A Love Supreme: The Making of John Coltrane's Masterpiece

Ashley Khan did a great job. I first picked up Coltrane's A Love Supreme, in the early 90's while a teenager, in a used section of a Parisian jazz record store, at that time i was only basicly educated about music and jazz. When i first played that album i was spiritualy moved and fell in love with it. I had no idea then of the importance of that record in Coltrane's career or in jazz in general, but the music touched my soul, and took me on a journey, which have been my (still young) life's journey and spiritual quest. For the past 10 years i have been playing that record before evey major key events of my life... as a way to pray and meditate... i had no idea this album have been such a spiritual listening experience for other people before i started learning more about Coltrane and music. For this, Kahn's book is a very good illustration of the importance of that particular record. It is well written, have beautifull pictures and some precious informations. It contains basic elements about Coltrane's life, but reading Colrane's bio can remain a necessity. The making of a love supreme is a must read. Peace.

I loved this book. In fact I was just ordering a few extra copies to give as gifts to serious jazz connoisseurs when I came across this drivel from Rich Fontana in the customer reviews section. I felt that as a fan of both the album and the book, I am compelled to reply to his assiduously prepared critique.In taking the author to task for being a fan, he misses the point of the book entirely: it is intended as a passionate celebration as much as carefully researched study. The author admits it unabashedly, Coltrane himself stated that an "emotional reaction" to music was paramount (in a '64 interview with Leonard Feather) and how else can one measure the effect and influence of a spiritual album without engaging the emotional?As stated clearly by the author, and Elvin Jones and McCoy Tyner - A Love Supreme was indeed a culmination of the quartet's three years together, not a culmination of Coltrane's career. Yes, Crescent was important and the author states that, even proposing it as an effective blueprint for the four-part suite that ALS is. Mr. Fontana's argument that his own perspective on Crescent is significantly different from the author's goes so far into the realm of picayune that - if it were deemed important enough to be published -- the vast majority of readers would end up scratching their heads and closing the book. (And while on the subject of hair-splitting, Crescent was recorded and released in 1964 - not 1963 - as Mr. Fontana maintains, an important matter in the hyper-charged Trane timeline.) As to Kahn's use (another small matter apparently missed by someone who relishes detail: the author's name is K-A-H-N) of rock n' rollers (and minimalists, and world musicians) in gauging the reach and influence of ALS. One of the primary intentions of the book is OBVIOUSLY to show how Coltrane managed to transcend stylistic and categorical boundaries - and still does. In the same way the old Blindfold interviews in Down Beat - in which say, Coltrane would praise Lester Young, leading certain fans to ferret out and enjoy old Count Basie recordings - today's far-flung media allows a Carlos Santana oreven the dreaded Bono to help point their fans to the music of ColtraneIn the end, Mr. Fontana comes across as one who requires his music writing the same way: dry, analytical, single-minded. Jazz - and music in general - is NOT rocket science and should not be left to the cold, hard interpretation of one person (such as Mr. Fontana's own, opinion-as-fact portrayal of Coltrane's musical path.) In the virtual round-table Kahn has produced in this book, there is life and passion (and a helluva lot of great photographic images), powered by his own perceptions but mostly by the input of others: jazz musicians, jazz fans, even regular (G-d forbid -- non-jazz) listeners. He trusts his reader to figure it all out for him or herself, that somewhere among all those voices sits the general truth of music, Coltrane and A Love Supreme.I applaud Ashley Kah

What an amazing book about an amazing album. Coltrane has been one of my favorite musicians for many years. Kahn gives a wonderful, brief biography about Coltrane which I found to be one of the better accounts of his life, (although not an extremely detalied account). Kahn introduced new aspects to the music of "A Love Supreme" I had never thought of. The interviews with other jazz musicians were outstanding in bringing this book to life. If you like jazz, don't go with out this book or the album.

A wonderful book that lets you discover more about the classic album. Kahn not only lets us in on the recording session, but his interviews seem to bring out the best in the subject and that is the best part of both his books - The jazz musicians themselves telling us what it was like and what it meant.As for the previous reviewer who decided not to buy the book because of Bono. Bad move, because Bono is mentioned once or twice for about a sentence each time. In order to show the reach and influence of "A Love Supreme", Kahn asked some modern musicians what it meant to them. Bono was one of them.Highly Recommended!

A gorgeous book, it gracefully fuses art and literature into a beautiful form with a most compelling story. Any jazz fan will appreciate the depth of the writers research into the making of this historical album and into the mind of the master. The interviews are fresh and fascinating, the photos sublime. One of the best music books I've read in years.