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John Coltrane Net Worth
John William Coltrane how much money? For this question we spent 6 hours on research (Wikipedia, Youtube, we read books in libraries, etc) to review the post.
The main source of income: Musicians
Total Net Worth at the moment 2024 year – is about $246,3 Million.
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Biography
John William Coltrane information Birth date: September 23, 1926, Hamlet, North Carolina, United States Death date: July 17, 1967, Huntington, New York, United States Birth place: Hamlet, North Carolina, USA Height:5 8 (1.73 m) Profession:Soundtrack, Music Department Spouse:Alice Coltrane (m. 1966–1967), Juanita Naima Grubbs (m. 1955–1966) Children:Ravi Coltrane, Oranyan Coltrane, John Coltrane Jr.
Height, Weight
:How tall is John Coltrane – 1,82m.
How much weight is John Coltrane – 67kg
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John William Coltrane, also known as Trane (September 23, 1926 – July 17, 1967), 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 was later at the forefront of free jazz. He organized at least fifty recording sessions as a leader during his career, and appeared as a sideman on many other albums, notably with trumpeter Miles Davis and pianist Thelonious Monk.As his career progressed, Coltrane and his music took on an increasingly spiritual dimension. His second wife was pianist Alice Coltrane and their son Ravi Coltrane is also a saxophonist. Coltrane influenced innumerable musicians, and remains one of the most significant saxophonists in music history. He received many posthumous awards and recognitions, including canonization by the African Orthodox Church as Saint John William Coltrane and a special Pulitzer Prize in 2007.
Biography,Coltranes first recordings were made when he was a sailor.Saint John William ColtraneBorn(1926-09-23)September 23, 1926Hamlet, North Carolina, USDiedJuly 17, 1967(1967-07-17) (aged 40)Huntington, New York, USVenerated inAfrican Orthodox ChurchPatronageAll ArtistsInformation about Coltranes canonizationEarly life and career (1926–1954)Coltrane was born in his parents apartment at 200 Hamlet Avenue, Hamlet, North Carolina on September 23, 1926. His father was John R. Coltrane and his mother was Alice Blair. He grew up in High Point, North Carolina, attending William Penn High School (now Penn-Griffin School for the Arts). Beginning in December 1938 Coltranes aunt, grandparents, and father all died within a few months of one another, leaving John to be raised by his mother and a close cousin. In June 1943 he moved to Philadelphia. In September of that year his mother bought him his first saxophone, an alto. Coltrane played the clarinet and the alto horn in a community band before taking up the alto saxophone during high school. He had his first professional gigs in early to mid-1945 – a cocktail lounge trio, with piano and guitar.To avoid being drafted by the Army, Coltrane enlisted in the Navy on August 6, 1945, the day the first U.S. atomic bomb was dropped on Japan. He was trained as an apprentice seaman at Sampson Naval Training Station in upstate New York before he was shipped to Pearl Harbor, where he was stationed at Manana Barracks, the largest posting of African-American servicemen in the world.[citation needed] By the time he got to Hawaii, in late 1945, the Navy was already rapidly downsizing. Coltranes musical talent was quickly recognized, though, and he became one of the few Navy men to serve as a musician without having been granted musicians rating when he joined the Melody Masters, the base swing band. As the Melody Masters was an all-white band, however, Coltrane was treated merely as a guest performer to avoid alerting superior officers of his participation in the band.[11] He continued to perform other duties when not playing with the band, including kitchen and security details. By the end of his service, he had assumed a leadership role in the band. His first recordings, an informal session in Hawaii with Navy musicians, occurred on July 13, 1946.[12] Coltrane played alto saxophone on a selection of jazz standards and bebop tunes.[13]After being discharged from his duties in the Navy, as a seaman first class in August 1946, Coltrane returned to Philadelphia, where he plunged into the heady excitement of the new music and the blossoming bebop scene.[14] After touring with King Kolax, he joined a Philly-based band led by Jimmy Heath, who was introduced to Coltranes playing by his former Navy buddy, the trumpeter William Massey, who had played with Coltrane in the Melody Masters.[15] In Philadelphia after the war, he studied jazz theory with guitarist and composer Dennis Sandole and continued under Sandoles tutelage through the early 1950s. Originally an altoist,[16] in 1947 Coltrane also began playing tenor saxophone with the Eddie Vinson Band.[17] 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 [Coleman Hawkins], and Ben [Webster] and Tab Smith were doing in the 40s that I didnt understand, but that I felt emotionally.[18] A significant influence, according to tenor saxophonist Odean Pope, was the Philadelphia pianist, composer, and theorist Hasaan Ibn Ali. Hasaan was the clue to … the system that Trane uses. Hasaan was the great influence on Trane’s melodic concept. [19]An important moment in the progression of Coltranes 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. 