"A Love Supreme" — John Coltrane

What's up there, Dear listener. Adam here. We are very close to the great John Coltrane's birthday. It's coming up, it's just a few days away. And in honor of that, we wanted to replay one of our favorite episodes of the last few years. This is our episode on his masterpiece, A Love Supreme, and this was one of my favorite memories ever recording You'll Hear It.

Peter and I had such a blast listening to this album and talking about it. And what's fun for me is you can hear Peter not change his mind, but he wasn't totally enamoured with A Love Supreme going into this. Of course, he, he liked it, but it wasn't his favorite Coltrane album of this era. He's a Crescent Head through and through, but you could hear over the course of listening to the music that he is just captured by it in a way that's really fun to listen to.

And I hope that you hear that too, because I just had a ball listening to A Love Supreme with Peter. We'll be back next week with a brand new album, but enjoy A Love Supreme. Hey, Peter. Yes. Today we're listening to an album that some people think is one of the great works of art of the 20th Century.

Other people think isn't even the greatest work of art for this artist. Mm. In this year. Whoa. Yeah. We of course, are listening to. John Coltrane's. In my opinion, masterpiece A Love Surprise. I am Adam Maness. And I'm Peter Martin, and you're listening to the You'll Hear It podcast. And this is a very special day for us.

It really is a very special day. Yeah. We love to listen to the greatest albums of all time here at the You'll Hear It podcast. If you wanna go on a deeper dive of anything we're talking about here, you can always go to openstudiojazz.com and check that out. Yes, Peter. It's A Love Supreme day. We've been toying with this, flirting with this album for years.

Yes. We've never really covered it. No, and I'm stoked 'cause this is one of my all time favorite records. Peter, full disclosure for me, and I know you kind of know this already, but there was a period in my twenties. Alright.

Picture this young Adam in his twenties.

Yes. Doesn't really get haircuts. You know what I mean? He smokes a lot, smokes a lot of Marlboro Reds. He's just, well, this was before we knew that that was not safe or healthy. Right? No, we fully was that after we got it, we fully didn't care though. I'm just backing. I'm, I'm, I'm, what is backing?

I'm, I'm shooting darts left and right. Yeah. Uh, I would wake up every morning for about almost a year and listen to A Love Supreme and Smoke Marblboro Reds and look out my window all the way through. All the way through both sides. Yeah. I would have a cup of coffee. Yeah. I would listen to side one, smoke a cigarette, maybe two.

Flip it over, get more coffee. Smoke another cigarette. Maybe three. Listen to side two. Well, I mean, I think in terms of your musical health, what it did to elevate it, it probably canceled out those cigarettes because this is Well, yeah, I mean, to listen to this album all the way through, um, which I know a lot of people do.

And, and this is definitely one of those records that's rewarded Yeah. From side one and then the break, and then you come to side two. I mean, it's a masterpiece. It's, and it's a, it's a, from beginning to end, it's a statement. It was constructed in that way. It comes across in that way. And so, I mean, in terms of like elevating your life and your health, I think it might've canceled out.

Uh, I, I mean, we're not, we're not recommending the youngins out there in their twenties to go pick up cigarette smoking and listen to it. No, it's not good for your, but you could, it wasn't good for my heart health. Yeah. And we're gonna do our classic scorecard for what makes this album great. Yes.

Which feels a little weird because, you know, this was Coltrane's love letter to God. Yeah. Uh, and so it feels a little cheap. Just score it. But we're going to, we're gonna work through that. Right. And we're gonna realize that this piece we're piece of paper here that we're scoring, it means nothing.

No. And, and one of the categories is not. Spirituality. 'cause obviously this would be off the charts on that. Maybe It should be. Maybe it should be. No, we're gonna go and just to review real quick our 10 categories, because we haven't updated one. We do, we, we are, we're ditching one for another.

So number one is playing, number two is vibe. Yeah. Yeah, yeah. Number three is compositions. Four sound, five sequence. Okay. Six. Cover art. Seven title. Mm-hmm. Eight lore. Yeah. And nine, what was formally known as the SNOO meter slash Aunt Linda is now the stank face ometer. Big shout out to one of our listeners, uh, regular listeners that recommended this.

And I think it makes sense. Like how much face, so what does that mean? Stank face-ometer. Mm. Just how much stank face it gets. Exactly. Isn't just, do you like this album? Oh, kind of. Okay. Yeah. But that's that. I mean, it doesn't get any better than that. Well, but it's also like how much of a personal impact I think it has on you.

And I want to talk a little bit about what makes an album great. What that means as well. 'cause that can mean. I think most people think outside of the jazz and maybe classical world, oh, I should say number 10, is it better than KOB? Which is important. That's gonna be interesting. That's gonna be interesting.

The title of this is, is this better than KOB? This album? Yeah. And this is something that has been debated before and I'm interested to see what we come up with. And for that category we, we pitch KOB as a nine because we want things to be better than KOB. 'cause we think things could be, yeah. And we've rated things better than KOBI have.

But think about it. Like when we say a great album, most people would say what makes an album great? They would be like the greatest album of all time Thriller. They might throw that out there, whether be Oh, interesting. Because, well, I mean, no, if you were to grab 10 people off the street, look, there's a guy right there.

We could have grabbed him. What do you think? A thriller? No, if you say what's the greatest album of all time that what would come up? Now I'm talking about jazz or whatever. I think songs in the key of life for a lot of people. Yeah. I think, uh, one of those early Bob Dylan records maybe Blow on the Tracks, might come up for people We're talking about very, very high selling records.

Chart toppers, if you will. Right? Yeah. So yeah, and I'm saying that's what most people I think would be like a great album is one that's sold a lot. What's a great serial? Let's go to poster Kelloggs. Let's not go to some obscure. Right? Yeah. Whereas I think there's this assumption within jazz that the lonely poets society.

Exactly. A little bit like a bespoke situation. But I do think it's important for us to at least delineate between the impact that these albums make on musicians. Yeah. Maybe versus the general public, the GP, as we say. Yeah. Well, speaking of impact, do you remember just story time? Uh, do you remember the first time you heard Love Supreme?

Like do you, because this to me was. Kind of enigmatic when I first heard it. Yes. I didn't really understand what was happening musically. I was scared of this album. It's a, it was daunting. Yeah. Because it is like, how are they doing that? Especially I think for us pianists, particularly like McCoy Tyner, like, what is McCoy doing?

Yeah. Why can a human being do that? Like, what is happening here and how can I do that? Yeah. That was my first questions and I had no pathway for that. I was like, I don't, I mean, I'll just try to hear it and try to figure it out, but man, it felt like a mountain to climb. Yeah, for sure. And I think an interesting thing is to think about like the Yeah.

