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Coltrane Thing PDF
Coltrane Thing PDF
saxophonist, bandleader and composer. He is among the most influential and acclaimed figures
in the history of jazz and 20th-century music.
Born and raised in North Carolina, Coltrane moved to Philadelphia after graduating high school,
where he studied music. Working in the bebop and hard bop idioms early in his career, Coltrane
helped pioneer the use of modes and was one of the players at the forefront of free jazz. He led
at least fifty recording sessions and appeared on many albums by other musicians, including
trumpeter Miles Davis and pianist Thelonious Monk. Over the course of his career, Coltrane's
music took on an increasingly spiritual dimension, as exemplified on his most acclaimed album
A Love Supreme (1965) and others.[1] Decades after his death, Coltrane remains influential,
and he has received numerous posthumous awards, including a special Pulitzer Prize, and was
canonized by the African Orthodox Church.[2]
His second wife was pianist and harpist Alice Coltrane. The couple had three children: John
Jr.[3] (1964–1982), a bassist; Ravi (born 1965), a saxophonist; and Oran (born 1967), a
saxophonist, guitarist, drummer and singer.[4][5][6]
Biography
1926–1945: Early life
Coltrane called this a time when "a wider area of listening opened up for me. There were many
things that people like Hawk [Coleman Hawkins], and Ben [Webster] and Tab Smith were doing
in the '40s that I didn't understand, but that I felt emotionally."[28] A significant influence,
according to tenor saxophonist Odean Pope, was the Philadelphia pianist, composer, and
theorist Hasaan Ibn Ali. "Hasaan was the clue to...the system that Trane uses. Hasaan was the
great influence on Trane's melodic concept."[29] Coltrane became fanatical about practicing and
developing his craft, practicing "25 hours a day" according to Jimmy Heath. Heath recalls an
incident in a hotel in San Francisco when after a complaint was issued, Coltrane took the horn
out of his mouth and practiced fingering for a full hour.[30] Such was his dedication it was
common for him to fall asleep with the horn still in his mouth or practice a single note for hours
on end.[31]
Charlie Parker, who Coltrane had first heard perform before his time in the Navy, became an
idol, and he and Coltrane would play together occasionally in the late 1940s. He was a member
of groups led by Dizzy Gillespie, Earl Bostic, and Johnny Hodges in the early to mid-1950s.
During the later part of 1957, Coltrane worked with Thelonious Monk at New York's Five Spot
Café, and played in Monk's quartet (July–December 1957), but, owing to contractual conflicts,
took part in only one official studio recording session with this group. Coltrane recorded many
sessions for Prestige under his own name at this time, but Monk refused to record for his old
label.[33] A private recording made by Juanita Naima Coltrane of a 1958 reunion of the group
was issued by Blue Note Records as Live at the Five Spot—Discovery! in 1993. A high quality
tape of a concert given by this quartet in November 1957 was found later, and was released by
Blue Note in 2005. Recorded by Voice of America, the performances confirm the group's
reputation, and the resulting album, Thelonious Monk Quartet with John Coltrane at Carnegie
Hall, is very highly rated.
Blue Train, Coltrane's sole date as leader for Blue Note, featuring trumpeter Lee Morgan,
bassist Paul Chambers, and trombonist Curtis Fuller, is often considered his best album from
this period. Four of its five tracks are original Coltrane compositions, and the title track,
"Moment's Notice", and "Lazy Bird", have become standards.
Coltrane stayed with Davis until April 1960, working with alto saxophonist Cannonball Adderley;
pianists Red Garland, Bill Evans, and Wynton Kelly; bassist Paul Chambers; and drummers
Philly Joe Jones and Jimmy Cobb. During this time he participated in the Davis sessions
Milestones and Kind of Blue, and the concert recordings Miles & Monk at Newport (1963) and
Jazz at the Plaza (1958).
'Giant Steps'
0:28
One of Coltrane's most acclaimed recordings, "Giant Steps" features harmonic structures more
complex than were used by most jazz musicians of the time.
Problems playing this file? See media help.
