John William Coltrane, 23 September 1926, Hamlet, North Carolina, USA, d. 17 July 1967, New York, USA. Coltrane grew up in the house of his maternal grandfather, Rev. William Blair (who gave him his middle name), a preacher and community spokesman. While he was taking clarinet lessons at school, his school band leader suggested his mother buy him an alto saxophone. In 1939 his grandfather and then his father died, and after finishing high school he joined his mother in Philadelphia. He spent a short period at the Ornstein School of Music and the Granoff Studios, where he won scholarships for both performance and composition, but his real education began when he started gigging. Two years military service was spent in a navy band (1945-46), after which he toured in the King Kolax and Eddie Cleanhead Vinson bands, playing goodtime, rhythmic big-band music. It was while playing in the Dizzy Gillespie Big Band (1949-51) that he switched to tenor saxophone. Coltranes musical roots were in acoustic black music that combined swing and instrumental prowess in solos, the forerunner of R&B. He toured with Earl Bostic (1952), Johnny Hodges (1953-54) and Jimmy Smith (1955). However, it was his induction into the Miles Davis band of 1955 - rightly termed the Classic Quintet - that brought him to notice.
Next to Davis filigree sensitivity, Coltrane sounds awkward and crude, and Davis received criticism for his choice of saxophonist. The only precedent for such modernist interrogation of tenor harmony was John Gilmores playing with Sun Ra. Critics found Coltranes tone raw and shocking after years in which the cool school of Lester Young and Stan Getz had held sway. It was generally acknowledged, however, that his ideas were first rate. Along with Sonny Rollins, he became New Yorks most in-demand hard bop tenor player: 1957 saw him appearing on 21 important recordings, and enjoying a brief but fruitful association with Thelonious Monk. That same year he returned to Philadelphia, kicking his long-time heroin habit, and started to develop his own music (Coltranes notes to the later A Love Supreme refer to a spiritual awakening). He also found half of his classic quartet: at the Red Rooster (a nightclub that he visited with trumpeter Calvin Massey, an old friend from the 40s), he discovered pianist McCoy Tyner and bass player Jimmy Garrison.
After recording numerous albums for the Prestige label, Coltrane signed to Atlantic Records and, on 15 August 1959, he recorded Giant Steps. Although it did not use the talents of his new friends from Philadelphia, it featured a dizzying torrent of tenor solos that harked back to the pressure-cooker creativity of bebop, while incorporating the muscular gospel attack of hard bop. Pianist Tommy Flanagan (later celebrated for his sensitive backings for singers such as Ella Fitzgerald and Tony Bennett) and drummer Art Taylor provided the best performances of their lives. Although this record is rightly hailed as a masterpiece, it encapsulated a problem: where could hard bop go from here? Coltrane knew the answer; after a second spell with Davis (1958-60), he formed his best-known quartet with Tyner, Garrison and the amazing polyrhythmic drummer Elvin Jones. Jazz has been recovering ever since.
The social situation of the 60s meant that Coltranes innovations were simultaneously applauded as avant garde statements of black revolution and efficiently recorded and marketed. The Impulse! label, to which he switched from Atlantic in 1961, has a staggering catalogue that includes most of Coltranes landmark records, plus several experimental sessions from the mid-60s that still remain unreleased (although they missed My Favorite Things, recorded in 1960 for Atlantic, in which Coltrane helped re-establish the soprano saxophone as an important instrument). Between 1961 and his death in 1967, Coltrane made music that has become the foundation of modern jazz. For commercial reasons, Impulse! Records had a habit of delaying the release of his music; fans emerged from the live performances in shock at the pace of his evolution. A record of Ballads and an encounter with Duke Ellington in 1962 seemed designed to deflect criticisms of coarseness, although Coltrane later attributed their relatively temperate ambience to persistent problems with his mouthpiece. A Love Supreme was more hypnotic and lulling on record than in live performance, but nevertheless a classic.
After that, the records became wilder and wilder. The unstinting commitment to new horizons led to ruptures within the group. Elvin Jones left after Coltrane incorporated a second drummer (Rashied Ali). McCoy Tyner was replaced by Alice [ Coltrane ] McLeod (who married Coltrane in 1965). Coltrane was especially interested in new saxophone players and Ascension (1965) made space for Archie Shepp, Pharoah Sanders, Marion Brown and John Tchicai. Eric Dolphy, although he represented a different tradition of playing from Coltrane (a modernist projection of Charlie Parker), had also been a frequent guest player with the quartet in the early 60s, touring Europe with them in 1961. Interstellar Space (1967), a duet record, pitched Coltranes tenor against Alis drums, and provides a fascinating hint of new directions.
Coltranes death in 1967 robbed avant garde jazz of its father figure. The commercial ubiquity of fusion in the 70s obscured his music and the 80s jazz revival concentrated on his hard bop period. Only Reggie Workmans Ensemble and Alis Phalanx carried the huge ambition of Coltranes later music into the 90s. As soloists, however, few tenor players have remained untouched by his example. It is interesting that the saxophonists Coltrane encouraged did not sound like him; since his death, his sound has become a mainstream commodity, from the Berklee College Of Music style of Michael Brecker to the European variant of Jan Garbarek. New stars such as Andy Sheppard have established new audiences for jazz without finding new ways of playing. Coltranes music - like that of Jimi Hendrix - ran parallel with a tide of mass political action and consciousness. Perhaps those conditions are required for the creation of such innovative and intense music. Nevertheless, Coltranes music reached a wide audience, and was particularly popular with the younger generation of listeners who were also big fans of rock music. A Love Supreme sold sufficient copies to win a gold disc, while the Byrds used the theme of Coltranes tune India as the basis of their hit single Eight Miles High. Perhaps by alerting the rock audience to the presence of jazz, Coltrane can be said to have - inadvertently - prepared the way for fusion. Coltranes work has some challenging moments and if you are not in the right mood, he can sound irritating. What is established without doubt is his importance as a true messenger of music. His jazz came from somewhere inside his body. Few jazz musicians have reached this nirvana, and still have absolute control over their instrument.
Source: The Encyclopedia of Popular Music by Colin Larkin. Licensed from Muze.