次中音萨克斯：John Coltrane
演 唱：Johnny Hartman
钢 琴：McCoy Tyner
贝 斯：Jimmy Garrison
鼓：Elvin Jones

Recorded December 20, 1957
Van Gelder Studio, Hackensack, New Jersey
Ray Draper - tuba
John Coltrane - tenor saxophone (tracks 1-5)
Gil Coggins - piano
Spanky DeBrest - bass
Larry Richie - drums

*企鵝爵士指南四星皇冠不朽評價 /AMG - 5星最高評價/史上101張爵士唱片之一
滾石雜誌500大專輯
「祟高的愛」（A Love Supreme）無疑是約翰柯川最偉大的里程碑，相較於另一張偉大的經典「巨人腳步」（Giant Step），「祟高的愛」（A Love Supreme）對後期爵士樂手有決定性的影響。在這張專輯中，約翰柯川捨棄更多在硬咆勃（Hard Bop）時期強調的吹奏法，以沉鬱音色不斷帶領著不協調苦悶的音符重擊聆聽者的心靈，堪稱他劃時代的巨作。
約翰．柯川這位爵士樂的奇才，恐怕是二十世紀最特殊的一位樂手。他一方面不斷努力精進於演奏的表現，但另一方面卻又不時沈浸在精神恍惚的酒精世界裡。當他受至宗教洗禮後，他一直以聖者的身份自居，在演奏中呈現奉獻與敬拜精神。本輯正是他將長串的即與演奏發揮至極的高峰期，近於無懈可繫的演奏中，完美的四重奏搭配出四段意味深長的樂曲。對約翰．柯川而言，這個錄音可說是他以音樂演奏表達"祟高的愛"給樂迷的最佳獻禮。

John Coltrane saw the album-length suite A Love Supreme as his gift to God. The world has come to see it as a classic -- not only Coltrane's best-known work, but one of the most important and influential jazz records ever made. Now, for the first time, the full story of A Love Supreme is available in one package.
The first disc of this deluxe edition consists of A Love Supreme as released in 1965. The second disc includes the John Coltrane Quartet's only live performance of the suite, recorded at the Antibes jazz festival that summer and receiving its first authorized release. Most notably, it also includes the long-rumored sextet version of the opening movement, receiving its first release of any kind.
Mastered by the original recording engineer, Rudy Van Gelder, and containing extensive annotation and many photographs, this is the definitive edition of an indisputable masterpiece.

A posthumous tribute to John Coltrane and the Reverend Martin Luther King, Jr. Two tracks feature the late John, and two the Alice Coltrane/Pharoah Sanders grouping only.
*Two tracks appear on US CD reissue of Alice Coltrane's A MONASTIC TRIO.
Original Release Date: February 2, 1966

Recorded October 24 & 26, 1960
Atlantic Studios, New York City
John Coltrane — tenor saxophone on all except "Central Park West" soprano saxophone on "Central Park West" and "26-2";
McCoy Tyner — piano
Steve Davis — bass
Elvin Jones — drums

Interstellar Space consists of an extended duet suite in four parts with the drummer Rashied Ali, and was recorded at the Van Gelder Studio on February 22, 1967, the week after the session that produced Stellar Regions. As a result, the melodies often overlap; "Venus" has the same melody as the title track of the previous LP, "Mars" quotes the melody of what became known as "Iris", and many note choices and runs are similar.
At the beginning of most of the songs, Coltrane plays chime-like bells, while Ali sets a shifting pattern on the drums; then the theme is stated by Coltrane on tenor saxophone. The album is an important[according to whom?] example of highly improvised free jazz, which was Coltrane's principal interest in the latter part of his career. Coltrane's improvisations are thus extremely free here, stating tacit modes and harmonies briefly and modulating constantly, fitting extremely dense, twisting expressions into breath-length phrases. The folkish "Venus" is probably the most accessible number; "Saturn", the longest piece, does feature hints of swing by song's end. Its melody is rather similar to the canonical, almost cantor-like quality of the material on Stellar Regions.
The original album featured four tracks: "Mars" (titled "C Major" in the ABC/Paramount session sheets), "Venus" (titled "Dream Chant" in the session sheets), "Jupiter", and "Saturn". Two further tracks from the session, "Leo" and "Jupiter Variation", later appeared on the compilation album Jupiter Variation in 1978. A 2000 CD reissue collected all of the tracks from the session, including false starts for "Jupiter Variation" in the CD's pregap.

