The beginnings

John William Coltrane, also known as "Trane", was born in September 23, 1926 on Hamlet, a small
village oI North Carolina. Shortly time aIter his Iamily moved to High Point, a bigger town where
he lived with his Iamily. He belonged to a middle class Iamily. His Iather was tailor and his mother
was seamstress and homemaker. Both had interest in music: his mother had completed high studies
and sang and played the piano while his Iather played the violin, the ukelele and possibly the
clarinet. His two grandparents were priests, so John grew in an environment oI religious music. The
inIluence oI his parents, the country-blues oI the street musicians and the swing oI the jazz oI the
wireless emission did the rest. William Blair, his mother grandIather was too a community leader.
He was the responsible Ior the opening oI the Iirst school Ior black people in High Point.
Coltrane wasn't a prodigy child: the dimensions oI his huge size musical not become apparent until
the late 50's. When he was in the institute, the social politic was " separated but equal " (High Point
was a city segregated), there was a racism in the society that was reIlected in a Iew school ragged
uniIorms or in the books oI text donated by schools Ior whites, which were receiving a major
quantity oI public Iunds. In 1939 starts to play the clarinet. Next year changes to the Alto Sax,
while sings in some scholar groups. This year his Iather dies oI stomach cancer. His mother goes to
New Jersey and Coltrane remains in High Point until he graduated in 1943 and he moves to
Philadelphia NJ, where he Iinds work in a Iactory. From 1944 and Ior a year Coltrane take sax
lessons and musical theory classes. In his early he admired oI Lester Young and Johnny Hodges,
until in June 5 oI 1945 he watched play the trumpeter Dizzy Gillespie together with saxophonist
Charlie Parker, "Bird". In this moment Bird will become his new idol.
In August 1945 he is called up and sent to marine to Pearl Harbour, where he stayed on Ior a year.
In this place take part in a band oI black players called The Melody Masters playing saxophone and
clarinet. Record Ior Iirst time in 1946 a Iew standards with some musicians oI the navy, among
which there is a handIul oI Charlie Parker's versions. With just 19 years old we listening a skilled
musician but not accustomed to complicated chords that characterized the bebop style.
AIter the graduation, he returns to take classes and to continue with his studies, so much with a
Iixed teacher in his city as private lessons with many proIessional musicians. His theory studies was
with Philadelphia guitarist and composer Dennis Sandole. Coltrane continued under Sandole's
tutelage until the early 1950s.
In 1946 he obtains his Iirst proIessional job, with Joe Webb in PH, and in 1947 goes on tour with
King Kolax in February and April, This time is crucial in his existence. Then Trane played alto sax
and be discharged Irom navy. That year while he was on tour, he had the occasion to met his idol,
Charlie parker. Fresh out oI the Camarillo's psychiatric on January, one month later Bird with
Erroll Garner, in a studio session recorded Dark Shadows. Coltrane was present in on this visit to
the studio and then have the chance to engage in one jam session with parker. Between May 47 and
late 48 he works like a Ireelance musician, oIten with Jimmy's Heath big band.
In 1948 Coltrane has already drunk too much, smoked two packs oI cigarettes a day and he has
already tried heroin. These habits caused that proIessionally he was not a consistent musician and it
is probable that it was one oI the principal Iactors in the scanty reputation that characterizes his
career during seven Iollowing years. Little by little, the double addiction began to do the impossible
liIe to him.
Between November, 1948 and April or May, 1949 it is employed with Eddie "Cleanhead" Vinson's
band oI rhytm-and-blues and changes the high saxo (he did not like it too much) to the saxo tenor.
Coltrane remembers this way the happened:
"When began to play the saxo tenor together with Eddie Vinson, began to see the things otherwise. f when was
touching the high place, Bird had been my principal influence, when adopted the tenor warned that there did not exist
any musician whose ideas were equal of dominant in relation with this instrument. n consequence began to
concentrate on many musicians simultaneously, especially Lester Young and his melodic phrasing. Afterwards
discovered Coleman Hawkins, whose arpeggioes and interpretive style fascinated me. must have heard thousand times
his version of Body and Soul. Though Young always pleasing me, as was maturing was noticing more and more in
Hawkins."
