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John Coltrane
John Coltrane in 1960
John Coltrane in 1960
Background information
Birth name John William Coltrane
Also known as "Trane"
Born September 23, 1926(1926-09-23)
Origin Hamlet, North Carolina,
United States
Died July 17, 1967 (aged 40) Huntington, New York,
United States
Genres Jazz, avant-garde jazz, bebop, hard bop, post bop, modal, free jazz
Occupations Saxophonist, composer, bandleader
Instruments Tenor saxophone, soprano saxophone, alto saxophone, flute, bass clarinet
Years active 1946–1967
Labels Prestige, Blue Note, Atlantic, Impulse!
Associated acts Miles Davis Quintet, John Coltrane Quartet, John Coltrane Quintet

John William "Trane" Coltrane (September 23, 1926 – July 17, 1967[1]) was an American jazz saxophonist and composer.

Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes in jazz and later was at the forefront of free jazz. He was prolific, making about fifty recordings as a leader during his recording career, and appeared as a sideman on many other albums, notably with trumpeter Miles Davis and pianist Thelonious Monk. As his career progressed, Coltrane's music took on an increasingly spiritual dimension. His second wife was pianist Alice Coltrane, and their son Ravi Coltrane is also a saxophonist.

He influenced innumerable musicians, and remains one of the most significant tenor saxophonists in jazz history. He received many awards, among them a posthumous Special Citation from the Pulitzer Prize Board in 2007 for his "masterful improvisation, supreme musicianship and iconic centrality to the history of jazz." [2]


Early life and career (1926–1954)

John Coltrane was born in Hamlet, North Carolina on September 23, 1926, and grew up in High Point NC, attending William Penn High School (now Penn-Griffin School for the Arts) in High Point, NC. Beginning in December 1938 Coltrane's aunt, grandparents, and father all died within a few months of each other, leaving John to be raised by his mother and a close cousin.[3][4] In June 1943 he moved to Philadelphia PA . He enlisted in the Navy in 1945, and played in the Navy jazz band once he was stationed in Hawaii. Coltrane returned to civilian life in 1946 and began jazz theory studies with Philadelphia guitarist and composer Dennis Sandole. Coltrane continued under Sandole's tutelage until the early 1950s. Originally an altoist,[5] during this time Coltrane also began playing tenor saxophone with the Eddie Vinson 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 Hawk, and Ben, and Tab Smith were doing in the '40s that I didn't understand, but that I felt emotionally."[6]

An important moment in the progression of Coltrane's musical development occurred on June 5, 1945, when he saw Charlie Parker 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."[5] 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 Miles Davis—possibly impressing the latter.[1]

There are recordings of Coltrane from as early as 1945. He was a member of groups led by Dizzy Gillespie, Earl Bostic and Johnny Hodges in the early- to mid-1950s.

Miles and Monk period (1955–1957)

Coltrane was freelancing in Philadelphia in the summer of 1955 while studying with guitarist Dennis Sandole when he received a call from trumpeter Miles Davis. Davis, 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 heroin addiction, was again active, and was about to form a quintet. Coltrane was with this edition of the Davis band (known as the "First Great Quintet" to distinguish it from Davis's later group with Wayne Shorter) from October 1955 through April 1957 (with a few absences), a period during which Davis released several influential recordings which revealed the first signs of Coltrane's growing ability. This classic First Quintet, best represented by two marathon recording sessions for Prestige in 1956 that resulted in the albums issued as Cookin', Relaxin', Workin', and Steamin', some of the most treasured titles in Davis's early discography, disbanded in mid April due partly to Coltrane's problematic heroin addiction.[1]

During the later part of 1957 Coltrane worked with Thelonious Monk at New York’s Five Spot, a legendary jazz club, 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. A private recording made by Juanita Naima Coltrane Live at the Five Spot-Discovery! of a 1958 reunion of the group was issued by Blue Note Records in 1993. More significantly, a high-quality tape of a concert given by this quartet in November 1957 surfaced, and in 2005 Blue Note was able to make it commercially available. Recorded by Voice of America, the performances are extraordinary, confirming this group's lofty reputation, and the resulting album, Thelonious Monk Quartet with John Coltrane at Carnegie Hall has been widely acclaimed.

