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From Wikipedia, the free encyclopedia

John Coltrane
John Coltrane 1963.jpg
Coltrane in 1963
Background information
Birth nameJohn William Coltrane
Born(1926-09-23)September 23, 1926
Hamlet, North Carolina, U.S.
DiedJuly 17, 1967(1967-07-17) (aged 40)
Huntington, New York
Genres
Occupation(s)
  • Musician
  • composer
  • bandleader
InstrumentsTenor, soprano, and alto saxophone, flute
Years active1945–1967
Labels
Associated acts
WebsiteJohnColtrane.com

John William Coltrane (September 23, 1926 – July 17, 1967) was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes and was 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. He remains one of the most influential saxophonists in music history. He received many posthumous awards, including canonization by the African Orthodox Church and a Pulitzer Prize in 2007.[1] His second wife was pianist Alice Coltrane and their son, Ravi Coltrane, is also a saxophonist.

Biography

Early life and career (1926–1954)

Coltrane's first recordings were made when he was a sailor.
Coltrane's first recordings were made when he was a sailor.

Coltrane was born in his parents' apartment at 200 Hamlet Avenue in Hamlet, North Carolina on September 23, 1926.[2] His father was John R. Coltrane[3] and his mother was Alice Blair.[4] He grew up in High Point, North Carolina and attended William Penn High School. Beginning in December 1938, his father, aunt, and grandparents died within a few months of each other, leaving him to be raised by his mother and a close cousin.[5] In June 1943, he moved to Philadelphia. In September, his mother bought him his first saxophone, an alto.[4] He played clarinet and alto horn in a community band before beginning alto saxophone in high school. From early to mid-1945 he had his first professional work: a "cocktail lounge trio" with piano and guitar.[6]

To avoid being drafted by the Army, Coltrane enlisted in the Navy on August 6, 1945, the day the first U.S. atomic bomb was dropped on Japan.[7] He was trained as an apprentice seaman at Sampson Naval Training Station in upstate New York before he was shipped to Pearl Harbor,[7] where he was stationed at Manana Barracks,[8] the largest posting of African-American servicemen in the world.[9] By the time he got to Hawaii in late 1945, the Navy was downsizing. Coltrane's musical talent was recognized, and he became one of the few Navy men to serve as a musician without having been granted musician's rating when he joined the Melody Masters, the base swing band.[7] As the Melody Masters was an all-white band, however, Coltrane was treated merely as a guest performer to avoid alerting superior officers of his participation in the band.[10] He continued to perform other duties when not playing with the band, including kitchen and security details. By the end of his service, he had assumed a leadership role in the band. His first recordings, an informal session in Hawaii with Navy musicians, occurred on July 13, 1946.[11] He played alto saxophone on a selection of jazz standards and bebop tunes.[12]

After being discharged from the Navy as a seaman first class in August 1946, Coltrane returned to Philadelphia, where he "plunged into the heady excitement of the new music and the blossoming bebop scene."[13] After touring with King Kolax, he joined a band led by Jimmy Heath, who was introduced to Coltrane's playing by his former Navy buddy, trumpeter William Massey, who had played with Coltrane in the Melody Masters.[14] He studied jazz theory with guitarist and composer Dennis Sandole and continued under Sandole's tutelage through the early 1950s. Although he started on alto saxophone, he began playing tenor saxophone in 1947 with Eddie Vinson.[15]

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."[16] 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." [17]

An important moment in the progression of Coltrane's musical development occurred on June 5, 1945, when he saw Charlie Parker perform for the first time. In a DownBeat magazine article in 1960 he recalled, "the first time I heard Bird play, it hit me right between the eyes." Parker became an idol, and they played 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.