In September, 1949 he begins to play in Dizzy Gillespie's big band. The band dissolves in June,
1950, though the trumpeter recovers John in August oI this year Ior his new Iormation in sextet. In
this epoch he realizes his Iirst commercial recordings with Gillespie, oI whom he learns
sophisticated harmonies and also Latin music, without play a solo. Meanwhile, as he will do along
his career, studies and practises constantly. In this group meets musicians like YuseI LateeI who
probably initiated Trane in the investigation oI the oriental philosophies.
In 1951 he is again in Philadelphia acting as Ireelance musician or with a group oI ex-members oI
the band oI Dizzy Gillespie. He continues studying and practising implacably, receiving lessons
regularly and studying with musical colleagues to exchange musical ideas. Between April and
December, 1952 he goes oI tour with Earl Bostic, oI whom he said " he taught me a lot of things to the
saxo ". In 1953 seems that he is employed as musician at Philadelphia and his surroundings and in
1954 he joins to Johnny Hodges. AIter leaving him at the end oI 54, he returns to be employed at
the surroundings oI Philadelphia, until in 1955 he meets the organist Jimmy Smith. With twenty-
eight years, scarcely he has recorded twenty bars oI saxophone solo. It was in this epoch when two
Iundamental Iacts happen in his liIe: he marries Ior the Iirst time and is discovered by Miles Davis.
His real career develops Irom 1955 to 1967, during which he changed the modern jazz and
inIluenced generations oI new musicians.
On September 27, 1955 he begins to work Ior Davis. Probably reinIorced by this saIety, on October
3 he marries with Juanita "Naima" Austin, a single mother who has a daughter called Syeeda. Both
will be honoured by the saxophonist: the Iirst one will turn into one oI his more beautiIul and
Iamous ballads, "Naima", whereas to the second one he will dedicate "Sveedas Song flute". Besides
the problems that his addiction was producing to him, Trane was looking Ior an own style and had
to Ieed to a Iamily newly created.
A voung John Coltrane in the navv
Miles Davis Quintet (1955-1957)
Perhaps he was a known musician, Miles Davis was not Iinding work regularly. In his occasional
actions, when he has to choose saxo tenor, Miles always choose Sonny Rollins. Even this way when
he was going out oI tour Miles could choose only one oI his accompanists - his other accompanists
had to be contracted in the city that he was visiting-. This musician was the drummer Philly~~
Joe Jones. AIter gaining reputation in Newport's Festival oI 1955, Miles Davis Iinally has the
chance to Iorm a stable quintet. Joe Jones on the drums and Red Garland on the piano were the Iirst
three members oI the quintet. As Sonny Rollins has just moved to Chicago due to his problems
with the drugs, Jones and Garland convinced Davis that was contracting Coltrane, this decision was
questioned by the press. In an interview, Coltrane himselI acknowledged that he was not sure why
Miles Davis chose him. They Iour were joined by a young 20-year bassist called Paul Chambers.
In this epoch Coltrane is going to happen oI having Iew commercial recordings to record some oI
the most inIluential discs oI Miles Ior the musical label Prestige and Columbia. From here are
demonstrated the Iirst signs oI Coltrane's growth. This Iirst classic quintet, it's better represented by
two meetings oI recording realized in 1956 !"##$%&'()*+,%&'-#.$%&'/0)+1%&2. This one is a
certainly interesting phase oI his career. It turns out paradoxical that while some oI the recordings
with Miles Davis like 3(#4&5 78#40 9%5&%:;03 !<=>?2 are qualiIied as masterpieces, these years
consider to be an early training phase. Here we listened a saxophonist that though still he has not
created the works Ior those that he would be known, was playing with great virtuosity, authority and
passion. It's possible to aIIirm that iI his career should stop in these moments already we would
have to speak on an essential musician in the history oI the jazz.
Anyhow and in spite oI the Iact that this group was recognized gaining almost all the prizes granted
by the specialized press oI the jazz, the alcohol and the addiction to the heroine were damaging
Coltrane in his musician's labor. On April 28, 1957 Davis (ex-heroin addict) dismisses him oI his
group, being replaced again by Rollins. This did that Coltrane think about his personal situation and
in May oI the same year he managed to be Iree Irom drug addiction by himselI . In the notes oI 37
@#A) /4B.)1)C!<=?D2 he recounts this situation indicating:
" #$%&% #''( )*+,% -. /% 0'& #$% 1'234 5&+,% + 4)-&-#6+* +7+(%.-.5 #$+# #''( /% #' + /'&% )&'26,#-8%9 &-,$
+.2 06** *-0% ":
His plans in these moments was to lead his own group and was on May 31 oI this year when record
the Iirst session as leader on the disc named 3"#*0.+&)3. Between the included standards there is
one with the title "Straight Street" (the straight way).