Released in January 1960, John Coltrane's first album devoted entirely to his own compositions confirmed his towering command of tenor saxophone and his emerging power as a composer. Apprenticeships with Dizzy, Miles, and Monk had helped focus his furious, expansive solos, and his stamina and underlying sense of harmonic adventure brought Coltrane, at 33, to a new cusp--the polytonal "sheets of sound" that distinguished his marathon solos were offset by interludes of subtle, concise lyricism, embodied here in the tender "Naima." That classic ballad is a calm refuge from the ecstatic, high-speed runs that spark the set's up-tempo climaxes, which begin with the opening title song, itself a cornerstone of modern jazz composition. This exemplary reissue benefits from eight alternate takes of the original album's seven stellar tracks, excellent remastering of the original tapes, and an expanded annotation.

1962年發行的這張專輯收錄的曲目以Duke Ellington的經典為主，演奏雖以Coltrane的四除奏擔綱，但節奏部分則以Duke Ellington慣常合作的貝斯手Aaron Bell、鼓手Sam Woodyard擔任，聆聽者可由Coltrane的主奏風格中聽到Duke Ellington作品的另一優秀的詮釋，如"In A Sentimental Mood"的高潮迭起，或是"Take A Coltrane"、"Big Nick"與"My Little Brown Book"等讓人記憶深刻的演奏，都值得推薦聆賞。 　 鋼琴手Don Shirley說「雖然Duke Ellington不是上帝，但已不遠矣！」說明了Duke Ellington在爵士樂壇的重要地位，身兼作曲、編曲者及樂隊領班，以無限的才華寫下無數的經典，並創下樂隊50年的榮景。而Coltrane則是以優雅充滿靈性的薩克斯風聲響，不斷超越自我並以豐富的作品建構成音樂版圖的爵士樂巨人，一舉改變人們對爵士演奏的人認知。

1958年7月3日(星期四)，Miles Davis帶著他的六重奏，來到了Rhode Islasn的Newport，參加當地的Jazz Festival，同樣參加這次盛會的其他爵士樂手包括了Thelonious Monk、Charlie Parker、Dizzy Gillespie…等人，當地人重視爵士樂的程度可見一般，不過由於時間已經到了1958年，所以Miles Davis和他的六重奏可想而知是最受矚目的，而當時這個團體（小號手Miles Davis、中音薩克斯風手Cannonball Adderley、次中音薩克斯風手John Coltrane、鋼琴手Bill Evans、貝斯手Paul Chambers、鼓手Jimmy Cobb）可以說是擴大了在1955年Miles Davis第一次成立的五重奏團體，而成員的變動只讓人嘖嘖稱奇，因為每一位都是當時各項樂器的佼佼者。
這張專輯的曲風可以說是涵蓋了Be Bop以及Hard Bop，例如第二首曲子"AH-LEU-CHA"，由於是Charlie Parker的名曲之一，所以Miles Davis六重奏團在演奏的時候當然還是忠於原味，甚至John Coltrane有向前輩挑戰的味道（您聽了就知道），至於"Straight，No Chaser"無庸置疑是Thelonious Monk的名曲，Miles Davis用小號來將原曲的旋律勾勒出來，對於也在現場的Monk來說，是否有些互別苗頭的意味？不過想當然爾，Monk並沒有演出Miles Davis的"So What"（因為當時Miles還沒有灌錄）。不過接下來的"Fran-Dance"就是Miles Davis自己的創作了，其他像是Dizzy Gillespie的名曲"Two Bass Hit"、Henderson的Bye Bye Blackbird，經由Miles Davis的六重奏演出，就像用炭烤的咖啡一樣，別具風味；現場的聽眾是掌聲如雷，您是否也想感受一下呢？
Miles Davis, trumpet
Cannonball Adderley, alto saxophone
John Coltrane, tenor saxophone
Bill Evans, piano
Paul Chambers, bass
Jimmy Cobb, drums

