• John Coltrane Newport 63
• John Coltrane

. Website John William Coltrane, also known as ' Trane' (September 23, 1926 – July 17, 1967), was an American and composer.

Working in the and idioms early in his career, Coltrane helped pioneer the use of in jazz and was later at the forefront of. He led at least fifty recording sessions during his career, and appeared as a sideman on many albums by other musicians, including trumpeter and pianist. As his career progressed, Coltrane and his music took on an increasingly spiritual dimension. Coltrane influenced innumerable musicians, and remains one of the most significant saxophonists in music history. He received many posthumous awards and recognitions, including by the as Saint John William Coltrane and a special in 2007. His second wife was pianist and their son, is also a saxophonist.

John Coltrane Newport 63 Rar. * Rare Live Recordings (Eu) RLR 8. John Coltrane - First Giant Steps. Harold Baker (trumpet) Lawrence Brown. Find album credit information for Newport '63 - John Coltrane on AllMusic.

Coltrane's first recordings were made when he was a sailor. Saint John William Coltrane Born ( 1926-09-23)September 23, 1926 Hamlet, North Carolina, US Died July 17, 1967 ( 1967-07-17) (aged 40) Huntington, New York, US Venerated in All Artists Early life and career (1926–1954) Coltrane was born in his parents' apartment at 200 Hamlet Avenue, on September 23, 1926. His father was John R.

Coltrane and his mother was Alice Blair. He grew up in, attending (now Penn-Griffin School for the Arts). Beginning in December 1938 Coltrane's aunt, grandparents, and father all died within a few months of one another, leaving John to be raised by his mother and a close cousin. In June 1943 he moved to.

In September of that year his mother bought him his first saxophone, an alto. Coltrane played the and the in a community band before taking up the alto saxophone during high school. He had his first professional gigs in early to mid-1945 – a 'cocktail lounge trio,' with piano and guitar. To avoid being drafted by the Army, Coltrane enlisted in the Navy on August 6, 1945, the day the first U.S. Atomic bomb was dropped on Japan. He was trained as an apprentice seaman at Sampson Naval Training Station in upstate New York before he was shipped to Pearl Harbor, where he was stationed at Manana Barracks, the largest posting of African-American servicemen in the world.

By the time he got to Hawaii, in late 1945, the Navy was already rapidly downsizing. Coltrane's musical talent was quickly recognized, though, and he became one of the few Navy men to serve as a musician without having been granted musicians rating when he joined the Melody Masters, the base swing band. As the Melody Masters was an all-white band, however, Coltrane was treated merely as a guest performer to avoid alerting superior officers of his participation in the band. He continued to perform other duties when not playing with the band, including kitchen and security details.

By the end of his service, he had assumed a leadership role in the band. His first recordings, an informal session in Hawaii with Navy musicians, occurred on July 13, 1946. Coltrane played alto saxophone on a selection of jazz standards and bebop tunes. After being discharged from his duties in the Navy, as a seaman first class in August 1946, Coltrane returned to Philadelphia, where he 'plunged into the heady excitement of the new music and the blossoming bebop scene.' After touring with, he joined a Philly-based band led by, who was introduced to Coltrane's playing by his former Navy buddy, the trumpeter William Massey, who had played with Coltrane in the Melody Masters. In Philadelphia after the war, he studied jazz theory with guitarist and composer and continued under Sandole's tutelage through the early 1950s.

Originally an altoist, in 1947 Coltrane also began playing tenor saxophone with the Band. Coltrane later referred to this point in his life as a time when 'a wider area of listening opened up for me. There were many things that people like, and and were doing in the '40s that I didn't understand, but that I felt emotionally.'

A significant influence, according to tenor saxophonist, was the Philadelphia pianist, composer, and theorist. 'Hasaan was the clue to. The system that Trane uses. Hasaan was the great influence on Trane’s melodic concept.' An important moment in the progression of Coltrane's musical development occurred on June 5, 1945, when he saw 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 trumpeter Miles Davis—possibly impressing him. Coltrane was a member of groups led by, and in the early to mid-1950s. Miles and Monk period (1955–1957).

The rivalry, tension, and mutual respect between Coltrane and Davis was formative for both men's careers. In the summer of 1955, Coltrane was freelancing in Philadelphia while studying with guitarist when he received a call from Davis. The trumpeter, whose success during the late forties had been followed by several years of decline in activity and reputation, due in part to his struggles with, was again active and about to form a quintet. Coltrane was with this edition of the Davis band (known as the 'First Great Quintet'—along with on piano, on bass, and on drums) from October 1955 to April 1957 (with a few absences). During this period Davis released several influential recordings that revealed the first signs of Coltrane's growing ability.

