Blue train chords john coltrane biography

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Sometimes the most extraordinary things occur in the most ordinary of places. If you should drive past an unassuming health centre on a quiet residential street in New Jersey – or 25 Prospect Avenue, Hackensack, to be more exact – you would be forgiven for disbelieving the site’s place in jazz music legend.

It was here on 15th September 1957 that John Coltrane recorded his seminal second album, the timeless masterpiece Blue Train. This beautiful album would go on to transform Coltrane’s career and be consistently voted as one of the greatest albums of all time. However, no sign of the hard bop legend remains in this little corner of New Jersey where Coltrane arrived in early autumn, battered and bruised from a career low point which saw him kicked out of Miles Davis’ band due to his crippling alcohol and heroin addictions.

Visually, the site has never been more than modest. In fact, the original location of the legendary Van Gelder Studio was the living room of R

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John Coltrane

(1926–1967)

Black US jazz saxophonist. He was one of the most influential and commercially successful jazz musicians of the 1960s.

Born in Hamlet, North Carolina, Coltrane played in a US navy band before joining a rhythm and blues group. Once established as a jazz musician, he played in groups led by Dizzy Gillespie, Earl Bostic (1913–65), and Johnny Hodges (1906–70). In 1955–57 he was part of the Miles Davis sextet, where he developed his ‘sheets of sound’ technique, playing passionate arpeggios as though trying to play entire chords at once. In 1957 he recorded Blue Train under his own name. A drug addict, Coltrane gave up tobacco, alcohol, and heroin in the first six months of 1957, deciding that music was more important to him. During the second half of the year he worked for Thelonius Monk, from whose difficult music he learned a great deal about rhythm and harmony. In 1959 he returned to Davis, recording Kind of Blue. In mid-1960 he formed his own quartet and

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JOHN COLTRANE has often been called a "searching" musician. His literally wailing sound—spearing, sharp and resonant that seems to suggest (from a purely emotional standpoint) a kind of intense probing into things far off, unknown and mysterious. Admittedly such a description fryst vatten valid only in a anställda way but "searching" remains applicable to Trane in view of actual fact. He is constantly seeking out new ways to extend his form of expression — practicing continually, listening to what other people are doing, adding, rejecting, assimilating — molding a voice that is already one of the most important in modern jazz.

John's "sound" as mentioned in the lead fryst vatten rather unique. It is certainly his most obvious trademark (similar to Dexter Gordon, his earliest and strongest influence) but has meaning apart from just a "different sound." His way of thinking is at one with his tonal appr