Thelonious Monk (1957-1958)
It was in this period when an association arises with Thelonious Monk that will be specially
important in the artistic liIe oI the saxophonist. In April, 1957 they record the Iirst standard and
begins an artistic relation with Monk that was consisting oI visits to the domicile oI the pianist to
experiment touching in an inIormal way. Trane began to improvise more extensive solos,
organized thematicly more than harmonicly. The torrent oI notes, sometimes Iitted on modal scales,
the extended tone and a new domain oI the high notes oI his instrument began to attract the
attention oI critics and musicians. It is in this epoch when the saxophonist begins to work the
technique oI the multiphonics, consistent in make sound several notes simultaneously. Coltrane
commented that Monk was looking at his saxo and was making Ieel the mechanisms that he had to
activate to obtain this eIIect. Nevertheless, Trane learned the bases oI this technique oI John Glenn,
a local musician oI Philadelphia.
This magniIicent relation was more big in Coltrane's stay in the group oI Monk on the Five Spot oI
New York. 6 months in which the saxophonist suIIers a huge evolution in his sound. In words oI the
trombonist J.J.Johnson
;;<&'/ #$% #-/%4 '0 =$+&*-% >+&(%&9 #$% 4'6.2 /'&% %*%,#&-, #$+# ? $+8% *-4#%.%2 -. #$% ,'.#%/)'&+&@ A+BB ?
7+4 0'6.2 7$%. ='*#&+.% +))%+&%2 #'5%#$%& 7-#$ C'.( -. #$% <-8% D)'# EFG ?# 7+4 -.,&%2-H*%9 +4 7$%. $%
7+4 *-4#%.-.5 #' I-&2 +.2 J-BB@KK:
With Thelonious Monk
Trane began a philosophy oI intense exploration based on concepts as the asymmetry and the
irregularity or the groups oI chords, ideas all oI them that he took oI Monk. The scanty
accompaniment (or non-existent) contributed by Monk allowed to Coltrane to risk on this class oI
explorations. Trane would declare in 1960:
"L$%. ? /%# C'.( ? 7+4 '))'4-#% #' + /64-,+* +&,$-#%,# '0 #$% 0-&4# '&2%&: M' $-4 4-2%9 ? 7+4 *%+&.-.5 '0 +**
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7+.#%2 #' (.'7: D-/6*#+.%'64*@9 +*4' ? 6.2%&4#''2 /+.@ #$-.54 #$+# '.% $+2 .%8%& &+-4%2:"

- Blue Train -
When he was with Monk, in September, 1957, Coltrane recorded in Blue Note (a jazz club oI
Manhattan) his better disc up to this moment: 3E*4) F.+%&3. In this recording he composed Iour oI
Iive themes and plays in his better level. In these moments both the interpretation and the
composition are going to turn into two important objectives Ior Coltrane, who was continuing to
search the way oI develop his own music. In agreement with the pianist McCoy Tyner, the same
year he began to plan in Philadelphia his Giant Steps, recorded two years later.
Back with Miles (1958-1960)
At the beginning oI January, 1958 Miles Davis returns to contract Coltrane. In this moment he is a
saxophonist totally diIIerent whom the trumpeter had dismissed scarcely doing nine months. Trane
had overcome his heroine addiction and he changed so much his way oI playing as the music that
he was creating. To see this, is not necessary any more that compare the recordings realized in the
epoch oI his Iirst meeting !-#.$%& GH /0)+1%&III2 with Blue Train. Was in this epoch when the critic
Ira Gitler creates the term " sheets oI sound" to describe one oI the most typical resources in the
sound oI the saxophonist. An important Iactor in this musical evolution was Miles Davis, who in
this epoch was also in a phase oI sonorous search. For this Miles will count in his group, besides
with Trane, with the saxophonist Cannonball Adderley and with the pianist Bill Evans.
