Federico Fellini is widely regarded as one of the most influential filmmakers in history. His works are renowned for their surrealism, depth, and exploration of the human condition. His style of filmmaking has had a profound impact on the industry, inspiring many filmmakers to create works that push boundaries and challenge conventional filmmaking techniques.
Fellini's journey to becoming a cinematic icon began in Rimini, Italy, where he was born in 1920. After studying art in Florence, he began his career as a screenwriter before moving on to direct his first feature film, "The White Sheik," in 1952. The film was a commercial success and established Fellini as a promising new talent in Italian cinema.
Fellini's breakthrough came with the release of his film "La Strada" in 1954. The film won the Academy Award for Best Foreign Language Film, and its success catapulted Fellini to international fame. "La Strada" marked the beginning of a string of films that would establish Fellini as a master of cinematic storytelling.
Fellini's films are known for their surreal imagery, non-linear narratives, and dreamlike quality. His use of symbolism, metaphor, and allegory is a key component of his filmmaking style. Fellini was particularly interested in exploring the human psyche and the complexities of human relationships. His films often feature flawed characters who struggle to find meaning and purpose in their lives, and who are searching for something beyond themselves.
One of the most notable examples of Fellini's influence on contemporary cinema is the work of director Terry Gilliam. Gilliam's films, such as "Brazil" and "Fear and Loathing in Las Vegas," are heavily influenced by Fellini's style. The surreal imagery, the blending of reality and fantasy, and the exploration of the human psyche are all hallmarks of Gilliam's work that can be traced back to Fellini.
Other filmmakers who have been influenced by Fellini include Martin Scorsese, Woody Allen, and David Lynch. Scorsese, in particular, has cited Fellini as a major influence on his work. In an interview with The Guardian, Scorsese said, "Fellini was a great inspiration to me, not just in the films themselves, but in the way he went about making them. He was a true artist who was willing to take risks and push boundaries."
Fellini's influence extends beyond the world of cinema. His work has inspired artists in other fields, including music, literature, and visual arts. The Rolling Stones' song "Tumbling Dice" was inspired by Fellini's film "La Dolce Vita," and novelist Salman Rushdie has cited Fellini as a major influence on his work.
In conclusion, Federico Fellini's impact on the world of cinema is immeasurable. His unique style of filmmaking, marked by surreal imagery, dreamlike quality, and exploration of the human condition, has inspired countless filmmakers and artists. Fellini's legacy continues to live on, and his films remain an enduring testament to the power of cinema to explore the depths of the human experience.
]]>Akira Kurosawa is undoubtedly one of the most influential filmmakers of all time. His impact on cinema can still be seen today, with directors and audiences alike still studying and admiring his work. From his iconic samurai films to his more introspective dramas, Kurosawa's legacy has left an indelible mark on the world of cinema.
One of Kurosawa's most enduring legacies is his contribution to the samurai genre. Films like "Seven Samurai" and "Yojimbo" have become classics of the genre, with their influence stretching far beyond Japanese cinema. Kurosawa's masterful use of pacing, action, and character development helped to define the samurai genre and set the standard for years to come.
The influence of Kurosawa's samurai films can be seen in countless other movies and TV shows. For example, the classic western "The Magnificent Seven" is a direct adaptation of "Seven Samurai," while the "Kill Bill" films pay homage to Kurosawa's style with their use of split screens and dynamic action sequences.
Another area where Kurosawa's influence can be seen is in the world of science fiction, specifically with the "Star Wars" franchise. George Lucas has openly acknowledged Kurosawa's influence on his work, with "The Hidden Fortress" serving as a direct inspiration for the first "Star Wars" film. The character of Obi-Wan Kenobi is also said to be based on the character of the ronin in "Yojimbo."
However, Kurosawa's influence goes far beyond specific films or genres. His meticulous attention to detail, his use of symbolism and metaphor, and his exploration of complex themes and ideas have inspired countless filmmakers over the years. His ability to create visually stunning films while also exploring deeper philosophical questions is a testament to his talent and skill as a filmmaker.
