John Coltrane (1926-67) was the most relentlessly exploratory musician in jazz history. He was always searching, seeking to take his music further in what he quite consciously viewed as a spiritual quest. In terms of public recognition, this quest began relatively late. The tenor saxophonist, a native of North Carolina who later moved to Philadelphia, was 28 when he joined the Miles Davis quintet in 1955, after years of paying dues in the big band and combo of Dizzy Gillespie (where he played alto before switching to tenor) and as a supporting player behind saxophonists Johnny Hodges, Eddie "Cleanhead” Vinson, and Earl Bostic. Coltrane’s anguished tone and multi-noted, rhythmically complex solos with Davis quickly elevated him to the front ranks of jazz…
Coltrane Jazz is the sixth studio album by jazz musician John Coltrane, released in 1961 on Atlantic Records. The song "Villa's Blues" is noted as a landmark recording, as it marks the first session date of the early John Coltrane Quartet on record. Featured alongside Coltrane are pianist McCoy Tyner, drummer Elvin Jones, and bassist Steve Davis. On June 20, 2000, Rhino Records reissued Coltrane Jazz as part of its Atlantic 50th Anniversary Jazz Gallery series. Included were four bonus tracks, two of which had appeared in 1975 on the Atlantic compilation Alternate Takes, the remaining pair earlier issued on The Heavyweight Champion: The Complete Atlantic Recordings in 1995…
Arguably John Coltrane's finest all-around album, this recording has brilliant versions of "Afro Blue" and "I Want to Talk About You"; the second half of the latter features Coltrane on unaccompanied tenor tearing into the piece but never losing sight of the fact that it is a beautiful ballad. The remainder of this album ("Alabama," "The Promise," and "Your Lady") is almost at the same high level.
Considered by many to be his finest single album, Coltrane finds John Coltrane displaying all of the exciting elements that sparked brilliance and allowed his fully formed instrumental voice to shine through in the most illuminating manner. On tenor saxophone, he's simply masterful, offering the burgeoning sheets of sound philosophy into endless weavings of melodic and tuneful displays of inventive, thoughtful, driven phrases. Coltrane also plays a bit of soprano saxophone as a primer for his more exploratory work to follow. Meanwhile, bassist Jimmy Garrison, drummer Elvin Jones, and especially the stellar McCoy Tyner have integrated their passionate dynamics into the inner whole of the quartet.
On his first session as a bandleader, tenor saxophonist John Coltrane is joined by Johnny Splawn on trumpet, Sahib Shihab on baritone sax, and a rhythm section of bassist Paul Chambers and drummer Albert "Tootie" Heath with piano duties split between Mal Waldron and Red Garland. Right out of the gate, the propulsive syncopated beat that drives through the heart of Coltrane's fellow Philly denizen Calvin Massey's "Bakai" indicates that Coltrane and company are playing for keeps. Shihab's emphatic and repetitive drone provides a manic urgency that fuels the participants as they weave in and out of the trance-like chorus.
One of THE great jazz quartets of all time: Coltrane (tenor & soprano), McCoy Tyner (piano), the earth-shaking Elvin Jones (drums) and Steve Davis (bass, though 'Trane's band would most often feature Jimmy Garrison and sometimes Reggie Workman), playing a blues-inspired program of originals. This band had an empathy shared by only the best bands in jazz: the Brubeck and Miles Davis groups, the Modern Jazz Quartet–and it shows here, with warmth, confidence, economy and relaxed interplay.
Overshadowed by the critical buzz generatd by "Giant Steps" and "My Favorite Things," lacking the exoticism of "Ole" or the big-name partnerships of "Bags and Trane," or "The Avant-Garde," this album is one of the least-discussed of the saxophonist's Atlantic recordings.
The October 1960 sessions which comprise COLTRANE'S SOUND present a portrait of the John Coltrane Quartet in its infancy, yet many of the mature elements which were to distinguish the group during its primacy are already in place. COLTRANE'S SOUND was among the last releases to emerge from his Atlantic sessions, but, in some ways, it's among the most satisfying.