In 1959 they meet to record which remains the best-selling jazz album in history: 3J%&5 #K E*4)3.
With this one album Miles Davis popularized the modal jazz: a style more opened, based on scales,
which was allowing to the musicians improvise in a way Ireer. The pianist Bill Evans, leIt writing in
the notes oI Iront page oI the disc:
"C-*%4 #$'65$# +H'6# #$%4% 4#&6,#6&%4 '.*@ + 0%7 $'6&4 H%0'&% #$% 4%44-'.9 7$%&% $% +))%+&%2 7-#$ + 0%7
4#&-)4 '0 4,'&% 0'& #$% /64-,-+.4: ?. ,'.4%O6%.,%9 #$% -.#%&)&%#+#-'.4 7+4 +))&'+,$-.5 8%&@ /6,$ #$% )6&%
4)'.#+.%-#@: M$% 5&'6) $+2 .%8%& )*+@%2 #$%4% )-%,%4 )&%8-'64*@ EFG"
The music and ideas that inspired this recording supposed Ior Coltrane the Iirst contact with the
style that would characterize great part oI his work during the sixties. Simultaneously, in this epoch
Trane started being interested in the Indian music principally melodic and lack oI harmony,
organized with beginnings that nothing has to see with the modes oI the traditional music.
In the spring oI 1959 he records 3L%+&0 /0)BM3, a decisive album in the soloist career oI Jonh
Coltrane. Though he wanted to direct his own groups, Miles Davis retains him in his group until
April, 1960. Because oI Coltrane had little experience as leading , Davis convinced him that what
more was convenient Ior him was a period oI transition. Thereby the manager oI the trumpet player
it happened to be also oI Coltrane and thanks to him he obtained a contract with Atlantic more
lucrative.
In a recording session with Miles Davis
Alone Coltrane (1960-1967)
Giant Steps was Coltrane's premiere in Atlantic label. The theme that gives title to the album is the
beginning oI the investigations that Coltrane initiated a Iew years beIore in the company oI the
pianist Thelonious Monk. Besides the compositive and harmonic aspect, the speed which Coltrane
was executing "Giant Steps" (with part oI his accompanists Iollowing hardly his progressions or
getting lost directly) continues being impressive Irom a technical and physical point oI view. On
this disc are included other standards that will remain like indispensable: Countdown, Mr. P.C.
(Dedicated to the bassist Paul Chambers) and the mentioned Naima and Sveedas Song flute.
During the sixties, at the head oI his own group, Coltrane tending to use pieces with Iew changes oI
chord. To this open structure,he oIten was adding a dense melody composed by long improvisations
and Iluid lines oI a piece. His tone was now completely diIIerent Irom his previous sound more
slight, maybe inIluenced by Charlie Parker's sound; now it was sounding more huge and resonant,
strident up to becoming Iragile, Iuriously. Monk's simple musical structures surely contributed to
his tone increasingly big, perhaps contributed also by the notes oI pedal executed by the pianist
McCoy Tyner.
His great commercial success came in March, 1961 with 39N O+A#4.%0) F;%&:M3, the theme that
was giving title to his third disc in this record label. Such it was his impact that this composition it
would accompany during the whole rest oI his career. Coltrane developed a simple waltz oI the
musical The Sound OI Music. In 1965 this work would transIorm in the Iamous and syrupy movie
"Smiles and tears", that tells the liIe oI the Iamily Trapp in the Austria Nazi oI the Second World
war with Julie Andrews in the paper oI rebellious woman. Another aspect to stand out is the
recovery Ior the jazz oI the saxo soprano used up to the moment oI an almost anecdotal way.
Coltrane began to experiment with this instrument two years beIore, though it was thanks to this
recording since returned to the Iirst plane oI jazz.
In this recording we are going to Iind to his side two oI three accompanists with which he will
shape his classic quartet. These musicians are the pianist McCoy Tyner and the drummer Elvin
Jones. Finally the bassist Jimmy Garrison will complete this mythical Iormation at the end oI the
year 1961.
Coltrane's interest in the study oI the music is a present element along all his liIe, his recordings in
Atlantic are a good demonstration oI it. On one hand he is going to show his interest Ior music
distant to the American and European tradition. This way in 3P*Q "#*0.+&)3 !<=?<2 we Iind themes
oI AIrican, Asian or Flamenco inspiration. Also he Iollows closely the irruption oI the Iree jazz.