In conclusion, Akira Kurosawa's influence on cinema cannot be overstated. From his iconic samurai films to his more introspective dramas, Kurosawa's work has left an indelible mark on the world of cinema. His influence can be seen in countless other movies and TV shows, and his legacy continues to inspire filmmakers today. Kurosawa's artistry and vision have helped to shape the very fabric of modern cinema, and his impact will be felt for generations to come.
]]>Exploring the Life and Career of Stanley Kubrick
Stanley Kubrick is widely regarded as one of the greatest filmmakers in history. He was known for his distinct visual style, meticulous attention to detail, and uncompromising approach to filmmaking. In this article, we'll explore the life and career of this legendary director, examining his early years, his breakthrough films, and his enduring legacy in the world of cinema.
Early Years
Stanley Kubrick was born in New York City in 1928. He was the son of Jewish immigrants from Eastern Europe, and his family was not well-off financially. Despite this, Kubrick showed an early interest in photography, and began taking pictures when he was just 13 years old. He later became a staff photographer for Look magazine, and used the skills he learned there to create the striking visual style that would later define his films.
Breakthrough Films
Kubrick's breakthrough film was 1960's "Spartacus," a historical epic starring Kirk Douglas. The film was a critical and commercial success, and solidified Kubrick's reputation as a major director. He followed it up with "Lolita" (1962), a controversial adaptation of Vladimir Nabokov's novel about a man's obsession with a young girl. The film was banned in several countries, but still managed to be a commercial success.
Kubrick's next film, "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb" (1964), was a dark comedy about nuclear war that remains one of his most beloved works. It was followed by "2001: A Space Odyssey" (1968), a science-fiction epic that is widely regarded as one of the greatest films ever made. The film was a technical and artistic triumph, and Kubrick's attention to detail and visual style were on full display.
Later Career
In the 1970s, Kubrick's films became more controversial and experimental. "A Clockwork Orange" (1971) was a dystopian vision of the future that was banned in several countries, while "Barry Lyndon" (1975) was a lavish historical drama that used natural lighting and other techniques to create a unique visual style. Kubrick's last film, "Eyes Wide Shut" (1999), was a psychosexual drama starring Tom Cruise and Nicole Kidman. The film was released shortly after Kubrick's death, and is considered by many to be a fitting swan song for the director.
Legacy
Stanley Kubrick's influence on cinema is undeniable. His films were groundbreaking in terms of their technical innovations, storytelling, and visual style. He was also known for his meticulous attention to detail and his uncompromising approach to filmmaking. His work has influenced countless filmmakers, and his impact on the medium continues to be felt to this day.
In conclusion, Stanley Kubrick was a visionary filmmaker whose work has left an indelible mark on the world of cinema. His groundbreaking films, attention to detail, and uncompromising approach to filmmaking have made him one of the most respected and celebrated directors in history. Kubrick's legacy will continue to inspire and influence future generations of filmmakers for years to come.
]]>Stanley Kubrick (July 26, 1928 – March 7, 1999) was an American film director, producer, screenwriter, and photographer. Kubrick is frequently cited as one of the greatest filmmakers in cinematic history. His films often portray the futility of war and humans' ability to overcome adversity; intellectual curiosity and a sense of humor are also common themes. These themes are accentuated through his use of contrasts—between violent and peaceful moments and between humans and machines or technology—and visually with abstract forms that can be interpreted as metaphors for emotional or spiritual states.
Kubrick never excelled as a student. In elementary school, he attended class about half the time. In high school, he was a social outcast and an underachiever, ranking at the bottom of his class, despite his intelligence. "I never learned anything at school, and I never read a book for pleasure until I was 19," he once said. Kubrick's early ambitions were to become a writer or play baseball. "I started out thinking if I couldn't play for the Yankees, I'd be a novelist," he later remembered. Seeking creative endeavors rather than focusing on his academic status, Kubrick played the drums in his high school's jazz band; its vocalist later became known as Eydie Gorme.
He went on to direct a number of acclaimed films, including Spartacus (1960), Lolita (1962), Dr. Strangelove (1964), A Clockwork Orange (1971), 2001: A Space Odyssey (1968), The Shining (1980), Full Metal Jacket (1987) and Eyes Wide Shut (1999). Kubrick died in England on March 7, 1999.