Miles and Monk period (1955–1957)

In the summer of 1955, Coltrane was freelancing in Philadelphia while studying with guitarist Dennis Sandole when he received a call from Davis. The trumpeter, whose success during the late forties had been followed by several years of decline in activity and reputation, due in part to his struggles with heroin, was again active and about to form a quintet. Coltrane was with this edition of the Davis band (known as the "First Great Quintet"—along with Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums) from October 1955 to April 1957 (with a few absences). During this period Davis released several influential recordings that revealed the first signs of Coltrane's growing ability. This quintet, represented by two marathon recording sessions for Prestige in 1956, resulted in the albums Cookin,' Relaxin', Workin', and Steamin'. The "First Great Quintet" disbanded due in part to Coltrane's heroin addiction.

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 albums for Prestige under his own name at this time, but Monk refused to record for his old label.[citation needed] 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 also 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 widely acclaimed.

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. Both tunes employed the first examples of his chord substitution cycles known as Coltrane changes.

Davis and Coltrane

Coltrane rejoined Davis in January 1958. In October of that year, jazz critic Ira Gitler coined the term "sheets of sound" to describe the style Coltrane developed with Monk and was perfecting in Davis's group, now a sextet. His playing was compressed, with rapid runs cascading in hundreds of notes per minute. He 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).

Period with Atlantic Records (1959–1961)

At the end of this period Coltrane recorded his first album as leader for Atlantic Records, Giant Steps (1959), which contained only his compositions. The album's title track is generally considered to have one of the most difficult chord progressions of any widely played jazz composition. Giant Steps utilizes Coltrane changes. His development of these altered chord progression cycles led to further experimentation with improvised melody and harmony that he continued throughout his career.

Coltrane formed his first quartet for live performances in 1960 for an appearance at the Jazz Gallery in New York City. After moving through different personnel including Steve Kuhn, Pete La Roca, and Billy Higgins, the lineup stabilized in the fall with pianist McCoy Tyner, bassist Steve Davis, and drummer Elvin Jones. Tyner, from Philadelphia, had been a friend of Coltrane's for some years and the two men had an understanding that the pianist would join Coltrane when Tyner felt ready for the exposure of regularly working with him. Also recorded in the same sessions[clarification needed] were the later released albums Coltrane's Sound (1964) and Coltrane Plays the Blues (1962).

Coltrane's first record with his new group was also his debut playing the soprano saxophone, the hugely successful My Favorite Things (1961). Around the end of his tenure with Davis, Coltrane had begun playing soprano, an unconventional move considering the instrument's neglect in jazz at the time. His interest in the straight saxophone most likely arose from his admiration for Sidney Bechet and the work of his contemporary, Steve Lacy, even though Davis claimed to have given Coltrane his first soprano saxophone. The new soprano sound was coupled with further exploration. For example, on the Gershwin tune "But Not for Me", Coltrane employs the kinds of restless harmonic movement used on Giant Steps (movement in major thirds rather than conventional perfect fourths) over the A sections instead of a conventional turnaround progression. Several other tracks recorded in the session utilized this harmonic device, including "26-2", "Satellite", "Body and Soul", and "The Night Has a Thousand Eyes".

First years with Impulse Records (1961–1962)

Coltrane in Amsterdam, 1961)
Coltrane in Amsterdam, 1961)

In May 1961, Coltrane's contract with Atlantic was bought by Impulse!.[18] An advantage to recording with Impulse! was that it enabled him to work again with engineer Rudy Van Gelder, who had recorded his and Davis's sessions for Prestige. He recorded most of his albums for Impulse! at Van Gelder's studio in Englewood Cliffs, New Jersey.

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!"[19] The most celebrated of the Vanguard tunes, the 15-minute blues "Chasin' the 'Trane", was strongly inspired by Gilmore's music.[20]

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, Down Beat magazine called Coltrane and Dolphy players of "anti-jazz" in an article that bewildered and upset the musicians.[20] 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".[21]

Classic Quartet period (1962–1965)

In 1962, Dolphy departed and Jimmy Garrison replaced Workman as bassist. From then on, the "Classic Quartet", as it came to be known, with Tyner, Garrison, and Jones, produced searching, spiritually driven work. Coltrane was moving toward a more harmonically static style that allowed him to expand his improvisations rhythmically, melodically, and motivically. Harmonically complex music was still present, but on stage Coltrane heavily favored continually reworking his "standards": "Impressions", "My Favorite Things", and "I Want to Talk About You".