Coltrane formed his first quartet for live performances in 1960 for an appearance at the Jazz
Gallery in New York City.[40] After moving through different personnel, including Steve Kuhn,
Pete La Roca, and Billy Higgins, he kept pianist McCoy Tyner, bassist Steve Davis, and
drummer Elvin Jones.[41][42] Tyner, a native of Philadelphia, had been a friend of Coltrane for
some years, and the two men had an understanding that Tyner would join the band when he felt
ready.[43][44] My Favorite Things (1961) was the first album recorded by this band.[45] It was
Coltrane's first album on soprano saxophone,[46] which he began practicing while with Miles
Davis.[47] It was considered an unconventional move because the instrument was more
associated with earlier jazz.[48]
By early 1961, bassist Davis had been replaced by Reggie Workman, while Eric Dolphy joined
the group as a second horn. The quintet had a celebrated and extensively recorded residency at
the Village Vanguard, which demonstrated Coltrane's new direction. It included the most
experimental music he had played, influenced by Indian ragas, modal jazz, and free jazz. John
Gilmore, a longtime saxophonist with musician Sun Ra, was particularly influential; after hearing
a Gilmore performance, Coltrane is reported to have said, "He's got it! Gilmore's got the
concept!"[50] The most celebrated of the Vanguard tunes, the 15-minute blues "Chasin' the
'Trane", was strongly inspired by Gilmore's music.[51]
In 1961, Coltrane began pairing Workman with a second bassist, usually Art Davis or Donald
Garrett. Garrett recalled playing a tape for Coltrane where "I was playing with another bass
player. We were doing some things rhythmically, and Coltrane became excited about the sound.
We got the same kind of sound you get from the East Indian water drum. One bass remains in
the lower register and is the stabilizing, pulsating thing, while the other bass is free to improvise,
like the right hand would be on the drum. So Coltrane liked the idea."[52] Coltrane also recalled:
"I thought another bass would add that certain rhythmic sound. We were playing a lot of stuff
with a sort of suspended rhythm, with one bass playing a series of notes around one point, and
it seemed that another bass could fill in the spaces."[53] According to Eric Dolphy, one night:
"Wilbur Ware came in and up on the stand so they had three basses going. John and I got off
the stand and listened."[53] Coltrane employed two basses on the 1961 albums Olé Coltrane
and Africa/Brass, and later on The John Coltrane Quartet Plays and Ascension. Both Reggie
Workman and Jimmy Garrison play bass on the 1961 Village Vanguard recordings of "India" and
"Miles' Mode". [54]
During this period, critics were divided in their estimation of Coltrane, who had radically altered
his style. Audiences, too, were perplexed; in France he was booed during his final tour with
Davis. In 1961, DownBeat magazine called Coltrane and Dolphy players of "anti-jazz" in an
article that bewildered and upset the musicians.[51] Coltrane admitted some of his early solos
were based mostly on technical ideas. Furthermore, Dolphy's angular, voice-like playing earned
him a reputation as a figurehead of the "New Thing", also known as free jazz, a movement led
by Ornette Coleman which was denigrated by some jazz musicians (including Davis) and critics.
But as Coltrane's style developed, he was determined to make every performance "a whole
expression of one's being".[55]
The criticism of the quintet with Dolphy may have affected Coltrane. In contrast to the radicalism
of his 1961 recordings at the Village Vanguard, his studio albums in the following two years (with
the exception of Coltrane, 1962, which featured a blistering version of Harold Arlen's "Out of
This World") were much more conservative. He recorded an album of ballads and participated in
album collaborations with Duke Ellington and singer Johnny Hartman, a baritone who
specialized in ballads. The album Ballads (recorded 1961–62) is emblematic of Coltrane's
versatility, as the quartet shed new light on standards such as "It's Easy to Remember". Despite
a more polished approach in the studio, in concert the quartet continued to balance "standards"
and its own more exploratory and challenging music, as can be heard on the Impressions
(recorded 1961–63), Live at Birdland and Newport '63 (both recorded 1963). Impressions
consists of two extended jams including the title track along with "Dear Old Stockholm", "After
the Rain" and a blues. Coltrane later said he enjoyed having a "balanced catalogue".[56]
On March 6, 1963, the group entered Van Gelder Studio in New Jersey and recorded a session
that was lost for decades after its master tape was destroyed by Impulse Records to cut down
on storage space. On June 29, 2018, Impulse! released Both Directions at Once: The Lost
Album, made up of seven tracks made from a spare copy Coltrane had given to his wife.[57][58]
On March 7, 1963, they were joined in the studio by Hartman for the recording of six tracks for
the John Coltrane and Johnny Hartman album, released that July.
Impulse! followed the successful "lost album" release with 2019's Blue World, made up of a
1964 soundtrack to the film The Cat in the Bag, recorded in June 1964.