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 trumpeter Miles Davis—possibly impressing him.Coltrane 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)The rivalry, tension, and mutual respect between Coltrane and bandleader Miles Davis was formative for both of their careers.In the summer of 1955, Coltrane was freelancing in Philadelphia while studying with guitarist Dennis Sandole when he received a call from Davis. The trumpeter, 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, was again active and about to form a quintet. Coltrane was with this edition of the Davis band (known as the First Great Quintet—along with Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums) from October 1955 to April 1957 (with a few absences). During this period Davis released several influential recordings that revealed the first signs of Coltranes growing ability. This quintet, represented by two marathon recording sessions for Prestige in 1956, resulted in the albums Cookin, Relaxin, Workin, and Steamin. The First Great Quintet disbanded due in part to Coltranes heroin addiction.During the later part of 1957 Coltrane worked with Thelonious Monk at New York’s Five Spot, and played in Monks quartet (July–December 1957), but, owing to contractual conflicts, took part in only one official studio recording session with this group. Coltrane recorded many albums for Prestige under his own name at this time, but Monk refused to record for his old label.[citation needed] A private recording made by Juanita Naima Coltrane of a 1958 reunion of the group was issued by Blue Note Records as Live at the Five Spot—Discovery! in 1993. A high quality tape of a concert given by this quartet in November 1957 was also found later, and was released by Blue Note in 2005. Recorded by Voice of America, the performances confirm the groups reputation, and the resulting album, Thelonious Monk Quartet with John Coltrane at Carnegie Hall, is widely acclaimed.Blue Train, Coltranes 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 the title track, Moments Notice, and Lazy Bird, have become standards. Both tunes employed the first examples of his chord substitution cycles known as Coltrane changes.Davis and ColtraneColtrane rejoined Davis in January 1958. In October of that year, 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 Davis 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 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 Davis sessions Milestones and Kind of Blue, and the concert recordings Miles & Monk at Newport (1963) and Jazz at the Plaza (1958).Period with Atlantic Records (1959–1961)At the end of this period Coltrane recorded his first album as leader for Atlantic Records, Giant Steps (1959), which contained only his compositions. The albums title track is generally considered to have one of the most difficult chord progressions of any widely played jazz composition. Giant Steps utilizes Coltrane changes. His development of these altered chord progression cycles led to further experimentation with improvised melody and harmony that he continued throughout his career.Giant StepsOne of Coltranes most acclaimed recordings, Giant Steps features harmonic structures more complex than were used by most musicians of the time.Problems playing this file? See media help.Coltrane formed his first quartet for live performances 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 Coltranes for some years and the two men 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[clarification needed] were the later released albums Coltranes Sound (1964) and Coltrane Plays the Blues (1962).Coltranes first record with his new group was also his debut playing the soprano saxophone, the hugely successful My Favorite Things (1960). Around the end of his tenure with Davis, Coltrane had begun playing soprano, an unconventional move considering the instruments neglect 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 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 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 (1961–1962)Coltrane (Amsterdam, 1961)In May 1961, Coltranes contract with Atlantic was bought out by the newly formed Impulse! Records label.[20] An advantage to Coltrane recording with Impulse! was that it would enable him to work again with engineer Rudy Van Gelder, who had taped both his and Davis Prestige sessions, as well as Blue Train. It was at Van Gelders 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 Coltranes new direction. It featured the most experimental music he had 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, after hearing a Gilmore performance, Coltrane is reported to have said Hes got it! Gilmores got the concept![21] The most celebrated of the Vanguard tunes, the 15-minute blues, Chasin the Trane, was strongly inspired by Gilmores music.[22]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 booed during his final tour with Davis. In 1961, Down Beat magazine indicted Coltrane and Dolphy as players of Anti-Jazz, in an article that bewildered and upset the musicians.[22] Coltrane admitted some of his early solos were based mostly on technical ideas. Furthermore, Dolphys 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 Davis) and critics. But as Coltranes style further developed, he was determined to make each performance a whole expression of ones being.