In the early 1960s, after moving to England, Kubrick gradually gained a reputation as a recluse. He gradually reduced the time he spent anywhere other than on a studio set or in his home office, refusing most interview requests and was rarely photographed, never formally. He kept to a schedule of working at night and sleeping during the day, which allowed him to keep North American time. During this time, he had his sister, Mary, tape Yankees and NFL games, particularly those of the New York Giants, which were airmailed to him.
While working on what would be his final film, 1999's Eyes Wide Shut, director Stanley Kubrick suffered a heart attack and passed away in his sleep at his home in Hertfordshire, England. The film went on to earn Golden Globe and Satellite Award nominations.
Not before leaving this earth, he left us with countless classics to be cherished now and forever. Thank you for reading about the great Stanley Kubrick.
Miles Davis is widely considered to be one of the most important and influential figures in jazz history. His musical career spanned over five decades, during which he continually evolved and experimented with his sound. He was also a trailblazer in the fight for civil rights and a figurehead of the counterculture movement of the 1960s. This article will delve into the life, tribulations, and contributions of Miles Davis.
Davis was born on May 26, 1926, in Alton, Illinois, but he grew up in East St. Louis, Illinois. His father was a successful oral surgeon, and his mother was a talented musician. Davis was exposed to music from an early age and began playing the trumpet when he was 13 years old. Despite the relative wealth of his family, Davis still faced racial discrimination and segregation in his hometown. He was denied entry to segregated music venues and witnessed a Ku Klux Klan rally near his home. This experience would shape his views and influence his music and activism later in life.
After dropping out of the Juilliard School in New York City, Davis began performing with some of the biggest names in jazz, including Charlie Parker and Dizzy Gillespie. He quickly established himself as a virtuosic player and began leading his own bands, experimenting with various styles, including cool jazz, hard bop, modal jazz, and fusion.
One of Davis's most significant contributions to jazz was the introduction of modal jazz. His landmark album, "Kind of Blue," which was released in 1959, is often cited as one of the most influential albums in jazz history. It features an all-star lineup of musicians, including John Coltrane and Bill Evans, and is notable for its use of modal jazz. Davis continued to innovate and experiment throughout his career, incorporating rock and funk elements into his music and collaborating with artists such as Jimi Hendrix and Sly and the Family Stone.
Despite his success and critical acclaim, Davis faced numerous personal and professional struggles throughout his life. He struggled with drug addiction, which affected his health and led to frequent hospitalizations. He also had a volatile temper and was known to lash out at his band members and other musicians. In 1959, during a performance at the Birdland nightclub in New York City, he was attacked by police officers after he intervened in a dispute between a white police officer and a black club-goer. He suffered a broken collarbone and was arrested, which sparked outrage and led to protests.
Davis's dedication to his music never wavered, and he continued to perform and record until his death in 1991. His influence on jazz and popular music is immeasurable. He inspired countless musicians, including Herbie Hancock, Chick Corea, and Wynton Marsalis, who went on to become jazz legends in their own right. He also influenced artists in other genres, such as Prince, who often cited Davis as a major inspiration.
In addition to his musical contributions, Davis played a significant role in the civil rights movement. He spoke out against racial injustice and discrimination and used his platform to advocate for equality. He was arrested several times for protesting and continued to use his music to address social and political issues.
In conclusion, Miles Davis was a musical genius and a pioneer who constantly pushed the boundaries of jazz and popular music. His contributions to music, as well as his activism, continue to influence and inspire generations of musicians and listeners. His life was marked by creativity, innovation, and personal and professional struggles, but his legacy remains as one of the most iconic and influential figures in music history.