This quintet, represented by two marathon recording sessions for in 1956, resulted in the albums, and. The 'First Great Quintet' disbanded due in part to Coltrane's heroin addiction. During the later part of 1957 Coltrane worked with at New York’s, 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. Coltrane recorded many albums for Prestige under his own name at this time, but Monk refused to record for his old label. A private recording made by Juanita Naima Coltrane of a 1958 reunion of the group was issued by Blue Note Records as Live at the Five Spot—Discovery!

A high quality tape of a concert given by this quartet in November 1957 was also found later, and was released by Blue Note in 2005. Recorded by, the performances confirm the group's reputation, and the resulting album, is widely acclaimed., Coltrane's sole date as leader for Blue Note, featuring trumpeter, bassist, and trombonist, 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 ', have become standards.

Both tunes employed the first examples of his chord substitution cycles known as. Davis and Coltrane Coltrane rejoined Davis in January 1958.

In October of that year, jazz critic coined the term ' to describe the style Coltrane developed with Monk and was perfecting in Davis's group, now a sextet. His playing was compressed, with rapid runs cascading in hundreds of notes per minute.

He stayed with Davis until April 1960, working with alto saxophonist; pianists, and; bassist; and drummers and. During this time he participated in the Davis sessions and, and the concert recordings (1963) and (1958). Period with Atlantic Records (1959–1961) At the end of this period Coltrane recorded his first album as leader for, (1959), which contained only his compositions. The album's title track is generally considered to have one of the most difficult chord progressions of any widely played jazz composition. Giant Steps utilizes. His development of these altered chord progression cycles led to further experimentation with improvised melody and harmony that he continued throughout his career.

One of Coltrane's most acclaimed recordings, 'Giant Steps' features harmonic structures more complex than were used by most musicians of the time. Problems playing this file? Coltrane formed his first quartet for live performances in 1960 for an appearance at the Jazz Gallery in New York City. After moving through different personnel including, and, the lineup stabilized in the fall with pianist, bassist, and drummer. Tyner, from Philadelphia, had been a friend of Coltrane's for some years and the two men had an understanding that the pianist would join Coltrane when Tyner felt ready for the exposure of regularly working with him. Also recorded in the same sessions were the later released albums (1964) and (1962). Coltrane's first record with his new group was also his debut playing the, the hugely successful (1961).

Around the end of his tenure with Davis, Coltrane had begun playing soprano, an unconventional move considering the instrument's neglect in jazz at the time. His interest in the straight saxophone most likely arose from his admiration for and the work of his contemporary, even though 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 used on Giant Steps (movement in rather than conventional ) over the A sections instead of a conventional progression. Several other tracks recorded in the session utilized this harmonic device, including ', 'Satellite', ', and '. First years with Impulse Records (1961–1962).

John Coltrane Newport 63

Coltrane (Amsterdam, 1961) In May 1961, Coltrane's contract with Atlantic was bought out by the newly formed label. An advantage to Coltrane recording with Impulse!

Was that it would enable him to work again with engineer, who had taped both his and Davis' Prestige sessions, as well as Blue Train. It was at Van Gelder's new studio in that Coltrane would record most of his records for the label. By early 1961, bassist Davis had been replaced by, while 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, which demonstrated Coltrane's new direction.

It featured the most experimental music he had played up to this point, influenced by, the recent developments in, and the burgeoning movement., a longtime saxophonist with musician, 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 booed during his final tour with Davis.

In 1961, magazine indicted Coltrane and 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, which was also denigrated by some jazz musicians (including Davis) and critics. But as Coltrane's style further developed, he was determined to make each performance 'a whole expression of one's being'.

Classic Quartet period (1962–1965). The romantic ballad features Coltrane with pianist Duke Ellington. Problems playing this file?

In 1962, Dolphy departed and replaced Workman as bassist. From then on, the 'Classic Quartet', as it came to be known, with Tyner, Garrison, and Jones, produced searching, spiritually driven work. Coltrane was moving toward a more harmonically static style that allowed him to expand his improvisations rhythmically, melodically, and motivically. Harmonically complex music was still present, but on stage Coltrane heavily favored continually reworking his 'standards': 'Impressions', 'My Favorite Things', and 'I Want to Talk About You'.

The criticism of the quintet with Dolphy may have affected Coltrane. In contrast to the radicalism of his 1961 recordings at the Village Vanguard, his studio albums in the following two years (with the exception of, 1962, which featured a blistering version of 's 'Out of This World') were much more conservative. He recorded an album of ballads and participated in collaborations with on the album and with deep-voiced ballad singer on an album.

