JAZZ: Scott DeVeaux, W.W. Norton & Company


. . . Coltrane's spiritual quests become, I think, very important. They become a very deep and spiritual part of a lot of musicians' sense of what jazz is. I mean if you think of jazz in the 1930s it's understood as a kind of lively, happy entertainment music as much as anything else. Seriously as musicians might have taken it, that was the public face of it. By the time you get to Coltrane in A Love Supreme, you get a sense that, no, the idea of jazz in a lot of people's heads is that this is very intense, soul- searching, uh, kind of music. And that is part of it.

And the whole – Indian music is an interesting thing for rock music, as well. There's a sense in which the movement of rock from 45 rpm singles to extremely long, 33 rpm LPs has to do with people seeing Ravi Shankar and just listening to solos that go on for – well, they could go on for two or three hours. I'm sure that in concert they pinned it down to something Americans could handle, right? But I mean these things are going on forever and a lot of it was the timbre of the Indian music and also just the spirit of improvisation that happens in that time period.