1. Practice every day to build muscle memory
2. Listen to trumpet players who are better than you and learn from their technique & try to imitate it - be inspired!
3. Get a good mouthpiece that fits your teeth - it will make playing easier
4. Practice with other trumpeters, but don't stop practicing on your own!
5. Take lessons from an experienced teacher if possible - and learn, learn, learn!
6. Find a mentor or friend who is also learning how to play the trumpet so you can practice together and motivate each other
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by Arianna Munoz
(July 14, 1918— July 30, 2007)
Dreams. That is the first word that comes to mind when thinking about Ingmar Bergman, the visionary Swedish director of film and theatre. It is his films, though, that continue to capture the imagination. From the nihilistic nightmares of The Seventh Seal to the colorful imaginings of The Magic Flute, Bergman imbues every film with a dreamlike quality, our hopes and fears projected on the screen to be examined, criticized, and celebrated.
Born on July 14, 1918, in Uppsala, Sweden, Bergman grew up with his parents, Erik and Karin, and his siblings, older brother Dag and younger sister Margareta. The children had a strict upbringing; Karin was often cold and dismissive, and Erik wouldn’t hesitate to beat, cane, or lock the children up. Erik’s position as a Lutheran clergyman also meant that Bergman was enveloped by religious imagery from a very young age. As Bergman recalls:
Bergman on the set of The Seventh Seal
It was a world Bergman later recreated in films like The Seventh Seal (1957), inspired by the medieval paintings on worn church walls depicting the unknowable mysteries of death, faith, and God. The tale of a medieval knight running from Death, The Seventh Seal is a nihilistic yet powerful depiction of questioning one’s faith. “Why is [God], despite all, a mocking reality I can’t be rid of?” mourns the knight, reflecting Bergman’s own fear of death and his grappling with religion, concepts Bergman only came to terms with years later. In The Seventh Seal Bergman openly addresses the existential concerns that have always plagued humanity, creating a stark and thoroughly unsettling masterpiece that continues to influence artists today.
"You play chess, don't you?" from The Seventh Seal
However, before his many masterpieces Bergman first had to find the magic lantern. The “magic lantern” was his name for the cinematograph, an early form of projector that projected slides or small reels of film. At nine years old Bergman longed for a cinematograph, and during Christmastime he got his wish, receiving the projector from his brother in exchange for a hundred tin soldiers. Placing the slides and film in front of the lamp, turning the crank to make the images move, Bergman became enthralled, a moment that would spark his love for directing, for creating stories all his own.
As a young adult Bergman attended Stockholm University, where he directed, acted, and wrote in student productions. He then entered the worlds of theatre and film, becoming the head of the municipal theatre in Halsingborg in 1944 and writing his first major script, Hets, or Torment, that same year. Because of the success of Hets, Bergman was given the opportunity to direct his own work, setting off a career that would span decades.
For Bergman, theatre and film were not mutually exclusive; his 1958 film The Magician revolves around theatricality, telling the story of a mysterious magician and his troupe seeking to con the wealthy leaders of a town. Both eerie horror and bawdy comedy, The Magician explores the conflict between private and public identity as the titular magician, Vogler, hides behind false beards, wigs, and makeup, struggling to hide his disdain for the people he entertains. Just as Vogler disguises himself, so did Bergman hide his private self, grappling with his controlled public persona versus his private “impulsive and extremely emotional” nature. Both these aspects of Bergman are evident in The Magician, the cool and collected exterior falling away to reveal the complex soul underneath.
"I hate them." Max von Sydow in The Magician
Bergman’s career took off in 1955 with Smiles of a Summer Night, a comedy on the flirtations between four men and four women. The film was nominated for the Palme d’Or at the Cannes Film Festival and set off a period during which Bergman produced some of his most influential works. The Seventh Seal was released in 1957, followed by Wild Strawberries (1957), The Magician (1958), and The Virgin Spring (1960), which won the Academy Award for best foreign film. Once only known in his native Sweden, Bergman had skyrocketed to international acclaim.
Bergman produced masterpieces well into the sixties and seventies. In 1962 he won his second Academy Award for Through a Glass Darkly, the first in a trilogy on the theme of faith followed by Winter Light (1963) and The Silence (1963). Other films of this era are Persona (1966), Hour of the Wolf (1968), and The Magic Flute (1975). Directing all these films from Sweden, many on the island of Fårö, it seemed as if Bergman would never stop.
