Giant or Giants may refer to:
de:Giant el:Γίγαντας es:Gigante fr:Géant it:Gigante he:ענק (פירושונים) ko:자이언트 nl:Giant ja:ジャイアント pl:Giant sk:Obor tr:Giant (anlam ayrımı) zh:巨人 (消歧义)
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name | John Coltrane |
---|---|
background | non_vocal_instrumentalist |
birth name | John William Coltrane |
alias | "Trane" |
born | September 23, 1926Hamlet, North Carolina, US |
died | July 17, 1967Huntington, New York, US |
genre | Jazz, avant-garde jazz, bebop, hard bop, post bop, modal jazz, free jazz |
occupation | Saxophonist, composer, bandleader |
instrument | Tenor saxophone, soprano saxophone, alto saxophone |
years active | 1946–1967 |
label | Prestige, Blue Note, Atlantic, Impulse!, Pablo |
associated acts | Miles Davis Quintet, Thelonious Monk |
website | johncoltrane.com }} |
Name | Saint John William Coltrane |
---|---|
Birth date | September 23, 1926 |
birth place | Hamlet, North Carolina, US |
Death date | July 17, 1967 |
death place | Huntington, New York, US |
Venerated in | African Orthodox Church |
Patronage | All Artists }} |
John William Coltrane (also known as "Trane"; September 23, 1926 – July 17, 1967) was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes in jazz and later was at the forefront of free jazz. He was prolific, organizing at least fifty recording sessions as a leader during his recording career, and appeared as a sideman on many other albums, notably with trumpeter Miles Davis and pianist Thelonious Monk.
As his career progressed, Coltrane and his music took on an increasingly spiritual dimension. His second wife was pianist Alice Coltrane, and their son Ravi Coltrane is also a saxophonist. Coltrane influenced innumerable musicians, and remains one of the most significant tenor saxophonists in jazz history. He received many posthumous awards and recognition, including canonization by the African Orthodox Church as Saint John William Coltrane. In 2007, Coltrane was awarded the Pulitzer Prize Special Citation for his "masterful improvisation, supreme musicianship and iconic centrality to the history of jazz."
An important moment in the progression of Coltrane's musical development occurred on June 5, 1945, when he saw Charlie Parker perform for the first time. In a ''DownBeat'' article in 1960 he recalled: "the first time I heard Bird play, it hit me right between the eyes." Parker became an early idol, and they played together on occasion in the late 1940s.
Contemporary correspondence shows that Coltrane was already known as "Trane" by this point, and that the music from some 1946 recording sessions had been played for Miles Davis—possibly impressing the latter.
There are recordings of Coltrane from as early as 1945. He was a member of groups led by Dizzy Gillespie, Earl Bostic and Johnny Hodges in the early- to mid-1950s.
During the later part of 1957 Coltrane worked with Thelonious Monk at New York’s Five Spot, a legendary jazz club, and played in Monk's quartet (July–December 1957), but owing to contractual conflicts took part in only one official studio recording session with this group. A private recording made by Juanita Naima Coltrane of a 1958 reunion of the group was issued by Blue Note Records in 1993 as ''Live at the Five Spot-Discovery!''. More significantly, a high-quality tape of a concert given by this quartet in November 1957 surfaced, and in 2005 Blue Note made it available on CD. Recorded by Voice of America, the performances confirm the group's reputation, and the resulting album, ''Thelonious Monk Quartet with John Coltrane at Carnegie Hall'', is widely acclaimed.
''Blue Train'', Coltrane's sole date as leader for Blue Note, featuring trumpeter Lee Morgan, bassist Paul Chambers, and trombonist Curtis Fuller, is often considered his best album from this period. Four of its five tracks are original Coltrane compositions, and the title track, "Moment's Notice," and "Lazy Bird", have become standards. Both tunes employed the first examples of his chord substitution cycles known as Coltrane changes.
Still with Atlantic Records, for whom he had recorded ''Giant Steps'', his first record with his new group was also his debut playing the soprano saxophone, the hugely successful ''My Favorite Things''. Around the end of his tenure with Davis, Coltrane had begun playing soprano saxophone, an unconventional move considering the instrument's near obsolescence in jazz at the time. His interest in the straight saxophone most likely arose from his admiration for Sidney Bechet and the work of his contemporary, Steve Lacy, even though Miles Davis claimed to have given Coltrane his first soprano saxophone. The new soprano sound was coupled with further exploration. For example, on the Gershwin tune "But Not for Me", Coltrane employs the kinds of restless harmonic movement (Coltrane changes) used on ''Giant Steps'' (movement in major thirds rather than conventional perfect fourths) over the A sections instead of a conventional turnaround progression. Several other tracks recorded in the session utilized this harmonic device, including "26–2," "Satellite," "Body and Soul", and "The Night Has a Thousand Eyes".
