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Joined: 14. 07. 2003. 19:20
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 Ev i prva jazz tema u historiji RP-a  Naravno, ovdje cemo govoriti o kasnijoj Coltraneovoj fazi, tj. free jazzu, posto pretpostavljam, da ako ga ko ovdje i slusa, slusa to ev sta wikipedija veli:
In his late (post-A Love Supreme) period, Coltrane showed an increasing interest in avant-garde jazz, purveyed, along with its aforementioned pioneer, Ornette Coleman, by Cecil Taylor, Albert Ayler, Sun Ra, and others. In formulating his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist Gary Peacock and drummer Sunny Murray. Coltrane championed many younger free jazz musicians, (notably Archie Shepp), and under his influence Impulse! became a leading free jazz record label.
After recording A Love Supreme, the influence of Ayler's playing 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. 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 , Dear Old Stockholm (both May 1965), Living Space, Transition (both June 1965), New Thing at Newport (July 1965), Sun Ship (August 1965), and First Meditations (September 1965). Only Plays and New Thing at Newport were released during Coltrane's lifetime. In 2005 the historical record was supplemented by One Down, One Up: Live at the Half Note set by the quartet from 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 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' uniquely shrill sound. The aforementioned John Gilmore was a major influence on Coltrane's late-period music, as well. After hearing a Gilmore performance, Coltrane is reported to have said "He's got it! Gilmore's got the concept!" [3] He also took informal lessons from Gilmore.za one koji ga BAS vole: http://www.coltranechurch.org/za one koje interesuje sta je snimio u zivotu: http://www.rollingstone.com/artists/joh ... iscography
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