Scott Dolan

Just double checked the Facebook post I referenced yesterday. It did indeed say 55 hours of footage. It later mentioned the album was released 18 months later. I accidentally got mixed up there. More tedious is the 140 hours of audio that comes along with it. 140. Hours. Even though I’m a huge fan, I can imagine my ears would glaze over at least 138 hours shy of the end. Maybe 139.

Bootlegs of their personal interactions? That’s really the only value in this that I can imagine.

Yeah, it’s not as though the contentious nature of the sessions are a big secret, or some kind of urban legend that needs correcting. That said, I’ll watch the movie just to check the box.

Pretty sure the only one to posit that is the author of that piece. And in context even he makes it a tongue-in-cheek throwaway line.

Supposed to be 46 today, and around 60 over the weekend! That a pretty radical change from the last few days. Although we did reach 31 yesterday.

I must have missed it, where is there any mention of a “happy” Let It Be?

Oops!!! I think you are correct.

Weird. 18 and 55 are radically dfferent amounts of time!

Kevin, the problem being most have no clue either way. There are still those that insist on vinyl only. And they LOVE to hear the words “original master tape”. After that, whatever else is said sounds like Charlie Brown’s teacher. I kid you not, just the other day I had this cat emphatically telling me that vinyl is the only “high resolution” format, and that CDs are low resolution audio. He wasn’t trying to be funny.

We got lucky because the wind died down about the time we got below 20 degrees. Still had wind chills of -20 yesterday, but it could have been a LOT worse. I also got a kick out of how many news outlets were posting pics of the Chicago River yesterday as though it looked different from every other river in the midwest, with ice floes galore. I live on the Missouri River and it looked the exact same way. But I get it, Jefferson City, MO ain't sexy.

Good fucking lord!!!! Hey, maybe the less you know, the better!

I have a total of 92 CDs worth of Coltrane as a leader. Perhaps not everything he ever recorded, but damn close. While his late period quintet is not my favorite, there are some great moments. Stellar Regions and Expression are very good at times, and Live At The Village Vanguard Again is spectacular, IMO. I’m not a fan of Interstellar Space, Live In Seattle is incredibly messy and chaotic in a bad way, and Live In Japan is an absolute, bloated disaster. As for McCoy and Elvin, it was pretty clear that Coltrane was looking to take his next evolutional step, and wasn’t going to be able to do it with them. I wished it hadn’t happen, but I get it.

Yeah, I agree. But, as with “complete recordings” we’re familiar (loaded down with false starts, breakdowns, less than stellar alternate takes), I can see the need to edit it down into a more coherent and thoroughly enjoyable movie, sans the likely boring and tedious filler.

Our low was -4 yesterday. Currently 4 degrees, which is as high as we’ve seen over the last 36 hours. Also got an inch of super slick, dry, powdery snow last night. There were wrecks everywhere as it was not in the forecast and peaked at drive time.

Spot on appraisal, IMO. I remember when I finally got it and sat down and listened to it. I thought, why all the hate for this album? Yeah, it's different, but still incredibly fascinating.

Have to admit that the packaging of this is so stunning that I broke down and ordered a copy. Should be here Friday. I'm a sucker. I wonder how many are left. A buddy of mine got one last week that was numbered in the upper 1900's, and it's a limited release of only 3000 from what I've read.

Just saw a post on The Beatles Facebook page this morning about Peter Jackson putting together a documentary about the Let It Be sessions using 18 hours of recently discovered video. Now THAT should be interesting!

And just to clarify, I heard major differences between ‘58-59 vs ‘65 Coltrane before I heard the term sheets of sound. Would he have ended up where he was musically in ‘62, ‘65, ‘66-‘67 without going through the process, and using his “sheets of sound” phase to further his progress? I wouldn’t think so. And while certain aspects of that approach informed his latter styles, it wasn’t those latter styles, whether echoes of it existed or not.

Perception and jargon is all most of us have. There are no measurables.

Two points: 1. I’m not sure it has to do with “weighing the elements differently”. IMO, it is the difference between being a listener and and actual trained and skilled musician. I’m the former, you’re the latter. And yes, it does make a huge difference in how we perceive the music that we are talking about. For example, I hear differences that as a skilled musician you do not because you follow the logical progression that only a musician would. And while I can see that, hear that, and understand that, I still have to make sense of it all from a non musician standpoint. 2. This really has nothing to do with how any of this music makes me feel. It has to do with how I interpret it and make sense of it, as I said above, as a non musician. Yes, it is inviolably personal, but that is a completely different conversation. That conversation comes when we both sit down and say, “this is how this shit hits me”. Musician or simple fan, that takes on a whole new dimension beyond what we are discussing here.

Absolutely! Just trying to come to an understanding.

OK. Let me try this analogy to see if we can come to an understanding. Imagine a harp. You take your fingers and pluck each string from one end to the other. Each string sounds different, but the progression from one end to the other is quite linear and clear, no matter how much time you spend on one string or another. Then work your way back up. That is in essence what a “sheet of sound” sounds like to me. Now, pluck only two strings several times, then jump around to other strings. Rinse and repeat. That is what Coltrane was doing after ‘59. Does this analogy make sense to you, as a musician?

We both know what the phrase means. You want a technical explanation, but I do not have the knowledge to provide one. I’m not a musician. And it definitely does not carry over into ‘65.

Technically, yes. But I assumed since he mentioned Tyner, Garrison, and Jones he was likely hinting at the final incarnation of the Quartet that wasn't truly cemented until, what, '62? Just trying to cut the cat a break since he admittedly isn't as experienced with Coltrane and his bands as some of us. So he is perhaps mistaking the Atlantic years with the Impulse! Just a thought. And if that IS the case, then what he's getting at does make a lot more sense. The different iterations that he played with during the Atlantic years were not only different, but the overall approach was also. So perhaps if the question is how the "sheets of sound" approach would have blended with, say, the Classic Quartet from '62-'65, well then you've got something pretty interesting to ponder. IMO, anyway.

I believe what you're getting at is that you wonder what the "sheets of sound" would have been like when applied to the greater rhythmic freedom that Tyner, Garrison, and Jones provided?