However, in 1976 Bergman was charged with tax evasion by the Swedish government, a scandal that profoundly humiliated him. Although later cleared of the charges, Bergman was so distraught that he went into self-imposed exile in Germany, remaining there until the 1980s. While there he made a few films including The Serpent’s Egg (1977), but upon looking back Bergman considered his time in exile to be a lost period of his career.
In 1982 Bergman announced his last theatrical film, Fanny and Alexander, a period drama inspired by Bergman’s childhood. After the “darkest despair” of his scandal, making Fanny and Alexander reignited Bergman’s love for filmmaking. The origins of Bergman’s passion for film, the magic lantern itself, returns in Fanny and Alexander as Alexander receives a cinematograph for Christmas and, like Bergman, is enraptured by its simple beauty. In rediscovering his love of filmmaking, Bergman returned to the fateful Christmas night when the spark of inspiration was first set off, his childhood dreams inspiring his adult reality.
After Fanny and Alexander Bergman continued to write and direct television specials, some later released theatrically. In 2003 Bergman released his final film, Sarabande, to great praise, and subsequently retired from filmmaking. Four years later at the age of 89, Bergman died peacefully in his home on Fårö, the island that had been the centre of his greatest productions.
Although the dreamer himself has passed, Bergman’s films still have an extensive influence on modern culture, impacting everything and everyone from Woody Allen to Richard Ayoade to the Bill and Ted film series and Monty Python’s Meaning of Life. Bergman’s films retain a timeless quality, tackling themes like faith, identity, and hope with such care and precision that the viewer is instantly invested. Conjuring worlds where men can play chess with Death, where the Queen of the Night sings to an awestruck prince, where a little boy can find a magic lantern in a simple projector, Bergman continues to prove himself a master magician, a creator of dreams both beautiful and terrifying, films that remain in the audience’s mind long after the screen has gone black.
by Arianna Munoz
Quotes, all from Bergman’s autobiography The Magic Lantern:
“Sometimes there is a special happiness in being a film director. An unrehearsed expression is born just like that, and the camera registers that expression.”
“Film as dream, film as music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul.”
“Sometimes I dream a brilliant production with great crowds of people, music and colourful sets. I whisper to myself with extreme satisfaction: This is my production. I have created this.’”
Videos:
“Bergman’s Dreams – An Original Video Essay” from the Criterion Collection, written and directed by Michael Koresky
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September 23, 1926 – July 17, 1967
By Spencer Rubin
Coltrane’s legacy is that of a shooting star who shone brighter than any in the sky, but for a fraction of the time. Before he was 40, he was featured on and composed over 100 albums, which effortlessly blended genres, cultural influences, and styles [1]. His most acclaimed and revered albums, Blue Train, Giant Steps, My Favorite Things, and A Love Supreme, were released in the span of ten years and garnered him a long list of certifications across the world, while he rapidly developed as a musician and composer [2][3][4]. His meteoric rise to jazz acclaim and his innovative playing made him a trailblazer in the 1960s, and his ability to vocalize his message through his horn made him a holy figure among superfans. Coltrane often talked of leaving his physical body while on stage, projecting his astral being, his spirit, and soul, out to the crowd.
Music surrounded John William Coltrane as a child. He was born in September 1926 and raised in Hamlet and High Point, North Carolina, where his grandfather, Reverend William Wilson Blair, was a well-known gospel minister, and his father, John Robert Coltrane, was a preacher [5][6]. When John R. Coltrane wasn’t at church, he would sit in the living room, deftly switching between instruments to entertain his young son. John W. looked up to these men and the blues players he heard on the radio, like Count Basie and Lester Young [7]. Coltrane’s music was heavily influenced by the soulful sounds and sorrowful lyrics of the blues, hints of which brood in his dark, gospel-like tones.
Coltrane’s life was abruptly uprooted when he was 12. His father and grandfather passed away suddenly, and within months so did his grandmother and an aunt. This triggered a period of severe financial distress for his mother, Alice. The two moved in with relatives in New Jersey, and the young musician focused his grief on mastering the clarinet.
