JAZZ.FM91 Celebrates 100 Years of John Coltrane

John Devenish’s pick – John Coltrane and Johnny Hartman (1963)

The album is John Coltrane and Johnny Hartman. It is almost an unexpected for some as it journeys to the opposite end of the spectrum of emotional experience. Ballads and Coltrane’s horn playing as a living body warm voice with Hartman’s soul tugging and heart swelling vocal’scape. It is a great album to disappear into and just let the lines flow. If you want to create your own Bridges of Madison County moments, or indeed any moments of absolute seductive energy let the tracks of this album be your lanterns and play on! – John Devenish, Dinner Jazz

Dani Elwell’s pick – Duke Ellington & John Coltrane (1963)

With Dianne Reeves and the Branford Marsalis Quartet coming to Toronto this February at Koerner Hall in order to honour him AND because I curate and host an all vocal show on Tuesday evenings and Saturdays mornings at 9, you would think that I would choose something from the Coltrane and Hartman collaboration. However, I have to go with Ellington’s “In a Sentimental Mood” from the 1963 recording Duke Ellington & John Coltrane. Why? Because it’s just so damn pretty and sometimes, it’s what you need in the moment. – Dani Elwell, Voice Tracks

Walter Venafro’s pick – ‘Round Midnight from Miles Davis Quintet (1957)

John Coltrane’s performance on the 1956 Miles Davis Quintet recording of “‘Round Midnight” showcases his absolute brilliance. Coming off Miles’ cool, muted trumpet opening, Coltrane steps up with a double-time tenor solo that instantly shifts the energy. He floods the ballad with rich, rapid arpeggios—an early glimpse of his signature “sheets of sound”—without ever losing the track’s quiet emotional depth. It’s a supreme display of technical precision, taste, and pure jazz improvisation from a legend at work. – Walter Venafro, Blurred Lines, Saturday Afternoon Jazz and Sunday Drive

Jeff Chalmers’ pick – “Freight Trane” from Kenny Burrell & John Coltrane (1958)

In celebration of the 100th anniversary of the birth of John Coltrane, we could discuss many things including perhaps dissecting the three recognized eras of his music: The Hard Bop / “Change-Running” Era (1959–1961), The Modal Era (1960–1965) and The Free Jazz Era (1965–1967). There’s lots to talk about right there. But, what might be as equally compelling a conversation might be one that examines how Coltrane had to navigate a deeply segregated society and a music industry structured around racial exploitation. Despite achieving immense artistic and commercial success, it’s no secret that he was significantly impacted and held back by systemic racism throughout his career.

The Jim Crow laws in the United States meant segregated touring and restricted where Black musicians like him could eat, sleep, use the bathroom, or buy gasoline. It’s difficult to comprehend that rising stars playing to packed venues faced the ever-present threat of racist police encounters, and were often banned from staying in the very hotels they played in.

White executives, managers, venue owners and major record labels dominated the world of jazz in the ‘50’s and ‘60’s and although Black artists contributed significantly to the cultural and financial success of the music industry, a substantial share of the wealth their work generated was diverted away from them. Being denied ownership of their master recordings and music publishing rights was a thing (and something that was still happening in more modern times; in 1993 Prince famously protested his contract with Warner Bros., fighting until he finally reclaimed his master tapes).

The establishment often marginalised Black music, viewing it primarily as entertainment for drinking and dancing rather than acknowledging its artistic and cultural significance. Coltrane fought this by pushing jazz into a deeply personal, intellectual and spiritual form of artistic expression. But despite challenging boundaries of traditional jazz, his avant-garde work was routinely dismissed by mainstream white music critics, some labelling it ‘anti-jazz.’ How dare Black artists define musical structure on their own terms.

And here’s where Coltrane’s genius came into play. Fighting systemic oppression, he channelled the pain into his music. Trane’s struggle became part of his legacy. The barriers he faced didn’t prevent him from creating, but instead became part of his journey toward greater artistic freedom. His influence continues to be felt today and continues to shape how musicians create and how audiences experience music. And that is always something to talk about.

Happy Birthday, sir. – Jeff Chalmers, Afternoon Drive

Laura Fernandez’s pick – Ole (1961)

Although Coltrane was not known for Latin Jazz, he did record and explore Spanish and Afro Latin influences and music. A couple of standouts are 1961’s Ole, the title track from the album of the same name. The melody is based on the Spanish folk melody “El Vito,” which was also adapted into the Spanish war song El Quinto Regimiento. He recorded it in May 1961 shortly after Miles Davis’ Sketches of Spain album. He takes that melody and builds a beautiful modal highly improvisational piece around it. rhythmically it is very unusual and interesting with an 3/4 and 6/8 feel. It is Spanish Andalusia inspired with middle eastern and African overtones. He also was the tenor saxophonist on Flamenco Sketches on Miles Davis Kind of Blue which is historically one of the most important Spanish flamenco influenced jazz recordings of the time! – Laura Fernandez, Cafe Latino

Danny Marks’ pick – My Favourite Things (1961)

John Coltrane, one of jazz’s most famous names, was a tormented soul, often at odds with his peers. He struggled with personal relationships and dependency, yet pioneered a new approach to the soprano sax. His churning licks and arpeggios, his “sheets of sound” and modal explorations, helped launch the vertical period of jazz. An avant-garde visionary of bebop and free jazz, his most requested recording was ironically a reworking of “My Favorite Things” from Broadway — a whimsical choice for a hard bop innovator. His high, almost oboe-like tone runs through the first verses in a piece that is short and sublime, making you wonder what an album of such material might have changed in his life. But Coltrane had other flames to light. His masterpiece, A Love Supreme, remains a triumph of the spirit. He lived and played hard, died young, and left a legacy that still echoes today. – Danny Marks, BLUZ.FM and Beyond The Fringe

Jelani Watson’s pick – “Naima” from Giant Steps (1960)

Some of my favourites from Coltrane include “In A Sentimental Mood” with Duke Ellington, “Ruby My Dear” with Thelonious Monk, as well as “So What” and “Flamenco Sketches” off Miles Davis’ Kind of Blue, “Afro Blue,” and of course “My Favourite Things.” Here’s the classic, “Naima”, from his seminal album Giant Steps. – Jelani Watson, Take Me To The Water

Ronnie Littlejohn’s picks – “Equinox” from Coltrane’s Sound (1964) and “Alabama” from Coltrane Live at Birdland (1962)

“Equinox” is one of John Coltrane’s great understated performances. It’s dark and hypnotic and shows just how much emotion he could create without needing to overwhelm the listener with notes. The slow groove gives Coltrane room to build tension, explore the melody and gradually dig deeper. What I dig most is how Steve Davis never walks the bass. Which creates an atmosphere that feels almost suspended in time. It’s soulful, mysterious and deeply controlled. Coltrane shows that simplicity is incredibly powerful.

Written after the 1963 bombing of Birmingham’s 16th Street Baptist Church, “Alabama” is one of Coltrane’s most deeply moving pieces. An almost hymn-like composition that literally sounds like grief, Coltrane lets the melody speak with an almost preacher like voice. It is one of Coltrane’s most powerful examples of music saying something profound without words.  – Ronnie Littlejohn, Gumbo Kitchen