Though he didn't manage to coincide on the study with Ornette Coleman (that he is who created this
term in 1960), Trane records with the members oI his quartet the disc 37A+&0'L+.5)3. Coltrane was
Ieeling that the Ornette's Iree jazz was lacking an uniIier element, problem that he resolved in his
own music with the labor oI his pianist McCoy Tyner and the modal ideas developed in his stages
together with Davis and Monk.The pedal notes executed by Tyner Iacilitated the organization oI the
tones to him without using to the Iunctional harmony, adding to his Iree improvisations a point oI
cohesion and sense. This pedal, which sound can be compared to strings oI the Indian instruments,
contributes to direct the music, the intensity or the liberation.
In 1961 Coltrane signs a contract with Impulse!, a music label with which he will be associated
until his death. In this moment Trane he is already a very popular musician and the magazine Down
Beat chooses him as the jazzman oI the year in his annual revision. Equally he wins the votings in
the categories oI better saxo tenor and that oI other instruments with the saxo soprano. In spite oI
this John returns to have problems with a part oI the critique. His detractors throw in Iace the
incorporation in his group oI the Ilute-player, saxophonist and clarinettist Eric Dolphy, with whom
he collaborates during almost every 1961. On the other hand in the edition oI November oI this year
oI the magazine Down Beat appears a hard review oI the critic John Tynan, who speaks oI:
" P /64-,+* 64%*%44.%44 #$+# 4%**4 .'7+2+@4 -. .+/% '0 #$% A+BB F + 0&-5$#%.-.5 2%/'.4#&+#-'. '0 7$+#
4%%/4 #' H% + #&%.2 +.#-QA+BB -. 46//-# ":
Dolphy and Coltrane will answer publicly to these critiques in the same magazine in April.
Another musician who will be in Coltrane's orbit to expand his group up to the Iormation oI sextet
is the guitarist Wes Montgomery with whom it will act sporadically in 1961 and 1962.
In November oI 1961 he records in the Village Vanguard oI New York. In addition to themes with
his classical quartet and with Dolphy, appear instruments so little usual in the jazz like the oud
(instrument oI Arab origin), the oboe or the contrabassoon. Also he collects subjects oI exotic
inspiration. The most Iamous oI them titles "Indian": it was based in hinduist singings. Sample oI
his musical investigations, "Spiritual" it is based in the melody oI "Nobody Knows The Trouble I'go
Seen" OI the Book OI American Black Spirituals.
Finally neither Dolphy neither Montgomery remain in the group and his classical quartet not change
in his training between April oI 1962 and Iinals oI the year 1965, except some absences oI the
drummer Elvin Jones.
The Iollowing recordings in Impulse! are not going to become so radicals as his premiere. Certain
recordings oI the year 1962 and 1963 are very accessible. On one hand, he was seeking to achieve a
success similar to the one that had achieved Columbia with " Kind OI Blue " oI Miles Davis. On the
other hand, he was to try to satisIy to a part oI the critique that didn't see with good eyes the way
that Coltrane's was taking his career specially aIter his adventures with Eric Dolphy. In spite oI this,
the result they are three jewels in the saxophonist's career. The Iirst one, 3E+**+5M3, shows how
Coltrane was a musician who was going Iar beyond the saxo Iurious that he was Ior a great part oI
the musical press.
In this recording he was capable oI obtaining new shades oI standards and songs belonging to a
digest oI popular stars as Frank Sinatra. The second one oI the discs, R#;& "#*0.+&) 7&5 R#;&&N
S+.01+&, supposes the only time in which John Coltrane recorded a disc with a singer. His
participation in this disc working served to re-throw his career and to reach a high degree oI
popularity. The third party oI the discs is his 1))0%&: T%0; the great U4$) V**%&:0#& . Coltrane will
demonstrate it with his wonderIul version oI " In To Sentimental Mood ", the classic one between
the classic ones oI Duke's songs. Ellington will put on in this session " Take The Coltrane " (in
reIerence to his theme " Take The A-Train ") where he shows his predisposition to submerge in
Coltrane's world.
