John Coltrane

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.

Cookin' with the Miles Davis Quintet

Miles Davis · 1957

In two marathon sessions in May and October 1956, MilesMiles Davisマイルス・デイヴィス recorded enough material for four Prestige albums in two days. He was about to move to Columbia — fulfilling a contract obligation — but what remained was some of the most essential jazz ever captured.

— Kind of Blue: The Making of the Miles Davis Masterpiece, Ashley Kahn, 2000

Kind of Blue

Miles Davis · 1959

Kind of BlueKind of BlueMiles Davis · 1959 (1959) was recorded almost entirely at sight. MilesMiles Davisマイルス・デイヴィス showed musicians only the skeletal structures beforehand — no one knew what they were playing until the day. Bill EvansBill Evansビル・エヴァンス's liner notes defined how to hear the record.

— Kind of Blue: The Making of the Miles Davis Masterpiece, Ashley Kahn, 2000

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

In November 1961, John ColtraneJohn Coltraneジョン・コルトレーン recorded a two-week residency at the Village Vanguard with an expanded group including Eric Dolphy and Reggie WorkmanReggie Workmanレジー・ワークマン, stretching out on "Chasin' the Trane." DownBeat called it "anti-jazz" — and it opened the door to free jazz.

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

Kind of Blue

Miles Davis · 1959

Jimmy CobbJimmy Cobbジミー・コブ is the sole drummer on Kind of BlueKind of BlueMiles Davis · 1959 (1959), playing all five tracks. Replacing Philly Joe JonesPhilly Joe Jonesフィリー・ジョー・ジョーンズ in the transitional period between Miles's first and second great quintets, he brought a lighter, more swinging approach.

— Kind of Blue: The Making of the Miles Davis Masterpiece, Ashley Kahn, 2000

Giant Steps

John Coltrane · 1960

In May 1959, Tommy FlanaganTommy Flanaganトミー・フラナガン played on John ColtraneJohn Coltraneジョン・コルトレーン's Giant StepsGiant StepsJohn Coltrane · 1960 session. His solo struggled to keep up with the unprecedented chord changes of the title track — a legendary moment Flanagan would later acknowledge as "an accident."

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

"I want to offer you a hymn of praise. This is the only way I know how."

From the poem in the liner notes of A Love Supreme (1965). The line directly expresses the spirit of the four-movement suite, written as a thanksgiving to God.

'Round About Midnight

Miles Davis · 1957

Milestones

Miles Davis · 1958

From 1955–60, ColtraneJohn Coltraneジョン・コルトレーン played with MilesMiles Davisマイルス・デイヴィス while searching for his own voice. The 'sheets of sound' style emerged in this period. MilesMiles Davisマイルス・デイヴィス criticized him but never fired him.

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

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

2023, a Black Music Month Tiny Desk. Harpist Brandee YoungerBrandee Youngerブランディー・ヤンガー plays from 'Brand New Life' and 'Lift Ev'ry Voice and Sing' — extending the lineage of Dorothy Ashby and Alice John ColtraneJohn Coltraneジョン・コルトレーン into the present.

— NPR Music Tiny Desk Concert, 2023

Mark Turner

Mark Turner · 1998

2022, BIMHUIS, Amsterdam. Mark TurnerMark TurnerMark Turner · 1998 Quartet. From BIMHUIS TV. Among the post-John ColtraneJohn Coltraneジョン・コルトレーン generation, Turner has one of the most distinctive tenor voices.

— BIMHUIS TV, 2022

Curtis FullerCurtis Fullerカーティス・フラー expanded the possibilities of trombone in jazz. Beyond his celebrated work with Art BlakeyArt Blakeyアート・ブレイキー's Jazz Messengers, he appeared on John ColtraneJohn Coltraneジョン・コルトレーン's Blue Train — one of the most iconic trombone performances in hard bop.

— Art Blakey: Jazz Messenger, Leslie Gourse, 2002

Cookin' with the Miles Davis Quintet

Miles Davis · 1957

In just two days (May and October 1956), Miles DavisMiles Davisマイルス・デイヴィス's quintet marathon-recorded four albums including Cookin' with the Miles Davis QuintetCookin' with the Miles Davis QuintetMiles Davis · 1957. Squeezed between his Prestige contract ending and his Columbia move, those sessions became hard bop's reference point.