The impact that it makes on a musician. Yeah. So a pianist that's, that's thinking, oh my gosh, McCoy Tyner. What is, how is he interacting Elvin Jones, you know, all these kind of things Versus a listener where it's just a visceral. Kind of, um, you know, rain shower on top of you Yeah. Of the music.

And I wonder if this album has that same kind of impact. IE what makes it great, um, on people listening like a kind of blue. Yeah. Whereas for musicians that might be a little bit different and it's no, it's not a right or wrong, but like which one is more important? Yeah. You know, which makes an album greater.

If somebody who really that's very personal, it's what's what impacts you. Yeah. Yeah. But it's like, you know, what does somebody that is a former or current professional basketball player who says like, you know, actually the greatest player in the ever was not Michael Jordan. He's the most popular and seems Wilkins.

Well, I don't know. You know what I'm saying? Yeah. That's some of the taller and shortest you're going there. Um, but anyway, this is just a little fodder for us as we move forward. Let's get into listening some this John Stockton. John. Yeah. You know what? Another one weird with dirtiest player. Me.

I don't think this happens like this anymore. But because I grew up in the CD era of the nineties, the first John Coltrane CD I had was Giant Steps. You're such a CD baby. I'm a CD baby. The first, the first album I had from Trane was Giant Steps and I wore that one out. Yeah. Meaning that I got soda on it in my truck.

So you heard that before you heard Love Supreme? I heard that one. And then I heard there's one with Trane and Alice Coltrane at the live. At the Village Vanguard. That is like really out. Yeah. Interesting. Like 1967 or eight or something. Okay. I forget what it's called, but it's not Interstellar Space, but it's close to that right thing.

Right. And I was like, I really didn't, I was way too young. Interstellar space for, thank you. See, I don't even, I'm not even intelligent enough to understand it. But that one I was like, okay, I don't, I honestly don't understand this. Mm-hmm. And I don't know if I like it. And, and then, and then I came to.

Uh, I mean, before that, before even, this was Coltrane sound. Mm-hmm. Which is another one of my all time favorites. Great record, uh, from John Coltrane. And then this, you know, came later when I got it on vinyl when I was in my twenties. Uh, and again, uh, I think because I'd spent so much time with Giant Steps and Coltrane sounds specifically, uh, that this, and Oh, I should, I should point out to Johnny Hartman, John Coltrane, and the Duke Ellington, John Coltrane.

I listen to those a lot too. Before I'd even heard Love Supreme about Blue Train and Blue Train, I'd heard Blue Train a lot. But this is the thing. Here's, I and the kids were like, why didn't you just listen to Love Supreme? Because I didn't ever see it at the record store that I was at. Right. Like, when I was a kid, I just didn't, either I didn't pay attention to it or I couldn't afford it.

'cause I had picked out the things that I thought I liked. Yeah. And also it wasn't like. Now where it's like you can see what's the most popular and what's the most and what has the most critical, like if I wanted to look up what was the most critically acclaimed John Coltrane less, uh, record, I would likely have to go to a library Yeah.

And look up that information. Or ask someone who knew. And I just, for whatever reason that didn't happen for this, what a crazy thing to think about how things have changed in terms of how we're exposed to hearing something and then being able to make a judgment if we like that or wanna hear more of it.

Like the first John Coltrane, I'd actually heard some John Coltrane because my dad had some, some records and there was something on that Smithsonian box that I'd definitely heard it growing up some. But the first record where I was like, let go check it out, was Crescent. Yep. Uh, on the recommendation of Winton Marcellus.

Nice. Um, he was just like, check out this record. I was like, oh. But thinking back on it, I would've never picked up that record because there was nothing. Um, there's standards on it. There's no standards on. Yeah. Like that's such a big thing. And the, and these, this all offput either. Yeah, like Acknowledgement and it's got like a religious overtone, so it's like I'm not worthy.

I know when you're like 18 years old and you're just trying to learn the songbook, right? Yeah. You're trying to learn jazz standards and things you can play with other people. You're like, yeah, pursuant, nobody plays pursuant, you know what I mean? But nowadays, if you're coming up and you're listening to something that algorithmically Spotify or YouTube or whatever picks up on that, you might like something like this.

Yeah. It will put it in there. And, and people aren't looking at like, who's playing on it? It's hard to even find that the name of the album and then you, it's damn it, it got it so good. They don't even know how good they got it. What I mean, is it? Yeah. We, we've talked about this before. It's, it's, it's good and it's bad.

Look, I mean, we're doing it right now. We're telling them, go listen to this album. I know. So the other thing I was thinking about on this is it ended up kind of being a little bit of a demarcation. Point for me in John Coltrane, you're talking about to, to what I would have considered at the time, like Interstellar Space and the later stuff.

Um, the Scary John Coltrane stuff. This was like a, this was like a, a line between the stuff that I knew and I'd heard Coltrane of course play with Felonious Monk, I think even before I'd heard like Crescent. So I'd heard early Coltrane. Interesting. Coltrane sounds for sure. Yeah. John Hart, Johnny Hartman, like, and then the classic quartet.

Once I got into McCoy, I was like, I loved all that stuff. Yeah, yeah, yeah. But, but this was the beginning of like, oh boy, he's really taking it out and I don't mean just a half step up. Um, and so this was sort of like almost the end of that era and the beginning of the next era kind of serving for both.

And then of course 19 50, 65. This was recorded in 1964 at the end of 64, but came out at the beginning of 65. December 64, released January 65. Yeah. Which is crazy. We wanna turnaround for a class. We couldn't do that today, although we're gonna try next episode. That's right. That's right. Um. But, you know, 65, 66, 67.

Then he passed in 67 way, way too early, prematurely. Um, was a huge out output put. But he went, yeah. Now I don't wanna say off the rails, he just went in another direction. That's amazing too, but very different from this record than before. Yeah. It's a shame he passed away so young. We could say that about so many of our favorite musicians, because it would've been great to see what, where he would've gone.

Yeah. You know, as an older musician, just speaking as someone who's now older than he was when he passed away. Right. Is crazy. Several years. Yeah. Like so much happens during this stage of life that I want to hear his commentary on, you know? Yeah. I mean, think about what we've gotten from people like.

I dunno why it just came in mind, but like Pat Metheny's output later in life has been incredible, right? Like people like that, you know what I mean? Rod Carter, Ron Carter, cocked Kirby Hancock. Thank you, Wayne. Shorter, Wayne Shorter's later output. Amma. Jamal just kept making great records. I know.

Yeah. And it would've been awesome to hear, but okay, let's listen to some music. Peter. Let's listen to part one Acknowledgement. And again, will we be specifically listening for playing by any chance? Yeah. So that's our first category. Okay. We'll, we'll try, we'll try to, to consolidate playing vibe and maybe even compositions, but we'll see how we go here.

