'Hey everybody, prepare yourself' for Billy Porter / AV CLUB

"Hey everybody, prepare yourself," is how Stephen Colbert welcomed Kinky Boots and Pose star (and "fashion icon") Billy Porter to Wednesday's Late Show. And while that might smack of old-school timidity in the face of one of the most gloriously outrageous and talented performers out there, Colbert was more than game to let Porter both give him a quick accessory makeover, and speak feelingly about how the ball culture depicted in FX's Pose was and remains a powerful, necessary "chosen family" for many gay people. "Sometimes our biological families are not equipped to love us unconditionally in the ways that are necessary for us to thrive when we are LGBTQ people," explained Porter. "It's a culture that came, that emerged out of these people being thrown out of their houses just because of who they are." READ THE FULL AV CLUB ARTICLE & WATCH THE Late Show VIDEO
Bookmark and Share

PISA's PUNTORADIO: animajazz - features Richard Ford's 'Malibu'

In the episode n ° 870 of "ANIMAJAZZ", conceived and conducted by BRUNO POLLACCI , airing TUESDAY 18 June at 20.30, on PUNTORADIO, also in streaming on www.puntoradio.fm is 'Malibu' from Richard Ford's latest recording; 'Basso Profondissimo.' The musical world of Basso Profondissimo springs from the imagination of English bassist and producer Richard Ford. The collection was conceived and played on bass, creating a unique and surprising melding of sounds and adding some rough edges to the genres of jazz, ambient, bossa nova and neoclassical. Sharing some of the same musical landscape as Sigur Rós, Lyle Mays, Bebel Gilberto, ECM Records, and Bill Frisell, Basso Profondissimo employs a cinematic language, often minimal and evocative. There are surprising moments, as when softer passages burst into something rougher and edgier. In the neoclassical-leaning pieces, unexpected elements surface, like floating transparencies revealed from somewhere back in the scenery. Elsewhere, bubbling rhythms emerge, cracking pieces open into exotic meters. This is not a work concerned with virtuosity (though references to seminal bassists like Jaco Pastorius can be heard in places). This collection is about evoking moods and character, not about flash. PUNTORADIO: animajazz is in collaboration with the PISA ACADEMY OF ART.  SEE THE PROGRAM PAGE
Bookmark and Share

Anna Shelest - Donna Voce is the WFMT 'Featured New Release'

This new release features works for solo piano by female composers from the 19th to the 21st centuries, performed by Anna Shelest. Opening with the sonata by Fanny Mendelssohn, the album includes works by Amy Beach, Clara Schumann, Cécile Chaminade, Lili Boulanger, and Chia-Yu Hsu. Hailed by The New York Times as a pianist of a fiery sensibility and warm touch, Shelest is an award-winning pianist who has thrilled audiences throughout the world. For Friday June 14, 2019, Anna Shelest - Donna Voce is the WFMT: Chicago 'Featured New Release'
Bookmark and Share

The Comet is Coming perform a high-intensity set of cosmic instrumentals at Bonnaroo / Tennessean.

Late-night and early morning belonged to the rappers and EDM DJs as Day One of the 18th annual Bonnaroo Music and Arts Festival concluded in the wee hours early Friday morning. The London jazz-fusion trio The Comet is Coming performed a high-intensity set of cosmic instrumentals on Thursday June 13, 2019 at Bonnaroo in Manchester, Tenn. giving fans a taste of late-night, futuristic energy. While jazz music isn't a main draw for many of the young attendees of Bonnaroo, The Comet is Coming displayed an exciting reinvigoration of the genre, blending traditional instruments such as saxophone with grandiose electronic elements that show a mission to forge new pathways in jazz. By describing their music under the self-proclaimed genre of "apocalyptic space funk," the group seems to be well down their own path. The Comet is Coming's performance was shrouded in mystery, with each member only going by nickname-Dan "Danalogue" Leavers on synths, Max "Betamax" Hallett on drums, and Shabaka "King Shabaka" Hutchings on saxophone. Their transcendent display was a medley of psychedelic soundscapes, heavy drum grooves and unrelenting sax flares. Coming off of this year's album "Trust in the Lifeforce of the Deep Mystery," the group played a number of cuts from the recently released record, including "Summon the Fire" and "Birth of Creation." The songs included extended solos from the members as the songs meandered between moments of reflection and ferocity. Though their set gave little time for talking in the seamless transitions between songs, Leavers expressed his appreciation for the festival. "We've come a long way from London, and let me tell you, it's been pretty special to land here at Bonnaroo in Tennessee," Leavers said. "We appreciate your energy."
(Photo: Hayden Goodridge/MTSU Seigenthaler News Service) READ THE FULL Tennessean. ARTICLE
Bookmark and Share