The album (recorded 1961–62) 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 'standards' and its own more exploratory and challenging music, as can be heard on the (recorded 1961–63), and (both recorded 1963). Impressions consists of two extended jams including the title track along with 'Dear Old Stockholm', 'After the Rain' and a blues. Coltrane later said he enjoyed having a 'balanced catalogue.'

The Classic Quartet produced their best-selling album, in December 1964. 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 characterized 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. The album was composed at in on Long Island.

The quartet played A Love Supreme live only once—in July 1965 at a concert in, France. Avant-garde jazz and the second quartet (1965–1967). As Coltrane's interest in jazz became increasingly experimental, he added Pharoah Sanders to his ensemble. In his late period, Coltrane showed an increasing interest in, purveyed by Ornette Coleman, Sun Ra and others. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist, who had also worked with, and drummer, whose playing was honed with as leader. Coltrane championed many younger free jazz musicians such as, and under his influence Impulse! Became a leading free jazz record label.

After A Love Supreme was recorded, Ayler's 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, utilization of overtones, and playing in the register, as well as a mutated return of 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, and. In June 1965, he went into Van Gelder's studio with ten other musicians (including Shepp, and ) to record, a 40-minute piece that included 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 Sanders to join the band in September 1965. While Coltrane frequently used over-blowing as an emotional exclamation-point, Sanders would overblow entire solos, resulting in a constant screaming and screeching in the range of the instrument. Adding to the quartet. Coltrane's second wife, Alice, performed with him and also challenged his spiritual beliefs Coltrane and Naima were officially divorced in 1966. In 1963, Coltrane met pianist.

He 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.' Was born in 1964, Ravi in 1965, and Oranyan ('Oran') in 1967. According to the musician and author Peter 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 beliefs, particularly a mutual interest in.

Alice also understood what it was like to be a professional musician.' Coltrane was born and raised in a Christian home, and was influenced by religion and spirituality from childhood. His maternal grandfather, the Reverend William Blair, was a minister at an in, and his paternal grandfather, the Reverend William H. Coltrane, was an A.M.E.

John Coltrane

Zion minister in. Critic Norman Weinstein noted the parallel between Coltrane's music and his experience in the southern church, which included practicing music there as a youth. In 1957, Coltrane had a religious experience that may have helped him overcome the heroin addiction and alcoholism he had struggled with since 1948. In the liner notes of A Love Supreme, Coltrane states that, in 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.' The liner notes appear to mention God in a 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.'

After A Love Supreme, many of the titles of Coltrane's songs and albums were linked to spiritual matters: Ascension, Meditations, Om, Selflessness, 'Amen', 'Ascent', 'Attaining', 'Dear Lord', 'Prayer and Meditation Suite', and 'The Father and the Son and the Holy Ghost'. Coltrane's collection of books included, the, and 's. The last of these describes, in Lavezzoli's words, a '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 and Christ. This openness to different traditions resonated with Coltrane, who studied the, the, and with equal sincerity.'

He also explored, the philosophical teachings of and, and. In October 1965, Coltrane recorded, referring to the, 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 Hindu and the Buddhist, and a recitation of 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 of. He believed in not only a that transcended ethnic distinctions, but also being able to harness the mystical of music itself. Coltrane's study of led him to believe that and scales could 'produce specific emotional.' 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.'

Religious figure. Coltrane icon at St. John Coltrane African Orthodox Church After Coltrane's death, a congregation called the Yardbird Temple in began worshiping him as God incarnate. The group was named after, whom they equated to. The congregation later became affiliated with the; this involved changing Coltrane's status from a god to a saint. The resultant St.

John Coltrane African Orthodox Church, San Francisco, is the only African Orthodox church that incorporates Coltrane's music and his lyrics as prayers in its liturgy. Freedman wrote in a New York Times article that '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.' Freedman also commented on 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 1966, an interviewer in Japan asked Coltrane what he hoped to be in five years, and Coltrane replied, 'A saint.'

Coltrane is depicted as one of the 90 saints in the Dancing Saints icon of St. Gregory of Nyssa Episcopal Church in San Francisco. The icon is a 3,000-square-foot (280 m 2) painting in the Byzantine iconographic style that wraps around the entire church rotunda. It was executed by Mark Dukes, an ordained deacon at the Saint John Coltrane African Orthodox Church, who painted other icons of Coltrane for the Coltrane Church. Saint Barnabas Episcopal Church in, included Coltrane on their list of historical black saints and made a 'case for sainthood' for him in an article on their former website.