Okay, so this is of course John Coltrane on the tenor saxophone, McCoy Tyner on the piano. Uh, Jimmy Garrison on the bass in Elvin Jones on the drums. This is a Love Supreme part one acknowledgement open. Oh yeah. Elvin Jones Elvin. I know, man. Man, he's driving this bus. This whole wrecker. Oh wait, no.

McCoy's driving the bus. Sorry. Ah, man. Bold, bold, and beautiful. It's the soundtrack to that. Great. Soap opera, The Bold and the Beautiful. That would be so weird if this were the soundtrack to the bold, but it is bold and beautiful. Woo. Are they burning out what we say? Improvising over just one chord.

Yeah. Sound. Oh, I mean. The, for me, the difference between this and another quote unquote modal album is this is more, I mean, this is, feels African, like this is, this has that vibe of this is not of all of this place. You know what I mean? Like Yeah. It has that feeling. Yeah. That it's. You just can't deny.

Yeah. I mean to call it exploratory is obvious, but it's exploratory. A hundred percent committed. Like the way Trane is improvising, it's like there's no self-awareness. There's just like commitment to the music to where it's gonna go to Continuing on integrity, of course, you know, but. And very stripped down harmonically.

I mean, it's one chord, but then melodically the places that it takes it harmonically are like off the charts. You know? That's where the exploration's going. The rhythmic exploration. Oh, they're creating as they play. I think this could have only been done in one session. A recommendation. I mean, it's completely, yeah.

It's like the way McCoy brought that back. It's like I said, entered it back on that down. It's just on this other plane than something like kind of blue like it, it's coming from a different place. Yeah. It's not this like trying to be hip. French thing, you know what I mean? It's a little bit deeper, you know what I'm saying?

Okay. See where we're going for number 10 for you and, and from a pianist standpoint, this is some of the best, most advanced comping that's ever been done. Yeah. Truly in the sense of working like a company. Like he's not chasing anything that Trane is doing, but he's complimenting beautifully. The conversation with Elvin, Jimmy Garrison, I mean like they're really committed to creating a piece of art in real time, you know?

Yeah, it's, it's way beyond moldal playing, I think, because it's one chord. There's, yeah, I mean they play harmonic mo, you know, modes. And when you put in the context of the time, 1964 when this was made, yeah, 65 when it was released, like so tumultuous time in the US it's, this is a cultural like.

Trane, planting a cultural flag. Right. Which is a lot of people were doing around this time. Yeah. Like, and this, which would've not been okay with a lot of people at this time. Yeah. Obviously that's the melody, you know, would it be five minutes into the tune, the tune, Hey, let's play acknowledgement.

Ready? One, two, and I mean, Jimmy Garrison's job is potentially the most difficult to hold things down, but to play things that are interesting for the overall collective composition. It's just masterful what he's doing. He kind of gets lost master there. Yeah. I mean, Coltrane went on that journey with that riff, with that melody, and now he's back here.

Nobody, by the way, it's a, it's a mantra, right? It's a chant. Yeah. Oh, as we'll hear love, love free, love, love free. I man, what a, from that F to the EFL and to when they started on, that's incredible. This time period. If you think about this time period, and I know it gets talked about a lot, but.

To have Elvin and Tony, Elvin Jones and Tony Williams Young and making albums. Yeah. In this, you know, four or five year stretch, one with Miles, one with Trane. Mm-hmm. It's like such a gift to the world, man. Okay. What change? Drumming. Both. When Elvin just absolutely just did dancing on that symbol.

He's still doing it, but what he, ah, even just that symbol ringing out Jimmy Garrison. Ah, that's a great bass sound. Woo. All right. Can we pause for a second here? Yeah. Okay. So I, I the love how this is on the LP going straight in. It's like it's just one side. Yeah. And that's the way I first heard it anyway.

So, I mean, it's, it, it goes seamlessly in, but I just want to say like, the way that it starts, like over this open E like just fists and fourth, you know, and a like a gongs style. Yeah. There's, there's an actual gong and it's a call to prayer. Is, it, is, it's a, it's a call to prayer. Yeah. And choosing e and all the things, you know, you got the open E on the base and just like what that sound and where it ends on that E flat.

Like this is very simple. Like, like I was saying, I feel like I, I mean, I don't feel like it could. Feel it from the record. Every time you hear it, it's like, it just happened. Right. 1964, it's like, what, what? What is that? 60 years ago? Yeah. You know, but it's like it, like it was recorded this morning.

This morning. It feels like that. And they created the composition, but the structure of it, and I would say this is something maybe similar to kind of blue in that you go into the studio with a great group of players, a fantastic rhythm section, horn players that both contrast each other, but also are amazing.

Obviously this is maybe even a greater, like, you know, it's a quartet. Yeah. They've done a bunch of playing together. Locked in, yeah. But then you, for a couple years now. Right. And then you have a very basic template for what the composition is gonna be. In this case, acknowledgement, the first one where it's basically just harmonically three things, E, F, and E flat, all half step apart.

But the order of those. So it's like, oh, any kid could come up with that. Right. And then the trust to give the group, and then just one or just one melodic, um, idea that's introduced into that. That's the, that's the composition. And then a lyric, of course, which is highly unusual for an instrumental jazz record, but like, that's it.

And then they came up with that already. Yeah. It's like mind, mind blown. I know, but I think that that is maybe a similarity with, with kind of blue and that you came like, like flamenco sketches is just the five chords, you know? Um, but there's something about this record in particular where. And again, not to over compare it to kind of blue, two different albums actually, years and years apart too, by the way.

Let's not forget which is better. Well, we'll talk about that. But, uh, I think just the, the heavier subject matter Yeah. Of this, like, this obviously a spiritual statement by Trane. And like I said, I think it's a real cultural flag from Trane two of, of this entire era actually is like, we're gonna play this music that is not really understandable by a huge chunk of, of people.

Yeah. Like, you know what I mean? Not, it's not like ringa ding ding style, you know, Sinatra tunes or whatever. Right. That some people around this time are playing. Which is fine. Which is fine. We, we need different things. We need different things. We need appetizers, we need main course, we need dessert.

But this kind of album takes a lot of courage and it takes a lot of confidence and it takes a, an incredible artistic vision. I said it's bold and beautiful and courageous. You've said it all. You've said it all. So also this is the thing. Well, yeah, and even like we talk about kind of blue and I love like some of the comments of, you know, kind of our analysis, which is overstating it, you know, just talking about how impactful that record was.

