Transcendence

Performed by John Coltrane's spiritual widow Alice is a selection of very special mantras, combined with chanting and two haunting instrumentals. These seven tracks are all based in Indian themes. All of them are exceptionally and accurately done, especially the mantras/kirtans which are true to their Hindu origin, the instrumentals have more of an improvisational, free-form feel. This is practically not a jazz record, but Coltrane's take on spiritualization's of jazz means. This album features both a string quartet on several tracks and a vocal choir on several others. This album works equally well either as background sound during meditation or for pleasurable listening.

Like her other recordings from the Warner Bros. period, Transcendence, is a late album created from various musical notions Alice Coltrane was exploring, rather than conceived as a whole as her Impulse material was. These eight tracks are all based in Indian themes. As such, the instrumentation varies widely across the album, ranging from Ms. Coltrane playing her harp with a string quartet on the stunningly beautiful "Radhe-Shyam" and the title track, to her playing organ and/or Fender Rhodes piano with large groups of Indian musicians (some of whom sing), such as on "Sivaya" or "Ghana Nila." The upshot is that the vision on display here is not so much a grand musical one as it is an intensely focused spiritual one, based upon a sacred Vedic text. As such, it makes for a challenging but thoroughly engaging listen, wherein moods, modes, ambiences, and densities are offered as meditative spaces for the listener -- check out the gentle yet blessed-out joy in "Vrindavana Sanchara," a solo track where Coltrane plays harp, tamboura, wind chimes, and a tambourine. As such it sets up the title track, which is more complex and more angular, yet still somehow has no edges, where the string quartet returns and creates a series of subtle modes where tonal expressions are held against and pulled through a cadence of minor and diminished seventh articulations built upon a harmonic figure of eights. The effect leaves dissonance as mere sense impression and offers instead a vertigo effect of moving deeper and deeper into something that cannot be identified. On "Ghana Nila," Coltrane and her Indian counterparts get downright funky in chanting the names of the Lord. Using a Fender Rhodes, Coltrane creates a Southern gospel groove with Eastern modalities, and she and a chorus begin chanting in a cadence that suggests a Pentecostal Church meeting the Krishna dharma. This track -- and the others that feature this lineup -- keeps the experience of the transcendent rooted in common communal experience, as if singing and playing to God with a shimmering, funky groove for accompaniment it were the most natural thing in the world. Ever-forward, brave, and truly visionary, Transcendence is another chapter in a body of work by Ms. Coltrane that was not generally understood until the 21st century, where it received the acclaim it so richly deserved. as time passes, it may actually be instructive to a new generation of musicians and listeners -- a love supreme indeed. ~ Thom Jurek