In a way, Sean Khans Supreme Love: A Journey Through Coltrane fondly looks back on 2011s breakthrough Slow Burner. There Khan celebrated his musical heroes, including John Coltrane, with a bracing modernist take that juxtaposed classic jazz with a 21st century rhythm and production. This tribute to the great saxophonist combines Coltrane tunes with originals inspired by his influence. His core band includes longtime drummer Laurie Lowe, pianist Andy Noble, bassist Dario De Lecce, and vocalist Heidi Vogel. Khan plays alto and soprano saxophones and flute. The ensemble is appended by guitarist Jim Mullen, trombonist Tom White, percussionist Karl Vanden Bosshe, and old friend Kaidi Tatham playing Fender Rhodes and remixing two tracks with assistance from Daz I Kue. This set also offers the last recorded performances of British jazz legend, saxophonist Peter King. The album is divided into three evolutionary, musically distinct sections. The Future Present showcases the modal beginning with Acknowledgment from A Love Supreme. Khan reimagines it as a spiritual soul track. His elegant horns and lilting flute hover above a spectral piano and modal electric guitar with strings, harp, and a glorious vocal performance from Vogel based on lyrics by Oscar Brown, Jr. and Khan. Its rhythmic shifts are laden with subtle snare breaks and group chants as it swirls and twirls to the heavens. It also reveals the major influence of Alice Coltrane. Khans Starchild follows and Vogel delivers his sunny lyrics of childhood with resonance and openness. It was inspired by Coltranes love of 7/4 time. Other standouts in this section are thought-provoking reads of Afro Blue and Naima. Khans Azawala sits between them. It channels darkly swinging, Afro-Latin-inspired modalism as horns entwine with duet vocals from Vogel and Khan, underscored by percussion and drum kit interplay and Nobles sure-handed harmonic invention. There is a charging read of Giant Steps, but its brief, an interlude more than a fleshed-out take. The middle section, The Future Past, adds contrast. It consists only of Tathams adventurous remixes of Azawala, and Starchild -- both feature his elegant, deftly funky Rhodes piano. The Savage Detectives is a break-driven funky sprint, a redo from 2019s Khans Distant Voice EP. It kicks off a section otherwise dominated by muscular small-group performances of Coltranes Equinox, Impressions, and Cousin Mary. It proves this band is capable of swinging hard bop with proficiency, timing, and canny instinct. Khans soloing is imaginative and timely. He can lay down lots of notes but usually doesnt, and he never overstays his welcome up front. There is plenty of room provided for Nobles refined, expressive pianism. Khan proved on 2018s Palmares Fantasy -- his collaboration with Brazilian legend Hermeto Paschoal -- that he was not only an astute student, but a savvy composer, partner, and creator. Supreme Love showcases his immense growth over that period. His Coltrane interpretations serve as fine, creative tributes, while his own compositions fare with those of his better-known musical peers such as Steve Wilkinson and Chris Potter. Highly recommended. ~ Thom Jurek

Rovi