Reexamining opera, one classic at a time / The Washington Post

Rather than staging old operas over and over, why don't we write new versions? The question is often asked, but I've seldom seen it put into practice. An exception is David Lang's "Prisoner of the State," a retracing of Beethoven's ­"Fidelio," which had its world premiere at the New York Philharmonic earlier this month. Yes, the New York Philharmonic - because really innovative new opera, as I've said before, doesn't seem to happen often in actual opera houses. At least, not in American ones. "Prisoner of the State" is an evocative reimagining in which Beethoven's original lurks just below the surface, visible like a gravestone rubbing that has been worked into a new drawing. For some years, Lang has been fruitfully mining a distinctive vein of work: vocal-instrumental music that's both lyrical and ascetic, with instruments offsetting graceful, short vocal lines. The New York Philharmonic that finished its season with "Prisoner of the State," however, is striving to be a different New York Philharmonic from the elitist ensemble that for many decades had done little to dispel critic-composer Virgil Thomson's statement, in 1940, that the orchestra "is not a part of New York's intellectual life." The American conductor Alan Gilbert, the orchestra's music director from 2009 to 2017, tried ­to shake things up with ­semi-stagings of operas (such as Ligeti's "Le grand macabre") and a new-music festival, but he didn't seem to get enough traction to effect the change he wanted. His successor, Jaap van ­Zweden, wasn't an obvious choice: The Dutch conductor had improved the Dallas Symphony but wasn't known for great charisma, people skills or particularly innovative programming.    PHOTO: (Chris Lee) p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'; color: #4d4d4d} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'; color: #4d4d4d; min-height: 14.0px} READ THE FULL Washington Post ARTICLE
Bookmark and Share

Mari is almost like sound therapy / Violinist.com

At the emotional heart of the album is Bach's Chaconne in D minor, whose serenity Samuelsen has chosen to counter with the nervous agitation of "Knee Play 2" from Philip Glass's "Einstein on the Beach." The rest of the program grew organically from the seeds of Bach and Glass, tracing themes of change and renewal, from the increasingly complex variations of the Chaconne to the expansive melodic development of Clark's "Mammal Step Sequence." The album also contains Vladimir Martynov's "The Beatitudes," Peter Gregson's "Sequence (Four)," arrangements of Jóhann Jóhannsson's "Heptapod B" and Brian Eno's "song By this River," and Peteris Vasks' "Vientulais Engelis (Lonely Angel)". The mix also includes four works by Max Richter, with whom she collaborates on a regular basis, including "Vocal," for solo violin, and "November." "The need to go into a room and just listen to sound – almost like sound therapy – is bigger than ever," Mari said. "People are hungry for it, and I wanted to use my creativity to collaborate and experiment with some of the great people living today. Slowing down, and people leaving their busy lives behind, is only going to become more important, so there will be more room for this type of collaboration, and this type of music, in the years to come."  SEE THE Violinist.com PAGE
Bookmark and Share

Raul Midon and Lionel Loueke join forces for 'Kuumbwa Jazz Center' and 'Freight & Salvage' / The Mercury News