Documentaries on Coltrane and the church include 's (1996), and a 2004 program presented by for the. Instruments In 1947, when he joined 's band, Coltrane switched to tenor saxophone, the instrument he became known for playing primarily. Coltrane's preference for playing melody higher on the range of the tenor saxophone (as compared to, for example, Coleman Hawkins or ) is attributed to his start and training on the alto horn and clarinet; his 'sound concept' (manipulated in one's vocal tract—tongue, throat) of the tenor was set higher than the normal range of the instrument. In the early 1960s, during his engagement with Atlantic Records, he increasingly played soprano saxophone as well. Toward the end of his career, he experimented with flute in his live performances and studio recordings (, ). After Dolphy died in June 1964, his mother is reported to have given Coltrane his flute and bass clarinet.

Coltrane's tenor (, 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. John Coltrane House, 1511 North Thirty-third Street, Philadelphia The influence Coltrane has had on music spans many genres and musicians.

Coltrane's massive influence on jazz, both mainstream and avant-garde, began during his lifetime and continued to grow after his death. He is one of the most dominant influences on post-1960 jazz saxophonists and has inspired an entire generation of jazz musicians. In 1965, Coltrane was inducted into the Down Beat.

In 1972, A Love Supreme was certified gold by the RIAA for selling over half a million copies in Japan. This album, as well as My Favorite Things, was certified gold in the United States in 2001. In 1982 he was awarded a posthumous Grammy for 'Best Jazz Solo Performance' on the album, and in 1997 he was awarded the.

In 2002, scholar named Coltrane one of his. Coltrane was awarded a in 2007 citing his 'masterful improvisation, supreme musicianship and iconic centrality to the history of jazz.' He was inducted into the in 2009. His widow, Alice Coltrane, after several decades of seclusion, briefly regained a public profile before her death in 2007. A former home, the in Philadelphia, was designated a in 1999. His last home, the in the district of, New York, where he resided from 1964 until his death, was added to the on June 29, 2007.

One of their sons, named after the sitarist, is also a saxophonist. The Coltrane family reportedly possesses much more 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, purged much of its unreleased material in the 1970s. Lewis Porter has stated that Alice Coltrane intended to release this music, but over a long period of time; Ravi Coltrane is responsible for reviewing the material. Download pitbull the boat lift rarest.

Chasing Trane: The John Coltrane Documentary, is a 2016 American film directed by John Scheinfeld. Narrated by, the film chronicles the life of Coltrane in his own words, and includes interviews with such admirers as, and.

Discography. Main article: The discography below lists albums conceived and approved by Coltrane as a leader during his lifetime. It does not include his many releases as a sideman, sessions assembled into albums by various record labels after Coltrane's contract expired, sessions with Coltrane as a sideman later reissued with his name featured more prominently, or posthumous compilations, except for the one he approved before his death. See main discography link above for full list.

Prestige and Blue Note Records. (debut solo LP) (1957). (1957). (1958). (1958) Atlantic Records. (first album entirely of Coltrane compositions) (1960).

(first appearance by and ) (1961). (1961).

(features, compositions by Coltrane and Tyner) (1961) Impulse! Records. (brass arranged by Tyner and Dolphy) (1961). (features Dolphy, first appearance by ) (1962).

(first album to solely feature the 'classic quartet') (1962). (1963). (1963). (1963). (1963).

(1964). (1964). (1965). (1965).

(quartet plus six horns and bass, one 40' track collective improvisation) (1966). (live album split with ) (1966). (1966). (quartet plus and ) (1966). (1966). (posthumous and final Coltrane-approved release; one track features Coltrane on flute) (1967) Sessionography. Allmusic.

^. The Pulitzer Prizes. Retrieved June 29, 2009. With reprint of short biography.

3. ^ Group, The Jazz Sipper (2013-03-13). Lulu Press, Inc. Retrieved 2017-01-11. Porter, Lewis (1998-01-01). University of Michigan Press. Ratliff, Ben (2008-10-28).

367–368. Porter, Lewis. John Coltrane: His Life and Music Ann Arbor: U of Michigan P, 1999. Wilson, Joe. 'Musically Speaking.' The Mananan 30 Oct. Retrieved 2017-01-16.

Alexander, Leslie M.; Jr, Walter C. Rucker (2010-02-09). The John Coltrane Foundation. May 11, 2007. Retrieved June 29, 2009.

Armstrong, Rob (February 8, 2013). Hidden City Philadelphia.

Retrieved July 12, 2015. Coltrane: The Story of a Sound. New York: Farrar, Straus & Giroux. Corbett, John.

