Marty Ehrlich & Greg Osby: In Traning

Fell asleep to “After The Rain” last night. Fun to seen so many Coltrane nods in the last few days. Yesterday, of course, was the great one’s birthday. Lately I’ve been unpacking ancient interviews, and came across chats with Wayne Shorter and Sonny Rollins about their thoughts on Trane’s approach. Here are two more from that era, the late 80s. Marty and Greg had spent lots of time considering the tenor saxophonist’s impact on jazz, that’s for sure. Think I’ll add Eugene Chadbourne’s thoughts to this tonight.

GREG OSBY

I once said that Trane had a harmonic density. I didn’t mean it in a “cluttered” sense, I just meant he had a whole lot of options. A lot of players exhaust their options quickly. Coltrane could hold your interest by just playing a vamp, or some modal stuff. He had more resources; he studied a lot more. He was more of a searcher, he never stagnated, he never stayed in one place for too long. To me, the main thing he represented was change. When his peers, or others of his generation, got hip to what he was doing, he was off into another thing. No idle time. Those are things I’m interested in.

There are a lot of people now who are trying to adhere to old principles, old ideas, and establish those as modern day traditionalism or whatever, and that’s cool if you want to preserve the things you think are jazz. But I don’t think there are any dictates or prescribe methods people should have in their playing. Trane knew that.

I heard him when I was still listening to funk. I guess it was around ’74 or so. I hadn’t been playing for more than two years, and we had a little funk band. I’d play my little funk licks on top of “Giant Steps.” I didn’t know any of his musical logic, but I could enjoy it. I knew it was bad, and I knew one day I wanted to get with that. That’s when I discovered Charlie Parker, too. I’d been listening to Ronnie Laws, David Sanborn, and Grover. But I was drawn to the magnetism and density of what Bird and Trane were doing. They were playing a whole lot of notes.

Jazz is about versatility. You’re supposed to derive stuff from all sorts of sources. I hear some players today who are so conservative they could be on Reagan’s staff. The music isn’t really progressing right now because people are afraid to cross a few lines.

MARTY EHRLICH

Coltrane seemed to be one of those artists who, besides his incredible popularity and meaning to those who listened to jazz and paid attention to black culture in general, was someone who  commanded the attention of many people who don’t listen to jazz. A couple of things made it happen. It’s interesting because he wasn’t a commercial artist in the sense of someone reaching across boundaries today; he was very serious and at times played very difficult music. A lot of that had to do with the times. His music certainly reflected the energy of the ’60s. I’ve found an interesting parallel between him and Bela Bartok: within their respective cultures they represented a few of the same things. People who didn’t listen to contemporary music often listened to Bartok. So here are these two artists who communicated beyond the style they played in. Both were very innovative, expanding the language of their idiom, but at the same time used traditional and folk materials in their music. Radical conservatives, really. They both had visceral emotions with involved processes, so they grabbed you intellectually and emotionally in a way that doesn’t often happen. A Love Supreme was a gold record. It’s very hard to think of a record of that intensity being a gold record in this day and age. People wanted a bit more seriousness at that time. To me he was an example of what a committed artist could be.

He was very consistent. I like all his stuff. At the end of his life, around the time of Expression, you can hear new areas of time, along with some very beautiful harmonic motion. Consistent definitely, maybe a bit obsessive. We hear his long solos, and we’re more used to shorter ones these days.

Everyone has to play out of their own psychology. I’ve never known Trane to play anything funny or tongue in cheek, like Sonny Rollins would. What we learned from him is how hard he worked to find what he had to do. Even though he was a part of the mainstream in a way that Ornette and Cecil never were, he still had to find his own way, which isn’t easy. Everything he played sounded like he had lived through it, like he had felt it first.

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