Blue Train, Coltrane's sole date as leader for Blue Note, featuring trumpeter Lee Morgan, bassist Paul Chambers, and trombonist Curtis Fuller, is often considered his best album from this period. Four of its five tracks are original Coltrane compositions, and several of them, notably the title track, "Moment's Notice" and "Lazy Bird", have become standards. Both tunes employed the first examples of Coltrane's chord substitution cycles known as Coltrane changes.[1]

Davis and Coltrane again

Coltrane rejoined Davis in January 1958. In October 1958, jazz critic Ira Gitler coined the term "sheets of sound" to describe the style Coltrane developed during his stint with Monk and was perfecting in Miles' 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, in due course, alto saxophonist Cannonball Adderley; pianists Red Garland, Bill Evans, and Wynton Kelly; bassist Paul Chambers; and drummers Philly Joe Jones and Jimmy Cobb. During this time he participated in the aforementioned Davis sessions Milestones and Kind of Blue, and the live recordings, Miles & Monk at Newport and Jazz at the Plaza.[1]

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Toward the end of this period Coltrane recorded his first album comprising his own compositions exclusively, Giant Steps (for Atlantic Records). The album's title track is generally considered to have the most complex and difficult chord progression of any widely-played jazz composition. Giant Steps utilizes Coltrane changes, a concept developed initially on Blue Train and featured most notably on the song "Moment's Notice". His development of these altered chord progression cycles led to further experimentation with improvised melody and harmony that he would continue throughout his career.[1]

First albums as leader

Coltrane formed his first group, a quartet, in 1960 for an appearance at the Jazz Gallery in New York City. After moving through different personnel including Steve Kuhn, Pete La Roca, and Billy Higgins, the lineup stabilized in the fall with pianist McCoy Tyner, bassist Steve Davis, and drummer Elvin Jones. Tyner, from Philadelphia, had been a friend of Coltrane's for some years and the two men long 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 Coltrane's Sound and Coltrane Plays the Blues.

Still with Atlantic Records, for whom he had recorded Giant Steps, his first record with his new group was also his debut playing the soprano saxophone, the hugely successful My Favorite Things. Around the end of his tenure with Davis, Coltrane had begun playing soprano saxophone, an unconventional move considering the instrument's near obsolescence in jazz at the time. His interest in the straight saxophone most likely arose from his admiration for Sidney Bechet and the work of his contemporary, Steve Lacy, even though Miles 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 (Coltrane changes) used on Giant Steps (movement in major thirds rather than conventional perfect fourths) over the A sections instead of a conventional turnaround progression. Several other tracks recorded in the session utilized this harmonic device, including "26-2," "Satellite," "Body and Soul," and "The Night Has a Thousand Eyes."

First years with Impulse Records (1960–1962)

File:Coltrane for lovers sleeve.jpg

Shortly before completing his contract with Atlantic in May 1961 with the album Olé Coltrane (although Atlantic would continue to release recordings from their vaults for many years), Coltrane joined the newly formed Impulse! Records label, with whom the "Classic Quartet" would record. It is generally assumed that the clinching reason Coltrane signed with Impulse! was that it would enable him to work again with recording engineer Rudy Van Gelder, who had taped both his and Davis's Prestige sessions, as well as Blue Train. It was at Van Gelder's new studio in Englewood Cliffs, New Jersey that Coltrane would record most of his records for the label.

By early 1961, bassist Davis had been replaced by Reggie Workman while Eric Dolphy 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 Village Vanguard, which demonstrated Coltrane's new direction. It featured the most experimental music he'd played up to this point, influenced by Indian ragas, the recent developments in modal jazz, and the burgeoning free jazz movement. John Gilmore, a longtime saxophonist with musician Sun Ra, was particularly influential; 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 famously booed during his final tour with Davis. In 1961, Down Beat magazine indicted Coltrane, along with Eric 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 Ornette Coleman, which was also denigrated by some jazz musicians (including Trane's old boss, Miles Davis) and critics. But as Coltrane's style further developed, he was determined to make each performance "a whole expression of one's being", as he would call his music in a 1966 interview.[cite this quote]

Classic Quartet period (1962–1965)

