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About John Coltrane

393

Album Review

John Coltrane: Ascension

Read "Ascension" reviewed by Derek Taylor

by Derek Taylor

There are a number of pivotal recordings that fostered the early development of free jazz but Coltrane's Ascension remains at the apex. Building on precepts first posited through Ornette Coleman's Free Jazz Coltrane constructed an edifice of unfettered collective expression that still manages to confound as many listeners as it convinces. My first experience with this music was accompanied by emotions of skepticism and even dislike. I'd read and heard plenty of its importance and influence, but after the opening ...

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419

Album Review

John Coltrane: Soultrane

Read "Soultrane" reviewed by Douglas Payne

by Douglas Payne

Tenor Titan John Coltrane (1926-67) made his solo recording debut on Prestige in 1956 and during his two and a half years with the label, sat in on an incredible 25 sessions. In 1958 alone, he'd recorded eight albums for the label and Prestige had enough material to continue releasing new Coltrane material into 1964! He never slowed down, leaving Prestige to record prolifically for Atlantic. Then, of course, there were the truckloads of significant records made for ...

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228

Album Review

The John Coltrane Memorial: Coltrane

Read "Coltrane" reviewed by C. Michael Bailey

by C. Michael Bailey

Academic Freedom. The John Coltrane Memorial Concert was inaugurated on July 17, 1977, the 10th anniversary of the saxophonist’s death. It was originally organized by percussionist Syd Smart, bassist Hayes Burnet, and Saxophonist Leonard Brown. The reception of this idea was so great that it developed into an annual event on the Boston music scene. The 14th Annual concert was captured by Greenline Records, a teaching label associated with Northeastern University in Boston. As John Coltrane is among only a ...

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446

Album Review

John Coltrane: Coltrane's Sound

Read "Coltrane's Sound" reviewed by Douglas Payne

by Douglas Payne

Something about John Coltrane's brief but prodigious Atlantic period (1959-61) reminds me of my hometown, Pittsburgh - even though none of these sessions were recorded there, nor were any of these brilliant musicians from the Steel town. There's something honest, soulful, down-home and deeply touching in this music. Always takes me back; makes me miss Pittsburgh too. Spin Coltrane's Sound and even non-jazz fans sense something. It's a warm, human sound that takes listeners somewhere they like to ...

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464

Album Review

John Coltrane: The Classic Quartet: The Complete Impulse! Studio Recordings

Read "The Classic Quartet: The Complete Impulse! Studio Recordings" reviewed by Robert Spencer

by Robert Spencer

The Complete Impulse! Studio Recordings covers recordings made by John Coltrane's “classic quartet" from 1961 through 1965. The “classic quartet" usually denotes Coltrane, pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones, and all the studio recordings by that ensemble are here. Also included are recordings made in 1963 and 1965 with Roy Haynes subbing for Jones, and one featuring bassist Art Davis added to the quartet.

These four years of recordings, filling eight discs, stand as Coltrane's most ...

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523

Album Review

John Coltrane: John Coltrane: The Prestige Recordings

Read "John Coltrane: The Prestige Recordings" reviewed by Robert Spencer

by Robert Spencer

John Coltrane: The Prestige Recordings chronicles the first great segment of the master's career. The sixteen discs in this mammoth set were all recorded between 1956 and 1958, when Coltrane was a member of Miles Davis' and then Thelonious Monk's ensembles. It's not the Complete Prestige Recordings because it doesn't include material Coltrane recorded with Davis, which is available in the Prestige Davis box. Nevertheless, it's a feast of great music from an underrated and lesser-known period in Coltrane's musical ...

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209

Album Review

Ray Draper: The Ray Draper Quintet Featuring John Coltrane

Read "The Ray Draper Quintet Featuring John Coltrane" reviewed by Douglas Payne

by Douglas Payne

What makes this fairly typical bop outing unique is that the leader plays tuba. Ray Draper (1940-82) was only 17 when he recorded this quintet date in 1957, his third of three for Prestige, and, as much as possible, he makes the clunky instrument swing. As Ira Gitler's interesting notes point out, the tuba was a pretty common rhythm instrument in the early days of jazz. Then the string bass came along and took its place. Draper, who was featured ...

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