Yes I’ve seen that, but just because there are lots of detractors here doesn’t mean there aren’t also tons of fans out in the world (i.e. that “not many share that view”). Every week or so I read someone in an interview or record review specifically calling out Coltrane’s soprano tone as an influence or object of admiration. It is loved by a great many people in the scheme of things.
Extolling his soprano tone in particular? Every week?
Yeah. To be fair, “every week” was probably overstating it, but I do see it a lot. Not necessarily all sax players, but I think it’s something a lot of people find compelling, especially people coming more from the free jazz/experimental music side of things.
This is how I’ve always felt. The Chinese sopranos at that price point are almost disposable.
Everything posted on SOTW needs to be taken with a grain of salt.
Yeah, good luck with that.
Not only is it ....
let me put it nicely...'not everyones cup of tea'...but my understanding is, it was the intonational squirrelliness and sonic reediness of the instrument which actually attracted him to it...not to 'conquer', but to utilize.....That one is going to need a complete restoration, not just an overhaul. Its been around a long time but should still be able to sing with the right player.
Little bit OT, but she hasn't sung as a soprano in more than two decades. Moreover, to the extent she sings at all anymore (i.e, not in public), she's more of an alto now.
After the miracle of Joni at Newport, knowing exactly how to use what she’s got, I’d be surprised if Julie couldn’t still charm anyone she might happen to sing to.
Yeah, you read me right, mmichel. I remember being somewhat surprised in the past at some of the negative reaction on here to Coltrane's soprano tone/sound. And no, not all of it was negative. But everyone has their own opinion and that's fine with me. I can't really explain what it is that I like about his sound on the soprano; maybe it's just that I heard it early on in my 'jazz listening experience' and loved it from the start. And maybe, as Jay implied, the intentional "intonational squirrlliness and sonic reediness" that he utilized in an exotic fashion that attracted me to it. Who knows what kept me listening ecstatically to his rendition of "My Favorite Things" so many times? (Maybe it was just the drugs 
). In any case, I've always liked that sound!
I can never think of her without remembering the scene in Bedazzled where Peter Cook is putting scratches in brand new records. (AKA “vinyl” for you kids…). She’s lovely, I’m sure, but hardly inoffensive. In fact no soprano could be so categorized. My first wife is a soprano. You haven’t lived until you’ve heard a coloratura D at 9:30 in the morning…
Jupiter would be a good one indeed but my advise is to try to buy an Artist model if you could , sometimes more expensive but they are really good, better than the lower series.
Bedazzled is almost criminally uncelebrated for its brilliance. (Plus Cook’s appearance as Drimble Wedge and the Vegetation is so prescient of at least the visual representation of Ziggy Stardust 5 years before the fact is outright shocking.) But the main thing here is that every time Cook as the Devil grants one of Dudley’s wishes he of course invokes “Julie Andrews”. Reacting to the saccharine sweet image she imbued after the massive success of the Sound of Music. It was perfect 1960’s zeitgeist.
Looks good except no ring for a neck strap. Hopefully you won't need on.
Any info on Weltklang serial numbers outside of that one chart from the way back machine that's still floating around? Not much soprano info on that.
I probably downloded that one in an excel file which suggests this should be around 1955