When he graduated high school and moved to Philadelphia in 1943, he had one thing on his mind: a career in music. Bebop musicians like Charlie Parker and Dizzy Gillespie were peaking on the charts, and Coltrane wanted to learn how to play with them. He studied Johnny Hodges supporting Duke Ellington and Dexter Gordon leading the bebop movement. But after a few semesters at the Ornstein School of Music studying saxophone, Coltrane was enlisted in the Navy and shipped off to Hawaii.
At Pearl Harbor at the close of the war, fellow musicians quickly noticed Coltrane’s dedication to his craft and recognized his superior playing. He was asked to be the first black member of the Navy band, challenging modern music before recording his first piece – done with a quartet of fellow sailors on Oahu in 1946 [8][9]. Coltrane returned to Philadelphia with life and industry experience and invoked the G.I. Bill to enlist at and graduate from the Granoff School of Music.
Coltrane hopped from group to group, blowing for anyone who’d hire him. He worked with Eddie “Cleanhead” Vinson, Jimmy Heath, and Dizzy Gillespie, moving between genres and bands effortlessly and earning a reputation as an especially talented musician with a deep understanding of music. He was a hot commodity in Philly from 1946 to 1955 as he learned to improvise with the greats, switching from blues to big band, alto to tenor sax.
During the early ’50s, when Coltrane was playing with Jimmy Smith and Miles Davis, he fell into heroin addiction, a crutch that caused many band leaders – over 6 years – like Duke Ellington and Davis to fire the young star. Though his dependency proved him an unreliable employee, when he was in the studio, he made magic.
And Davis was enamored with Coltrane’s “voice on tenor,” allowing him to explore his sound and style. Coltrane referred to his peer as “Teacher,” and, together, they obsessively discussed and practiced theoretical music concepts. They produced a multitude of acclaimed albums, including The New Miles Davis Quintet (1956), ‘Round about Midnight (1957), and Kind of Blue (1959).
In 1957, Davis walked in on Coltrane in the midst of an overdose. Fellow bandmate and drug buddy, drummer, Philly Jones, helped Coltrane through the night, and Davis was compelled to fire them both. Coltrane was devastated. He needed to make changes, or he would never be able to share his message. He booked a trip home to Jersey, where he locked himself in a bedroom to dry out, cold turkey. It was an incredibly tough time for the musician, and he’d later credit these days with inspiration for his most acclaimed pieces. He left his family’s home refreshed and eager to get back into Philly’s jazz scene and into the studio.
During Coltrane’s hiatus from Davis’ band, he practiced almost constantly. He began to develop what would be the base of his signature style, wrapping pentatonic scales around each other, deconstructing scalar patterns, and layering harmonics to create his distinctive “sheets of sound.”
That same year, Coltrane met legendary pianist Thelonious Monk. Coltrane and Monk spent the summer of 1957 recording Thelonious Monk with John Coltrane (1961), with Monk guiding Coltrane directly through unique melodic and rhythmic shifts and pauses.
In 1957 Coltrane was signed to Prestige, and he began to lead his own band (Coltrane) and compose his own music (Blue Train). At the same time, Miles Davis was experimenting with a new style of “modal jazz,” within which Coltrane’s new format fit perfectly. They began to play together again after a nine-month break, experimenting and growing, and finally recording Davis’ most successful album, Kind of Blue.
Coltrane continued to release albums: Blue Train (1957), Soultrane (1958), and the revolutionary Giant Steps (1960). By the end of his four years with Davis, Coltrane had turned from a Philly bar and club stage staple to an internationally renowned musician, his fame cemented by Giant Steps.
Giant Steps was the first of Coltrane’s albums that shaped the “post-bop” movement. It was Coltrane’s debut on Atlantic Records, leaving Davis’ group and Prestige behind to form his own quartet. He composed the album’s entirety. Giant Steps reflects a shift from structured bebop to a new, avant-garde, “free jazz,” inspired by Ornette Coleman, who Coltrane enlisted for lessons. The songs on Giant Steps, like “Naima,” “Cousin Mary,” and “Giant Steps,” shirk traditional chord changes for melody-driven, passion-fueled bursts of looping, winding saxophone, backed by driving bass and tapping drums.