The Classic Quartet produced their best-selling album, A Love Supreme, in December 1964. A
culmination of much of Coltrane's work up to this point, this four-part suite is an ode to his faith
in and love for God. These spiritual concerns characterized much of Coltrane's composing and
playing from this point onwards—as can be seen from album titles such as Ascension, Om and
Meditations. The fourth movement of A Love Supreme, "Psalm", is, in fact, a musical setting for
an original poem to God written by Coltrane, and printed in the album's liner notes. Coltrane
plays almost exactly one note for each syllable of the poem, and bases his phrasing on the
words. The album was composed at Coltrane's home in Dix Hills on Long Island.
The quartet played A Love Supreme live only three times, recorded twice – in July 1965 at a
concert in Antibes, France and in October 1965 in Seattle, Washington.[59] A recording of the
Antibes concert was released by Impulse! in 2002 on the remastered Deluxe Edition of A Love
Supreme,[60] and again in 2015 on the "Super Deluxe Edition" of The Complete Masters.[61] A
recently discovered second amateur recording titled "A Love Supreme: Live in Seattle" was
released in 2021.[62]
As Coltrane's interest in jazz became experimental, he added Pharoah Sanders (center; circa
1978) to his ensemble.
In his late period, Coltrane showed an interest in the avant-garde jazz of Ornette Coleman,[63]
Albert Ayler,[64] and Sun Ra. He was especially influenced by the dissonance of Ayler's trio with
bassist Gary Peacock,[65] who had worked with Paul Bley, and drummer Sunny Murray, whose
playing was honed with Cecil Taylor as leader. Coltrane championed many young free jazz
musicians such as Archie Shepp,[66] and under his influence Impulse! became a leading free
jazz label.
After A Love Supreme was recorded, Ayler's style became more prominent in Coltrane's music.
A series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing
becoming abstract, with greater incorporation of devices like multiphonics, use of overtones,
and playing in the altissimo register, as well as a mutated return of Coltrane's sheets of sound.
In the studio, he all but abandoned soprano saxophone to concentrate on tenor. The quartet
responded by playing with increasing freedom. The group's evolution can be traced through the
albums The John Coltrane Quartet Plays, Living Space, Transition, New Thing at Newport, Sun
Ship, and First Meditations.
In June 1965, he went into Van Gelder's studio with ten other musicians (including Shepp,[67]
Pharoah Sanders,[67] Freddie Hubbard,[67] Marion Brown, and John Tchicai[67]) to record
Ascension, a 38-minute piece that included solos by young avant-garde musicians.[66] The
album was controversial primarily for the collective improvisation sections that separated the
solos. After recording with the quartet over the next few months, Coltrane invited Sanders to join
the band in September 1965. While Coltrane frequently used overblowing as an emotional
exclamation-point, Sanders "was involved in the search for 'human' sounds on his
instrument,"[68] employing "a tone which blasted like a blow torch"[69] and drastically
expanding the vocabulary of his horn by employing multiphonics, growling, and "high register
squeals [that] could imitate not only the human song but the human cry and shriek as well."[70]
Regarding Coltrane's decision to add Sanders to the band, Gary Giddins wrote "Those who had
followed Coltrane to the edge of the galaxy now had the added challenge of a player who
appeared to have little contact with earth."[71]
There is speculation that in 1965 Coltrane began using LSD,[75][76] informing the "cosmic"
transcendence of his late period. Nat Hentoff wrote: "it is as if he and Sanders were speaking
with 'the gift of tongues' - as if their insights were of such compelling force that they have to
transcend ordinary ways of musical speech and ordinary textures to be able to convey that part
of the essence of being they have touched."[77] After the departure of Tyner and Jones,
Coltrane led a quintet with Sanders on tenor saxophone, his second wife Alice Coltrane on
piano, Garrison on bass, and Ali on drums. When touring, the group was known for playing long
versions of their repertoire, many stretching beyond 30 minutes to an hour. In concert, solos by
band members often extended beyond fifteen minutes.
The group can be heard on several concert recordings from 1966, including Live at the Village
Vanguard Again! and Live in Japan. In 1967, Coltrane entered the studio several times.
Although pieces with Sanders have surfaced (the unusual "To Be" has both men on flute), most
of the recordings were either with the quartet minus Sanders (Expression and Stellar Regions)
or as a duo with Ali. The latter duo produced six performances that appear on the album
Interstellar Space. Coltrane also continued to tour with the second quartet up until two months
before his death; his penultimate live performance and final recorded one, a radio broadcast for
the Olatunji Center of African Culture in New York City, was eventually released as an album in
2001.