[23]Classic Quartet period (1962–1965)In a Sentimental MoodThe romantic ballad features Coltrane with pianist Duke Ellington.Problems playing this file? See media help.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 affected Coltrane. In contrast to the radicalism of his 1961 recordings at the Village Vanguard, his studio albums in the following two years (with the exception of Coltrane, 1962, which featured a blistering version of Harold Arlens Out of This World) were much more conservative. 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 album Ballads (recorded 1961–62) is emblematic of Coltranes versatility, as the quartet shed new light on old-fashioned standards such as Its Easy to Remember. Despite a more polished approach in the studio, in concert the quartet continued to balance standards and its own more exploratory and challenging music, as can be heard on the Impressions (recorded 1961–63), Live at Birdland and Newport 63 (both recorded 1963). Impressions consists of two extended jams including the title track along with Dear Old Stockholm, After the Rain and a blues. Coltrane later said he enjoyed having a balanced catalogue.[citation needed]The Classic Quartet produced their best-selling album, A Love Supreme, in December 1964. It is reported that Coltrane, who struggled with repeated drug addiction, derived inspiration for A Love Supreme through a near overdose in 1957 that galvanized him to spirituality.[24] A culmination of much of Coltranes work up to this point, this four-part suite is an ode to his faith in and love for God. These spiritual concerns characterized much of Coltranes 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 albums liner notes. Coltrane plays almost exactly one note for each syllable of the poem, and bases his phrasing on the words. The album was composed at Coltranes home in Dix Hills on Long Island.The quartet played A Love Supreme live only once—in July 1965 at a concert in Antibes, France.[citation needed]Avant-garde jazz and the second quartet (1965–1967)‹ The template below (Unreferenced section) is being considered for merging. See templates for discussion to help reach a consensus.›This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2013) (Learn how and when to remove this template message)As Coltranes interest in jazz became increasingly experimental, he added Pharoah Sanders to his ensemble.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 Aylers 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 such as Archie Shepp, and under his influence Impulse! became a leading free jazz record label.After A Love Supreme was recorded, Aylers style became more prominent in Coltranes music. A series of recordings with the Classic Quartet in the first half of 1965 show Coltranes 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 of Coltranes 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 groups 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 Gelders studio with ten other musicians (including Shepp, Pharoah Sanders, Freddie Hubbard, Marion Brown, and John Tchicai) to record Ascension, a 40-minute piece that included 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 Sanders to join the band in September 1965. While Coltrane frequently used over-blowing as an emotional exclamation-point, Sanders would overblow entire solos, resulting in a constant screaming and screeching in the altissimo range of the instrument.Adding to the quartetPercussionist Rashied Ali helped to augment Coltranes sound in the last years of his life.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 Coltranes death, with the musics new direction, while incorporating some of the free-jazz forms intensity into their own solo projects.There is speculation that in 1965 Coltrane began using LSD,[25][26] informing the cosmic transcendence of his late period. After the departure of Jones and Tyner, Coltrane led a quintet with Sanders on tenor saxophone, his second wife Alice Coltrane on piano, Garrison on bass, and 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 being an hour long. Concert solos for band members often extended beyond fifteen minutes.The group can be heard on several concert 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 that appear on the album Interstellar Space.Death and funeralColtrane died of liver cancer at Huntington Hospital on Long Island on July 17, 1967, at the age of 40. His funeral was held four days later at St. Peters Lutheran Church in New York City. The service was opened by the Albert Ayler Quartet and closed by the Ornette Coleman Quartet. Coltrane is buried at Pinelawn Cemetery in Farmingdale, New York.One of his biographers, Lewis Porter, has suggested that the cause of Coltranes illness was hepatitis, although he also attributed the disease to Coltranes heroin use.[27] In a 1968 interview Ayler claimed that Coltrane was consulting a Hindu meditative healer for his illness instead of Western medicine, although Alice Coltrane later denied this.[citation needed]Coltranes death surprised many in the musical community who were not aware of his condition. Davis said that Coltranes death shocked everyone, took everyone by surprise. I knew he hadnt looked too good… But I didnt know he was that sick—or even sick at all.[28]
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Wikipedia Source: John Coltrane