By early 1961, bassist Davis had been replaced by Reggie Workman while Eric Dolphy joined the group as a second horn around the same time. The quintet had a celebrated (and extensively recorded) residency in November 1961 at the Village Vanguard, which demonstrated Coltrane's new direction. It featured the most experimental music he'd played up to this point, influenced by Indian ragas, the recent developments in modal jazz, and the burgeoning free jazz movement. John Gilmore, a longtime saxophonist with musician Sun Ra, was particularly influential; after hearing a Gilmore performance, Coltrane is reported to have said "He's got it! Gilmore's got the concept!" The most celebrated of the Vanguard tunes, the 15-minute blues, "Chasin' the 'Trane", was strongly inspired by Gilmore's music.
During this period, critics were fiercely divided in their estimation of Coltrane, who had radically altered his style. Audiences, too, were perplexed; in France he was famously booed during his final tour with Davis. In 1961, ''Down Beat'' magazine indicted Coltrane, along with Eric Dolphy, as players of "Anti-Jazz" in an article that bewildered and upset the musicians. Coltrane admitted some of his early solos were based mostly on technical ideas. Furthermore, Dolphy's angular, voice-like playing earned him a reputation as a figurehead of the "New Thing" (also known as "Free Jazz" and "Avant-Garde") movement led by Ornette Coleman, which was also denigrated by some jazz musicians (including Miles Davis) and critics. But as Coltrane's style further developed, he was determined to make each performance "a whole expression of one's being".
The criticism of the quintet with Dolphy may have had an impact on Coltrane. In contrast to the radicalism of Trane's 1961 recordings at the Village Vanguard, his studio albums in 1962 and 1963 (with the exception of ''Coltrane'', which featured a blistering version of Harold Arlen's "Out of This World") were much more conservative and accessible. He recorded an album of ballads and participated in collaborations with Duke Ellington on the album ''Duke Ellington and John Coltrane'' and with deep-voiced ballad singer Johnny Hartman on an eponymous co-credited album. The Impulse compilation ''Coltrane for Lovers'' is largely drawn from these three albums. The album ''Ballads'' is emblematic of Coltrane's versatility, as the quartet shed new light on old-fashioned standards such as "It's Easy to Remember". Despite a more polished approach in the studio, in concert the quartet continued to balance "standard" and its own more exploratory and challenging music, as can be seen on the ''Impressions'' album (two extended jams including the title track along with "Dear Old Stockholm", "After the Rain" and a blues), ''Coltrane at Newport'' (where he plays "My Favorite Things") and ''Live at Birdland'' both from 1963. Coltrane later said he enjoyed having a "balanced catalogue."
The Classic Quartet produced their most famous record, ''A Love Supreme'', in December 1964. It is reported that Coltrane, who struggled with repeated drug addiction, derived inspiration for "A Love Supreme" through a near overdose in 1957 which galvanized him to spirituality. A culmination of much of Coltrane's work up to this point, this four-part suite is an ode to his faith in and love for God. These spiritual concerns would characterize much of Coltrane's composing and playing from this point onwards, as can be seen from album titles such as ''Ascension'', ''Om'' and ''Meditations''. The fourth movement of ''A Love Supreme'', "Psalm", is, in fact, a musical setting for an original poem to God written by Coltrane, and printed in the album's liner notes. Coltrane plays almost exactly one note for each syllable of the poem, and bases his phrasing on the words. Despite its challenging musical content, the album was a commercial success by jazz standards, encapsulating both the internal and external energy of the quartet of Coltrane, Tyner, Jones and Garrison. Indeed the previous album ''Crescent'' recorded only a few months before already shows the adventurousness and rapport between these musicians. The album was composed at Coltrane's home in Dix Hills on Long Island.
The quartet only played ''A Love Supreme'' live once—in July 1965 at a concert in Antibes, France. By then, Coltrane's music had grown even more adventurous, and the performance provides an interesting contrast to the original.