— Kind of Blue: The Making of the Miles Davis Masterpiece, Ashley Kahn, 2000

Blue Train (1957) was John ColtraneJohn Coltraneジョン・コルトレーン's sole Blue Note album. With a three-horn front line including Lee MorganLee Morganリー・モーガン and Curtis FullerCurtis Fullerカーティス・フラー, it captured his hard-bop side just before he systematized "sheets of sound."

— Blue Note Records: The Biography, Richard Cook, 2003

Meditations (November 1965) marked the dissolution of John ColtraneJohn Coltraneジョン・コルトレーン's classic quartet. Elvin JonesElvin Jonesエルヴィン・ジョーンズ and McCoy TynerMcCoy Tynerマッコイ・タイナー left; Pharoah Sanders and Rashied Ali joined. Free jazz had taken over.

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

On Ascension (June 1965), John ColtraneJohn Coltraneジョン・コルトレーン recorded a 40-minute collective improvisation with an eleven-piece ensemble — a monument of free jazz where George Russell's influence and the extreme of "sheets of sound" converged.

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

Kind of Blue

Miles Davis · 1959

Cannonball AdderleyCannonball Adderleyキャノンボール・アダレイ recalled being shown Miles DavisMiles Davisマイルス・デイヴィス's sketches only on the day of the Kind of BlueKind of BlueMiles Davis · 1959 sessions. His joyous blues sensibility on 'Freddie Freeloader' and 'All Blues' provided a vivid contrast to John ColtraneJohn Coltraneジョン・コルトレーン's introspection.

— Kind of Blue: The Making of the Miles Davis Masterpiece, Ashley Kahn, 2000

A Love Supreme

John Coltrane · 1965

McCoy TynerMcCoy Tynerマッコイ・タイナー anchored John ColtraneJohn Coltraneジョン・コルトレーン's classic quartet from 1960 to 1965. His left-hand quartal voicings and right-hand pentatonic flurries provided the harmonic foundation of A Love SupremeA Love SupremeJohn Coltrane · 1965.

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

In late 1965 McCoy TynerMcCoy Tynerマッコイ・タイナー left John ColtraneJohn Coltraneジョン・コルトレーン, unable to follow the leader's increasingly free direction. He said he 'couldn't hear what I was playing anymore,' and went on to establish his own leader career on Impulse and Milestone.

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

Elvin JonesElvin Jonesエルヴィン・ジョーンズ's drumming was famous for layering three-against-four polyrhythms across the entire kit. He described trying to create 'a wave of rhythm with my whole body,' and that pulse sustained John ColtraneJohn Coltraneジョン・コルトレーン's marathon solos.

— Elvin Jones, Wikipedia, 2024

When John ColtraneJohn Coltraneジョン・コルトレーン added second drummer Rashied Ali in 1965-66, Elvin JonesElvin Jonesエルヴィン・ジョーンズ departed, saying he could no longer hear his own playing in the dense barrage. The classic quartet ended with his exit.

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

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

Curtis FullerCurtis Fullerカーティス・フラー's trombone was central to John ColtraneJohn Coltraneジョン・コルトレーン's lone Blue Note leader date, 'Blue Train,' recorded in September 1957. The three-horn front line he formed with Lee MorganLee Morganリー・モーガン became one of hard bop's ideal sounds.

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

Giant Steps

John Coltrane · 1960

John ColtraneJohn Coltraneジョン・コルトレーン dedicated the blues 'Mr. P.C.' on his 1959 album Giant StepsGiant StepsJohn Coltrane · 1960 to Paul ChambersPaul Chambersポール・チェンバース. The tune was both a tribute to a peerless bassist and a thank-you to a comrade from the Miles Davis quintet years.

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

Art TaylorArt Taylorアート・テイラー played drums on John ColtraneJohn Coltraneジョン・コルトレーン's sole Blue Note album, Blue Train (September 1957). His rock-solid swing, supporting the Lee MorganLee Morganリー・モーガン and Curtis FullerCurtis Fullerカーティス・フラー front line, embodied the hard bop drumming standard.

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