It’s odd that these two albums should have been released within months of each other. It’s certain that this wasn’t done purposely as it could cause confusion, provoke unrealistic comparisons and even be detrimental to sales. These ensembles—saxophonist Branford Marsalis Quartet and the 15-piece Lincoln Center Jazz Orchestra featuring trumpeter Wynton Marsalis—both take up the challenge of saxophonist John Coltrane’s jazz masterpiece, A Love Supreme. However the similarities between the two discs stop there.

Branford Marsalis is caught live at Amsterdam’s Bimhuis Jazz Club with his long-lived rhythm section drummer Jeff “Tain” Watts, pianist Joey Calderazzo and bassist Eric Revis. Their comfort level is palatable as they weave, bob, sway, rip and celebrate the music that Coltrane left for them and the world to learn and contemplate. The tension and release reverberates from the bandstand to the obviously exhilarated audience from the familiar opening statement of “Acknowledgement” to the triumphant shout of Marsalis’ sax and the rumble of Watts’s drums on the concluding “Psalm.” Though it might be tempting to turn to Coltrane’s original album in assessing this performance, the quartet’s works stands on its own in capturing the essential spirit and passion. Individually and as a group they use the material as a vehicle to explore the music with their own, very distinctive voices. Marsalis blows with the conviction of his deep understanding of the task and the quality of his supporting and innovative team. The result is a rejoicing tribute to both Coltrane and Marsalis’ quartet. A DVD of the performance is also available in a package set or sold separately.

Wynton Marsalis arranged A Love Supreme for the Lincoln Center Jazz Orchestra putting the four-part composition in a most unusual setting. To hear a flute play the opening statement comes as a surprise to the ears. While the saxophone continues to play a starring role, other instruments handle themes and melodies that are usually associated with Coltrane’s tenor. The horn sections burst out where one man with a sax once stood. Herlin Riley wails on his drums to open “Resolution” though it’s Marsalis’ trumpet that administers those high-speed lines giving the piece a different edge and tonality. At the end the whole band starts trading lines at this sonic pace, a tightrope walk of a moment that is a credit to the musicians’ superior abilities. Because of the orchestral setting, this interpretation of A Love Supreme depends less upon pure improvisation and instead relies on the group effort to achieve the required spiritual drama. Individuals definitely do bust loose with vigor but what sets this version apart is when the different sections of the band grab the action. Wynton Marsalis and the LCJO provide an entirely new way to experience Coltrane’s vision.