After ''A Love Supreme'' was recorded, Ayler's apocalyptic style became more prominent in Coltrane's music. A series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonics, utilization of overtones, and playing in the altissimo register, as well as a mutated return to Coltrane's sheets of sound. In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone. In addition, the quartet responded to the leader by playing with increasing freedom. The group's evolution can be traced through the recordings ''The John Coltrane Quartet Plays'', ''Living Space'', ''Transition'' (both June 1965), ''New Thing at Newport'' (July 1965), ''Sun Ship'' (August 1965), and ''First Meditations'' (September 1965).
In June 1965, he went into Van Gelder's studio with ten other musicians (including Shepp, Pharoah Sanders, Freddie Hubbard, Marion Brown, and John Tchicai) to record ''Ascension'', a 40-minute long piece that included adventurous solos by the young avant-garde musicians (as well as Coltrane), and was controversial primarily for the collective improvisation sections that separated the solos. After recording with the quartet over the next few months, Coltrane invited Pharoah Sanders to join the band in September 1965.
By any measure, Sanders was one of the most abrasive, virtuosic saxophonists then playing. While Coltrane used over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument. The more Coltrane played with Sanders, the more he gravitated to Sanders' unique sound.
There are speculations that in 1965 Coltrane may have begun using LSD – informing the sublime, "cosmic" transcendence of his late period. After Jones's and Tyner's departures, Coltrane led a quintet with Pharoah Sanders on tenor saxophone, his second wife Alice Coltrane on piano, Jimmy Garrison on bass, and Rashied Ali on drums. Coltrane and Sanders were described by Nat Hentoff as "speaking in tongues". When touring, the group was known for playing very lengthy versions of their repertoire, many stretching beyond 30 minutes and sometimes even being an hour long. Concert solos for band members regularly extended beyond fifteen minutes in duration.
Despite the radicalism of the horns, the rhythm section with Ali and Alice Coltrane had a more relaxed, random but meditative feel than with Jones and Tyner. The group can be heard on several live recordings from 1966, including ''Live at the Village Vanguard Again!'' and ''Live in Japan''. In 1967, Coltrane entered the studio several times; though pieces with Sanders have surfaced (the unusual "To Be", which features both men on flutes), most of the recordings were either with the quartet minus Sanders (''Expression'' and ''Stellar Regions'') or as a duo with Ali. The latter duo produced six performances which appear on the album ''Interstellar Space''.
Biographer Lewis Porter has suggested, somewhat controversially, that the cause of Coltrane's illness was hepatitis, although he also attributed the disease to Coltrane's heroin use. In a 1968 interview Albert Ayler claimed that Coltrane was consulting a Hindu meditative healer for his illness instead of Western medicine, though Alice Coltrane later denied this.
His death surprised many in the musical community who were not aware of his condition. Miles Davis commented: "Coltrane's death shocked everyone, took everyone by surprise. I knew he hadn't looked too good... But I didn't know he was that sick—or even sick at all."
The Coltrane family reportedly remains in possession of much more as-yet-unreleased music, mostly mono reference tapes made for the saxophonist and, as with the 1995 release ''Stellar Regions'', master tapes that were checked out of the studio and never returned. The parent company of Impulse!, from 1965 to 1979 known as ABC Records, purged much of its unreleased material in the 1970s. Lewis Porter has stated that Alice Coltrane, who died in 2007, intended to release this music, but over a long period of time; her son Ravi Coltrane, responsible for reviewing the material, is also pursuing his own career.
In the early 1960s, during his engagement with Atlantic Records, he increasingly played soprano saxophone as well. The cover of his album ''My Favorite Things'' features Coltrane playing soprano. Toward the end of his career, he experimented with flute in his live performances and studio recordings.
In 1955, Coltrane married Juanita Naima Grubbs, a Muslim convert, (for whom he later wrote the piece "Naima"), and came into contact with Islam. Coltrane explored Hinduism, the Kabbalah, Jiddu Krishnamurti, African history, and the philosophical teachings of Plato and Aristotle. Coltrane also became interested in Zen Buddhism and, later in his career, visited Buddhist temples during his 1966 tour of Japan.
Since 1948, Coltrane had struggled with heroin addiction as well as alcoholism. In 1957, Coltrane had a religious experience which may have been what finally led him to overcome his addictions to alcohol and heroin. In the liner notes of ''A Love Supreme'' (released in 1965) Coltrane states "[d]uring the year 1957, I experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life. At that time, in gratitude, I humbly asked to be given the means and privilege to make others happy through music." In his 1965 album ''Meditations'', Coltrane wrote about uplifting people, "...To inspire them to realize more and more of their capacities for living meaningful lives. Because there certainly is meaning to life."
