Considered by many to be his finest single album, Coltrane finds John Coltrane displaying all of the exciting elements that sparked brilliance and allowed his fully formed instrumental voice to shine through in the most illuminating manner. On tenor saxophone, he's simply masterful, offering the burgeoning sheets of sound philosophy into endless weavings of melodic and tuneful displays of inventive, thoughtful, driven phrases. Coltrane also plays a bit of soprano saxophone as a primer for his more exploratory work to follow. Meanwhile, bassist Jimmy Garrison, drummer Elvin Jones, and especially the stellar McCoy Tyner have integrated their passionate dynamics into the inner whole of the quartet. The result is a most focused effort, a relatively popular session to both his fans or latecomers, with five selections that are brilliantly conceived and rendered. "Out of This World," at over 14 minutes in modal trim, is a powerful statement, stretched over Tyner's marvelous and deft chords, the churning rhythms conjured by Jones, and the vocal style Coltrane utilizes as he circles the wagons on this classic melody, including a nifty key change.

Live at the Village Vanguard Again! Is a jazz album by saxophonist John Coltrane. Recorded in May 1966, the album shows Coltrane playing in the free jazz style that characterized his final recordings. Out of all the recordings made during the session, only three pieces remain: "Naima", originally from the album Giant Steps, "My Favorite Things", from the album of the same name, and a bass solo by Jimmy Garrison entitled, "Introduction to My Favorite Things". The line up consists of the augmented quartet of the time, featuring Alice Coltrane on piano, Jimmy Garrison on bass and Rashied Ali on drums. Additionally, Pharoah Sanders contributes on flute and tenor saxophone, while Emanuel Rahim plays percussion. Coltrane and Sanders typically solo during the pieces over a whirlwind of percussion. Alice Coltrane can be heard playing in the background but at times is barely audible. Bass player Jimmy Garrison is somewhat hard to hear throughout the recording, except in his six minute bass solo.

Recorded on August 26, 1965 (and not released until after his death in heavily edited form), Sun Ship was the final recording by John Coltrane's quartet with drummer Elvin Jones, pianist McCoy Tyner, and bassist Jimmy Garrison. After nearly four years together, this band had achieved a vital collective identity. When Coltrane moved toward metrically free styles of rhythm and melody (with tunes often based on one chord or a short series of notes as themes), the quartet's rhythmic pulse and collective interplay evolved accordingly. The title track opens with a splintered theme. Garrison and Jones group dramatically around the leader's call, then rhythmically abstract the pulse; they imply a central rhythm more than state one. Tyner crafts a monumental solo full of crashing modulations and heated single lines. Coltrane reenters at full tilt, alternating throttled upper-register cries with crunching bass declamations, using multiphonics and altissimo as the levitating rhythm boils around him. Garrison and Jones are featured on "Ascent" and "Attaining, " where they unveil bold new solutions for coming in and out of tempo, and manipulating dynamics while maintaining an amorphous yet authoritative ebb and flow. The gyrating, oceanic waves of "Dearly Beloved" suggest earlier balladic explorations such as "Alabama, " with Coltrane's keening tenor providing a taut melodic focus for the multi-layered, nearly ritualistic rhythms surrounding him. Tyner's great chordal waves and contrapuntal motion build to a surging climax before the saxophonist reenters to bring them all home. On "Amen, " the saxophonist announces a spare modal theme that evokes swing, but refracts it through free jazz. While a summation for this quartet, Sun Ship is also an exciting if unfinished prelude to Coltrane's final period of transformation.

Digitally re-mastered and expanded edition containing the complete original classic 1959 album Bags & Trane, Coltrane's only collaboration as co-leader with Milt Jackson. As a bonus to this album, which puts a strong accent on the Blues, we have added two outstanding Blues by Coltrane recorded in a piano-less trio with Earl May and Art Taylor (these were the only Blues he ever taped in the studio in this format). Essential Jazz Classics. 2010.

Originally released in 1962, this classic jazz album has been newly reissued on 120-gram vinyl to commemorate the 65th anniversary of Prestige Records and the 90th birthday of legendary recording engineer Rudy Van Gelder. Trane, trumpeter Wilbur Harden, pianist Red Garland, bassist Paul Chambers and drummer Jimmy Cobb lend exquisite ensemble playing to Don't Take Your Love from Me; I'll Get By (As Long As I Have You); Spring Is Here, and Invitation ! Fantasy.

Digitally remastered and expanded two CD edition of this 1963 live show by the Jazz great which was not officially released in 1977. Coltrane fronts a stellar quartet on both European dates that includes McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. In addition to the nine tracks that appeared in the original Afro Blue Impressions double album, the reissue also includes three bonus tracks from a Stockholm date. When you compare and contrast the performance of a composition that was released on the original album to a different performance of the same composition from among the bonus tracks, says Afro Blue Impressions reissue producer Nick Phillips, it perfectly illustrates just how restlessly creative Coltrane and his band were. Each song was a springboard for unpredictable improvisation and boundless creativity.