Raul Midón first met Lionel Loueke when the Benin-born guitarist/vocalist was a member of trumpeter Terence Blanchard's band, which was working on the score of Spike Lee's 2004 film "She Hate Me." Midón was a rapidly rising star hired to write and perform the movie's theme song, "Adam n' Eve n' Eve," a piece that captured Lee's tangle of sexual politics. Midón, a singular vocalist and guitarist, recognized a kindred spirit in Loueke, and that initial encounter planted a seed that got further nourishment the next year when Midón joined Herbie Hancock in the studio to record Stevie Wonder's "I Just Called to Say I Love You" for the pianist's album "Possibilities" (Vector/Hear Music). By that point, Loueke had joined Hancock's band, and he's been touring and recording with the trailblazing pianist, keyboardist and composer ever since. But he's taking the down time from Hancock's band to launch a new collaboration with Midón, a freshly minted duo that performs Monday at Santa Cruz's Kuumbwa Jazz Center and Wednesday at Berkeley's Freight & Salvage (they also give a master class at the California Jazz Conservatory on Tuesday evening). READ THE FULL Mercury News ARTICLE
Bookmark and Share

Keith Jarrett previously unreleased live concert recording of Bach's 'Well-Tempered Clavier Book 1 comes out on ECM / udiscovermusic.

A previously unreleased live concert recording of Keith Jarrett performing Johann Sebastian Bach's The Well-Tempered Clavier Book 1 is out now. The live concert was recorded in March 1987 at the Troy Savings Bank Music Hall in New York state, a venue renowned for its beautiful acoustics. Keith Jarrett's studio recording of JS Bach's The Well-Tempered Clavier was made one month before the live concert recording, in February 1987, and was the first in a series of his acclaimed Bach recordings. When the studio album was released, Jarrett's manner in these iconic preludes and fugues surprised many listeners with its poetic restraint. Jarrett said, "When I play Bach, I do not hear the music, I hear almost the process of thought." The pianist was deeply attuned to what he called "the process of thought" in Bach; by not imposing his personality unduly on the music, Jarrett allowed every note of the score to come through via the natural lyricism of the contrapuntal melodic lines, the dance-like pulse of the rhythmic flow. These qualities are strikingly apparent in Keith Jarrett's live recording of The Well-Tempered Clavier, with its added electricity of a concert performance. Jarrett always points out that Bach was an improviser and, in some ways, Jarrett's genius as an improviser brings him closer in spirit to the composer. "These are performances in which tempos, phrasing, articulation and the execution of ornaments are convincing," wrote Gramophone of Keith Jarrett's first recorded account of Bach's The Well-Tempered Clavier. "Both instrument and performer serve as unobtrusive media through which the music emerges without enhancement." p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'; color: #4d4d4d} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'; color: #4d4d4d; min-height: 14.0px} READ THE FULL udiscovermusic. ARTICLE
Bookmark and Share

Music brings Yo-Yo Ma together with refugees / UNHCR

To perform alongside Yo-Yo Ma, the world-famous cellist, would be a unique opportunity for most musicians – but for Syrian refugee Basma Jabr, it is an amazing turn in her life as a refugee in Austria, where she arrived in 2014 and is now building a career as a singer. "Of course I am a bit nervous," she said the morning before, during practice at the home of fellow musician Marwan Abado, who plays an oud, an Arab instrument like a lute. "I am also excited to have a new musical experience and the chance to meet other musicians." Basma, 35, was born into a musical family in Kuwait but due to war left in 1990 for Syria, where she trained and worked as an architect. Conflict in Syria made Basma a refugee a second time. Her husband, Aysar Aisamee, made the difficult journey to Europe alone. When he got refugee status, Basma and their two young children joined him. They arrived in Austria in 2014. Since then, Dr. Aisamee, a cardiologist, has got back into medicine and is working at a hospital in Vienna, and Basma's new career as a professional singer is starting to take off. The couple are a perfect example of how refugees can integrate successfully and contribute to society when they are welcomed. Basma now sings in clubs and theatres across Vienna and has performed in other European countries but she says things were hard at first. She knew little German but music helped make connections. READ THE FULL UNHCR ARTICLE AND WATCH THE VIDEO
Bookmark and Share

Joyce DiDonato speaks with 89.7WCPE - The Classical Station about 'Songplay'

