John Coltrane Albums (56)
'Live at the Showboat Philadelphia June 17, 1963'
Release Date 1/1/2006
Tracks 6
Label Rare Live
See Album Tracklist and Review
'Once in a While'
Release Date 3/9/2002
Tracks 4
Label Prestige Elite
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'The Olatunji Concert: The Last Live Recording'
Release Date 9/25/2001
Tracks 3
Label Impulse!
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What The Critics Say
Since most (if not all) of the master tapes from legit Impulse! recording sessions have been released, the label continued on with a "digging in the crates" approach to expanding their John Coltrane catalog. Subsequently, they came across this recording that 'Trane arranged to record without the assistance (or interference) of Impulse!. Olatunji Concert: The Last Live Recording documents a live performance on April 23, 1967, one of the last times Coltrane would appear on stage, as he passed three months later. Strictly as a document, this is a rich and telling recording. It demonstrates his sonic blast free jazz direction that was becoming more aggressive and out of bounds; It portrays what could have been one of the most dynamically stellar groups of the mid-1960s avant jazz scene with Pharoah Sanders (who, in some ways, steals the show), Alice Coltrane, Rashied Ali, and Jimmy Garrison totally ripping it up; it also gives the average collector a taste of what the maniacal collector goes out of their way to find, as the sound quality is on the level of a sub-par bootleg. Don't expect to hear Bob Theil's warm production or one of Rudy Van Gelder's pristine live recordings รก la Live at the Village Vanguard. Instead the equalization is uneven, and there are some parts where the tape drops out. Besides that though, this is essential for seasoned Coltrane listeners . ~ Jack LV Isles, All Music Guide
'Coltrane Live in Paris'
Release Date 4/17/2001
Tracks 5
Label Just Jazz
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What The Critics Say
This album is rightfully co-credited to Don Cherry (trumpet), who ably trades blows with John Coltrane (tenor/soprano sax) throughout. The Avant-Garde also boasts the debut studio recording of Coltrane playing soprano sax -- on "The Blessing" -- in addition to his continuing advancements on tenor. Although these tracks were recorded during the summer of 1960, they remained shelved for nearly six years. Joining Coltrane and Cherry are essentially the rest of the members of the Ornette Coleman Quartet, Ed Blackwell (drums) and Charlie Haden (bass) on "Cherryco" and "The Blessing," as well as Percy Heath (bass) on the remaining three selections. This is fitting, as over half of the album consists of early Coleman compositions. Coltrane's integration into this band works with some extraordinarily fresh results. Neither Cherry nor Coltrane makes any radical departures on this album; however, it's the ability of each to complement the other both in terms of modal style and -- perhaps more importantly -- texture that lends heavily to the success of these sides. Cherry's brisk and somewhat nasal intonations on "The Blessing" mimic those of Miles Davis, albeit with shorter flourishes and heavily improvised lines. When combined with Coltrane's well-placed -- if not somewhat reserved -- solos, the mutual value of both is dramatically increased. Blackwell -- the only other musician besides Cherry and Coltrane to be featured on every track -- provides some non-conventional percussive accompaniment. His contributions to "The Blessing" and workout on the aptly titled "Focus on Sanity" are primal. ~ Lindsay Planer, All Music Guide
What The Critics Say
This LP, re-released in 2000 and whose contents have been reissued in different sets on CD, features John Coltrane in two different settings. "Vigil" and the spiritual ballad "Welcome" showcase tenor saxophonist Coltrane with his classic quartet (pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones) in June 1965. Dating from October 14, 1965, it adds tenor saxophonist Pharoah Sanders, Donald Garrett on bass clarinet and second bass, second drummer Frank Butler, and percussionist-vocalist Juno Lewis to the quartet and is a bit of an oddity. Lewis' chanting and colorful percussion make this a unique if not essential entry in Coltrane's discography. ~ Scott Yanow, All Music Guide
'Immortal Concerts: A Love Supreme'
Release Date 8/1/1999
Tracks 3
Label Giants of Jazz
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What The Critics Say
John Coltrane's 1961 to 1963 European tours have been available in various set configurations on numerous albums over the years, some legally licensed and some not. As a rule, these are fine shows, and this sequence (which may or may not be from a Stockholm show in 1961) is particularly well recorded, and every instrument, including McCoy Tyner's piano (which gets lost or buried in the more poorly recorded shows), is clearly audible. Over the years this same set has been released several times under different titles, including as Transcendence on Summit Records in 1961, as John Coltrane on Bluenite Records in 1962, as Impressions in Blue on Mastersound in 2000 and as Traneing In on United Audio in 2005. These are generally budget releases, and fans of Coltrane's classic quartet with Tyner, Elvin Jones on drums, and Jimmy Garrison on bass will find this set not only affordable but enjoyable, as well, if not exactly essential. ~ Steve Leggett, All Music Guide
