#stellarregions

Work in progress. #wip #stellarregions #coltrane #painting #abstract #contemporaryart #mihaicotiga #space #light #artist #artstudio

Work in progress. #wip #stellarregions #coltrane #painting #abstract #contemporaryart #mihaicotiga #space #light #artist #iris

Work in progress. #wip #stellarregions #coltrane #painting #abstract #contemporaryart #mihaicotiga #space #light #artist

Work in progress. #wip #artstudio #stellarregions #coltrane #painting #abstract #contemporaryart #mihaicotiga #space #light #artist

Untitled. #stellarregions #coltrane #painting #abstract #contemporaryart #mihaicotiga #space #light

Detail. #wip #stellarregions #coltrane #painting #abstract #contemporaryart #mihaicotiga #space

JOHN COLTRANE (September 23, 1926 – July 17, 1967) Stellar Regions is a posthumous release by John Coltrane, discovered in 1994 by the artist’s wife, Alice Coltrane, who plays the piano on the session. Alice Coltrane is also responsible for the titles of the eight numbers featured on the album, although the material is not entirely previously unreleased: the same take of “Offering” was first issued on Coltrane’s final studio album, Expression; the song, incorrectly retitled “Stellar Regions” here, is in fact an early version of “Venus”, first released in 1974 on the sax-drums duo album, Interstellar Space. Stellar Regions was recorded the week prior to the session that gave rise to that album, and features many similar note choices and runs; indeed, the “Venus” solo is also presaged here by portions of “Offering” and “Sun Star”. The former song and also “Tranesonic” anticipate the fascination with polyrhythm and spare, duo arrangements that would dominate the Interstellar Space sessions. This is one of Coltrane’s most accessible later albums: the numbers are brief and distinctly structured. But the fact that Coltrane did not title this material leaves in doubt how much of it he ultimately intended to release. The selection also features Rashied Ali on drums and Jimmy Garrison on bass. Several pieces are notable for their European-like sense of tonality (“Jimmy’s Mode”), quite at odds with Coltrane’s usual work in the blues idiom. Garrison’s bass is often bowed, unusual for him and for Coltrane, and also lending an orchestral majesty to material like “Seraphic Light”. There are a couple of blues-based and atonal numbers as well. Some critics and musicians, including British free jazz saxophonist Evan Parker and Coltrane biographer Lewis Porter, have argued that Coltrane is playing an alto saxophone - something he did very rarely after 1946 - on both versions of the piece entitled “Tranesonic”.