01. Primer Movimiento (from 'Suite Trane') - Alberto Favero
02. John Coltrane – Clifford Jordan
03. Searchin' the Trane - Bobby Hutcherson
04. Trane – Carmello Garcia
05. Prayer/Waltz For John Coltrane - John Klemmer
06. Spirits of Trane - Freddie Hubbard
07. One for Trane - Art Blakey
08. The Moontrane - Woody Shaw
09. Coltrane's View - Eddie Harris
10. Five for Trane - Sonny Fortune
11. Traces of Trane - Ensemble Al-Salaam
12. How Long Has Trane Been Gone - Jayne Cortez

I love John Coltrane, even if he looks like a 70s movie assassin in this pic. Do you love John Coltrane? All of these people love John Coltrane enough to have written tracks about him.

These are some of my favorite Coltrane tributes. Grab this compilation even if you've got some of them, especially if you haven't heard Carmello Garcia's hot latin jazz 7" single "Trane", or Clifford Jordan's beautiful "John Coltrane" (written by bassist Bill Lee), or Argentinian Alberto Favero's first movement of his orchestral "Suite Trane". --- neverenoughrhodes.blogspot.com

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1. They Say It's Wonderful
2. Dedicated to You
3. My One and Only Love
4. Lush Life
5. You Are Too Beautiful
6. Autumn Serenade

John Coltrane - Sax (Soprano), Sax (Tenor)
Johnny Hartman - Vocals
Jimmy Garrison - Bass
Elvin Jones - Drums
McCoy Tyner - Piano
Bob Thiele – Producer

John Coltrane's matchup with singer Johnny Hartman, although quite unexpected, works extremely well. Hartman was in prime form on the six ballads, and his versions of "Lush Life" and "My One and Only Love" have never been topped. Coltrane's playing throughout the session is beautiful, sympathetic, and still exploratory; he sticks exclusively to tenor on the date. At only half an hour, one wishes there were twice as much music, but what is here is classic, essential for all jazz collections. ---Scott Yanow, Rovi

John Coltrane and Johnny Hartman (Impulse!, 1963) is a must-own for several reasons: It provides the best glance at Coltrane's sensitive side. It captures Johnny Hartman - a singer who never got the recognition he deserved - at his best. And finally, it offers some of the best ever renditions of songs such as "Lush Life," and "My One and Only Love." --- Jacob Teichroew, jazz.about.com

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01. Part 1 – Acknowledgement
02. Part 2 – Resolution
03. Part 3 – Pursuance
04. Part 4 – Psalm
05. Part 4 – Psalm (Live Version)
06. Part 2 – Resolution (Alternate Take)
07. Part 2 – Resolution (Breakdown)
08. Part 1 – Acknowledgment (Alternate Take)
09. Part 1 – Acknowledgment (Alternate Take 2)

Personnel

The Classic Quartet
    John Coltrane – bandleader, liner notes, vocals and tenor saxophone
    Jimmy Garrison – double bass
    Elvin Jones – drums
    McCoy Tyner – piano
+
    Art Davis – double bass on alternate takes of "Acknowledgement"
    Archie Shepp – tenor saxophone on alternate takes of "Acknowledgement"

Easily one of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped into the studio and created one of the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship (not to mention his best-selling to date). From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical yet emotionally varied soloing while the rest of the group is remarkably in tune with Coltrane's spiritual vibe. Composed of four parts, each has a thematic progression leading to an understanding of spirituality through meditation. From the beginning, "Acknowledgement" is the awakening of sorts that trails off to the famous chanting of the theme at the end, which yields to the second act, "Resolution," an amazingly beautiful piece about the fury of dedication to a new path of understanding. "Persuance" is a search for that understanding, and "Psalm" is the enlightenment. Although he is at times aggressive and atonal, this isn't Trane at his most adventurous (pretty much everything recorded from here on out progressively becomes much more free, and live recordings from this period are extremely spirited), but it certainly is his best attempt at the realization of concept -- as the spiritual journey is made amazingly clear. A Love Supreme clocks in at just over 30 minutes, but if it had been any longer it could have turned into a laborious listen. As it stands, just enough is conveyed. It is almost impossible to imagine a world without A Love Supreme having been made, and it is equally impossible to imagine any jazz collection without it. ---Sam Samuelson

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1.Blues To Elvin 	7:52
2.Blues To Bechet 	5:44
3.Blues To You 	6:25
4.Mr. Day 	7:56
5.Mr. Syms 	5:19
6.Mr. Knight 	7:30