John and Naima Coltrane had no children together and were separated by the summer of 1963, and not long after that John met pianist Alice McLeod (who soon became Alice Coltrane). John and Alice moved in together and had two sons before he was "officially divorced from Naima in 1966, at which time John and Alice were immediately married." John Jr. was born in 1964, Ravi was born in 1965, and Oranyan (Oran) was born in 1967. According to Lavezzoli, "Alice brought happiness and stability to John's life, not only because they had children, but also because they shared many of the same spiritual beliefs, particularly a mutual interest in Indian philosophy. Alice also understood what it was like to be a professional musician".
Moustafa Bayoumi, an associate professor of English at Brooklyn College, City University of New York, argues that Coltrane's ''A Love Supreme'' (recorded in December 1964 and released in 1965) features Coltrane chanting, "Allah Supreme." However, in Lewis Porter's book ''John Coltrane: His Life and Music'' (2000), on page 242, he describes the lyrics this way: "Coltrane and another voice—probably himself overdubbed—chant the words 'a love supreme' in unison with the bass ostinato". In Peter Lavezzoli's book ''The Dawn of Indian Music in the West: Bhairavi'' (2006), on page 283, he says, "Certainly in his opening solo in "Acknowledgment," with his constant modulations of the same phrase in different keys, Coltrane assumes the role of the preacher. After stating the theme in every possible key, Coltrane concludes his solo and quietly begins to chant, "A love supreme … a love supreme," singing the same four notes played by Garrison on the bass. After chanting "A love supreme" sixteen times, Coltrane and the band shift from F minor down to E flat minor, and the chant slowly tapers off." Whatever the case may be, the liner notes to ''A Love Supreme'' appear to mention God in a Universalist sense, and do not advocate one religion over another. Further evidence of this universal view regarding spirituality can be found in the liner notes of ''Meditations'' (1965), in which Coltrane declares, "I believe in all religions."
Lavezzoli points out that "After ''A Love Supreme'', most of Coltrane's song and album titles had spiritual implications: ''Ascension'', ''Om'', ''Selflessness'', ''Meditations'', "Amen," "Ascent," "Attaining," "Dear Lord," "Prayer and Meditation Suite," and the opening movement of ''Meditations'', "The Father and the Son and the Holy Ghost," the most obvious Christian reference in any of Coltrane's work." Coltrane's collection of books included ''The Gospel of Sri Ramakrishna'', the Bhagavad Gita, Paramahansa Yogananda's ''Autobiography of a Yogi'', which, Lavezzoli points out, "recounts Yogananda's search for universal truth, a journey that Coltrane had also undertaken. Yogananda believed that both Eastern and Western spiritual paths were efficacious, and wrote of the similarities between Krishna and Christ. This openness to different traditions resonated with Coltrane, who studied the Qur'an, the Bible, Kabbalah, and astrology with equal sincerity."
In October 1965, Coltrane recorded ''Om'', referring to the sacred syllable in Hinduism, which symbolizes the infinite or the entire Universe. Coltrane described ''Om'' as the "first syllable, the primal word, the word of power". The 29-minute recording contains chants from the ''Bhagavad-Gita'', a Hindu holy book, as well as Coltrane and Pharoah Sanders chanting from a Buddhist text, ''The Tibetan Book of the Dead'', and reciting a passage describing the primal verbalization "om" as a cosmic/spiritual common denominator in all things.
Coltrane's spiritual journey was interwoven with his investigation into world music. He believed not only in a universal musical structure which transcended ethnic distinctions, but in being able to harness the mystical language of music itself. Coltrane's study of Indian music led him to believe that certain sounds and scales could "produce specific emotional meanings." According to Coltrane, the goal of a musician was to understand these forces, control them, and elicit a response from the audience. Coltrane said: "I would like to bring to people something like happiness. I would like to discover a method so that if I want it to rain, it will start right away to rain. If one of my friends is ill, I'd like to play a certain song and he will be cured; when he'd be broke, I'd bring out a different song and immediately he'd receive all the money he needed."
His widow, Alice Coltrane, after several decades of seclusion, briefly regained a public profile before her death in 2007. Coltrane's son, Ravi Coltrane, named after the great Indian sitarist Ravi Shankar, who was greatly admired by Coltrane, has followed in his father's footsteps and is a prominent contemporary saxophonist. A former home, the John Coltrane House in Philadelphia, was designated a National Historic Landmark in 1999. His last home, the John Coltrane Home in the Dix Hills neighborhood of Huntington, New York, where he resided from 1964 until his death in 1967, was added to the National Register of Historic Places on June 29, 2007.