To just general listeners and they're saying like, look at all the Miles over the years that were born, you know, babies named Miles. Yeah, wink, wink. A romantic record, whatever. Like, this is not that kind of record. No. You know, this is a beautiful re I'm talking about Love Supreme. Yeah. This is not like a record that babies are gonna be named after, you know, necessarily.

I don't think, um, or even babies being made during this rec listening to this record. I don't know. It's not really about that, is it? That should be one of our categories. Yeah. No, but I mean, I'm, we're beating around the bush a little bit, but that's what I'm saying, like, how do we even say is something great or not?

Because those are two different, those are both, these are both records we need. No, no, yeah, of course for different times. Course culture is about different things, but that's what I'm saying. We're, we're beating around the bush, but this really, I'm we're talking about race here. Like this album, love Supreme is not.

You know, white musicians are probably not able to make this album Mm. At this time. It's, it's not culturally part of their DNA to do interest at, at this time to do this thing. Right. Yeah. And I think that's what makes this kind of such a powerful prayer mm-hmm. And, and such an incredible cultural flag from Trane.

Yes. You know, not to make too big a deal out of it, but I think that is a, a huge part of this album. And, and at that specific time, this incredible movement of musicians Right. Led by Trane. Absolutely. Yeah. And I mean, who's to say, you know, whether or not Trane John Coltrane was actively thinking about that or making that statement?

That's kind of immaterial he made that statement. Yeah. You know what I mean? He, he came with that authentic leadership to create this thing and to create this playground, this sandbox for these four musicians in the studio to create this. And, and obviously gave in a huge amount of. Um, license and space for all of these musicians to contribute.

I mean, you can hear that from the very beginning. You know, I mean, not to say that he might have said, why don't we start with the gong? Who knows? It doesn't matter. Like the humanity of everybody's contribution is so like intermingled and integral to what was created. And it's part of the exciting thing of listening to something like this is to kind of imagine.

And like sometimes I feel like we have too much information when somebody says, I created this because this, and I want it to be this. That's of course interesting. But when you get to the level of a record like a Love Supreme. Like, that's up for you to get your, in your, not even your interpretation, like your meaning like from when you like and what you come up with it and me forget that for everybody to get that.

That's what a great piece of art is. It's not supposed to be reading the little thing that tells you what you're supposed to feel. Hmm. It's like, what do you feel from this? And if nothing else, this record. And I think all great records makes you feel deeply. I mean, like, you listen to this record.

If you sit down and listen to this, and this is not like, I like jazz. I don't like jazz. I like funky jazz. I like swingy ring a dingy jazz. Doesn't matter. Like, like listen to this. You will feel more human after listening to this. I, I say, um, you will feel. You may not love it. You may not ever wanna listen to it again.

You may love it off the charts. You may be like, ah, that was okay. I mean, look, it, it would be hard to like have this in a coffee house playing parts of it. Yeah. You know, parts of it will be perfect, but when they start, oh, love Supreme. Like, if you're not in the right space for that and you haven't listened to what came before that, that might get in the way of your oat milk.

Um, frappuccino. So, okay. And again, this feels a little cheap, but Peter playing what you got. Well, I, I got 10. I also have, but no, but it, but I mean I also have 10. Yeah. Really, uh, vibe. I have 10. What about spirituality? What do you have? I have 11 because I really, I really felt a spiritual vibe on this vibe.

I have 10 Vibe is a bit of spirituality for sure. And I have, yes, I have 10 for that. I mean, yeah, the vibe is, I think that even if you didn't like the vibe of this record, it would still be 10. 'cause it has like, probably it's all vibe the strongest man. It's incredible. It's a vibe. So think about this, if you say, um.

Tell a drummer, gimme that point. Sienna groove. It's as much about, gimme that vibe, right? Yeah. Or if you're like, gimme that love. Like what? Like gimme that love supreme vibe on this. That says a lot. Yeah. You know what I mean? So I don't see how it could be anything but 10. Okay. Which is what I have.

I love it. How far down have you gone? I mean, I'm pretty much done. Oh my ratings. But I still wanna listen to this. Can we listen to re Yeah, let's go. Yeah. So let's check out resolution. This is the next track and it's, I'm actually gonna back it up to the end of acknowledgement. 'cause they do the transition.

The transition is killing, ends with base acknowledgement, starts with base resolution. That's the last chord of the first track. And then. These came in, I'm here for it. So good man. This is one of the deepest grooves a drummer's ever played on a record that I've heard. Ah, this is like the OG backbeat right here.

Wow. Can really take it out Well. Ah. Did you ever play this? Five verses one. We used to play this in Willie Aikens. Man, this is one of Willy's mainstays. This is kind of the only tune on this album, I feel like. Yeah, it gets played a lot. Played like you, you can kind of, you can call it a jam session.

So good through here. Notice what Elvin does through here. Swings. Yeah. Swings his ass off. But he, he pulls it back a little bit, man. He's like, he's in control. Like the architecture of this album. Come on man. I'm telling you. Like to. This is shit. Bruce, is McCoy the youngest member of this band?

Rudy to too. What'd you say? Yeah. McCoy was the youngest member of this. He's just sending dominance. Is that part of the change? We don't know. We love it. He's only 26 here, McCoy. Dang. I mean, how much has this been stolen by me? Our new stank face O meter is gonna be off the charts. Oh my God. We need a groove O meter.

Ah, bang, bang. Just a, a clinic in left hand man. He is like just flurries and the way he's, that com combined with vin's, like dancing on that ride symbol and that sound of, that zian ah, floating with the groove is still there. And this is all kind of burnout playing just overheat flat. I mean, it's still playing the form, but harmonically, they go wherever they want.

And for all U pianists out there, notice what, how McCoy really. He switches up textures, cords, single note lines. Yeah. Like he's not just doing the same thing again and again and again. Right. Trane comes in, interrupting in all the right ways. Ah, I mean, Elvin is on the, on the verge just being like packed.

Ah, woo. So you could dance and it'd be like you're, this is like church music. Like you said, I can get up and do church dance in the middle of this man. Their approach to harmony is so fluid and, and courageous and exploratory and just fun, you know. Where did Brian Blade ever got a chance to hear this period of Elvin Jones?

Oh, here you go. All that stuff, man. Everything. Any pianist listing, if you wanna learn how to comp. Yeah. For this kind of like chord playing, how to solo McCoy Tyner on these records. Yeah. Love Supreme Crescent. And then of course, like all of his, uh, records from this time, which I think were on impulse as well.

Were they McCoy's McCoy was on the impulse during this period too, right? Yep. Yeah. So good for this reaching fourths, but I think right around here he did a. Real McCoy. Uh, 65. Yeah. Yeah. Uh, 67 maybe McCoy reaching up. Reaching up. Oh, yeah. Real McCoy 67 a couple years later. I don't think culture had to be like head out.