John Coltrane – soprano & tenor saxophone
McCoy Tyner – piano
Steve Davis – bass
Elvin Jones – drums

Coltrane's sessions for Atlantic in late October 1960 were prolific, yielding the material for My Favorite Things, Coltrane Plays the Blues, and Coltrane's Sound. My Favorite Things was destined to be the most remembered and influential of these, and while Coltrane Plays the Blues is not as renowned or daring in material, it is still a powerful session. As for the phrase "plays the blues" in the title, that's not an indicator that the tunes are conventional blues (they aren't). It's more indicative of a bluesy sensibility, whether he is playing muscular saxophone or, on "Blues to Bechet" and "Mr. Syms," the more unusual sounding (at the time) soprano sax. Elvin Jones, who hadn't been in Coltrane's band long, really busts out on the quicker numbers, such as "Blues to You" and "Mr. Day." --- Richie Unterberger, Rovi

These recordings come from the same sessions that produced 1961's My Favorite Things. This is one of the least well know Coltrane albums, partly because it is an all blues format and partly because it was released at the end of his association with Atlantic records.

Plays The Blues features the talents of McCoy Tyner, Elvin Jones and Steve Davis. It is the beginning of his work with Tyner and Jones in quartet form. For that alone this recording would be important. Although this album is called Plays The Blues, this is by no means the only blues which Coltrane plays. There are blues elements, moods and feelings in all of his best-known recordings. Listen to "Slowtrane," "Blue Train," "Bessie's Blues" among others and one can't help but hear the blues vibe.

The original six tracks are fantastic and have that same blues vibe. They hit the listener right in the heart and soul and don't let go. All six are superb, but "Blues To Bechet," "Mr. Day," "Mr. Knight" and "Blues To Elvin" are absolute classics.

Rhino has done another fine job in remastering the music and creating a beautiful CD jacket, which incorporates the original album artwork and liner notes. As usual the booklet has additional liner notes by Neil Tesser, author of The Playboy Guide To Jazz as well as the original liner notes as written by Joe Golding.

Long-time Coltrane fans will fall in love with the clean, crisp sound. New fans will be afforded a great opportunity to be introduced to the master's work on this timeless album. Another four-star re-issue from the best re-issue label — Rhino. ---Mike Perciccante, allaboutjazz.com

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1. "The Night Has A Thousand Eyes" 6:42
2. "Central Park West" 4:12
3. "Liberia" John Coltrane 6:45
1. "Body and Soul" 5:35
2. "Equinox" 8:33
3. "Satellite" 5:48
7. "26-2" 6:09
8. "Body and Soul" (alternate take) 5:57

Musicians:
    John Coltrane — soprano saxophone; tenor saxophone 
    McCoy Tyner — piano
    Steve Davis — bass
    Elvin Jones — drums

Something about John Coltrane's brief but prodigious Atlantic period (1959-61) reminds me of my hometown, Pittsburgh - even though none of these sessions were recorded there, nor were any of these brilliant musicians from the Steel town. There's something honest, soulful, down-home and deeply touching in this music. Always takes me back; makes me miss Pittsburgh too. Spin Coltrane's Sound and even non-jazz fans sense something. It's a warm, human sound that takes listeners somewhere they like to go.

Coltrane's Sound was released in 1966, six years after it was recorded, and during a period when listeners were beginning to embrace the soaring freedoms of Ascension. The eight post-bop songs here were recorded during the same two sessions (October 24 and 26, 1960) that produced some of My Favorite Things and most of the essential Coltrane Plays The Blues.

It was only pianist McCoy Tyner's third recording session with Coltrane - and drummer Elvin Jones's second occasion with sax legend. But both contribute exponentially to the success of Coltrane's conceptions. However, it's still the tenor sax which is most memorable throughout.

Coltrane's originals, "Liberia," "Satellite" and, most especially the disc's stand-out cuts, "Equinox" (featuring a marvelous solo from Tyner) and "Central Park West" (featuring Coltrane on soprano), are all worth hearing again and again. Coltrane also tears apart the standards "The Night Has A Thousand Eyes" and "Body and Soul" with an atypical fervor that invites even the most casual listener to stop and pay attention - and want to hear again.