With her album 'Songplay,' Mezzo-Soprano Joyce DiDonato takes a new and creative angle on vocal music from the Baroque and Classical periods, as well as from the 20th century. The 14 tracks on Songplay succeed in being simultaneously familiar and unexpected. The album serves up music by Vivaldi in both its customary Baroque purity and swinging to the heady rhythm of a samba. It brings a tango sizzle to an aria by Vivaldi's contemporary Marcello, and it plays with the voice of Bach in George Shearing's ‘Lullaby of Birdland'.    DiDonato speaks with 89.7WCPE - The Classical Station about her new recording featuring special arrangements with pianist Craig Terry and friends for the Erato label. Listen to the attached interview. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'; color: #4d4d4d} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'; color: #4d4d4d; min-height: 14.0px} p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'; color: #4d4d4d} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'; color: #4d4d4d; min-height: 14.0px}
Bookmark and Share
  Interview with WCPE's Bob Chapman

Charles Richard-Hamelin on mentoring and more / theWholeNote

Silver medalist and laureate of the Krystian Zimerman Prize at the 2015 International Chopin Piano Competition in Warsaw, Charles Richard-Hamelin impresses with his extremely refined playing and absolute musicality. The OSM and Maestro Nagano offer an emotionally contagious world-class performance that is in perfect harmony with the soloist. "It was with heart and discipline that each musician and artisan engaged with this adventurous project. I applaud the extraordinary work of solo pianist Charles Richard-Hamelin, whose bravura gave us two concertos in a single concert. A unique example of artistic and human collaboration, the result reflects remarkable fluidity and beauty " tells us Kent Nagano, Music Director of the OSM. For their first recorded collaboration, the pianist and the Orchestre symphonique de Montréal, under the direction of Kent Nagano, are offering the album Chopin: Concertos Nos. 1 & 2. "This project is a real childhood dream come true. I feel extremely privileged to have immortalized this ideal collaboration with Maestro Nagano and to now be part of the rich discography of the OSM" says Charles Richard-Hamelin of this album recorded in concert at the Maison symphonique de Montréal in October 2018. SEE theWholeNote piece on Hamelin titled; On Mentoring and More. Visible as this story's cover photo
Bookmark and Share

On 'Holes In the Sky,' Lara Downes mixes rich and lyrical piano with intimate vocal duets / Jazz Weekly

Pianist Lara Downes mixes rich and lyrical piano solo originals between intimate duets with singers including Judy Collins, Rhiannon Giddens and Rachel Barton Pine." On her own at the ivories, she glows like vintage George Winston with a rich lyricism as on "Memory Mist" or "Music Pink and Blue." Judy Collins brings her "Albatross" as a folksy parlor piece, and Leyla McCalla takes Billie Holiday's "Don't Explain" into a passionate plea. Rhiannon Giddens has a delicate vibrato during "Dream Variations" and the traditional pieces "All the Pretty Little Horses" closes things with Ifetaya Ali-Landing and the Girls of Musicality bringing in deep harmonies. Gentle lights shining in the glass window. SEE THE Jazz Weekly PAGE p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'; color: #4d4d4d}
Bookmark and Share

Top 10 Albums for June

Laurence Hobgood :

t e s s e t e r r a

The Laurence Hobgood Trio with string quartet ETHEL "Two impressive things stand out: how enormous his arrangements make the string quartet sound, and how fluidly these seven musicians blend together." - Giovanni Russonello, New York Times  "Hobgood's orchestration definitely brings a classical element to the project, while the trio's shining interactions represent the very idea that jazz improvisation is less about what's being played and more about how it's being played."  - Matt Micucci, Jazziz Magazine    "✩✩✩✩✩" - BBC Music Magazine (May 24, 2019) "Hobgood has produced here an exceptional debut album for the ever-burgeoning Ubuntu Music label, which augurs very well indeed both for the pianist and the record company." - Roger Farby, All About Jazz    "Laurence Hobgood's new album is grounded in a deep and rich musicality that rewards frequent and multiple listenings like nothing I've heard in decades. It is at different times surprising, thought-provoking, nuanced, and always exquisite . . . tesseterra should be on every station and streaming services playlists for years to come."  - Daniel J. Levitin, Author, "This Is Your Brain On Music" "Laurence Hobgood's new album is grounded in a deep and rich musicality that rewards frequent and multiple listenings like nothing I've heard in decades. It is at different times surprising, thought-provoking, nuanced, and always exquisite. What do Debussy, Ravel, Miles Davis and Johnny Cash have in common' They were all superb crafters of melody, harmony and rhythm who decided, as Hobgood does here, to explore texture-driven music, elevating timbre and orchestration to equal standing with their better known musical accomplices. Hobgood is continually pulling rabbits out of hats, getting me to rethink and re-feel songs I've heard thousands of times, shining a light on hidden structure and interplays I had never noticed before. Anyone who can sneak in a few bars of  "I've Found a New Baby" has got me hooked. From meter shifts to harmonic innovation and textural elegance, tesseterra should be on every station and streaming services playlists for years to come." 
Keith Jarrett :