Head out guys rolled right up into it. No, no, he didn't. The, again, the, again, oh, there's so many. Oh, the way this ends, the story. So blues. Just blues, man. Just the confidence of like ending, oh, Garrison man. I mean, it's like col It's really collective improvisation. It like really goes back to the beginnings of jazz blues, like yes.

The, the roots, the origins. Yeah. There's like a primal connection to, to the ancestors. You can feel 100% just a visceral, but I mean like, like it's such. A seamless and organic way to connect blues and playing out and modal and like forth stuff and, and, and like very advanced. And even like some rock and stuff in there run through the prism of the mid 1960s.

Yeah. That's, and everything that was happening culturally and about to happen, you could feel these tensions here in this album all through it. And then, then it sounds like some Jimi Hendrix in there for sure. You know, and then run through the prism of John Coltrane, obviously like coming out of a spiritual awakening Yes.

Period. You know what I mean? And wanting to, to make something recognizing that. Yeah. And this is what happens, like when a genius figures this stuff out. Yes. We get La love Supreme, man. It's a masterpiece. It's beautiful. I mean, it is like a genius that like, is like handing the world a piece of art.

And then what's great about it too, as a, as a human being that gets handed that work of art. It's like the more seasoned you get Yes. The more life you live. Yes. The more of your down, the sort of spiritual path or whatever it is that you, uh, whatever journey you're on, maybe it's hedonistic, whatever, no judgment.

But, uh, there's hedonism in the, I mean like the way Elvin, the way they're playing is like, it's all part of it. Oh man, it's everything. And uh, but you, this listening now to it today, Peter, with you and Caleb here too, is like even deeper for me than it was when I was in my twenties smoking cigarettes and thinking about the right individual I wanted to become.

And now it's like, this is directing me, pointing me even further past those sort of like, you know, fairly, uh, small, small expectations that we put on ourselves when we're younger. Man. It's just, yeah. And to think that like this really, like the. Thank you for those words. And you know, the way I'm feeling about it is it's that same deep connection, but yes, I think great art elevates us at any point we are in our life.

Yeah. And like connects us in a way. And, um, I I, I think that my realization upon this listening today, it's, it, it's like this is such a collective thing. Yes. It's a John Coltrane record. Um, and, and it's his vision, but I'm just reminded of like these subtle connections. Like had they not had that, I mean, they're all amazing musicians.

Yeah. Of course you can hear 'em on different record. Of course. That's obviously they're, they're, you know, masters of their instruments technically and virtuosos and all that. Um, but also they're, and they're all individually very innovative, but they come together. On a level of innovation that's kind of off the charts on this with like that collective improvisation.

And I think, yeah, it's like the serendipity of them coming together on this day and everything. Or is it like what everything led up to this and beyond, you know? Yeah. Who's to say? But it's, it's truly a masterpiece. With that said, the sound is an eight for me. Wait, did we do composition? We have done compositions are a 10.

And you might be thinking, well, there's not much to these compositions, but try to write a melody like that last melody, like try to write something as simple. We'll be doing that in the next episode and we will, and we will probably not get anywhere close to how brilliant the melodies on this are. And the idea too, like this is one of those pieces of art where it's like, like if, like my son, we were, we were, he went to some.

Where did he go? We went to some contemporary art. No, my daughter went to the contemporary art museum, Uhhuh. And then some of the stuff, she was like, well, I could've done that. Right? And it's like, you know, the first thing my wife always says, which is, I I love it, didn't it? She's like, yeah, well you didn't think, you didn't think to do that, did you?

Yeah. And it's the same, same thing here. You could say like, oh, there's one chord. I could do that. Right? It's like, well, you didn't do it right. You didn't do it in this way with this kind of sound. Of course. And that's, that's where, and you guys are great parents, man. Thank you. Congrats. Uh, it's true.

That's where the art is, that's where the artist lives, is what is happening before, what's about to happen and where does the artist comment on that? And this is part of that comment. So compositions, I have a 10. Well, and I would say, you know, to your last point too, also this simpler, the art is, in this case, the compositions as they should be when they're great.

It's the execution of 'em. Yeah. And that's why I struggled a little bit. I I'm still going. Compositions nine. Oh, um, you said, oh, okay. Okay. We've got a little drama in the only because unless we're gonna include. The collective improvisation, the collective contributions of all of the musicians as part of the compositions.

Yeah. Which there's a, there's an argument for that. I'm kind of making that argument. In that case, I would go 10, but if you just say the compositions, they're amazing. But what really makes this album great in terms of, and I think super innovative and, and it's, it's really built upon the foundation of the innovation of jazz in general since the beginning of it.

I think what makes it such a, a wonderful thing is the collective improvisation becomes a part of the compositions. So it's not just the execution of what's there on the paper. It's like, what is it gonna become? And this is a fair debate because you could make the argument that no, a composition needs to be able, like a, I think a composer's composer would probably say, well, it depends really.

But I think some composers would say no, a composition is something that gets put down and should be able to be made good by anybody. Right. However. I think you could also make an argument, and I would make the argument for this album, a great composition is something that's written for the act of, in this case, making a record with specific musicians.

Right? And I think John Coltrane cannot out attend it as far as like what are the sketches that I could give McCoy and Jimmy Elvin, right? The framework. The framework to make a great piece of art. Similarly, again, back to KOB, similar to Miles, right? With that album and what are, what are the things that I can let loose on these incredible musicians that they will take and elevate and music kind of like, it's like the end result is what's being kept in mind.

It's like, what is the art? Is the art the compositions on the page, right? Or is the the final piece of art the album? Could these guys play some kind of intricate Brecker brothers, some skunk funk kind of thing? Probably. Would it be in this case as impactful or, or, or not as, even as impactful, but would it, would it achieve the results that a Love Supreme does as far as its sort of prayer to God aspect, right.

No. Right. You know, and this framework does do that. Right. And it holds again, those cultural things that I think Trane is planting in the ground. The one, the one chord, uh, collective improvisation. Right. Which is something that is blues. Blues, yeah. You know, like these, these things that are the roots of the music.

Right. Uh, doesn't happen in other contexts. Absolutely. And so I'm that, actually, I'm gonna stand by my nine then because of that. Um, and so, okay. That's on you. Yeah. I'm just kidding. So, uh, for sound, I have eight because of the, the Van Gelder piano, and that's really it. I have nine because it's, it's like, I love the way this record sounds.

Yes. I'm not crazy about that sound, but upon listening to it, it's good. I know. It is really, it's not distracting. It's not, it's just, it just is what it is. It's not. Totally. I usually don't mind it, but like, there's so many worse piano sounds know, there're, it's not like, you're right. It's not like everything's killing, but I mean, and, and the drum sound is so great.