Miles Davis at Peacock Alley is a 1956 album by jazz musician Miles Davis. It was recorded in a two-part broadcast on KXLW-AM on July 14 and July 21, 1956, from Peacock Alley in the Gaslight Square entertainment district of St. Louis. The sessions were hosted by Spider Burks, a local DJ who championed jazz, and was also one of St. Louis’ first black disc jockeys.

Thelonious Monk with John Coltrane is a 1961 album by Thelonious Monk issued on Jazzland Records, a subsidiary of Riverside Records. It consists of material recorded four years earlier when Monk worked extensively with John Coltrane, issued after Coltrane had become a leader and jazz star in his own right.
The album was assembled by the label with material from three different sessions. The impetus for the album was the discovery of three usable studio tracks recorded by the Monk Quartet with Coltrane in July of 1957 at the beginning of the band's six-month residency at New York's legendary Five Spot club near Cooper Square.[4] To round out the release, producer Keepnews included two outtakes from the Monk's Music album recorded the previous month, and an additional outtake from Thelonious Himself recorded in April.[5] The latter selection, "Functional," is a solo piano piece by Monk.
It was reissued in 2000 on Fantasy Records as part of its series for back catalogue using the JVC 20-bit K2 coding system. Because of the historical significance of this album it was inducted into the Grammy Hall of Fame in 2007.

Thelonious Monk and John Coltrane are universally recognized as musical demigods. The idea of Monk and Coltrane--the genius mentor and the budding genius--on the same bandstand or in the same recording studio is like Julius Erving and Michael Jordan soaring as teammates, or Jean Renoir and Francois Truffaut collaborating on a film. For an all-too-brief, magical time in 1957, Monk and Coltrane actually did work together every night as part of a quartet led by the uniquely brilliant pianist-composer Monk at New York's now-fabled Five Spot Cafe. And between April and July of that year they made the stunning music contained herein, their complete output in the recording studio.

</p>The planets seemed to align for Thelonious Sphere Monk (1917-1982) and John William Coltrane (1926-1967) when they joined forces in '57. Coltrane was poised to make a giant leap forward--and ready to learn from one of the masters, Monk. In a Down Beat interview Coltrane said: "Working with Monk brought me close to a musical architect of the highest order. I learned from him in every way." Some of those answers involved the way in which Coltrane's harmonic acuity developed, expressed via early intimations of his torrential "sheets of sound." With Monk's chords guiding him to places he'd never before visited, Coltrane was now on the path to transcendence. When he is joined by Coleman Hawkins, jazz's father of the tenor saxophone, on a couple of numbers from the epochal septet album Monk's Music, one hears the tenor's past, present, and future (e.g., the master take of "Epistrophy"). And listen raptly to the respective approaches of Hawkins and Coltrane on the two versions of "Ruby, My Dear," one of three signature Monk ballads in this set (the others are "Monk's Mood" and the ever-evolving "Crepuscule with Nellie").

</p>There is such greatness on these two discs, so many wondrous performances (the rhythm team of bassist Wilbur Ware and drummers Art Blakey or Shadow Wilson is especially inspired), and so many fascinating stories about how these masterpieces came into being. Orrin Keepnews, who as producer of the original sessions was present at the creation of every note, has written a superb essay that sets the record straight, clears up long-standing rumors about what did (and did not) go down in the studio, and, above all, lets the listener in on how a genius mentor, a budding genius, and their gifted colleagues went about the business of conceiving a work of art.

