LOVE SUPREME COL­LEC­TIVE Love Supreme Col­lec­tive (Ro­pead­ope)

Pasatiempo - - Pasa Tempos -

It takes a coura­geous tenor player to reimag­ine John Coltrane’s 1965 master­piece ALove Supreme. Frank Cata­lano’s at­tempt has its highs and lows, but a strict com­par­i­son to the orig­i­nal can only end in dis­ap­point­ment. Coltrane’s record­ing fea­tures his de­fin­i­tive quar­tet, with McCoy Tyner (pi­ano), Jimmy Gar­ri­son (bass), and Elvin Jones (drums), all titans of their in­di­vid­ual in­stru­ments. That Cata­lano brings in gui­tarist Chris Poland for one song, “Psalm for John,” is an in­di­ca­tion that the sax­o­phon­ist ap­proaches his trib­ute project non­strin­gently. More jar­ring is drum­mer Jimmy Cham­ber­lin’s rhyth­mic work. Best known for play­ing with Smash­ing Pump­kins, Cham­ber­lin was jazz-trained when young and cites Jones as an in­flu­ence. There’s no clear re­flec­tion of this in­flu­ence in his pri­mar­ily straight-ahead, back­beat-heavy play­ing on the four tracks of this al­bum (which share por­tions of their names but lit­tle else with their an­tecedents). Cata­lano is a highly ac­com­plished and pro­fi­cient mu­si­cian. He strives with some suc­cess to match and oc­ca­sion­ally quote Coltrane’s fre­netic lines, but just as Cham­ber­lin’s play­ing lacks swing, Cata­lano’s lacks space and breath. The long takes on Coltrane’s al­bum (none of which run un­der seven min­utes) mes­mer­ize partly be­cause each is in­cred­i­bly tur­bu­lent — mu­si­cally and emotionally. Clock­ing in at 21:58, a full 10 min­utes shorter than its pre­de­ces­sor, Love Supreme Col­lec­tive is static enough that it feels twice as long. — Loren Bienvenu

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