John Coltrane - John Coltrane at Night (All Tracks Remastered) '2021

Tracks list

Tracklist:

01. Naima (Remastered)
02. Everytime We Say Goodbye (Remastered)
03. Its Easy to Remember (Remastered)
04. Too Young to Go Steady (Remastered)
05. Violets For Your Furs (Remastered 2018)
06. Theme for Ernie (Remastered)
07. Blues to Elvin (Remastered)
08. Good Bait (Remastered)
09. Like Someone in Love (Remastered)
10. While My Lady Sleeps (Remastered 2018)
11. My Favorite Things (Remastered)
12. Mr. Knigh (Remastered)
13. I See Your Face Before Me (Remastered 2015)
14. Say It (Over and Over Again) (Remastered)
15. Blue Train (Remastered 2015)
16. Dont Take Your Love from Me (Remastered)
17. You Leave Me Breathless (Remastered)
18. I Want to Talk About You (Remastered)
19. Ill Get by (As Long as I Have You) (Remastered)
20. Aisha (Remastered 2015)
21. You Dont Know What Love Is (Remastered)
22. Summertime (Remastered)
23. I Wish I Knew (Remastered)
24. Ill Wait and Pray (Remastered 2015)
25. Nancy (With the Laughing Face) (Remastered)


 Read Full BiographyColtrane was the son of John R. Coltrane, a tailor and
amateur musician, and Alice (Blair) Coltrane. Two months after his birth, his
maternal grandfather, the Reverend William Blair, was promoted to presiding
elder in the A.M.E. Zion Church and moved his family, including his infant
grandson, to High Point, North Carolina, where Coltrane grew up. Shortly after
he graduated from grammar school in 1939, his father, his grandparents, and his
uncle died, leaving him to be raised in a family consisting of his mother, his
aunt, and his cousin. His mother worked as a domestic to support the family. The
same year, he joined a community band in which he played clarinet and E flat
alto horn; he took up the alto saxophone in his high school band. During World
War II, Coltranes mother, aunt, and cousin moved north to New Jersey to seek
work, leaving him with family friends; in 1943, when he graduated from high
school, he too headed north, settling in Philadelphia. Eventually, the family
was reunited there.

While taking jobs outside music, Coltrane briefly attended the Ornstein School
of Music and studied at Granoff Studios. He also began playing in local clubs.
In 1945, he was drafted into the navy and stationed in Hawaii. He never saw
combat, but he continued to play music and, in fact, made his first recording
with a quartet of other sailors on July 13, 1946. A performance of Tadd Damerons
Hot House, it was released in 1993 on the Rhino Records anthology The Last
Giant. Coltrane was discharged in the summer of 1946 and returned to
Philadelphia. That fall, he began playing in the Joe Webb Band. In early 1947,
he switched to the King Kolax Band. During the year, he switched from alto to
tenor saxophone. One account claims that this was as the result of encountering
alto saxophonist Charlie Parker and feeling the better-known musician had
exhausted the possibilities on the instrument; another says that the switch
occurred simply because Coltrane next joined a band led by Eddie Cleanhead
Vinson, who was an alto player, forcing Coltrane to play tenor. He moved on to
Jimmy Heaths group in mid-1948, staying with the band, which evolved into the
Howard McGhee All Stars until early 1949, when he returned to Philadelphia. That
fall, he joined a big band led by Dizzy Gillespie, remaining until the spring of
1951, by which time the band had been trimmed to a septet. On March 1, 1951, he
took his first solo on record during a performance of We Love to Boogie with
Gillespie.

At some point during this period, Coltrane became a heroin addict, which made
him more difficult to employ. He played with various bands, mostly around
Philadelphia, during the early 50s, his next important job coming in the spring
of 1954, when Johnny Hodges, temporarily out of the Duke Ellington band, hired
him. But he was fired because of his addiction in September 1954. He returned to
Philadelphia, where he was playing when he was hired by Miles Davis a year
later. His association with Davis was the big break that finally established him
as an important jazz musician. Davis, a former drug addict himself, had kicked
his habit and gained recognition at the Newport Jazz Festival in July 1955,
resulting in a contract with Columbia Records and the opportunity to organize a
permanent band, which, in addition to him and Coltrane, consisted of pianist Red
Garland, bassist Paul Chambers, and drummer Philly Joe Jones. This unit
immediately began to record extensively, not only because of the Columbia
contract, but also because Davis had signed with the major label before
fulfilling a deal with jazz independent Prestige Records that still had five
albums to run. The trumpeters Columbia debut, Round About Midnight, which he
immediately commenced recording, did not appear until March 1957. The first
fruits of his association with Coltrane came in April 1956 with the release of
The New Miles Davis Quintet (aka Miles), recorded for Prestige on November 16,
1955. During 1956, in addition to his recordings for Columbia, Davis held two
marathon sessions for Prestige to fulfill his obligation to the label, which
released the material over a period of time under the titles Cookin (1957),
Relaxin (1957), Workin (1958), and Steamin (1961).