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In 1962, Dolphy departed and Jimmy Garrison 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 had an impact on Coltrane. In contrast to the radicalism of Trane's 1961 recordings at the Village Vanguard, his studio albums in 1962 and 1963 (with the exception of Coltrane, which featured a blistering version of Harold Arlen's "Out of This World") were much more conservative and accessible. He recorded an album of ballads and participated in collaborations with Duke Ellington on the album Duke Ellington and John Coltrane and with deep-voiced ballad singer Johnny Hartman on an eponymous co-credited album. The Impulse compilation Coltrane for Lovers is largely drawn from these three albums. The album Ballads 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 "standard" and its own more exploratory and challenging music, as can be seen on the Impressions album (two extended jams including the title track along with "Dear Old Stockholm", "After the Rain" and a blues), Coltrane at Newport (where he plays "My Favorite Things") and Live at Birdland both from 1963. Coltrane later said he enjoyed having a "balanced catalogue."

The Classic Quartet produced their most famous record, A Love Supreme, 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 would characterize 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. Despite its challenging musical content, the album was a commercial success by jazz standards, encapsulating both the internal and external energy of the quartet of Coltrane, Tyner, Jones and Garrison. Indeed the previous album Crescent recorded only a few months before already shows the adventurousness and rapport between these musicians. The album was composed at Coltrane's home in Dix Hills on Long Island.

The quartet only played A Love Supreme live once—in July 1965 at a concert in Antibes, France. By then, Coltrane's music had grown even more adventurous, and the performance provides an interesting contrast to the original.

Avant-garde jazz and the second quartet (1965–1967)

In his late period, Coltrane showed an increasing interest in avant-garde jazz, purveyed by Ornette Coleman, Albert Ayler, Sun Ra and others. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist Gary Peacock and drummer Sunny Murray, a rhythm section honed with Cecil Taylor as leader. Coltrane championed many younger free jazz musicians, (notably Archie Shepp), and under his influence Impulse! became a leading free jazz record label.

After A Love Supreme was recorded, Ayler's apocalyptic 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 multiphonics, utilization of overtones, and playing in the altissimo register, as well as a mutated return to 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 The John Coltrane Quartet Plays, Living Space, Transition (both June 1965), New Thing at Newport (July 1965), Sun Ship (August 1965), and First Meditations (September 1965).

In June 1965, he went into Van Gelder's studio with ten other musicians (including Shepp, Pharoah Sanders, Freddie Hubbard, Marion Brown, and John Tchicai) to record Ascension, a 40-minute long piece that included adventurous 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 Pharoah Sanders to join the band in September 1965.

By any measure, Sanders was one of the most abrasive, virtuosic saxophonists then playing. While Coltrane used over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument. The more Coltrane played with Sanders, the more he gravitated to Sanders' unique sound. John Gilmore was also a major influence on Coltrane's late-period music. After hearing a Gilmore performance, Coltrane is reported to have said "He's got it! Gilmore's got the concept!"[7] He also took informal lessons from Gilmore.

Adding to the quartet

By late 1965, Coltrane was regularly augmenting his group with Sanders and other free jazz musicians. Rashied Ali joined the group as a second drummer. This was the end of the quartet; claiming he was unable to hear himself over the two drummers, Tyner left the band shortly after the recording of Meditations. Jones left in early 1966, dissatisfied by sharing drumming duties with Ali. Both Tyner and Jones subsequently expressed displeasure in interviews, after Coltrane's death, with the music's new direction, while incorporating some of the free-jazz form's intensity into their own solo projects.

In 1965 Coltrane may have begun using LSD[8][9] - informing the sublime, "cosmic" transcendence of his late period, and also its incomprehensibility to many listeners. After Jones's and Tyner's departures, Coltrane led a quintet with Pharoah Sanders on tenor saxophone, his second wife Alice Coltrane on piano, Jimmy Garrison on bass, and Rashied Ali on drums. Coltrane and Sanders were described by Nat Hentoff as "speaking in tongues". When touring, the group was known for playing very lengthy versions of their repertoire, many stretching beyond 30 minutes and sometimes even being an hour long. Concert solos for band members regularly extended beyond fifteen minutes in duration.

