How Coltrane bent time, harmony, and belief into a single, moving signal Coltrane didn’t just hear music — he saw it. Geometry, motion, gravity. He was deeply aware of Einstein’s work, and according to David Amram, Trane once said he was “trying to do something like that in music.” That line alone says everything. Giant Steps wasn’t just fast — it was relativistic . Time bending. Harmony in orbit. Writers like Hollander later tried to reverse-engineer what Coltrane was doing, breaking it down into heavy theory essays on “Music & Geometry” and the now-mythic “Tone Circle.” But Coltrane himself rarely explained the maths. He didn’t need to. He wanted the sound to speak. When he did talk, it was philosophical, mystical — pulling equally from science, spirituality, and lived experience. That openness is why musicians still read his Circle in wildly different ways: some hear pure mathematics, others hear the Divine. Clarinetist Arun Ghosh described it as a system that feels Islamic ...
Lost and found audio gold, musical jewels and treasure. Soul extremes and borderless suprise.