Coltranes association with Davis inaugurated a period when he began to
frequently record as a sideman. Davis may have been trying to end his
association with Prestige, but Coltrane began appearing on many of the labels
sessions. After he became better known in the 60s, Prestige and other labels
began to repackage this work under his name, as if he had been the leader, a
process that has continued to the present day. (Prestige was acquired by Fantasy
Records in 1972, and many of the recordings in which Coltrane participated have
been reissued on Fantasys Original Jazz Classics [OJC] imprint.)

Coltrane tried and failed to kick heroin in the summer of 1956, and in October,
Davis fired him, though the trumpeter had relented and taken him back by the end
of November. Early in 1957, Coltrane formally signed with Prestige as a solo
artist, though he remained in the Davis band and also continued to record as a
sideman for other labels. In April, Davis fired him again. This may have given
him the impetus to finally kick his drug habit, and freed of the necessity of
playing gigs with Davis, he began to record even more frequently. On May 31,
1957, he finally made his recording debut as a leader, putting together a pickup
band consisting of trumpeter Johnny Splawn, baritone saxophonist Sahib Shihab,
pianists Mal Waldron and Red Garland (on different tracks), bassist Paul
Chambers, and drummer Al Tootie Heath. They cut an album Prestige simply titled
Coltrane upon release in September 1957. (It has since been reissued under the
title First Trane.)

In June 1957, Coltrane joined the Thelonious Monk Quartet, consisting of Monk on
piano, Wilbur Ware on bass, and Shadow Wilson on drums. During this period, he
developed a technique of playing several notes at once, and his solos began to
go on longer. In August, he recorded material belatedly released on the Prestige
albums Lush Life (1960) and The Last Trane (1965), as well as the material for
John Coltrane with the Red Garland Trio, released later in the year. (It was
later reissued under the title Traneing In.) But Coltranes second album to be
recorded and released contemporaneously under his name alone was cut in
September for Blue Note Records. This was Blue Train, featuring trumpeter Lee
Morgan, trombonist Curtis Fuller, pianist Kenny Drew, and the Miles Davis rhythm
section of Chambers and Philly Joe Jones; it was released in December 1957. That
month, Coltrane rejoined Davis, playing in what was now a sextet that also
featured Cannonball Adderley. In January 1958, he led a recording session for
Prestige that produced tracks later released on Lush Life, The Last Trane, and
The Believer (1964). In February and March, he recorded Davis album Milestones,
released later in 1958. In between the sessions, he cut his third album to be
released under his name alone, Soultrane, issued in September by Prestige. Also
in March 1958, he cut tracks as a leader that would be released later on the
Prestige collection Settin the Pace (1961). In May, he again recorded for
Prestige as a leader, though the results would not be heard until the release of
Black Pearls in 1964.

Coltrane appeared as part of the Miles Davis group at the Newport Jazz Festival
in July 1958. The bands set was recorded and released in 1964 on an LP also
featuring a performance by Thelonious Monk as Miles & Monk at Newport. In 1988,
Columbia reissued the material on an album called Miles & Coltrane. The
performance inspired a review in Down Beat, the leading jazz magazine, that was
an early indication of the differing opinions on Coltrane that would be
expressed throughout the rest of his career and long after his death. The review
referred to his angry tenor, which, it said, hampered the solidarity of the
Davis band. The review led directly to an article published in the magazine on
October 16, 1958, in which critic Ira Gitler defended the saxophonist and coined
the much-repeated phrase sheets of sound to describe his playing.

Coltranes next Prestige session as a leader occurred in July 1958 and resulted
in tracks later released on the albums Standard Coltrane (1962), Stardust
(1963), and Bahia (1965). All of these tracks were later compiled on a reissue
called The Stardust Session. He did a final session for Prestige in December
1958, recording tracks later released on The Believer, Stardust, and Bahia. This
completed his commitment to the label, and he signed to Atlantic Records, making
his first recording for his new employers on January 15, 1959 with a session on
which he was co-billed with vibes player Milt Jackson, though it did not appear
until 1961 with the LP Bags and Trane. In March and April 1959, Coltrane
participated with the Davis group on the album Kind of Blue. Released on August
17, 1959, this landmark album known for its modal playing (improvisations based
on scales or modes, rather than chords) became one of the best-selling and
most-acclaimed recordings in the history of jazz.

By the end of 1959, Coltrane had recorded what would be his Atlantic debut,
Giant Steps, released in early 1960. The album, consisting entirely of Coltrane
compositions, in a sense marked his real debut as a leading jazz performer, even
though the 33-year-old musician had released three previous solo albums and made
numerous other recordings. His next Atlantic album, Coltrane Jazz, was mostly
recorded in November and December 1959 and released in February 1961. In April
1960, he finally left the Davis band and formally launched his solo career,
beginning an engagement at the Jazz Gallery in New York, accompanied by pianist
Steve Kuhn (soon replaced by McCoy Tyner), bassist Steve Davis, and drummer Pete
La Roca (later replaced by Billy Higgins and then Elvin Jones). During this
period, he increasingly played soprano saxophone as well as tenor.

