In a way,
Sean Khan's
Supreme Love: A Journey Through Coltrane fondly looks back on 2011's breakthrough
Slow Burner. There
Khan celebrated his musical heroes, including
John Coltrane, with a bracing modernist take that juxtaposed classic jazz with a 21st century rhythm and production. This tribute to the great saxophonist combines
Coltrane tunes with originals inspired by his influence. His core band includes longtime drummer Laurie Lowe, pianist Andy Noble, bassist Dario De Lecce, and vocalist
Heidi Vogel.
Khan plays alto and soprano saxophones and flute. The ensemble is appended by guitarist
Jim Mullen, trombonist Tom White, percussionist Karl Vanden Bosshe, and old friend
Kaidi Tatham playing Fender Rhodes and remixing two tracks with assistance from
Daz I Kue. This set also offers the last recorded performances of British jazz legend, saxophonist
Peter King.
The album is divided into three evolutionary, musically distinct sections. The Future Present showcases the modal beginning with "Acknowledgment" from
A Love Supreme.
Khan reimagines it as a spiritual soul track. His elegant horns and lilting flute hover above a spectral piano and modal electric guitar with strings, harp, and a glorious vocal performance from
Vogel based on lyrics by
Oscar Brown, Jr. and
Khan. Its rhythmic shifts are laden with subtle snare breaks and group chants as it swirls and twirls to the heavens. It also reveals the major influence of
Alice Coltrane.
Khan's "Starchild" follows and
Vogel delivers his sunny lyrics of childhood with resonance and openness. It was inspired by
Coltrane's love of 7/4 time. Other standouts in this section are thought-provoking reads of "Afro Blue" and "Naima."
Khan's "Azawala" sits between them. It channels darkly swinging, Afro-Latin-inspired modalism as horns entwine with duet vocals from
Vogel and
Khan, underscored by percussion and drum kit interplay and Noble's sure-handed harmonic invention. There is a charging read of "Giant Steps," but it's brief, an interlude more than a fleshed-out take. The middle section, The Future Past, adds contrast. It consists only of
Tatham's adventurous remixes of "Azawala," and "Starchild" -- both feature his elegant, deftly funky Rhodes piano. "The Savage Detectives" is a break-driven funky sprint, a redo from 2019's
Khan's Distant Voice EP. It kicks off a section otherwise dominated by muscular small-group performances of
Coltrane's "Equinox," "Impressions," and "Cousin Mary." It proves this band is capable of swinging hard bop with proficiency, timing, and canny instinct.
Khan's soloing is imaginative and timely. He can lay down lots of notes but usually doesn't, and he never overstays his welcome up front. There is plenty of room provided for Noble's refined, expressive pianism.
Khan proved on 2018's
Palmares Fantasy -- his collaboration with Brazilian legend
Hermeto Paschoal -- that he was not only an astute student, but a savvy composer, partner, and creator.
Supreme Love showcases his immense growth over that period. His
Coltrane interpretations serve as fine, creative tributes, while his own compositions fare with those of his better-known musical peers such as Steve Wilkinson and
Chris Potter. Highly recommended. ~ Thom Jurek