<span class="h1"><strong>Monk and Coltrane Photos</strong></span> <table width="400" border="0" align="center" cellpadding="4" cellspacing="4"> <tr align="center"> <td><img src="
" width="125" border="0"></td> <td> </td> <td><img src="
" width="125" border="0"></td> <td> </td> <td><img src="
" width="125" border="0"></td> <td> </td> <td><img src="
" width="125" border="0"></td> </tr> </table>

<span class="h1"><strong>More Monk & Coltrane</strong></span>
<span class="tiny"></span> <table width="100%" border="0" cellspacing="4" cellpadding="4"> <tr align="center" valign="top" class="tiny"> <td width="33%"> <img src="
" border="0">
Thelonious Monk Quartet with John Coltrane at Carnegie Hall</td> <td width="33%"> <img src="
" border="0">
Monk's Dream</td> <td width="33%"> <img src="
" border="0">
The Essential Thelonious Monk</td></tr><tr align="center" valign="top" class="tiny"> <td width="33%"> <img src="
" border="0">
Monk Alone</td> <td width="33%"> <img src="
" border="0">
A Love Supreme, John Coltrane</td> <td width="33%"> <img src="
" border="0">
Blue Train, John Coltrane</td> </tr> </table> </p>

六十年代出现了一位这样的杰出人物：John Coltrane（1926-1967）。
无论作为萨克斯演奏家、作曲家和乐队领导者，他对六十至八十年代的爵士乐都产生深远的影响。他引入爵士的即兴演奏观念为钢琴手、小号手、吉他手以及萨克斯手所学习吸收。John Coltrane全名John William Coltrane，出生于北卡罗莱那州的哈姆莱特，在他外祖父家长大。在学校时他学的是单簧管，学校的乐团领队建议其母亲给他买一支中音萨克斯管。1939年，他的祖父和父亲相继去世，上完高中后他就搬到费城与母亲同住，这时期接受了一些短暂的音乐学习，然而他真正的音乐学习还是从加入职业演奏开始的。
1949年到1951年期间他加入Dizzy Gillespie的大乐队，正式从中音萨克斯转向次中音萨克斯演奏。五十年代初期，Coltrane还不为公众所知，但他在1955年与Miles Davis的合作录音中已经形成了自己十分强力的演奏风格，到他1967年去世为止其风格还在不断开拓发展过程中。Coltrane的音色粗砺、尖锐、巨大而厚重。许多萨克斯手演奏时在高音区会音色变薄、低音区时又会不清晰和不够敏捷。而Coltrane的音色在任何音区始终都是饱满和有穿透力的。此外，他的演奏充满紧迫感，音乐听上去也十分严肃，几乎就没有一丝的幽默。
纵观其音乐生涯，他的唱片显示了一种一贯的力量和灵感，即使在大师中间也是很少见的。与Charlie Parker并称，Coltrane是最具一贯性和演奏激烈的那类爵士独奏者。五十年代中期以后，John Coltrane与Sonny Rollins成为纽约最抢手的硬波普风格次中音萨克斯演奏家。

Recorded in New York City, May 31, 1957.

Recorded at Konserthuset, Stockholm, on the evening of Tuesday March 22, 1960. Interviewer on tracks B2 and C1 is Carl-Erik Lindgren, who also made this private recording of the concert with the help of engineers from the Swedish Radio.
Bass – Paul Chambers
Design [Album] – Tandemkreatörerna AB
Drums – Jimmy Cobb
Liner Notes – Jan Lohmann
Photography By – Bengt H. Malmqvist
Piano – Wynton Kelly
Recorded By – Carl-Erik Lindgren
Tenor Saxophone – John Coltrane
Trumpet – Miles Davis
Voice [Interviewer] – Carl-Erik Lindgren (tracks: B2, C1)