Yeah, you're right. I'm going nine. Of course. And the Trane, you know, there's, I've noticed something, Peter. Every single one of these things we made, there's at least one category where you talk me up. Right. You same for you. I mean, I'm almost going comp, I'm like, because going back to, you know what, I'm going 10 on the competitions.

No. Because now I'm thinking about like, there's nothing for this record. Yeah. And that's what we're judging. We're saying what makes this out? There's nothing that could have been better. No. About the comedy. It's not like, eh, they're good, but if only, if only would've done more, you know? Yeah.

And because this is a jazz record, the collective improvisation that comes out of that framework that is the composition, is part of the composition. Yeah. Like that's the whole point of the thing. And that's a part of the music. It always has been. Let's check out, uh, the first track on side B pursuance.

Yes. Side two. Yeah, the drums sound incredible. Yeah. I mean, the ba yeah, the drums are, is pretty extraordinary what he's playing and how they sound. Oh dude, how incredible would it be to see this band live? Would've been man. Well, there's a live record. You know, there's a live recording of them playing this, but I mean, to be in a room with these four people in a small club would've been in unbelievable.

Yeah. And I mean, I got a chance to hear, I know you heard, you heard McCoy live, right? Yeah. Yeah. Got a chance many times to hear him and Elvin quite a few times. Yeah. Um, Jimmy Garrison never trained, never before. Oh man, the way they slide in there, this is the way to start the second side of an album.

Of course, melodically the, the melody, the theme of this, of, of pursuant this piano episode was incredible. Very connected with part one, the acknowledgement melodically, ah. This is when McCoy got into full master of his McCoy. Shit. He really has a McCoy shit. Yeah, he's better than everybody at the McCoy.

Shit, man. His Yeah, of course. Like stuff like, like his rhythmic concept. Such a big part of like his in Impulse Chick Korea, very influenced by McCoy Tyler, man, McCoy's like the architecture of his solo. The way melody and harmony and rhythm, like the way he thinks about all those things is so interesting.

Like you can almost feel him thinking as he's going by, by, by what he played, you know, the development of it, the. Woo. And again, change up pitch is all over the place. It's not just like these, no. Right, right. The, yeah. It's not all that. And this is a deeply funky record. Like the way they're playing is very, like, I just wish left hand is so loud because the right eq, the piano, and, and Mike's shoved in the F hole right in the middle.

It's a very clear sign. I it's very focused and clear. Elvin, get thin. I know. But Elvin is fat ass sound. Woo. Eighth note execution. Ever heard of it? Tag? Oh, the expansion, the opening space. We're going to, we're going to the moon in a couple years. You better get ready. They're already there. JFK.

That's gonna happen before the end of the decade. Woo. Coming in, man. Come, come up. Coming at the Apex, Trane's one of the only ones that can really pull that off. Then stay there. Woo. The Trane was deeply rhythmic too with his lines. A lot of times we think 'cause he would go out of time, but when he's in time, man, he is like, I mean yeah, Michael Brecker's super influenced obviously by, he had that thing and you can feel it from Troy, Joshua Redmond.

Yeah. I remember every saxophone player actually I think it was, I'm gonna paraphrase, but I think it was uh, great tenor sax one is Shamus Blake. You know Shamus? Yeah. I think I heard him say once, like there's a kind of a period every young tenor player goes through where they just try to, or a lot of young 10 players Yeah.

Where they emulate Trane. Right. Exclusively. And then there's a period of your growth that you have to let go. It's never gonna happen. Yeah. I'm not worthy. I can't do it. Well, no, I can see that. I can totally see that. I mean, we, it's the same thing for to find who you are. Yeah. It's like you have to, same thing I think for us with like McCoy and Yeah.

Herbie and. Yeah. His rhythm, his rhythmic attenuation is like creepy. Great. And then, that's what I'm saying, he, he's so seamlessly goes out of time, man, this is just like weight. It's like a hurricane, but like, but it's, it's not killing you. It's lifting you up. I wanna go to coffee shop that plays this.

This is just off. And then just like fall apart. Right on time. Break it down, break it down. You know what strikes me listening to this today is like having made a bunch of record. And having had more experience making music and having a career like this album is earned through many, many years of work as an artist and as a band to be this pure with, you know what I mean?

Yeah. Like it's not just youthful fire. Yeah. This is like earned over a process of like Yeah. Giant, giant steps is youthful fire. Right. That's youthful fire. Right, right. This is like some wisdom of what to cut out. Yeah. Which only happens with a lot of experience. Yeah. It's, this is a, a artist who's cut through a lot of bullshit.

Yeah. To find this, you know. Yeah. The bullshit, bullshit. Ome is zero. Yeah. On this record, and harkening back to that really the theme of the record, let's not make that a category ever. No. Yeah. No, it's just when we throw it, but it would, you know. Oh. And it sets it up where Jimmy Garrison can stretch out and, and create something like this.

Like you want, like, it's like the calm in between the, the beautiful storm. And it's, it's a story man. The way that Trane uses these base interludes as orchestration to, yeah, because, and the way we're talking over this base though is just so great. We're gonna get comments about that for sure. But just to point out that like those blistering high highs are only so high because we get plenty of these.

Right, right. That's what I mean. It's a story. It's like if everything is great, well everything is great, all this. But if everything is here and then Yeah, if it's all just here, then it's all just mid, right? Yeah. But because we get these, all the dynamic range on this record. Yeah, the emotional and spiritual dynamic range, which is crazy 'cause it's like harmonically.

It's very dude. But listen to what he's doing harmonically. There's three bass players. There's many, many more, but three that jump out. Ruben Rogers, Chris Thomas. Yeah. And Reginald Veal. Deeply influenced by like, and having played with all with open solos. Yeah. You know, Jimmy Gar since the McCoy, Tyner Bass, and Christian McBride too.

I mean, the Ray Brown influence is much more recognizable, but a deep connection with this type of playing as well. Christian is, ooh. So, Peter, we're about to transition in and we should roll right into part four. Yeah. Which is the psalm. Interesting note. Should we pause before we, for people? No, let's, let's let it roll right in and we'll, we'll talk after the p Let's let Rich roll on it.

But if you have the original liner notes, so you could look this up too. The Psalm is a, a text that Trane actually wrote. And he plays improvises using the text. Right. So you can, I've done this many times. You can like sing with him right As he's, you know, you can like read the text and hear what he's playing, what each syllable is not.

No. And he's such a master of Fraser that it's actually very obvious. It's, it sounds like a, or speaking. Yeah. Thankfully we'll not be doing that live today. No. Something to note too about Psalm is the whole thing is this free, open bravado flow. Yeah. Hallmark of this band. The maybe the greatest ever at this.