Coltrane recalibrated for My Favorite Things (1961), bringing in new musicians and ideas for his final work with Atlantic. The album’s title track is a reimagined version of the song of the same name from the movie The Sound of Music (1965). McCoy Tyner on piano works in harmony with Coltrane, embarking on an in-depth exploration of the familiar waltz. The band rotates through different variations of the song, enticing listeners with each bar, each note challenging the familiar tune. Coltrane learned soprano sax for the album, and the single, “Favorite Things,” propelled to the top of the charts, making this his most commercially successful album, and John Coltrane a household name.
Enlisting the musicians from Favorite Things and signing with Impulse Records, Coltrane composed several more albums. His signature brooding notes and sheets of sound, his masterful improvisation, and his abilities as a conductor pushed the quartet’s playing to unmatched levels. They riffed on endless variations of the same chord, keeping tune with the bassist and drummer, as Coltrane wove his horn blasts between his bandmates’ notes.
Jeff Brownell wearing a John Coltrane design by Em & Ahr on the set of Armstrong Now, 2020
Coltrane and his bands at Impulse produced a variety of sounds from 1961 through his death in 1967. With his quartet, he released traditional jazz records like Ballads (1963), and with a quintet featuring his wife Alice, he toured the world and recorded live. He put together a full brass band for Africa/Brass (1961) and Ascension (1966).
Up until 1964, however, Coltrane was preparing for his magnum opus: A Love Supreme.
A Love Supreme challenged all perceptions of contemporary music when it was released in 1964. It was a dedication and a thank-you note to Coltrane’s God, the one that got him through the dark days of addiction, and the one who Coltrane leaned on during his days holed up in Jersey, sick with withdrawal. A Love Supreme is Coltrane’s previously-realized potential fulfilled. It is filled with unconventional runs and changes, pure bursts of energy and emotion that devolve into screeches and scratches. Each note, however, is intentional, each awkward blast of every phrase penned deliberately.
The finale of the four-track album is the smooth, then suddenly chaotic, “Psalm.” Young listeners, looking for alternative spiritual paths from their conservative, puritan parents, were intrigued by the unconventional sounds. They soon noticed that the inscription on the inside album cover matched “Psalm’s” horn blasts note for note. Coltrane’s divine cries of pain and passion, shared through his instrument, could be read while listened to. This was a powerful revelation for many, who had never considered literal meaning in instrumental music. A Love Supreme became Coltrane’s highest regarded composition, putting him up for Grammy nominations and Hall of Fame inductions [10][11]. It was performed live only once, to a shocked crowd in Antibes, France [12].
Coltrane had grown up the son and grandson of preachers and with a spiritual mother. Family members, reflecting on his legacy are not surprised that John Coltrane blossomed into a religious faithful, and spiritual leader. He was steeped in holy tradition, and as he grew older and faced dramatic challenges only faced by heroes and geniuses, his faith was the only thing that pushed him through the struggle to greatness. He leaned on faith and music through his tragic youth, addiction, the barriers placed in front of black Americans, to a career that would expand and alter contemporary music. Coltrane’s biographer, Lewis Porter laughs as he ponders the St. John Coltrane Church in San Diego: Not many artists have churches dedicated to studying and living by their words and compositions [13][14].
Coltrane was not the first musician to be considered a godly figure, and he was not the last. Soon after Coltrane’s success, Eric Clapton was compared to God during his time with John Mayall and the Bluesbreakers, and Jerry Garcia was seen as a prophet as the frontman of the Grateful Dead [15]. Throngs of Deadheads have dedicated their lives to following the band (and subsequent spin-offs like The Dead and Dead and Co.) to forever be in the presence of the music, like Jews traveling to pray at the remnants of the first temple in Jerusalem or Muslims to the Kaaba in Mecca. For some, spirituality is awakened while tuning in to Jerry’s guitar and Coltrane’s horn [16].
