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Yet, this music is all about the emotion. This notion that he, his work are deeply analytical, dry, lacking in feeling. This split reaction is typical for the mystique that surrounds Coltrane, something that has become even more pronounced as he takes on a secular saint role. One critic dismissed his work, saying that his music “belonged more to the realm of higher mathematics,” while listeners at the show were in raptures, the audience was “shouting with enthusiasm … with ecstasy.” (I don’t have release/authorial information for the documentary above that provided this information, here’s part two). The reaction to John Coltrane’s first London tour in 1961 was one of sharp contrasts, with the critics generally lost to understand his music (his show was an extended version of his hit song “My Favorite Things” - one song only for the entire performance). Review of the “transition period” in Coltrane’s career by Mitch NZĪnd Jones’s percussive drumming that stays so still in parts, repeating the same beat like a broken-down instrument: tapping out the rhythm as if it were being kept by an open hand.īefore Coltrane’s saxophone comes in, at just before 30 seconds the three-note melody referencing “Happy Birthday To You.” And especially when Coltrane’s part descends, repeating the same note over and over there is something innocent and all-embracing about this music, as if you can hear something of John Coltrane’s heart. Of course, things were changing in all the years before that as well, but John Coltrane's 1965 was a watershed year …”) (“1965 was the year where everything changed. For the first time in a long time, Coltrane sounds like he's at peace.” "Welcome" is one of the most serene things recorded in the period. Right from the very first piano note that marks the start of the piece: that note where it all begins, before the music expands poetically via Tyner’s piano, all those trills and flourishes – the piano, as one writer said, sounds like a stringed instrument: Quoted in Brian L Knight, “Better Living Through Coltrane” published in The Vermont Review (2018) In other words, I know there are bad forces, forces out here that bring suffering to others and misery to the world, but I want to be a force which is truly for good." "You know, I want to be a force for real good. Personnel: John Coltrane - tenor saxophone, McCoy Tyner - piano, Jimmy Garrison - double bass, Elvin Jones - drums.