This new Rhino issue matches the previous Atlantic CD release, which also added two worthwhile bonus cuts not originally available on the LP (Coltrane's "26-2" and a lively alternate take of "Body and Soul"). But the sound of the Rhino set is substantially improved and, course, the packaging on the new Rhino set is sumptuous: framing the music as it does as the art it truly is. Coltrane's Sound makes for essential, enjoyable jazz listening. It might make you think of home too. ---Douglas Payne, allaboutjazz.com

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1. "Naima" - 15:08
2. "Introduction to My Favorite Things" - 6:07
3. "My Favorite Things" - 20:21

Personnel
    John Coltrane – soprano saxophone, tenor saxophone, bass clarinet, flute
    Pharoah Sanders – tenor saxophone, flute
    Alice Coltrane – piano
    Jimmy Garrison – bass
    Rashied Ali – drums
    Emanuel Rahim – percussion	

Live at the Village Vanguard, was one of John Coltrane's most successful and controversial albums. It was one of the first by the "classic quartet," and contained a boffo guest appearance by Eric Dolphy on the magnificent "Spiritual."

This isn't it. Five years after that triumph, Coltrane returned to the Vanguard with his New Thing quintet, expanded to a sextet for the occasion: Coltrane on soprano, tenor, and bass clarinet; Pharoah Sanders on tenor and flute; Alice Coltrane on piano, Jimmy Garrison on bass, Rashied Ali on drums, and Emanuel Rahim on percussion. This album contains only two songs: "Naima" and "My Favorite Things," which were perhaps the two most celebrated numbers, or overplayed chestnuts, of the Coltrane catalogue. Here they are given a treatment like no other.

Ali was no Elvin Jones. This band lacks the propulsive power brought by Jones and pianist McCoy Tyner. There is a slower, more meditative, less definite pace than Coltrane had worked with previously. The master seizes the opportunity to turn in, on "Naima," a theme statement and, later, a solo of such a richness and passion that Eric Nisenson, a Coltrane biographer, suggests that it was for this kind of thing Coltrane cast his lot with the avant-garde in the first place. Sanders here is still in a screaming mode, but his solo here shows in its melodic invention and fervent lyricism that Coltrane wasn't deaf when he asked him to join the band. He knew he would be able to hold up his end, and he does; too often his work in the late Coltrane quintet is overlooked for its style, rather than appreciated for its real substance.

"My Favorite Things" starts with an extended Jimmy Garrison bass solo that is good, but not as involving as the ever longer ones on Live in Japan (recorded the next month) or the astounding turn he takes to begin "Impressions" in France in the summer of 1965 (hear it—run, don't walk—on Live at Antibes, 1965, Le Jazz CD 10). Coltrane enters in high gear but with high lyricism as well. Sanders drops by for another solo of searing intensity and a furious duel with Coltrane, where the bass clarinet and flute appear, at some distance in the storm. Here the overall performance is perhaps less effective than the calmer but much longer (nearly one hour!) version recorded on Live in Japan ; certainly it's worlds away from the 1960 Atlantic original or any of the previous live versions.

This CD is worth the price for the breathtaking "Naima." "My Favorite Things" has its moments, too. People talk of "late Coltrane" as if all of his music after A Love Supreme sounded the same, but actually the music on this disc is much removed from the likes of Ascension, Om, or Live in Seattle. One might call this version of "Naima" The Gentle Side of Late Coltrane. Not for all tastes, perhaps, but essential for the musically adventurous. ---Robert Spencer, allaboutjazz.com

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01 Olé
02 Dahomey Dance
03 Aisha
04 To Her Ladyship

Personnel
    John Coltrane — soprano saxophone; alto saxophone; tenor saxophone
    Freddie Hubbard — trumpet
    Eric Dolphy — flute; alto saxophone 
    McCoy Tyner — piano
    Reggie Workman — bass 
    Art Davis — bass 
    Elvin Jones — drums

The complicated rhythm patterns and diverse sonic textures on Olé are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- over and beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced -- two days prior to this session -- on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two discs complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane (soprano/tenor sax), McCoy Tyner (piano), and Elvin Jones (drums), with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with Freddie Hubbard (trumpet) and Eric Dolphy (flute and alto sax). Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album. The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. "Olé" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that assuredly excited Coltrane, who was perpetually searching from outside the norms. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between Tyner -- the song's author -- and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel. The CD reissue also includes an extra track cut during the Olé sessions. "To Her Ladyship" is likewise on the seven-volume Heavyweight Champion: The Complete Atlantic Recordings box set. ---Lindsay Planer, Rovi

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1. "Mr. P.C." 
2. "The Inchworm" 
3. "Everytime We Say Goodbye"

Personnel:
* John Coltrane — tenor saxophone/soprano saxophone 
* McCoy Tyner — piano 
* Jimmy Garrison — double bass 
* Elvin Jones — drums