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 collaborations with Duke Ellington on the album Duke Ellington and John Coltrane, and with deep-voiced ballad singer Johnny Hartman on an eponymous co-credited album. The album Ballads (recorded 1961–62) is emblematic of Coltrane's versatility, as the quartet shed new light on old-fashioned 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."[citation needed]

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 once—in July 1965 at a concert in Antibes, France. [22]

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 gave to his wife.[23][24]

Avant-garde jazz and the second quartet (1965–1967)

As Coltrane's interest in jazz became experimental, he added Pharoah Sanders (center; circa 1978) to his ensemble.
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, Albert Ayler, and Sun Ra. He was especially influenced by the dissonance of Ayler's trio with bassist Gary Peacock, 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, 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, Pharoah Sanders, Freddie Hubbard, Marion Brown, and John Tchicai) to record Ascension, a 40-minute piece that included solos by young avant-garde musicians. 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 over-blowing as an emotional exclamation-point, Sanders would overblow entire solos, resulting in a constant screaming and screeching in the altissimo range of the instrument.

Adding to the quartet

Percussionist Rashied Ali (pictured in 2007) augmented Coltrane's sound.
Percussionist Rashied Ali (pictured in 2007) augmented Coltrane's sound.

By late 1965, Coltrane was regularly augmenting his group with Sanders and other free jazz musicians. Rashied Ali joined the group as a second drummer. This was the end of the quartet. Claiming he was unable to hear himself over the two drummers, Tyner left the band shortly after the recording of Meditations. Jones left in early 1966, dissatisfied by sharing drumming duties with Ali. After Coltrane's death, Tyner and Jones in interviews expressed displeasure with the music's direction, while incorporating some of the free-jazz form's intensity in their solo work.

There is speculation that in 1965 Coltrane began using LSD,[25][26] informing the "cosmic" transcendence of his late period. 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. Coltrane and Sanders were described by Nat Hentoff as "speaking in tongues". 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.

Instruments

In 1947, when he joined King Kolax's band, Coltrane switched to tenor saxophone, the instrument he became known for playing.[27] In the early 1960s, during his engagement with Atlantic, he played soprano saxophone.[27]

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.[28]

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 Dolphy died in June 1964, his mother gave Coltrane his flute and bass clarinet.[29]

According to drummer Rashied Ali, Coltrane had an interest in the drums. He would often have a spare drum set on concert stages that he would play. 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.[30]

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.[31]

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.[32]

Personal life and religious beliefs

Coltrane was born and raised in a Christian home. He was influenced by religion and spirituality beginning in childhood. His maternal grandfather, the Reverend William Blair, was a minister at an African Methodist Episcopal Zion Church[33][34] in High Point, North Carolina, and his paternal grandfather, the Reverend William H. Coltrane, was an A.M.E. Zion minister in Hamlet, North Carolina.[33] Critic Norman Weinstein noted the parallel between Coltrane's music and his experience in the southern church,[35] which included practicing music there as a youth.

In 1955, Coltrane married Naima (nee Juanita Grubbs). Naima Coltrane, a Muslim convert, heavily influenced his spirituality. When they married, she had a five-year-old daughter named Antonia, later named Saeeda. Coltrane adopted Saeeda. 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 Saeeda moved into an apartment on 103rd St. and Amsterdam Ave. in New York. A few years later, John and Naima Coltrane purchased a home at 116-60 Mexico Street in St. Albans, Queens.[36] This is the house where they would break up in 1963.[37]

About the break up, 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.