The space that instrumental music like a bluesy Clapton solo, a 20-minute Dead jam, or A Love Supreme leaves for listener interpretation is boundless, leading trains of thought through our minds. The lyrical insertion of A Love Supreme, paired with Coltrane’s soulful sound, introduced many uninitiated music fans to unique, conscious, and subconscious paths, introspective and spiritual experiences.
Reflecting on Coltrane, however, members of the Dead cite Africa/Brass as their biggest conscious inspiration. The African rhythms and beats – which Coltrane’s drummers built off of for the next 6 years – profoundly impacted musical conceptions for Phil Lesh and Bill Kreutzmann, bassist and drummer of the Dead. Lesh can be heard playing the bassline from “Greensleves” from Africa/Brass in various renditions of the Dead classic, “Clementine.” The Dead also drew heavily from principles that Coltrane introduced on Favorite Things, specifically the concept of using one chord to create endless riffs and runs, constantly evolving jams. Bob Weir, guitarist, and singer for the Grateful Dead states that he was inspired by McCoy Tyner’s exploration of chords. The jam band was looking for ways to extend their jam sessions and turned to the modal techniques that Coltrane and Tyner used to continuously change their playing while maintaining the structure of the song [17].
Any musician or band that impacted the Grateful Dead, especially their legendary improvisational jam sessions, has infinite influence, as the Dead is considered by many to be the perennial “jam band,” having sparked a fuse for generations of new sounds and structures. They paved the way for bands like the Allman Brothers, Phish, and Widespread Panic, who specialize in captivating and engaging audiences with blues roots and rambling instrumental sections.
After the release of A Love Supreme, with his true message out, Coltrane began to delve deeper into musical exploration. He focused on polyrhythms and discordant tones and notes, breaking up his quartet, frustrated at Coltrane’s obsession with pure expression. His wife Alice took over for Tyner on piano, and they produced increasingly spiritual and experimental albums like Ascension, Kulu Se Mama (1967), and Om (1968). John and Alice recorded and released music up until a few weeks before his death from liver cancer in July of 1967 [18].
Coltrane had stood in such prominence at the forefront of pop music and culture that without his presence pushing music, there was a hole in the industry. He was posthumously recognized by the Library of Congress and inducted into the Grammy Hall of Fame after being awarded their Lifetime Achievement Award in 1997 [19]. He was honored with a Pulitzer Prize for a lifetime of innovative and influential work [20].
John William Coltrane lives on through music school requirements and mentions in Hollywood; his name adorns street signs across the United States. His songs are on lists of the most influential of all time, and when Barack Obama was elected, he hung Coltrane’s portrait in the halls of the White House, an honor to the sax-man who changed contemporary music with truth, faith, and infinite innovation.
Born on August 2, 1924, in Harlem, New York, James Baldwin was exposed to the multicultural diversity of the U.S. at an early age. The oldest of nine children and growing up in poverty, Baldwin recalls
"know[ing] I was black, of course. but I also know I was smart. I didn't know how I would use my mind, or even if I could, but that was the only thing I had to use."
After working an odd number of jobs including being a preacher and railroad worker, Baldwin settled as a freelance writer in the Greenwich Village.
Having lived a life of racial tension thus far, James Baldwin decided to take a step back and move to Paris where he hoped to find enough distance to write about the racial issues in America.
In 1957, Baldwin returned to the states to cover the Civil Rights movement, soon becoming a figurehead and spokesman during a crucial point in the social climate of mid-twentieth-century America. Baldwin’s work served as an important commentary in the backdrop of the Civil Rights Movement, he was one of the leading literary voices for the movement, standing alongside the likes of Martin Luther King.
James Baldwin was one of the first to voice the concerns many people chose to ignore, he shed light on the most uncomfortable and portrayed it in a way people could easily relate to and understand.
James Baldwin believed in a world where we were all united, and free.
Martin Rosenthal first discovered and fell in love with Baldwin after reading “The Fire Next Time”. Inspired, Marty created a design after him, whereas many would create something called "decorative art", Marty created “substantial art". Substantial art revolves around delivering a feeling deep within, beyond the surface, something that truly encapsulates and speaks the heart of James Baldwin.