Despite the radicalism of the horns, the rhythm section with Ali and Alice Coltrane had a more relaxed, random but meditative feel than with Jones and Tyner. The group can be heard on several live recordings from 1966, including Live at the Village Vanguard Again! and Live in Japan. In 1967, Coltrane entered the studio several times; though pieces with Sanders have surfaced (the unusual "To Be", which features both men on flutes), most of the recordings were either with the quartet minus Sanders (Expression and Stellar Regions) or as a duo with Ali. The latter duo produced six performances which appear on the album Interstellar Space.


Coltrane died from liver cancer at Huntington Hospital on Long Island on July 17, 1967, at the age of 40. He is buried at Pinelawn Cemetery in Farmingdale, N.Y. Biographer Lewis Porter has suggested, somewhat controversially, that the cause of Coltrane's illness was hepatitis, although he also attributed the disease to Coltrane's heroin use.[10] In a 1968 interview Albert Ayler claimed that Coltrane was consulting a Hindu meditative healer for his illness instead of Western medicine, though Alice Coltrane later denied this.

His death surprised many in the musical community who were not aware of his condition. Miles Davis commented: "Coltrane's death shocked everyone, took everyone by surprise. I knew he hadn't looked too good... But I didn't know he was that sick—or even sick at all."[11]

The Coltrane family reportedly remains in possession of much more as-yet-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 ABC Records, purged much of its unreleased material in the 1970s.[12] Lewis Porter has stated that Alice Coltrane, who died in 2007, intended to release this music, but over a long period of time; her son Ravi Coltrane, responsible for reviewing the material, is also pursuing his own career.


Coltrane played the clarinet and the alto horn in a community band before taking up the alto saxophone during high school. In 1947, when he joined King Kolax's band, Coltrane switched to tenor saxophone, the instrument he became known for playing primarily.[1]

In the early 1960s, during his engagement with Atlantic Records, he increasingly played soprano saxophone as well. While with Miles Davis' band, he was inspired by Steve Lacy and purchased his own soprano in February 1960. The cover of his album My Favorite Things features Coltrane playing soprano.[1]

Religious beliefs

Coltrane was born and raised in a Christian home, and was in touch with religion and spirituality from childhood. His maternal grandfather, Rev. William Blair, was a preacher. As a youth, he practiced music in a southern African-American church. In A Night in Tunisia: Imaginings of Africa in Jazz, Norman Weinstein notes the parallel between Coltrane's music and his experience in the southern church.

In 1955 Coltrane married Juanita Naima Grubb, a Muslim convert, (for whom he later wrote the piece "Naima"), and came into contact with Islam.[13]

In 1957 Coltrane began to shift spiritual directions. He had a religious experience which may have been what led him to overcome his addictions to alcohol and heroin.

Coltrane also explored Hinduism, the Kabbalah, Jiddu Krishnamurti, African history, and the philosophical teachings of Plato and Aristotle.[14] In the liner notes of A Love Supreme Coltrane states "[d]uring the year 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." In his 1965 album Meditations, Coltrane wrote about uplifting people, "...To inspire them to realize more and more of their capacities for living meaningful lives. Because there certainly is meaning to life."[15]

Moustafa Bayoumi, an associate professor of English at Brooklyn College, City University of New York, argues that Coltrane's A Love Supreme features Coltrane chanting, "Allah Supreme."[16]

In October 1965, Coltrane recorded Om, referring to the sacred syllable in Hinduism, 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 Bhagavad-Gita, a Hindu holy book. A 1966 recording, issued posthumously, has Coltrane and Pharoah Sanders chanting from a Buddhist text, Bardo Thodol, and reciting 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 into world music. He believed not only in a universal musical structure which transcended ethnic distinctions, but in being able to harness the mystical language of music itself. Coltrane's study of Indian music led him to believe that certain sounds and scales could "produce specific emotional meanings." 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."[17]


The influence Coltrane has had on music spans many different 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, he was inducted into the Down Beat Jazz Hall of Fame. 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 Coltrane was awarded a posthumous Grammy for "Best Jazz Solo Performance" on the album Bye Bye Blackbird, and in 1997, was awarded the Grammy Lifetime Achievement Award.[6]

His widow, Alice Coltrane, after several decades of seclusion, briefly regained a public profile before her death in 2007. Coltrane's son, Ravi Coltrane, named after the great Indian sitarist Ravi Shankar, who was greatly admired by Coltrane, has followed in his father's footsteps and is a prominent contemporary saxophonist.