In 1957, Coltrane had a religious experience that may have helped him overcome the heroin addiction[38][39] and alcoholism[39] he had struggled with since 1948.[40] In the liner notes of A Love Supreme, Coltrane states that in 1957 he experienced "by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life. At that time, in gratitude, I humbly asked to be given the means and privilege to make others happy through music." The liner notes appear to mention God in a Universalist sense and do not advocate one religion over another.[41] Further evidence of this universal view can be found in the liner notes of Meditations (1965) in which Coltrane declares, "I believe in all religions."[42]

Coltrane and Naima divorced in 1966. In 1963, he met pianist Alice McLeod.[43] He and Alice moved in together and had two sons before he was "officially divorced from Naima in 1966, at which time John and Alice were immediately married."[42] John Jr. was born in 1964, Ravi in 1965, and Oranyan ("Oran") in 1967.[42] 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."[42]

After A Love Supreme, many of the titles of his songs and albums had spiritual connotations: Ascension, Meditations, Om, Selflessness, "Amen", "Ascent", "Attaining", "Dear Lord", "Prayer and Meditation Suite", and "The Father and the Son and the Holy Ghost".[42] His collection of books included The Gospel of Sri Ramakrishna, the Bhagavad Gita, and Paramahansa Yogananda's Autobiography of a Yogi. The last of these describes, in Lavezzoli's words, a "search for universal truth, a journey that Coltrane had also undertaken. Yogananda believed that both Eastern and Western spiritual paths were efficacious, and wrote of the similarities between Krishna and Christ. This openness to different traditions resonated with Coltrane, who studied the Qur'an, the Bible, Kabbalah, and astrology with equal sincerity."[44] He also explored Hinduism, Jiddu Krishnamurti, African history, the philosophical teachings of Plato and Aristotle,[45] and Zen Buddhism.[46]

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".[47] The 29-minute recording contains chants from the Hindu Bhagavad Gita[48] and the Buddhist Tibetan Book of the Dead,[49] and a recitation of a passage describing the primal verbalization "om" as a cosmic/spiritual common denominator in all things.

Coltrane's spiritual journey was interwoven with his investigation of world music. He believed in not only a universal musical structure that transcended ethnic distinctions, but also being able to harness the mystical language of music itself. His study of Indian music led him to believe that certain sounds and scales could "produce specific emotional meanings." According to Coltrane, the goal of a musician was to understand these forces, control them, and elicit a response from the audience. He said, "I would like to bring to people something like happiness. I would like to discover a method so that if I want it to rain, it will start right away to rain. If one of my friends is ill, I'd like to play a certain song and he will be cured; when he'd be broke, I'd bring out a different song and immediately he'd receive all the money he needed."[50]

Death

Coltrane died of liver cancer at the age of 40 on July 17, 1967 at Huntington Hospital in Long Island. His funeral was held four days later at St. Peter's Lutheran Church in New York City. The service was started by the Albert Ayler Quartet and finished by the Ornette Coleman Quartet. Coltrane is buried at Pinelawn Cemetery in Farmingdale, New York.

Biographer Lewis Porter suggested that the cause of Coltrane's illness was hepatitis, although he also attributed the disease to Coltrane's heroin use.[51] Coltrane's death surprised many in the musical community who were unaware of his condition. 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."[52]

Awards and honors

John Coltrane House, 1511 North Thirty-third Street, Philadelphia
John Coltrane House, 1511 North Thirty-third Street, Philadelphia

In 1965, Coltrane was inducted into the Down Beat Jazz Hall of Fame. In 1972, A Love Supreme was certified gold by the RIAA for selling over half a million copies in Japan. This album was certified gold in the United States in 2001. In 1982 he was awarded a posthumous Grammy for Best Jazz Solo Performance on the album Bye Bye Blackbird, and in 1997 he was awarded the Grammy Lifetime Achievement Award.[16] In 2002, scholar Molefi Kete Asante named him one of his 100 Greatest African Americans.[53] He was awarded a special Pulitzer Prize in 2007 citing his "masterful improvisation, supreme musicianship and iconic centrality to the history of jazz."[1] He was inducted into the North Carolina Music Hall of Fame in 2009.[54]