This excellent CD by the classic John Coltrane Quartet (with pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones) is highlighted by a 26-minute version of "Mr. P.C." Also included on the album are "The Inch Worm" and the ballad "Every Time We Say Goodbye." Although the sound and passion of the group on this date will not surprise veteran listeners, it is always interesting to hear new variations of songs already definitively recorded in the studios. The Paris Concert is recommended to all true Coltrane fanatics. ~ Scott Yanow

This was a brand new band when Coltrane played with Garrison, Jones and Tyner in 1961 (1962?). The avant garde was years away, and this show works between standards and material from Giant Steps. Of the three numbers, two are good, but it is Mr. P.C. that rules the album. The quartet jams for twenty minutes on the minor blues, changing it from a compact studio horse race into an improvisation vehicle. The blues changes on P.C. have a lemon bite and while all do well, Jimmy Garrison is king with his symphonic solo. Listen to the applause when he is through.

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01. In A Sentimental Mood
02. Bessie's Blues
03. What's New
04. Alabama
05. Like Someone In Love
06. Lush Life
07. Nancy (With The Laughing Face)
08. Theme For Ernie
09. Violets For Your Furs
10. Why Was I Born?
11. You're A Weaver Of Dreams
12. It's Easy To Remember

John William Coltrane (Hamlet, North Carolina, September 23, 1926 - Huntington, New York, July 17, 1967) was an American jazz saxophonist and composer. American jazz great John Coltrane emerged in the 1950s, playing tenor and soprano sax with Dizzy Gillespie, Miles Davis and Thelonious Monk. A leader of "hard bop", in the 1960s he led his own groups and changed the face of jazz with experimentation and improvisation, his later recordings reflecting his belief that music was a form of spiritual expression. Sometimes called simply 'Trane, his recordings include Giant Steps (1959), My Favorite Things (1960), Olé (1961) and A Love Supreme (1964).

In his later recordings he collaborated on avante-garde music with his wife, Alice Coltrane (b. Alice McLeod, 1937-2007), who had a career in her own right. The band sometimes called Coltrane's "classic quartet" of the early 1960s included McCoy Tyner (piano), Elvin Jones (drums) and Jimmy Garrison (bass). Despite a relatively brief career (he first came to notice as a sideman at age 29 in 1955, formally launched a solo career at 33 in 1960, and was dead at 40 in 1967), saxophonist John Coltrane was among the most important, and most controversial, figures in jazz.

It seems amazing that his period of greatest activity was so short, not only because he recorded prolifically, but also because, taking advantage of his fame, the record companies that recorded him as a sideman in the 1950s frequently reissued those recordings under his name and there has been a wealth of posthumously released material as well. Since Coltrane was a protean player who changed his style radically over the course of his career, this has made for much confusion in his discography and in appreciations of his playing. There remains a critical divide between the adherents of his earlier, more conventional (if still highly imaginative) work and his later, more experimental work. No one, however, questions Coltrane's almost religious commitment to jazz or doubts his significance in the history of the music. --- playlists.net

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1. Say It (Over And Over Again)	4:18
2. You Don't Know What Love Is	5:15
3. Too Young To Go Steady 	4:23
4. All Or Nothing At All		3:38	
5. I Wish I Knew	4:54	
6. What's New	3:47	
7. It's Easy To Remember	2:49
8. Nancy (With The Laughing Face)	3:10

    John Coltrane – tenor saxophone, soprano saxophone
    McCoy Tyner – piano
    Jimmy Garrison (#1-6, 8), Reggie Workman (#7) – bass
    Elvin Jones – drums

Throughout John Coltrane's discography there are a handful of decisive and controversial albums that split his listening camp into factions. Generally, these occur in his later-period works such as Om and Ascension, which push into some pretty heady blowing. As a contrast, Ballads is often criticized as too easy and as too much of a compromise between Coltrane and Impulse! (the two had just entered into the first year of label representation). Seen as an answer to critics who found his work complicated with too many notes and too thin a concept, Ballads has even been accused of being a record that Coltrane didn't want to make. These conspiracy theories (and there are more) really just get in the way of enjoying a perfectly fine album of Coltrane doing what he always did -- exploring new avenues and modes in an inexhaustible search for personal and artistic enlightenment. With Ballads he looks into the warmer side of things, a path he would take with both Johnny Hartman (on John Coltrane & Johnny Hartman) and with Duke Ellington (on Duke Ellington and John Coltrane). Here he lays out for McCoy Tyner mostly, and the results positively shimmer at times. He's not aggressive, and he's not outwardly. Instead he's introspective and at times even predictable, but that is precisely Ballads' draw. ---Sam Samuelson, Rovi

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