Yeah. I mean it's Oliver Crescent as well, right. And they weren't the first to do it, but they were the ones that like rumbling. The rumbling, yeah. Flowing rubato. Yeah. Is unparalleled vin's mallet work. I mean, so influential, so beautiful. So compositionally appropriate. I love when Trane, obviously his playing is always lyrical.

Specifically here, it's specifically lyrical, but his tone, like when he's the, the, his control with a vibrato, not a heavy vibrato player, but he uses some and goes in and out. You get to hear that and how that affects the, the lyricism man, such a master bat about those major minor sevens back and forth up.

I think he knew the melodic, ascending well to a descending and the whole thing is a setup as we'll hear in a minute for maybe one of the greatest payoff chords in all of music. Yeah. The whole record, the whole record is a set up for one chord. Yeah. Yeah. I could argue, I mean, I would've no argument with anyone having different scores on everything on here except sequence.

Sequence is perfect. There's, there's, there's, I. With, uh, weapons if you think it's lower than couldn't, couldn't playing. Maybe it's not Well, yeah, it's just no sequence is perfect. Perfection. Oh, that actually is a Tiffany. I was, I never knew that. Did you know it was, yeah. Yeah. Oh, I thought that was his tops.

No, no. I was like, why he got. It sounds dope too. Yeah. Woo. Leading tone. Yeah. I encourage you to read this text as you listen to this. Uh, listener. You woo. Yeah. Many themes being called back. Gorgeous. How did I know that I'm an idiot. Is that now? Full circle baby? Full, full circle. Unbelievable.

Oh, that roll? Yeah. The last chord. The last roll. I mean, it's a. Such a good payoff. Yeah. And just spontaneously created. That's the, you know, amazing thing about that. Like all the, like, it, it's weird to call something perfect, but this is a perfect record in that. Like, anything that was okay.

Maybe not the way the piano was recorded. I'm saying the what, what, what? The music on it. The journey. Yeah. What we just heard. Yeah. Like there's, there's so much that was spontaneously created. Like you can just feel the commitment everybody had to the moment to create, like, it's a very humble record.

Yeah. But it's very masterful at the same time. So it's so service oriented. It's just like, I'm gonna be the vessel and this is, there's four movements, there's one experience, we're gonna lay it all on the line. It's not like, oh, I didn't like the way I sounded. Can I overdub my part? Yeah. Could you imagine that?

Stupid shit that I've done in the studio before. Didn't even fix me tea. No. I mean, that was like the Tempe little, like all the little subtleties. They're so natural and purposeful, but humble. Yep. You know? And it just creates something that I don't how, I don't know how you could say like, I was really good, but there's a couple places I would've like the way they play.

In that last movement, there's, it's very difficult to maintain. Like it's very simple in a way because it's just playing over one sort of harmonic area. So you have a lot, like, it's almost like you can't mess it up. Yeah. But to be able to maintain, well, the intent, the musical intent, you really could mess it up.

Oh, of course. Yeah. I mean, I have to mess it up. Well, no, no. I mean, just no one needs to, no one needs to cover this record. You know what I mean? No, no, that'd be, although it's been done. I mean, and that's interesting. I guess it's like, oh yeah. You know, it didn't, um. Vocalists covered it.

Like written, wrote words to all the solos. I think, yeah. This was Kurt ing maybe. I don't know. I don't know, but I just don't think it's, I could be wrong about that. It's, it's, it's, it's a difficult, like it's a moment. Yeah. It is a moment. And all the things like we mentioned that bring you back to like, you feeling like you're in the studio, especially if you listen to this record, you sit and listen, you know, if you take the time to sit and listen for this, whatever, 30, it's, it's not that long of a record.

32, 33 minutes or something. Yeah. The two sides. Yeah. Um, but it feels like you're on this, it's like an epic journey. We just, we've just been on a journey. Yeah. We just went around the world. We can saw all, every human, you know what I mean? And the human experience. So it's, it's really, um, so let's finish our, our list here, Peter.

And Yeah. Go back to something a little Sorry. Yeah. It, my heart's beating. No, man. Well this is, so, first of all, I just wanna, I forgot how much I love this record. Well, I was gonna say, I hear you talk about Crescent all the time. Yeah. I don't hear you talk about love. That sucks. This is great.

No, this is better. I mean, it's not better. It's. It's, um, it's more important. I've just typed on, on it that you, you are appreciating it so well much When we talked before, I was like, Ugh. I did I even say, this is not my favorite Trane record. You said this is not my favorite. It, I'm not sure if this is even my favorite Trane.

I'm not sure if that's even my favorite. That's what you said. I'm still not sure, but I think this is one of the most important records ever made, folks. You heard it here first. I don't so much what that means. I love it so much. It matter what I think. I love it, man. No, I agree. I agree with you.

I just think the fact that like, it's not something that can be played in a coffee shop. You know what, there is a jazz coffee shop that's could be played in. I've been to a couple places Yeah. In Japan. Okay. And I wish I remembered the one name. It's probably closed now. I went there like 25 years ago when I first went to Japan and it was like, this is a jazz coffee shop.

I was like, this, this is before like Starbucks was selling Nora Jones albums and stuff. Like not that kind of coffee shop. Yeah. This was a coffee shop. And um, when you get in there, there's just a bunch of albums. There's this incredible Hi-Fi system. Like a Morantz. Yeah. You know, uh, amplifier and a separate, and there's just a couple people sitting there with a cup of coffee.

Like solitary and this incredible music playing loud. Af good. Yes. Yeah. Um, but like you go there and sit and then you listen to a whole album and then you can choose the next one. Oh, that's beautiful. And then maybe the next person. It's just like a place and like you're in Tokyo, but you feel like you could be anywhere in the world, like in this little No Windows or anything.

You know how many places. That's a jazz. This could be played in that jazz coffee. Here's why. Tokyo Rules, because there's so many places like that in Tokyo where it's just like, you feel like, you know, you're in Tokyo, but you feel like you're in a different world. There's so many. And it was like $10 at the time, 20 years ago.

Oh, come on. Which would be like $20 now. To get a cup of coffee, which people, which was great. 'cause that filters out anyone that's just coming for the coffee. We should mention, if you're a jazz, you're coming to listen to a great album all the way through for 10 bucks. That's a good deal. If you're a jazz fan, Tokyo is not a bad spot to go.

No. As a tourist, not at all. Because there's a lot of great music happening all over that city from visiting artists obviously, but also locals, local artists. It's one of the top. And then, yeah, record stores, cafes, as you mentioned. Venues. Shout out Tokyo. Okay, let's um, let's finish our sequence.