Analogue Productions (Atlantic Series) Celebrating the 75th Anniversary of Atlantic Records! John Coltrane's watershed 1960 release featuring the iconic title track and 'Naima' One of the most influential jazz albums of all time! 180-gram 45 RPM double LP Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing Released in 1960, Giant Steps was a watershed album for John Coltrane, solidifying the saxophone legend's reputation as one of the most influential and innovative musicians in jazz history, as well as delivering jazz to an increasingly mainstream audience, while garnering significant critical acclaim. Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked here by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers - who was the only bandmember other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated - replicating the alternate non-Bill Evans lineup featured on 'Freddie the Freeloader' on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos. All seven pieces issued on the original Giant Steps are Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos - enabling the solo to become infinitely more compelling. This would culminate in a frenetic performance style using melodic phrasing that noted jazz journalist Ira Gitler accurately dubbed 'sheets of sound.' The Giant Steps chord progression consists of a distinctive set of chords that create key centers a major third apart. Jazz musicians ever since have used it as a practice piece, it's difficult chord changes presenting a 'kind of ultimate harmonic challenge', and serving as a gateway into modern jazz improvisation. Several pieces on this album went on to become jazz standards, most prominently 'Naima' and 'Giant Steps.' The Penguin Guide to Jazz selected this album as part of it's suggested 'Core Collection' calling it 'Trane's first genuinely iconic record.' In 2003, the album was ranked No. 102 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time, 103 in a 2012 revised list, and 232 in a 2020 revised list. Undeniable music perfection deserves definitive sound and top-notch packaging. This reissue was mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing. Overall, Giant Steps is not only a critical triumph but also a defining moment in John Coltrane's career. It's innovative compositions, masterful performances, and profound influence on jazz make it an essential entry in Coltrane's discography and a timeless masterpiece in the history of the genre. Tracklist: 0 Side 1 1 Giant Steps 2 Cousin Mary 3 4 Side 2 5 Countdown 6 Spiral 7 8 Side 3 9 Syeeda's Song Flute 10 11 Side D 12 Naima 13 Mr. P.C.

The year 1958 represented a transitional period in John Coltrane's musical career. He had first joined the Miles Davis Quintet in 1955 and would form his own celebrated quartet with McCoy Tyner, Jimmy Garrison and Elvin Jones in 1960. In the intervening years, he overcame his narcotics addiction and began to expand on his own musical ideas while experimenting with both the Thelonious Monk Quartet and the Miles Davis Sextet (featuring Bill Evans and Cannonball Adderley). He also recorded studio sessions with other musicians and presented his own albums during this period. Among them were many quartet sides, all of them featuring Red Garland on piano and Paul Chambers on bass. These quartets were, in many ways, the predecessors of the 1960 John Coltrane Quartet, and Soultrane, is a good example of this. 180-GRAM COLORED RED VINYL - THE COMPLETE ALBUM + 1 BONUS TRACK - Contains new specially prepared liner notes by Penguin Guide to Jazz's writer BRIAN MORTON and by Paris' prestigious JAZZ MAGAZINE. LIMITED EDITION

John Coltrane - "A Love Supreme (Monophonic Edition)". Celebrating the 60th anniversary of John Coltrane's masterpiece, A Love Supreme is presented in it's mono mix for the first time in over 50 years. Faithfully mastered from the original analog tapes by Ryan K. Smith, pressed on 180-gram vinyl at RTI and housed in a tip-on gatefold jacket. Experience the surprising impact of A Love Supreme in mono: immediate, intense, unforgettable. Featuring the Classic Quartet of pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones, A Love Supreme is one of the most honest, musical performances put to tape. It's beauty and appeal are timeless.

John Coltrane Quartet - "The John Coltrane Quartet Plays (Verve Acoustic Sounds Series)". Recorded in two sessions just a few months after working on A Love Supreme, this album makes for a perfect introduction to Coltrane's final period as a leader. Though Art Davis plays second bass on "Nature Boy," the classic quartet of Coltrane with McCoy Tyner (piano), Elvin Jones (drums) and Jimmy Garrison (bass) is at full heat, leaning hard into more free improvisation with a matter-of-fact confidence that will become more normalized over his concluding two years. Verve Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Limited 180 gm vinyl LP pressing. Recorded in 1968 and intended as a tribute to her late husband, Alice Coltrane is supported in her first solo outing by Pharoah Sanders, Jimmy Garrison and Rashied Ali - all members of John Coltrane's last quintet. While initial reviews to the album were lukewarm upon release, looking at it in the context of her larger body of work, A Monastic Trio serves as a delightful foreshadowing of what was to come. The Verve By Request Series features 180-gram vinyl, pressed at Third Man in Detroit.