In October 1960, Coltrane recorded a series of sessions for Atlantic that would
produce material for several albums, including a final track used on Coltrane
Jazz and tunes used on My Favorite Things (March 1961), Coltrane Plays the Blues
(July 1962), and Coltranes Sound (June 1964). His soprano version of My Favorite
Things, from the Richard Rodgers/Oscar Hammerstein II musical The Sound of
Music, would become a signature song for him. During the winter of 1960-1961,
bassist Reggie Workman replaced Steve Davis in his band, and saxophone and flute
player Eric Dolphy gradually became a member of the group.

In the wake of the commercial success of My Favorite Things, Coltranes star
rose, and he was signed away from Atlantic as the flagship artist of the newly
formed Impulse! Records label, an imprint of ABC-Paramount, though in May he cut
a final album for Atlantic, Olé (February 1962). The following month, he
completed his Impulse! debut, Africa/Brass. By this time, his playing was
frequently in a style alternately dubbed avant-garde, free, or The New Thing.
Like Ornette Coleman, he played seemingly formless, extended solos that some
listeners found tremendously impressive, and others decried as noise. In
November 1961, John Tynan, writing in Down Beat, referred to Coltranes playing
as anti-jazz. That month, however, Coltrane recorded one of his most celebrated
albums, Live at the Village Vanguard, an LP paced by the 16-minute improvisation
Chasin the Trane.

Between April and June 1962, Coltrane cut his next Impulse! studio album,
another release called simply Coltrane when it appeared later in the year.
Working with producer Bob Thiele, he began to do extensive studio sessions, far
more than Impulse! could profitably release at the time, especially with
Prestige and Atlantic still putting out their own archival albums. But the
material would serve the label well after the saxophonists untimely death.
Thiele acknowledged that Coltranes next three Impulse! albums to be released,
Ballads, Duke Ellington and John Coltrane, and John Coltrane with Johnny Hartman
(all 1963), were recorded at his behest to quiet the critics of Coltranes more
extreme playing. Impressions (1963), drawn from live and studio recordings made
in 1962 and 1963, was a more representative effort, as was 1964s Live at
Birdland, also a combination of live and studio tracks, despite its title. But
Crescent, also released in 1964, seemed to find a middle ground between
traditional and free playing, and was welcomed by critics. This trend was
continued with 1965s A Love Supreme, one of Coltranes best-loved albums, which
earned him two Grammy nominations, for Jazz Composition and Performance, and
became his biggest-selling record. Also during the year, Impulse! released the
standards collection The John Coltrane Quartet Plays... and another album of
free playing, Ascension, as well as New Thing at Newport, a live album
consisting of one side by Coltrane and the other by Archie Shepp.

The year 1966 saw the release of the albums Kulu Se Mama and Meditations,
Coltranes last recordings to appear during his lifetime, though he had finished
and approved release for his next album, Expression, the Friday before his death
in July 1967. He died suddenly of liver cancer, entering the hospital on a
Sunday and expiring in the early morning hours of the next day. He had left
behind a considerable body of unreleased work that came out in subsequent years,
including Live at the Village Vanguard Again! (1967), Om (1967), Cosmic Music
(1968), Selflessness (1969), Transition (1969), Sun Ship (1971), Africa/Brass,
Vol. 2 (1974), Interstellar Space (1974), and First Meditations (For Quartet)
(1977), all on Impulse!

Compilations and releases of archival live recordings brought him a series of
Grammy nominations, including Best Jazz Performance for the Atlantic album The
Coltrane Legacy in 1970; Best Jazz Performance, Group, and Best Jazz
Performance, Soloist, for Giant Steps from the Atlantic album Alternate Takes in
1974; and Best Jazz Performance, Group, and Best Jazz Performance, Soloist, for
Afro Blue Impressions in 1977. He won the 1981 Grammy for Best Jazz Performance,
Soloist, for Bye Bye Blackbird, an album of recordings made live in Europe in
1962, and he was given the Grammy Lifetime Achievement Award in 1992, 25 years
after his death.

Even more previously unreleased material has surfaced since then, including the
discovery of the Monk and Coltrane live concert At Carnegie Hall and a complete
version of his 1966 Seattle concert, Offering: Live at Temple University. The
saxophonist was also the subject of director John Scheinfelds acclaimed 2017
film Chasing Trane: The John Coltrane Documentary. In 2018, Impulse! released
Both Directions at Once: The Lost Album, an archival release documenting a
previously unheard session from 1963. The next year brought another unreleased
album, Blue World, which dated from a June 1964 session recorded in between the
sessions for Crescent and A Love Supreme.

John Coltrane is sometimes described as one of jazzs most influential musicians,
and certainly there are other artists whose playing is heavily indebted to him.
Perhaps more to the point, Coltrane is influential by example, inspiring
musicians to experiment, take chances, and devote themselves to their craft. The
controversy about his work has never died down, but partially as a result, his
name lives on and his recordings continue to remain available and to be reissued
frequently. ~ William Ruhlmann

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