We got sequence, we got cover. I have a 10 because I love, I dunno if we can put the picture up, but I love the expression on Trane's face. I love the composition of the photo and then the fact two that they, they published the text, that Trane was improvising, was speaking through his horn on the, the part four.

It doesn't actually have anything to do with the cover art, but Gotcha. Yeah, but that's part of it for me. I love the font. I love the slash John Coltrane, the entire thing. I even like that little white in the left hand corner that's kind of cut off a little bit. It's kind of like, right. Oh yeah, yeah, yeah.

That's maybe someone's shoulder or something. Yeah. Yeah. The whole thing is out of focus is like a paparazzi picture. Paparazzi, right? Yeah, exactly. Um, it's just beautiful though. It's a beautiful shot. It's a beautiful profile. The negative space that they use around Trane's head, like, it's not just all Trane's head.

I believe this was photographed by Bob Teal or Bob Thiele. Why do I not know? Is that his name? The producer? Mm-hmm. Um, I believe he took this picture as well at the studio. Cool. I can't find it now, but I, I believe that's the case. Um, I give it a nine, uh, because I think it's really, really good, but it's not the greatest album cover ever.

I'm going 10. Title I'm going 10 because The Love Supreme is a beautiful title for an album. Oh, 10. It's 10 outta 10. You're not gonna argue with me on the cover. No, I, I, I, I had nine here for a while, but the more I look at it, the more I like it. Yeah. Uh, lore. I have a 10. I have a 10 too. Yeah.

Because of the cultural impact of the album, because of all the things we've already mentioned, you know? Yeah. About these four young musicians planning this cultural flag, giving us an idea of what music could do, uh, in a way that is unapologetic to Yeah. Their place in time is, yeah. Is a 10 outta 10, and then the after lore in terms of like, you know, Jimi Hendrix, Carlos Santana.

Yeah. Well, all the al people that are like outside of jazz that were like, this is the greatest, you know, we pray to this album. Well, the fact that what we just heard, this love letter to God from a genius. Has gone platinum. Right, right. That's incredible. If you think about it, do platinum perhaps.

I maybe, but it's sold over a million copies, which is unbelievable and uh, is a real testament to the attraction. I mean, there's other great desert album. You make good music, people like good music. Right. And of course this is on many Desert Island lists in terms of if you were stuck. But if you think about, actually see most people when they're just talking about, oh, these are the greatest albums, dead Desert Island album.

But if you actually think about being stuck on a, on a, uh, desert island with one record, this might be the one to have. 'cause it's got the music, it's got the spiritual connection. Yeah. The prayer element of it. It's, it's got the connection with humanity, which you certainly would need if you're stuck on an island fireworks.

Right. It's not really beach music. It's not like Jimmy Buffett, but that's the only thing it doesn't have, I guess. Okay. So now our next category we are changing, it has been SNOO meter where we pit Aunt Linda, your aunt that doesn't know anything about jazz with Ethan Iversson. Uh, your prototypical, why are you still talking about that?

We're not even jazz. We're not even doing it anymore. Anymore. Yeah. We are now changing it based on a shout out Ethan and, and Linda. Yeah. Based on a user request to the stank face O meter. And that's really gives us an idea of how much Stank face this album has elicited. I have a 10 out of 10 stank face.

We were Question before you, Adam. Yeah. When you, when you were smoking the Marlboro Reds listening to the love stream when you, in your early twenties Yeah. Dreaming of being a jazz musician. Did you ever think you would be on a podcast with another St. Louis pianist using the word stank face? Ome?

Dude, if you would've told me that, I would've been sitting next to Peter Martin listening to this. In front of an audience talking about stank face. Uh, first of all, I'd be like, what's a podcast? But no, I have no, no clue. It's crazy. It's crazy how life turns O meter. So now is this stank face ometer?

Like how much we go Woo. Or is is it? Woo is a woo. Same as stank face. It's in, I think it's a little different. It's a little different, but it's in the same ballpark. Yeah, same ballpark. Yeah. I give it a 10. Uh, me too, because I'm in constant stank face on this record. Constant. Assuming, is it better than KOB Oh KOB?

Of course. Kind of blue is a nine that we have here. I have it as a 9.5. I think it's slightly better. We don't have the Okay. You've done a 0.5 before. Have I? Yeah. Okay. That was a bet. Um, could we change this just for this one to, is it more important than KOB? Is it more impactful than KOB? Is it better, better than, that's such a, that's such a harsh.

Do we like it better? How spirit, it's like, is one religion better than another? To that person. That's part of it. Yeah. Probably. No, it's not the same. Is it? Is it, do we like it better than KOB? But because it's such a spirit, like is it a more spiritual album than KOB? That's not the question.

I know, but what does better mean? No. Do we like it more? Do we like it more than KOB? What? What? What do you mean? Do you like secrets better than KOB? No. Well, up until recently you did. Yeah. But people change. Okay. I'm going nine, I have 9.5. Okay, so nine means it's exactly, exactly. In line.

And I had nine at first to, to me, they're both perfect records. They are perfect. You know what? You've convinced I'm going down. No, no. Going down to nine. Okay. No. All right. Let's, uh, let's add 'em up. Okay. Tough one. Okay. Wow. Favorite track that feels on. Okay. Okay. Alright. Favorite track.

That feels kind of weird. On this root too, Rudy to dude. What? What? What's that you talking about? Dude? What's the Vegas one you were saying? Ring-a Ding-ding-ding. I said root two. Why did you bring that up? Okay, well no, that just seems kinda like what tracks you like the best. I love it when he goes into Yeah, that's what, that's what Dean and and Sinatra were doing.

Root two, two. Whatcha talking about? That was later on af after the show. It was in the seventies. Uh, okay, so the total score, I have a 98 favorite track resolution. Oh, that's what I just wrote. Resolution, total score. You had 98. Yeah. Damn. Damnit. I love this record as much as you Actually, this is good.

I have 97. Yeah, I think this is appropriate, which from what we talked about before, we, we'd kind of be fine. This is, this is in my top three. I don't think this is in your top three. So yeah. I mean all the time. But after hearing this again, I, I couldn't see not having it in there. Folks, we've converted Peter back to Love Supreme.

If anything, that's what this episode has done. Thank you everybody for getting it this far. The ultimate, uh, question though, which will probably be part of the title of this, is this better than KOB? Oh, well you said yes slightly. I said, well, no, I said nine. I think it's right in right in line.

Oh, you said 9.5? No, I changed it. Oh, you did change it? Yeah. Okay. Well, that's the, that's dramatic, so no. So yes and no snow till next time you'll hear it. How is my mic placement, Caleb? Is this too close?

"A Love Supreme" — John Coltrane

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