A former home, the John Coltrane House in Philadelphia, was designated a National Historic Landmark in 1999. His last home, the John Coltrane Home in the Dix Hills district of Huntington, New York, where he resided from 1964 until his death, was added to the National Register of Historic Places on June 29, 2007. Their son Ravi, named after Ravi Shankar, is also a saxophonist.

The parent company of Impulse!, from 1965 to 1979 known as ABC Records, purged much of its unreleased material in the 1970s.[55]

Chasing Trane: The John Coltrane Documentary, is a 2016 American film directed by John Scheinfeld. Narrated by Denzel Washington, the film chronicles the life of Coltrane in his own words and includes interviews with such admirers as Wynton Marsalis, Sonny Rollins, Bill Clinton, and Cornel West.[56]

Veneration

Saint John William Coltrane
JohnColtraneWiki.jpg
Coltrane icon at St. John Coltrane African Orthodox Church
Born(1926-09-23)September 23, 1926
Hamlet, North Carolina, US
DiedJuly 17, 1967(1967-07-17) (aged 40)
Huntington, New York, US
Venerated inAfrican Orthodox Church
PatronageAll Artists Information about Coltrane's canonization

After Coltrane's death, a congregation called the Yardbird Temple in San Francisco began worshiping him as God incarnate.[57] The group was named after Charlie Parker, whom they equated to John the Baptist.[57] The congregation became affiliated with the African Orthodox Church; this involved changing Coltrane's status from a god to a saint.[57] 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.[58]

Samuel G. Freedman wrote in The New York Times, "the Coltrane church is not a gimmick or a forced alloy of nightclub music and ethereal faith. Its message of deliverance through divine sound is actually quite consistent with Coltrane's own experience and message....In both implicit and explicit ways, Coltrane also functioned as a religious figure. Addicted to heroin in the 1950s, he quit cold turkey, and later explained that he had heard the voice of God during his anguishing withdrawal. [...] In 1966, an interviewer in Japan asked Coltrane what he hoped to be in five years, and Coltrane replied, 'a saint'."[57]

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.[59] 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.[60]

Documentaries about Coltrane and the church include Alan Klingenstein's The Church of Saint Coltrane (1996),[61][62] and a 2004 program presented by Alan Yentob for the BBC.[63]

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.

