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A Love Supreme
Some points of interest in my re-arrangement:
1. The 36-bar ‘random’ transposition by Coltrane of the four-note a love su-preme motif has been put into the bass part during the piano solo of Acknowledgment as a basis for the latter half of my improvisation.
2. The improvised bass introduction to Resolution has been scored out and used as material for trio interaction in the first section of Resolution in my arrangement.
3. The melody to Resolution has been divorced from its accompanying harmony and the bass walks freely underneath in half and whole steps, setting up spontaneous relationships to the piano melody line and placing the focus of harmonic interest mainly on the bass part .
4. The modal melody of Pursuance has been put into 7/4 and 4/4 and now has a similar feel to the earlier Coltrane classic ‘Equinox’.
5. The vocal part to Psalm begins by singing, note-for-note, the Coltrane improvised melody (which in turn was based upon the text of his poem ‘A Love Supreme’) and is followed by an ad-libbed vocal line, still following the words of the text to its conclusion.
6. I chose to not include a saxophone part in my arrangement because I wanted it to have an introspective quality that I find easiest to achieve in the intimate setting of the piano trio. The inclusion of the vocal part came from my desire to let its words, implied in the original sax lines, come to life through the use of an actual vocalist singing in the style of Albert Ayler’s ‘Music is the Healing Force of the Universe’.