{"id":161167,"date":"2026-07-05T12:10:55","date_gmt":"2026-07-05T16:10:55","guid":{"rendered":"https:\/\/panm360.com\/?post_type=interviews&p=161167"},"modified":"2026-07-05T12:10:56","modified_gmt":"2026-07-05T16:10:56","slug":"fijm-2026-a-love-supreme-played-straightforward-by-isaiah-colliers-quartet","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/fijm-2026-a-love-supreme-played-straightforward-by-isaiah-colliers-quartet\/","title":{"rendered":"FIJM 2026 | A Love Supreme played straightforward by Isaiah Collier’s Quartet"},"content":{"rendered":"\n

Because they were both born in 1926, these tributes to John Coltrane and Miles Davis centennials presented at the 2026 FIJM offered the opportunity to hear a variety of interpretations. Some were closer to jazz-fusion or soul\/R&B\/funk\/hip-hop than to the original spirit of the reinterpreted pieces, while Isaiah Collier and his three colleagues opted for a classical approach. This raises a question regarding the program presented Friday evening at the Th\u00e9\u00e2tre Jean-Duceppe: how should one perform *A Love Supreme*, which many consider John Coltrane\u2019s most iconic album?  Isaiah Collier chose the \u201cstraightforward\u201d way that is, using the same instrumentation of tenor sax, piano, double bass, and drums, in the same spirit through which new virtuoso talents express themselves: Isaiah Collier on tenor sax, Davis Whitfield on piano, and Tim Regis on drums\u2014all of African descent, all rooted in this vision of Black jazz. A few hours before the performance of \u201cAcknowledgement,\u201d \u201cResolution,\u201d \u201cPursuance,\u201d and \u201cPsalm,\u201d PAN M 360 had the opportunity to interview Isaiah Collier in his dressing room.<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

PAN M 360 : So, well, let’s talk first about your project, A Love Supreme reinterpretation, on your own. So, of course, this is the centennial of John Coltrane birth this year, and you decided to pay tribute to him in your way. So, what is your way playing this fabulous and mythical album? <\/strong><\/p>\n\n\n\n

Isaiah Collier :<\/strong> I think it’s fairly straightforward. Get through movements one through four. I don’t, I don’t, I’m not, yes, at one point I was seeing it that way. <\/p>\n\n\n\n

There’s a couple of ways to look at it. The first way is, yes, it’s a monumental record. Furthermore, this is like the equivalent of playing or performing Beethoven’s Fifth<\/em>. Yeah.<\/p>\n\n\n\n

You know, it takes a certain type of dedication and endurance. <\/p>\n\n\n\n

PAN M 360 : And pursuance. <\/strong><\/p>\n\n\n\n

Isaiah Collier : <\/strong>Most importantly, but also authenticity. It’s funny, we were just having a conversation about this. I was talking to bassist Ben Williams about this, that for whatever reason, we dubbed the music that Coltrane did as spiritual music.<\/p>\n\n\n\n

But I kind of find that term the most, and I really don’t care, but I think it’s kind of disingenuous to all other music, to just claim one genre or a specific approach to it, within a general genre, to be this one thing.<\/p>\n\n\n\n

PAN M 360 : Yeah, but at that time when he recorded the album, he was in a sort of very mystical frame of mind. <\/strong><\/p>\n\n\n\n

Isaiah Collier : <\/strong>Well, you could have just said mystical then. There was no point in saying spiritual<\/em>, because… But he wouldn’t describe it that way. No. So, if the person who created it didn’t describe it that way, who are we to just assign it? And I feel like there has to be more curiosity in it.<\/p>\n\n\n\n

And so, to answer more of your first question, we’re just, we’re trying to be curious. Even more inquisitive. What A Love Supreme<\/em> meant for him does not mean the same thing for us. No. We’re the recipients of an experience. But now, let’s not look at just the songs we love. Let’s really dive into the essence and the ethos of the person.<\/p>\n\n\n\n

Because only through understanding the person do we really get further insight into the music. Right? <\/p>\n\n\n\n

PAN M 360 : So how did you do that?<\/strong><\/p>\n\n\n\n

Iasiah Collier :<\/strong> I’ve never been strung out on drugs. I never had to endure severe alcoholism.<\/p>\n\n\n\n

I didn’t have the top gig on the planet, which was the Miles Davis gig. And then losing that, and losing oneself spiraling. And to spiral downwards, and then to spiral upwards. Yeah. Yeah, it was a sort of deliverance when he changed his life. And all the ways of seeing things changed also, because the reality changed.<\/p>\n\n\n\n

PAN M 360 : Of course it changed. In the 50s, John Coltrane was a drug addict for a while, but a fantastic player at the same time. <\/strong><\/p>\n\n\n\n

Isaiah Collier :<\/strong> I won’t say he was a drug addict.<\/p>\n\n\n\n

PAN M 360 : Well, he experienced some heavy drug problems.<\/strong><\/p>\n\n\n\n

Isaiah Collier : <\/strong> I think the proper word is he was a victim. Because if we’re looking at the modern landscape, the fact of the matter is, drugs usually work in medicinal practice. So the misuse or the wrong prescription has created that affliction. <\/p>\n\n\n\n