J.S. Bach - The Well-Tempered Clavier, LIVE

In February 1987, Keith Jarrett recorded, on piano, the first book of The Well-Tempered Clavier by Johann Sebastian Bach. It was the first in a series of lauded Bach discs that Jarrett would make for ECM. On March 7, 1987, prior to the release of the studio set, he performed the complete WTC Book I for an audience in upstate New York at the Troy Savings Bank Music Hall, a venue renowned for its beautiful acoustics. With this release, ECM is presenting an archival live recording of this concert for the first time. When his studio album of the WTC Book I was released, Jarrett's manner in these iconic preludes and fugues surprised many listeners with its poetic restraint, given his renown as a jazz improvisor. But the pianist was deeply attuned to what he called "the process of thought" in Bach; by not imposing his personality unduly on the music, Jarrett allowed the score to shine via the natural lyricism of the contrapuntal melodic lines, the dance-like pulse of the rhythmic flow. These qualities are strikingly apparent in the live recording, with its added electricity of a concert performance.
Chloe Flower :

Get What U Get

After sending shockwaves through the socialsphere following her electrifying performance alongside Cardi B at the 2019 Grammy Awards, high-energy performance pianist Chloe Flower releases her first-ever original single on Sony Music Masterworks. With an original arrangement by Flower, the single "Get What U Get" is co-produced with Tommy Brown (Ariana Grande's "7 Rings", "Thank U, Next"), Anthony "Tone" Jones (Post Malone, Juice WRLD) and her longtime collaborator Babyface. Rooted in classical instrumentation, the song has all of the style and flare of a pop record. Flower recently debuted the song on the Today Show in her first ever solo TV performance. "Get What U Get" is available everywhere now. 
Angelique Kidjo :


On April 19, Angélique Kidjo will release Celia (Verve/Universal Music France), an album that honors Celia Cruz, widely known as "the Queen of Salsa" and the most popular Latin artist of the 20thcentury.  On Celia, Angélique explores the African roots of the Cuban-born Cruz and reimagines selections from Cruz's extraordinary career in surprising new ways, infused with an explosion of sounds and rhythms from Cuba, Africa, the Middle East, America and beyond.  The album includes performances by Tony Allen (Fela Kuti) on drums, Meshell Ndegeocello on bass, and British saxophonist Shabaka Hutchins plus his band Sons of Kemet.   
Camila Meza :


Today, multitalented vocalist, songwriter and instrumentalist Camila Meza releases her debut album on Sony Music Masterworks, Ámbar. Available now, Ámbar, the fifth studio album from Meza, showcases the Chilean-born talent's ever-evolving artistic sensibility, and finds her reaching new virtuosic and expressive heights as a singer, a stirring guitar soloist, an ambitious songwriter and a producer. Featuring the Nectar Orchestra, a hybrid ensemble with string quartet, with arrangements by bassist Noam Wiesenberg, and pianist/keyboardist Eden Ladin, drummer/percussionist Keita Ogawa, violinists Tomoko Omura and Fung Chern Hwei, violist Benjamin von Gutzeit and cellist Brian Sanders, Ámbar is distinguished by its extraordinarily close attention to sonic detail. Steeped in metaphor, romance and complex emotion, Ámbar is Meza's boldest artistic statement to date, a breakthrough, rooted in the incredible agility and interplay of Meza's state-of-the-art jazz group.
Luciano Pavarotti :