John Coltrane House, 1511 North Thirty-third Street, Philadelphia

A former home, the John Coltrane House in Philadelphia, was designated a National Historic Landmark in 1999. His last home, the John Coltrane Home in the Dix Hills neighborhood of Huntington, New York, where he resided from 1964 until his death in 1967, was added to the National Register of Historic Places on June 29, 2007.

His revolutionary use of multi-tonic systems in jazz has become a widespread composition and reharmonization technique known as "Coltrane changes".

In 2002, scholar Molefi Kete Asante listed John Coltrane on his list of 100 Greatest African Americans.[18]

Coltrane's tenor (Selmer Mark VI, 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.[1]

The Saint John Coltrane African Orthodox Church in San Francisco has claimed Coltrane as a saint since 1971.[19] Its services incorporate Coltrane's music, using his lyrics as prayers.[20] A documentary on Coltrane, featuring the church, was produced for the BBC in 2004 and is presented by Alan Yentob.[21]


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 which he approved before his death. See main discography link above for full list.

Prestige and Blue Note Records

Atlantic Records

Impulse! Records


  1. 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 allmusic Biography
  2. "The 2007 Pulitzer Prize Winners Special Awards and Citations". Pulitzer Prize Committee. Thursday, June 25, 2009 1:51:03 PM. Retrieved 2009-06-29. 
  3. Porter, Lewis (2000-01-28). John Coltrane: His Life and Music. Ann Arbor, Michigan: University of Michigan Press. pp. 15–17. ISBN 978-0472086436. 
  4. "John Coltrane". Pulitzer Prize Committee. Retrieved 2009-06-29. 
  5. 5.0 5.1 John Coltrane "Coltrane on Coltrane", Down Beat, 29 September 1960
  6. 6.0 6.1 "John Coltrane Biography". The John Coltrane Foundation. Friday, May 11, 2007 3:11:27 AM. Retrieved 2009-06-29. 
  7. Corbett, John. "John Gilmore: The Hard Bop Homepage". Eric B. Olsen. Down Beat. Retrieved 2007-12-08. 
  8. Porter 1998, pp. 265-266.
  9. Mandel, Howard (2008-01-30). "John Coltrane: Divine Wind". The Wire (221). Retrieved 2009-06-29. 
  10. Porter, Lewis (2000-01-28). John Coltrane: His Life and Music. Ann Arbor, Michigan: University of Michigan Press. pp. 292. ISBN 978-0472086436. 
  11. Porter, Lewis (2000-01-28). John Coltrane: His Life and Music. Ann Arbor, Michigan: University of Michigan Press. p. 290
  12. "ABC-Paramount Records Story", by David Edwards, Patrice Eyries, and Mike Callahan, Both Sides Now website, retrieved January 29, 2007.
  13. Jessie Carney Smith, ed. "John Coltrane". Gale (Cengage). Retrieved 2009-06-26. 
  14. Emmett G. Price III. "John Coltrane, "A Love Supreme" and GOD". Retrieved 2008-10-09. 
  15. Scott Anderson (Spring 1996). "John Coltrane, Avant Garde Jazz, and the Evolution of My Favorite Things". Retrieved 2008-10-09. 
  16. Jonathan Curiel (2004-08-15). "Muslim roots of the blues: The music of famous American blues singers reaches back through the South to the culture of West Africa". San Francisco Chronicle. Retrieved 2008-10-09. 
  17. Porter 1998, p. 211
  18. Asante, Molefi Kete (2002). 100 Greatest African Americans: A Biographical Encyclopedia. Amherst, New York. Prometheus Books. ISBN 1-57392-963-8.
  19. Saint John Coltrane African Orthodox Church web site
  20. Article "The Jazz Church" by Gordon Polatnick at
  21. 2004 BBC documentary on the Saint John Coltrane African Orthodox Church at


External links

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