His revolutionary use of multi-tonic systems in jazz has become a widespread composition and reharmonization technique known as "Coltrane changes".
In 2002, scholar Molefi Kete Asante listed John Coltrane on his list of 100 Greatest African Americans.
Coltrane's tenor (Selmer Mark VI, serial number 125571, dated 1965) and soprano (Selmer Mark VI, serial number 99626, dated 1962) saxophones were auctioned on February 20, 2005 to raise money for the John Coltrane Foundation. The soprano raised $70,800 but the tenor remained unsold.
... the Coltrane church is not a gimmick or a forced alloy of nightclub music and ethereal faith. Its message of deliverance through divine sound is actually quite consistent with Coltrane’s own experience and message.In the same article, he comments on John Coltrane's place in the canon of American music.
In both implicit and explicit ways, Coltrane also functioned as a religious figure. Addicted to heroin in the 1950s, he quit cold turkey, and later explained that he had heard the voice of God during his anguishing withdrawal. In 1964, he recorded ''A Love Supreme'', an album of original praise music in a free-jazz mode... In 1966, an interviewer in Japan asked Coltrane what he hoped to be in five years, and Coltrane replied, "A saint."
John Coltrane is depicted as one of the ninety saints in the monumental Dancing Saints icon of St. Gregory of Nyssa Episcopal Church in San Francisco. The Dancing Saints icon is a painting rendered in the Byzantine iconographic style that wraps around the entire church rotunda. The icon was executed by iconographer Mark Dukes, an ordained deacon at the Saint John Coltrane African Orthodox Church, who has painted other icons of Coltrane for the Coltrane Church. Saint Barnabas Episcopal Church in Newark, New Jersey included Coltrane on their list of historical black saints and even made a "case for sainthood" for him in an article on their former website.
Category:1926 births Category:1967 deaths Category:20th-century Christian saints Category:ABC Records artists Category:African American composers Category:American jazz bandleaders Category:American jazz composers Category:American jazz soprano saxophonists Category:American jazz tenor saxophonists Category:American saints Category:Anglican saints Category:Atlantic Records artists Category:Avant-garde jazz composers Category:Avant-garde jazz flautists Category:Avant-garde jazz saxophonists Category:Bebop composers Category:Bebop saxophonists Category:Blue Note Records artists Category:Cancer deaths in New York Category:Combs College of Music alumni Category:Deaths from liver cancer Category:Free jazz clarinetists Category:Free jazz composers Category:Free jazz flautists Category:Free jazz saxophonists Category:Grammy Lifetime Achievement Award winners Category:Hard bop saxophonists Category:Impulse! Records artists Category:Miles Davis Category:Modal jazz saxophonists Category:Musicians from North Carolina Category:Musicians from Philadelphia, Pennsylvania Category:Pablo Records artists Category:People from Richmond County, North Carolina Category:Post-bop composers Category:Post-bop saxophonists Category:Prestige Records artists Category:Savoy Records artists Category:United States Navy sailors Category:Rhythm and blues saxophonists
an:John Coltrane bn:জন কোল্ট্র্যান bs:John Coltrane bg:Джон Колтрейн ca:John Coltrane cs:John Coltrane da:John Coltrane de:John Coltrane et:John Coltrane el:Τζον Κολτρέιν es:John Coltrane eo:John Coltrane eu:John Coltrane fa:جان کولترین fr:John Coltrane fy:John Coltrane gl:John Coltrane ko:존 콜트레인 hr:John Coltrane io:John Coltrane id:John Coltrane it:John Coltrane he:ג'ון קולטריין ka:ჯონ კოლტრეინი sw:John Coltrane lv:Džons Koltreins lt:John Coltrane hu:John Coltrane nl:John Coltrane ja:ジョン・コルトレーン no:John Coltrane nn:John Coltrane pms:John Coltrane nds:John Coltrane pl:John Coltrane pt:John Coltrane ro:John Coltrane ru:Колтрейн, Джон sc:John Coltrane simple:John Coltrane sk:John Coltrane sr:Џон Колтрејн sh:John Coltrane fi:John Coltrane sv:John Coltrane th:จอห์น โคลเทรน tr:John Coltrane uk:Джон Колтрейн zh:約翰·柯川This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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