid-1950s to his intensely fertile apprenticeships with Thelonious Monk and Miles Davis but in addition his good fortune in kicking the drug behavior, his mastery of the soprano saxophone, his fascination with chords and concord that result in his incomparable "sheets of sound," and his immersion within the trance-inducing musical traditions of Africa and India. Nisenson's notable descriptions of the track of Coltrane and insights into his obsessions and feel of challenge upload as much as undeniable proof of Coltrane's pivotal position in reworking America's creative and social cognizance. Coltrane traveled an incredible religious and aesthetic distance within the final decade of his brief existence, frequently leaving his listeners at the back of in his quest for track that "reflected the universe." Donna Seaman --This textual content refers to an out of print or unavailable version of this identify.
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Extra info for Ascension: John Coltrane And His Quest
Her interest in character was partly an egotistical urge to understand her own character, her own composition, at this time. ’31 This included her relative masculinity or femininity. In her notebooks she described herself as a ‘masculine type’. The feminist debate of the period was tied in with the pseudoscientific definition of the very meaning of masculinity and femininity. Experimental psychology was the testing ground for Stein’s ideas on this subject; later they would gain a shaky philosophical prop in Weininger’s Sex and Character.
25 In science, the failure of one experiment could lead the practitioner on to further discoveries; so Stein included her failures in her work. 26 Although she later tried to shake off the experimental model (in Everybody’s Autobiography), this was partly to do with her reluctance to be called an ‘experimental writer’, a tag which seemed to suggest inferiority, a secondary status in the pantheon of literary greatness. She preferred to see herself as an inventor or, most of all, a genius. Her experience of ‘automatic writing’ primarily instilled in her the new and radical perspective of seeing writing as an artefact, a product rather than a process, and gave her an idea of the words on the page as objects in themselves which need not necessarily be related to one another, a Saussurean realization of the randomness of the linguistic sign (although, of course, independently arrived at), a slippage of meaning in words as signifiers which could bring them into new relations with one another.
Here is part of her description, taken from that work, of the topography of the brain – a description of the nucleus of Darkschewitsch: The nucleus is more or less conical in shape . . the commissura posterior cerebri . . 39 40 Compare this with the procedural attitude, the diagrammatic approach in her descriptions of character in The Making of Americans: A mass of being of the resisting substance very active at the surface and active inside toward the center only here and there . . isolated spots in the central resisting mass .
Ascension: John Coltrane And His Quest by Eric Nisenson