'John Gilmore: The Hard Bop Homepage'. ^ Kofsky, Frank (1970). Black Nationalism and the Revolution in Music: John Coltrane: An Interview. Pathfinder Press. Mandel, Howard (January 30, 2008). The Wire (221). Archived from on September 29, 2009.

Retrieved June 29, 2009. 290. Porter, Lewis; DeVito, Chris; Wild, David; Fujioka, Yasuhiro; and Shmaler, Wolf (2013). Retrieved 2018-01-23. CS1 maint: Multiple names: authors list. Retrieved 2017-01-16. Jenkins, Todd S.

Free Jazz and Free Improvisation: An Encyclopedia. Greenwood Publishing Group.

270. Weinstein, Norman C. (1993) A Night in Tunisia: Imaginings of Africa in Jazz, Hal Leonard Corporation, p. 272–273. June 8, 2011, at the.

280–281. Emmett G. Archived from on January 3, 2009. Retrieved October 9, 2008.

286–287., p. 285: 'Coltrane and one or two other musicians begin and end the piece by chanting in unison a verse from chapter nine ('The Yoga of Mysticism') of the Bhagavad Gita: Rites that the ordain, and the rituals taught by the scriptures: all these I am, and the offering made to the ghosts of the fathers, herbs of healing and food, the, the clarified butter. I the, and I the flame into which it is offered. I am the sire of the world, and this world's mother and grandsire. I am he who awards to each the fruit of his action. I make all things clean.

211. ^ Samuel G. Freedman (December 1, 2007), New York Times. August 12, 2006, at the. By Gordon Polatnick at www.elvispelvis.com. December 18, 2010, at the.

Saint Gregory's of Nyssa Episcopal Church. Archived from the original on May 10, 2009. Retrieved 2011-04-03. CS1 maint: BOT: original-url status unknown. Barnabas Episcopal Church website. The New York Times.

Retrieved 2012-04-16. Huffington Post. Archived from on December 22, 2015.

Retrieved 2012-04-16. on the at www.diverse.tv., The Telegraph, Sunday June 12, 2011. (2001). John Coltrane.

Retrieved April 7, 2011. Asante, Molefi Kete (2002). 100 Greatest African Americans: A Biographical Encyclopedia. Amherst, New York. Prometheus Books. North Carolina Music Hall of Fame. Retrieved September 10, 2012., by David Edwards, Patrice Eyries, and Mike Callahan, Both Sides Now website, retrieved January 29, 2007.

McNary, Dave (March 16, 2017). References. DeVito, Chris; Fujioka, Yasuhiro; Schmaler, Wolf; Wild, David (2008). The John Coltrane Reference.

Lavezzoli, Peter (2006). The Dawn of Indian Music in the West. Continuum International Publishing Group. Ascension: John Coltrane and His Quest. Da Capo Press. John Coltrane: His Life and Music.

University of Michigan Press. Further reading. Baham III, Nicholas (2015) 2015. The Coltrane Church: Apostles of Sound, Agents of Social Justice. (2003) 2002.

A Love Supreme: The Story of John Coltrane's Signature Album. Penguin Books. (1989) 1975.

Coltrane: A Biography. New York: Herndon House Publishers.

Thomas, J.C. Chasin' the Trane.

New York: Da Capo. Woideck, Carl (1998).

The John Coltrane Companion. New York: Schirmer Books. Peter Jan Margry & Daniel Wojcik, 'A Saxophone Divine. The Transformative Power of Saint John Coltrane's Jazz Music in San Francisco's Fillmore District', in: V.

Hegner and P.J. Margry (editors), Spiritualizing the City: Agency and Resilience of the Urban and Urbanesque Habitat (Milton Park: Routledge, 2017) 169-194.

External links about John Coltrane.

Newport '63 by Released July 20, 1993 Recorded November 2, 1961 (#4), July 7, 1963 (#1-3), Length 56: 48 GRD-128 Professional ratings Review scores Source Rating Newport '63 is a live album by musician recorded at the 1963, with one additional track recorded at the in 1961. The review by states that 'Coltrane performs what is arguably his greatest version of 'My Favorite Things' along with memorable renditions of 'Impressions' and 'I Want to Talk About You'.

Track listing All compositions by John Coltrane except as indicated. 'I Want to Talk About You' — 8:16. ' (, ) — 17:26. 'Impressions' — 15:40 (edited - a 23.30 version has been released on the album 'My favorite Things: Coltrane at Newport')).

'Chasin' Another Trane' - 15:26 Personnel. — (4), (1-3). — (4 only). — piano (1-3). — (1-3).

— double bass (4 only). — References.