- A Love Supreme -
The summit oI the quartet comes in December, 1964 with the recording oI 37 @#A) /4B.)1)3
(Impulse!). This work is structured as a suite in Iour parts. Coltrane in these moments was not
Iollowing any organized religion, who did that his religious belieIs were a mixing oI elements taken
oI the christianity, oI the Buddhism, oI the Hinduism and the cosmology. This work is a praise to a
not personiIied god in none oI the maniIestations Irom those who derive the diIIerent religions.
The Iour notes that they initiate this work and that they are a motive that repeats itselI along
everything it, are some oI most known and identiIiable oI the modern jazz. In this work it will be
the Iirst time that one listens to Coltrane's voice reciting. In his development he gathers moments oI
a special magic, as when in the Iourth movement he recites without words Coltrane's poem
dedicated to the Supreme Love that is included on the disc.
With "A Love Supreme" he will initiate the path that Trane will Iollow until the end oI his career. In
the search oI a total sound, there appear in his music a lyricism, a Ireedom and an intensity that they
do it similar to something impossibly. This search is not going to be Coltrane's exclusive task, he is
going to transmite his accompanists. Thus new musicians are going to be incorporating that looking
Ior a musical individual accomplishment that paradoxically they are going to converge on a
strongly grupal sound. For this motive the members oI his classic quartet will go leaving
successively Coltrane's company.
Cover of "A love supreme"
- In the avant-garde path -
In 1965, there takes place the recording 37MW)&M%#&3 (Impulse!). This work supposes somehow a
continuation oI "A Love Supreme" and is an incursion in the Iree-jazz with a group constructed with
the Iormation oI double quartet.
The pianist and harpist Alice McLeod (his wiIe in this epoch), the drummer Rashied Ali and the
saxoIonista Pharoah Sanders will be Irom this moment his habitual accompanists. His artistic oIIer
is Iitted inside the Iree jazz, movement that understands the music as a collective way oI expression
and that is related to the political and social situation oI the epoch. Nevertheless and in spite oI this
term, over the collective expression oI the group will continue standing out notably the voice oI his
leader.
3@%A) X& R+B+&3 or 3X&0).M0)**+. /B+W)3 are two oI the titles oI this epoch in that her generated
many questions about the direction that was taking John Coltrane's career.
Lamentably he does not have greatly any more time to be able to continue exploring new territories,
on July 17, 1967 John Coltrane dies the due to a cancer oI liver in New York, two months beIore to
have 41 years. His Iigure continues being one oI the most important in the world oI the jazz. John
Coltrane was a musician oI jazz who in 20 years approximately developed a career in the one that
was improving, one aIter other one, avoiding to get accommodated in his achievements, placing in
the IoreIront oI the jazz. His inIluence has been decisive in the majority oI the musicians who have
come aIter him and even in the own conception oI the jazz.
Personal opinion
I chose John Coltrane as topic oI my work because jazz music inspires me. Since I was a child
always black music has been listened in my house : jazz, soul, blues . My mother was taking me
to concerts oI a strange music, played in a relaxed environment, with sounds that I didn't like
completely; probably the only one incentive that I had was to see my Iather in the stage. Now I
don't happen one day without listening to a standard played by Miles Davis, Wynton Marsalis or
Keith Jarret, Ior saying any one oI my Iavorite musicians. The jazz serves me to disconnect, to
think, to sublimate an evil moment . It isn't only music, is a part oI my liIe. Probably this seems to
be typical, but Ior me it have sense: my liIe always has been surrounded with this music.
The Iirst melody that I sang when still I couldn't speak was "Interplay" oI Bill Evans and " Now is
the time " oI Charlie Parker.
With the time I have learned the basic things oI jazz and Coltrane's Iigure called my attention Ior a
simple motive: he removes my Ieelings, communicates with them and later, when the music
Iinishes, I have the sensation that always he will accompany me.
I recommend you to listen the disc "Ballads" in order that you understand better what I say. He is
something like a good writer, painter or cinema director that you can appeal in diIIerent moments oI
the liIe and always he will have something to provide you. I hadn't read beIore on the liIe oI a
musician oI jazz and it has been a nice and wealth-producing experience, simultaneously that I was
reading and writing, I was listening albums that I did not know.
For the way I have taken surprises: I had never imagined that one oI the most important Iigures oI
jazz started his career Irom 30 years! II you have time and desire, below I leave a list to you oI
albums with that it's very easy to enjoy.
- A small treasure -
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