Prestige and Blue Note Records

Atlantic Records

Impulse! Records

Sessionography

Notes

  1. ^ a b "The 2007 Pulitzer Prize Winners: Special Awards and Citations". The Pulitzer Prizes. Retrieved June 29, 2009. With reprint of short biography.
  2. ^ DeVito et al., p. 1
  3. ^ DeVito et al., p. 2
  4. ^ a b DeVito et al.\, p. 3
  5. ^ Porter, pp. 15–17
  6. ^ DeVito et al., p. 5
  7. ^ a b c "Orlando Style Magazine July/August 2016 Issue". issuu. Retrieved 2017-01-11.
  8. ^ Porter, Lewis (January 1998). John Coltrane: His Life and Music. University of Michigan Press. ISBN 978-0-472-10161-0. Retrieved 25 November 2018.
  9. ^ "John Coltrane: Legendary and Revolutionary Saxophonist in the History of Jazz Music". blackthen.com. Retrieved 2018-06-08.
  10. ^ Ratliff, Ben (28 October 2008). Coltrane: The Story of a Sound. Farrar, Straus and Giroux. pp. 12–. ISBN 978-1-4299-9862-8. Retrieved 25 November 2018.
  11. ^ DeVito et al., p. 367
  12. ^ DeVito et al., pp. 367–368
  13. ^ Porter, Lewis. John Coltrane: His Life and Music. University of Michigan Press. ISBN 0-472-10161-7.
  14. ^ Wilson, Joe (30 October 1945). "Musically Speaking". The Mananan.
  15. ^ Alexander, Leslie M.; Rucker Jr., Walter C. (9 February 2010). Encyclopedia of African American History [3 volumes&#93. ABC-CLIO. pp. 178–. ISBN 978-1-85109-774-6. Retrieved 25 November 2018.
  16. ^ a b "John Coltrane Biography". The John Coltrane Foundation. May 11, 2007. Archived from the original on December 6, 2015. Retrieved June 29, 2009.
  17. ^ Armstrong, Rob (February 8, 2013). "There Was No End to the Music". Hidden City Philadelphia. Retrieved July 12, 2015.
  18. ^ Ratliff, Ben (2007). Coltrane: The story of a Sound (1st ed.). New York: Farrar, Straus and Giroux. ISBN 0-374-12606-2.
  19. ^ Corbett, John. "John Gilmore: The Hard Bop Homepage". Down Beat.
  20. ^ a b Kofsky, Frank (1970). Black Nationalism and the Revolution in Music: John Coltrane: An Interview. Pathfinder Press. p. 235.
  21. ^ Nisenson, p. 179
  22. ^ Flynn, Mike. "50th anniversary of Coltrane's A Love Supreme celebrated by Gary Crosby Quartet at Southbank". Retrieved 2018-07-02.
  23. ^ Beaumont-Thomas, Ben (2018-06-08). "'A new room in the Great Pyramid': lost 1963 John Coltrane album discovered". the Guardian. Retrieved 2018-06-08.
  24. ^ Vincent, Alice (2018-06-08). "Long-lost John Coltrane album set for release". The Telegraph. ISSN 0307-1235. Retrieved 2018-06-08.
  25. ^ Porter, pp. 265–266.
  26. ^ Mandel, Howard (January 30, 2008). "John Coltrane: Divine Wind". The Wire (221). Archived from the original on September 29, 2009. Retrieved June 29, 2009.
  27. ^ a b Ruhlmann, William. "John Coltrane". AllMusic. Retrieved 25 November 2018.
  28. ^ "Secret of John Coltrane's high notes revealed", Roger Highfield, The Telegraph, Sunday June 12, 2011
  29. ^ Cole, Bill (2001). John Coltrane (2nd ed.). New York: Da Capo Press. p. 158. ISBN 030681062X.
  30. ^ Jazz, All About. "Rashied Ali". All About Jazz. Retrieved 2018-03-16.
  31. ^ "John Coltrane's Saxophones". drrick.com. Retrieved April 7, 2011.
  32. ^ "John Coltrane - Owned & Stage Played Alto Saxophone With Full Documentation". Recordmecca.
  33. ^ a b Porter, pp. 5-6
  34. ^ Lavezzoli, p. 270
  35. ^ Weinstein, Norman C. (1933). A Night in Tunisia: Imaginings of Africa in Jazz. Hal Leonard. p. 61. ISBN 0-87910-167-9.
  36. ^ Porter, Lewis; DeVito, Chris; Wild, David (26 April 2013). The John Coltrane Reference. Routledge. pp. 323-. ISBN 1-135-11257-6. Retrieved 25 November 2018.
  37. ^ "John Coltrane: Naima". JazzWax.com. June 15, 2009. Archived from the original on January 21, 2017. Retrieved January 16, 2017.