From the filmmaking team behind the highly-acclaimed documentary The Beatles: Eight Days A Week - The Touring Years, PAVAROTTI is a riveting film that lifts the curtain on the icon who brought opera to the people. Academy Award winner Ron Howard puts audiences front row center for an exploration of The Voice...The Man...The Legend. Luciano Pavarotti gave his life to the music and a voice to the world. This cinematic event features history-making performances and intimate interviews, including never-before-seen footage and cutting-edge Dolby Atmos technology.  A CBS Films Polygram Entertainment Brian Grazer presentation, PAVAROTTI is an Imagine Entertainment and White Horse Pictures production.  DIRECTED BY: Ron Howard  WRITTEN BY: Mark Monroe  PRODUCED BY: Nigel Sinclair, Brian Grazer, Ron Howard, Michael Rosenberg, Jeanne Elfant Festa  OPENING IN THEATERS LIMITED ON JUNE 7, 2019 
Radical Face :


"Hello, Hope, it's been a while," go the opening lines of "Dead Ends", the centerpiece of Ben Cooper's latest EP as Radical Face. After giving eight years of his life, creatively and emotionally, to his three-part The Family Tree series -- The Roots (2011), The Branches (2013), and The Leaves (2016) -- Cooper had indeed lost touch with hope. He'd too long grasped ideas and perceptions that held him back from peace. Speaking with a professional finally enabled him to let go, something he's honored by naming his new effort Therapy.  On Therapy, Radical Face has let go of all his past narratives. Instead of an intricate saga, he's kept his parameters simple. Instead of acoustic folk, he's written lush compositions. Instead of his troubled past, he's focused on his scarred present. Unsure yet confident, battered yet resilient, Cooper is taking Radical Face in a poignant new direction. And there's hope there.
Seth MacFarlane :

Once In A While

Seth MacFarlane will release his fifth album Once In A While (Verve and Republic) digitally, and the physical CD will be available on April 26th. The reflective album, which MacFarlane calls "a collection of wistful, pensive songs," features songs by Irving Berlin, Rogers and Hart, and Johnny Mercer. The tracks for Once In A While were recorded alongside the songs for his last album, 2017's In Full Swing- and material for another, future record- in a marathon 2016 session at London's legendary Abbey Road Studio 2, the room in which the Beatles cut the majority of their catalogue. Unlike the hard-charging big band swing of his previous project, the thirteen songs on this album are all ballads that MacFarlane says "deal with longing, lost love, and sadness, infused with fond recollection and a hint of hope." "They're not necessarily sad break-up songs," says arranger Andrew Cottee. "They're more reflective, thoughtful, even philosophical, but they're not all torch songs."
Philip Bailey :

Billy Jack from 'Love Will Find A Way'

For over 50 years, Earth Wind and Fire provided the soundtrack to the lives of many.  With award winning albums and chart-topping hits such as "September", "Devotion", "Reasons" and "Keep Your Head to the Sky" EWF have stood the test of time and continue to be a force in music. Philp Bailey, one of the lead singers, also experienced solo success with "Easy Lover" and "Walking on the Chinese Wall." This new album, Love Will Find A Way, has Philip teamed up with some of today's hottest, progressive Jazz artists such as Robert Glasper, Christian McBride, Kamasi Washington, Casey Benjamin, Chick Corea, Steve Gadd and more. The single, "Billy Jack", was written by the legendary Curtis Mayfield and produced by both Robert Glasper and Philip Bailey.
The Stan Getz Quartet :

Getz at The Gate

On November 26, 1961, saxophonist Stan Getz and his relatively new quartet of Steve Kuhn, John Neves, and Roy Haynes performed at New York's Village Gate. The show was professionally recorded, possibly for eventual release, but was soon forgotten and the tape languished in the vaults for almost 58 years. On June 14th, Verve Records/UMe will release the 2-CD, 3-LP Getz at The Gate, which includes every note recorded that night.  This recording and this quartet both serve as a sort of "road not taken" for Stan Getz. Having just returned from living in Europe, Getz assembled a new quartet and was exploring a slightly more modern and aggressive sound with this group. Steve Kuhn had only recently finished playing with John Coltrane's quartet and a more modern music and sound - personified by Coltrane - was gaining popularity.