I guess that makes me a pretentious poser in your view. Oh well, c’est la vie.
I’m nearly 10 minutes into Ascension and still hanging in there. That must only confirm your prejudice!
I’m determined to get to the end.
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Well if the cap fits! (Joking)
If you make it to the end will be very interested in your synopsis 
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I play it about once a year just to see if my ears have matured sufficiently to fully appreciate what Coltrane is saying. Usually the men in white coats get me before getting to the end.
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So what do you feel he is he saying?
This is what Sam Samuelson has to say about it in his review on AMG:
“[…] Timed at around 40 minutes, this can be a difficult listen at first, but with a patient ear and an appreciation for the finer things in life, the reward is a greater understanding of the personal path that the artist was on at that particular time in his development. Coltrane was always on an unceasing mission for personal expansion through the mouthpiece of his horn, but by the time of this recording he had begun to reach the level of “elder statesman” and to find other voices (Sheppard, Sanders and Marion Brown) to expand his sounds and emotions. Therefore, Ascension reflects more of an event rather than just a jazz record and should be sought out by either experienced jazz appreciators or other open-minded listeners, but not by unsuspecting bystanders.”
I’m aware of that review, fits my view really (Platitudinous pretentious twaddle)
I’m more interested in what you have to say, but I understand if you want to take the fifth
This makes me chuckle from somewhere called Jazzviews.net
“Archie Shepp has said that ‘the ensemble passages were based on chords, but these chords were optional”. 
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See post 6423. I don’t think I listen to it frequently enough (~once/year) to reach the level of understanding that Samuelson describes. Between the sheets of sound, there are moments of creative bliss that remain on the sane side of avant-garde, but still manage to push the envelope. To enjoy it more I think it would be necessary to dedicate more time for concentrated listening. Maybe I will take it with me next time I’m travelling and aim for repeat play. The question is which version?
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Examples?
Which version? Maybe take both and drive yourself twice round the bend
Just listening to I Want To Talk About You, absolutely lovely.
This album will certainly be coming my way. First John Coltrane album for me. 
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Couldn’t have said it any better
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Had a nice email conversation with Jon at My Only Desire recently following my Graham Collier order. He has a sister label SLAM productions should anyone be interested.
Gorgeous. Another on the way.
Think I need to retire as this working lark just gets in the way of listening 
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Following your approval of Soultrane and Red Garland.
Theres still no escaping Miles Davies during Coltrane’s Prestige recording period (including the aforementioned Soultrane) as around this time he was also playing in Miles band.
So, if you enjoyed Soultrane and the piano of Red Garland then imo it would be inexplicable not to like the Miles Davis Prestige recordings that feature Trane and Red Garland. Cookin, Relaxin, Workin, Steamin
And then Milestones and the lovely Round About Midnight, I havent mentioned Kind Of Blue as I think you already have that one?
Dont give up on Miles just yet, youre missing out on a big piece of the musical picture imo
Oh, and of course pretty much any album with Red Garland as leader, there all good, here’s a couple I particularly enjoy, Soul Junction features John Coltrane again.
In fact any of the Moodsville series I’m sure would be up your alley
Try At Ease With Coleman Hawkins
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I like Coltrane’s Lush Life quite a lot too
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And when combined with Philly Joe Jones, one of my favourite rhythm sections
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Indeed, pretty much all the Prestige period are worthwhile imo, but if I had to pick one its Soultrane
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Agree - I then to go for Coltrane’s early music on Prestige.
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I have them all I think on LP, I still play them and the Atlantic albums (My Favourite Things is another solid favourite) a lot more than his later works post Love Supreme
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