Jimmy Garrison

A Love Supreme

John Coltrane · 1965

The Real McCoy

McCoy Tyner · 1967

The four years of the Coltrane Classic Quartet (1961–65) represent one of the most concentrated periods of creation in jazz history. ElvinElvin Jonesエルヴィン・ジョーンズ's polyrhythm and McCoyMcCoy Tynerマッコイ・タイナー's wide-voicing left hand gave Coltrane something to push against.

A Love Supreme

John Coltrane · 1965

July 26, 1965, Antibes, France. The only known live performance of 'A Love SupremeA Love SupremeJohn Coltrane · 1965' in its entirety. Officially archived by INA (the French national audiovisual institute). The classic quartet at its most ferocious, near the end of the era.

— Coltrane — A Love Supreme, Antibes 1965, 1965

Free for All

Art Blakey · 1964

Hub-Tones

Freddie Hubbard · 1962

Reggie WorkmanReggie Workmanレジー・ワークマン was one of John ColtraneJohn Coltraneジョン・コルトレーン's bassists in the early 1961 sessions before Jimmy GarrisonJimmy Garrisonジミー・ギャリソン became the permanent member. He continued recording with Wayne ShorterWayne Shorterウェイン・ショーター and Art BlakeyArt Blakeyアート・ブレイキー, remaining at the forefront of the avant-garde. On Hub-TonesHub-TonesFreddie Hubbard · 1962 he appeared alongside a young Herbie HancockHerbie Hancockハービー・ハンコック.

A Love Supreme

John Coltrane · 1965

August 1965, Comblain-la-Tour, Belgium. RTBF's color broadcast — a rare and valuable color film of the classic quartet, captured just days after the Antibes 'A Love SupremeA Love SupremeJohn Coltrane · 1965' performance, with the band still riding that intensity.

— Coltrane — Comblain-la-Tour 1965, 1965

A Love Supreme

John Coltrane · 1965

Jimmy GarrisonJimmy Garrisonジミー・ギャリソン joined John ColtraneJohn Coltraneジョン・コルトレーン's quartet in late 1961. His pedal-point bass on the opening of A Love SupremeA Love SupremeJohn Coltrane · 1965, anchoring the four-note 'a love supreme' motif, became his most celebrated contribution.

— John Coltrane: His Life and Music, Lewis Porter, 1998

Jimmy GarrisonJimmy Garrisonジミー・ギャリソン developed a distinctive technique of strumming the bass like a flamenco guitar. From 1965 onward at John ColtraneJohn Coltraneジョン・コルトレーン's live shows, his extended unaccompanied bass solos became a ritual introduction to the music.

— The House That Trane Built: The Story of Impulse Records, Ashley Kahn, 2006