Biographer Lewis Porter speculated that the cause of Coltrane's illness was hepatitis, although
he also attributed the disease to Coltrane's heroin use at a previous period in his life.[79]
Frederick J. Spencer wrote that Coltrane's death could be attributed to his needle use "or the
bottle, or both."[80] He stated that "[t]he needles he used to inject the drugs may have had
everything to do with" Coltrane's liver disease: "If any needle was contaminated with the
appropriate hepatitis virus, it may have caused a chronic infection leading to cirrhosis or
cancer."[80] He noted that despite Coltrane's "spiritual awakening" in 1957, "[b]y then, he may
have had chronic hepatitis and cirrhosis ... Unless he developed a primary focus elsewhere in
later life and that spread to his liver, the seeds of John Coltrane's cancer were sown in his days
of addiction."[81]
Coltrane's death surprised many in the music community who were unaware of his condition.
Miles Davis said, "Coltrane's death shocked everyone, took everyone by surprise. I knew he
hadn't looked too good ... But I didn't know he was that sick—or even sick at all."[82]
Instruments
In 1947, when he joined King Kolax's band, Coltrane switched to tenor saxophone, the
instrument he became known for playing.[83] In the early 1960s, during his contract with
Atlantic, he played soprano saxophone.[83]
His preference for playing melody higher on the range of the tenor saxophone is attributed to his
training on alto horn and clarinet. His "sound concept", manipulated in one's vocal tract, of the
tenor was set higher than the normal range of the instrument.[84] Coltrane observed how his
experience playing the soprano saxophone gradually affected his style on the tenor, stating "the
soprano, by being this small instrument, I found that playing the lowest note on it was like
playing ... one of the middle notes in the tenor ... I found that I would play all over this instrument
... And on tenor, I hadn't always played all over it, because I was playing certain ideas which
would just run in certain ranges ... By playing on the soprano and becoming accustomed to
playing from that low B-flat on up, it soon got so when I went to tenor, I found myself doing the
same thing ... And this caused ... the willingness to change and just try to play... as much of the
instrument as possible."[85]
Toward the end of his career, he experimented with flute in his live performances and studio
recordings (Live at the Village Vanguard Again!, Expression). After Eric Dolphy died in June
1964, his mother gave Coltrane his flute and bass clarinet.[86]
According to drummer Rashied Ali, Coltrane had an interest in the drums.[87] He would often
have a spare drum set on concert stages that he would play.[88] His interest in the drums and
his penchant for having solos with the drums resonated on tracks such as "Pursuance" and
"The Drum Thing" from A Love Supreme and Crescent, respectively. It resulted in the album
Interstellar Space with Ali.[89] In an interview with Nat Hentoff in late 1965 or early 1966,
Coltrane stated: "I feel the need for more time, more rhythm all around me. And with more than
one drummer, the rhythm can be more multi-directional."[77] In an August 1966 interview with
Frank Kofsky, Coltrane repeatedly emphasized his affinity for drums, saying "I feel so strongly
about drums, I really do."[90] Later that year, Coltrane would record the music released
posthumously on Offering: Live at Temple University, which features Ali on drums supplemented
by three percussionists.
Coltrane's tenor (Selmer Mark VI, serial number 125571, dated 1965) and soprano (Selmer
Mark VI, serial number 99626, dated 1962) saxophones were auctioned on February 20, 2005,
to raise money for the John Coltrane Foundation.[91]
Although he rarely played alto, he owned a prototype Yamaha alto saxophone given to him by
the company as an endorsement in 1966. He can be heard playing it on live albums recorded in
Japan, such as Second Night in Tokyo, and is pictured using it on the cover of the compilation
Live in Japan. He can also be heard playing the Yamaha alto on the album Stellar Regions.[92]
First marriage
In 1955, Coltrane married Naima (née Juanita Grubbs). Naima Coltrane, a Muslim convert,
heavily influenced his spirituality. When the couple married, she had a five-year-old daughter
named Antonia, later named Syeeda. Coltrane adopted Syeeda. He met Naima at the home of
bassist Steve Davis in Philadelphia. The love ballad he wrote to honor his wife, "Naima", was
Coltrane's favorite composition. In 1956, the couple left Philadelphia with their six-year-old
daughter in tow and moved to New York City. In August 1957, Coltrane, Naima and Syeeda
moved into an apartment on 103rd Street and Amsterdam Avenue. in New York. A few years
later, John and Naima Coltrane purchased a home at 116-60 Mexico Street in St. Albans,
Queens.[96] This is the house where they would break up in 1963.[97]
About the breakup, Naima said in J. C. Thomas's Chasin' the Trane: "I could feel it was going to
happen sooner or later, so I wasn't really surprised when John moved out of the house in the
summer of 1963. He didn't offer any explanation. He just told me there were things he had to do,
and he left only with his clothes and his horns. He stayed in a hotel sometimes, other times with
his mother in Philadelphia. All he said was, 'Naima, I'm going to make a change.' Even though I
could feel it coming, it hurt, and I didn't get over it for at least another year." But Coltrane kept a
close relationship with Naima, even calling her in 1964 to tell her that 90% of his playing would
be prayer. They remained in touch until his death in 1967. Naima Coltrane died of a heart attack
in October 1996.