  38. ^ Porter, p. 61
  39. ^ a b Lavezzoli, p. 271
  40. ^ Lavezzoli, pp. 272-273
  41. ^ John Coltrane's liner notes to A Love Supreme, December 1964 Archived June 8, 2011, at the Wayback Machine.
  42. ^ a b c d e Lavezzoli, p. 286
  43. ^ Lavezzoli, p. 281
  44. ^ Lavezzoli, pp. 280-281
  45. ^ Emmett G. Price III. "John Coltrane, "A Love Supreme" and GOD". allaboutjazz.com. Archived from the original on January 3, 2009. Retrieved October 9, 2008.
  46. ^ Lavezzoli, pp. 286-287
  47. ^ Porter, p. 265
  48. ^ Lavezzoli, p. 285: "Coltrane and one or two other musicians begin and end the piece by chanting in unison a verse from chapter nine ("The Yoga of Mysticism") of the Bhagavad Gita: Rites that the Vedas ordain, and the rituals taught by the scriptures: all these I am, and the offering made to the ghosts of the fathers, herbs of healing and food, the mantram, the clarified butter. I the oblation, and I the flame into which it is offered. I am the sire of the world, and this world's mother and grandsire. I am he who awards to each the fruit of his action. I make all things clean. I am Om!"
  49. ^ Nisenson, p. 183
  50. ^ Porter, p. 211
  51. ^ Porter, p. 292
  52. ^ Porter, p. 290
  53. ^ Asante, Molefi Kete (2002). 100 Greatest African Americans: A Biographical Encyclopedia. Amherst, New York. Prometheus Books. ISBN 1-57392-963-8.
  54. ^ "2009 Inductees". North Carolina Music Hall of Fame. Retrieved September 10, 2012.
  55. ^ "ABC-Paramount Records Story", by David Edwards, Patrice Eyries, and Mike Callahan, Both Sides Now website, retrieved January 29, 2007.
  56. ^ McNary, Dave (March 16, 2017). "John Coltrane Documentary 'Chasing Trane' Gets Release Date". Variety. ISSN 0042-2738.
  57. ^ a b c d Freedman, Samuel G. (1 December 2007). "Sunday Religion, Inspired by Saturday Nights". The New York Times. Retrieved 25 November 2018.
  58. ^ Article "The Jazz Church" Archived August 12, 2006, at the Wayback Machine. by Gordon Polatnick at www.elvispelvis.com
  59. ^ The Dancing Saints Archived December 18, 2010, at the Wayback Machine.. Saint Gregory's of Nyssa Episcopal Church
  60. ^ ""John Coltrane The Case for Sainthood"". Archived from the original on May 10, 2009. Retrieved 2011-04-03.. St. Barnabas Episcopal Church website.
  61. ^ "The Church of Saint Coltrane (1996)". The New York Times. Retrieved 2012-04-16.
  62. ^ "Alan Klingenstein". Huffington Post. 2008-02-05. Archived from the original on December 22, 2015. Retrieved 2012-04-16.
  63. ^ 2004 BBC documentary on the Saint John Coltrane African Orthodox Church at www.diverse.tv

References

Further reading

  • Baham III, Nicholas (2015) [2015]. The Coltrane Church: Apostles of Sound, Agents of Social Justice. McFarland. ISBN 0786494964.
  • Kahn, Ashley (2003) [2002]. A Love Supreme: The Story of John Coltrane's Signature Album. Elvin Jones. Penguin Books. ISBN 0-14-200352-2.
  • Simpkins, Cuthbert (1989) [1975]. Coltrane: A Biography. New York: Herndon House Publishers. ISBN 0-915542-82-X.
  • Thomas, J.C. (1975). Chasin' the Trane. New York: Da Capo. ISBN 0-306-80043-8.
  • Woideck, Carl (1998). The John Coltrane Companion. New York: Schirmer Books. ISBN 0-02-864790-4.
  • Peter Jan Margry & Daniel Wojcik (2017), 'A Saxophone Divine. The Transformative Power of Saint John Coltrane's Jazz Music in San Francisco's Fillmore District', in: V. Hegner and P.J. Margry (editors), Spiritualizing the City: Agency and Resilience of the Urban and Urbanesque Habitat. Milton Park: Routledge, 169–194.

External links

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