Furthermore, by the practical optics of, yes, he’s making all this music, but let’s be reminded at all times, this is a black man in America. This is a black man in Jim Crow America. Purely segregated. 30-50 years before he was born, it was the Civil War.  So he would have been born around when slavery was just ending. <\/p>\n\n\n\n

Let’s take into consideration he’s also, what, the fifth generation of black musicians who had finally been given a license to see the world. A license called the passport. You know? The swing era had already happened. Bebop had already happened. The Dixieland sound had already happened. Ragtime had already happened. All that evolution had already happened. The blues was already happening. And then plus the integration of the great migration, which led to all of it starting this summer. I have to look at all these things to really get into the person and the music.<\/p>\n\n\n\n

PAN M 360 : The life and the music form are obviously linked, as you say.<\/strong><\/p>\n\n\n\n

Iasaiah Collier :<\/strong> No longer just saying, oh man, the form is like this, the form is like that. No, the form is his life. And how do you see your life’s form in it? Yeah, well, both are totally linked. And so all that consideration, you look at him differently. Because he could not have gone forward.<\/p>\n\n\n\n

He could have stayed where he was. And we would have lost him like we lost Charlie Parker. You know? But he had a decision to make. Sonny Rollins had a decision to make. James Moody had a decision. Joe Henderson had a decision to make. Wayne Shorter. Coleman Hawkins. Ben Webster. Stanley Turrentine. All the contemporaries and all the people who inspired this guy from back then were still even alive. And yet they decided to still go on. So, yeah man. It’s triumphant. It’s like a Greek tragedy, man. It’s going through all these… Yeah, finally. Yeah, I know. And we finally landed on that. We found our resolutions. <\/p>\n\n\n\n

And they all found a way to substantiate themselves. True. But the admiration of how they were able to still be disciplined about finding a path. And that’s what makes this music such a… And I guess that’s when people want to start looking at the spiritual. Because when you think of yogis, when you think of Buddhas, when you think of people of that type of stature who are able to elevate themselves out of certain circumstances. Yeah. And still remain at a place of like, I still got love for the world. That’s hard. That’s really hard given the actual reality. <\/p>\n\n\n\n

PAN M 360 : What John Coltrane was thinking about himself when he did that music? Do you have an idea?  <\/strong><\/p>\n\n\n\n

Isaiah Collier : <\/strong>I just think it was a lot of inventory. He took a very huge inventory check. He had to look at everything. By the time he was doing this, he had already kind of got himself back on the horse, right? He did all this stuff with Monk . He started relearning. It’s almost like a new person has entered.  But it was like he literally started back at the basics. And I think there’s something to be said for that. I had a band for eight years, which was the Chosen Few thing. And eight years later, I’m having to restart a whole different thing. It’s uncomfortable. It is. But in the same breath, if you built something before, you can build something else. And now it’s not about what you’re building. It’s about how. How. That’s the most incredible question of it all.<\/p>\n\n\n\n

So Coltrane had to look at… Obviously, he had to study these other musical forms. You can’t just make a suite without understanding what a suite is. So looking at the relevancy of Ravel, Debussy… He was always going out checking out music. It didn’t matter if it was straight ahead. It didn’t matter if it was probably R&B, blues, or even classical. He was there to consume and exude the knowledge that he had intaked. And so, you know, your story is from Alice Closer : he locked himself in the attic for like months.But he was just… That type of dedication. You know we’re too distracted in this era. All this knowledge and also perception and feeling from this album and from this great experience is in you.<\/p>\n\n\n\n

PAN  M 360 : And you have your own way to translate it or to just re-inject it in other forms. Your forms and your band. So just give us a couple of cues of how you do that.<\/strong><\/p>\n\n\n\n

Isaiah Collier :<\/strong> Well, I mean, I think in one retrospect we’re all coming from… We’re a generation that experienced music post this time. So we have a little bit more options. But the option we’re trying to pursue is trying to put in where that outfit of that time and really just deal within the energy of it. But to also see how we get ourselves out of it. It’s a very fascinating thing, man. Yeah, well, that thing… Well, you said it. It’s classical music.<\/p>\n\n\n\n

PAN M 360 : Yeah, a classical form but a different classical form : you don\u2019t only read charts and play the notes, you can add a lot of your own in the music. <\/strong><\/p>\n\n\n\n

Isaiah Collier : <\/strong>Yeah, exactly. So when I reference this record, I love the live albums. Of course, I love the classic, but my favorite version has been the live recording in Seattle. Because right there we get a first-hand example of seeing how he was expanding it. Having Pharoah Sanders and Carlos Ward got to try to play over this stuff that he already created. And he wouldn’t even solo. He just let the other cats get in. And he let the music… Just remove the restrictions and see what happens.  <\/p>\n\n\n\n

PAN M 360: Sixty years later, let\u2019s see what happens with your quartet\u2019s reinterpretation !<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

No live photos were taken at FIJM<\/p>\n\n\n

Publicit\u00e9 panam<\/span>
<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Because they were both born in 1926, these tributes to John Coltrane and Miles Davis centennials presented at the 2026 FIJM offered the opportunity to hear a variety of interpretations. 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