Second marriage
In 1963, he met pianist Alice McLeod.[103] He and Alice moved in together and had two sons
before he became "officially divorced from Naima in 1966, at which time [he] and Alice were
immediately married."[102] John Jr. was born in 1964, Ravi in 1965, and Oranyan ("Oran") in
1967.[102] According to the musician Peter Lavezzoli, "Alice brought happiness and stability to
John's life, not only because they had children, but also because they shared many of the same
spiritual beliefs, particularly a mutual interest in Indian philosophy. Alice also understood what it
was like to be a professional musician."[102]
In October 1965, Coltrane recorded Om, referring to the sacred syllable in Hinduism, which
symbolizes the infinite or the entire universe. Coltrane described Om as the "first syllable, the
primal word, the word of power".[107] The 29-minute recording contains chants from the Hindu
Bhagavad Gita[108] and the Buddhist Tibetan Book of the Dead,[109] and a recitation of a
passage describing the primal verbalization "om" as a cosmic/spiritual common denominator in
all things.
Veneration
Saint John Coltrane
JohnColtraneWiki.jpg
Coltrane icon at St. John Coltrane African Orthodox Church
Born September 23, 1926
Hamlet, North Carolina, US
Died July 17, 1967 (aged 40)
Huntington, New York, US
Venerated in African Orthodox Church
Episcopal Church
Canonized 1982, St. John Coltrane Church, 2097 Turk Blvd, San Francisco, CA 94115 by
African Orthodox Church[111]
Feast December 8 (AOC)
Patronage All Artists
After Coltrane's death, a congregation called the Yardbird Temple in San Francisco began
worshiping him as God incarnate.[112] The group was named after Charlie "Yardbird" Parker,
whom they equated to John the Baptist.[112] The congregation became affiliated with the
African Orthodox Church; this involved changing Coltrane's status from a god to a saint.[112]
The resultant St. John Coltrane African Orthodox Church, San Francisco, is the only African
Orthodox church that incorporates Coltrane's music and his lyrics as prayers in its liturgy.[113]
Musicians at St John Coltrane African Orthodox Church, San Francisco 2009
Rev. F. W. King, describing the African Orthodox Church of Saint John Coltrane, said "We are
Coltrane-conscious...God dwells in the musical majesty of his sounds."[114]
Coltrane is depicted as one of the 90 saints in the Dancing Saints icon of St. Gregory of Nyssa
Episcopal Church in San Francisco. The icon is a 3,000-square-foot (280 m2) painting in the
Byzantine iconographic style that wraps around the entire church rotunda. It was executed by
Mark Dukes, an ordained deacon at the Saint John Coltrane African Orthodox Church who
painted other icons of Coltrane for the Coltrane Church.[115] Saint Barnabas Episcopal Church
in Newark, New Jersey, included Coltrane on its list of historical black saints and made a "case
for sainthood" for him in an article on its website.[116]
Documentaries about Coltrane and the church include Alan Klingenstein's The Church of Saint
Coltrane (1996),[111][117] and a 2004 program presented by Alan Yentob for the BBC.[118]
Sculptor John Raimondi created an abstract sculpture dedicated to John Coltrane in 2000. The
sculpture, fabricated with patinated bronze, stands 12 feet tall. Smaller scale iterations have
also been fabricated in patinated bronze.
Selected discography
Main article: John Coltrane discography
The discography below lists albums conceived and approved by Coltrane as a leader during his
lifetime. It does not include his many releases as a sideman, sessions assembled into albums
by various record labels after Coltrane's contract expired, sessions with Coltrane as a sideman
later reissued with his name featured more prominently, or posthumous compilations, except for
the one he approved before his death. See main discography link above for full list.