Although active since the mid-1940s, it can be said that he Coltrane’s most creative years as musician were crammed into just twelve years between 1955 when he joined the Miles Davis Quintet and his death in 1967.

In little more than a decade the changes in the saxophonist’s music were staggering, but when examined a little more closely entirely logical steps that are thankfully documented in Coltrane’s vast recorded legacy.

The time that he spent with Miles Davis cannot be underestimated, and it is said that the three greatest things that Miles did for Coltrane was hiring him, firing him and then hiring him again. The five year period with Davis between 1955 and 1960, and his Coltrane’s brief sojourn in the group of Thelonious Monk with who Coltrane much time studying the pianist’s unique harmonic language, set the stage for a remarkable period of creative music, and pushing the musical and physical boundaries of his playing t extraordinary heights. In was during this time in 1957, when Davis dismissed him from the band, that Coltrane finally manged to rid himself of his heroin addiction and his journey towards his most memorable and influential works would begin.

Known for his dedication to study and practicing his saxophone, he was known to practice for eight to ten hours a day, John Coltrane took his music to levels of complexity and expression that have been seldom, if ever, equalled, but have inspired just about every saxophone player since.

Blue Train (Blue Note – 1957)

While Coltrane had recorded a number of albums as leader for Prestige, up until this point his best work had been on the recordings made with Miles Davis’s group which had been dubbed Miles’s “first great quintet”. This would be the saxophonist’s only album for the iconic Blue Note records, and was the result of a casual conversation and a handshake between Coltrane and Alfred Lion.

One of Coltrane’s most accessible albums, with hindsight it little more than a well organised blowing session, with plenty of rehearsal time available. With Paul Chambers on bass and Philly Joe Jones on drums, Coltrane had the familiarity in the rhythm section of his colleagues in Miles’s quintet. Kenny Drew was on piano, and the frontline was completed with Lee Morgan on trumpet and trombonist Curtis Fuller.

If Morgan and Fuller were below par that day or whether Coltrane was just dominating proceedings, it is the saxophonist who commands attention, and his new found confidence and stature is cemented on the opening title track. ‘Blue Train’ is a blues with a powerful theme, and Coltrane’s opening solo that now sounds so familiar must be considered a major solo statement. His opening phrases played with a majestic tone are unforgettable, and set in motion much of what was to follow in the coming years.

Giant Steps (Atlantic – 1959)

Recorded just a few weeks after the second session for the iconic Kind of Blue with Miles (more on that in this guide to essential jazz albums for beginners) this is the saxophonists fully formed classic album under his own name, however this too was hard won and not without its difficulties. With the musicians having difficulties with the harmonic complexities of the opening title track, a session from 26 March, 1959 not producing any music that was originally deemed suitable for release, and only seeing the light of day on CD reissues in 1987 and 1998.

The album featured seven new originals from Coltrane and all have gone on to become standards, with ‘Giant Steps’ becoming a test piece for all aspiring jazz saxophonists. With its use of substitute chords that would later be referred to as Coltrane changes, the transition through three keys at a rapid tempo it provided a challenge for the musicians to navigate its harmonic complexity.

Coltrane however breezes through it with a solo full of vitality and interest, and his opening phrase to his solo on ‘Cousin Mary’ has a logic and familiarity about it before branching out into a totally original improvisation. The album also features the first recorded version of Trane’s beautiful ballad ‘Naima’ which would be a staple of his repertoire for the remainder of his life.

My Favorite Things (Atlantic – 1960)

Not yet the classic quartet, Jimmy Garrison was yet to replace bassist Steve Davis, this none the less marks an important stage in Coltrane’s music with the introduction on record of Trane playing an extended piece soprano saxophone. The thirteen minute plus reading of the title the title track, a song written for the Broadway show ‘The Sound of Music’ with the music by Richard Rodgers, is quite extraordinary. Stripped back to the melody with the original chord changes eschewed for the solos to be replaced by vamps over just two chords. This modal or scalar approach hinted at both Western and Eastern music all played in waltz time.

Much of the remainder if the set seems less surprising, although hangs on to the modal concept. The session(s) for Atlantic that produced the album were spread over three days, 21, 24 and 26 October 1960 were intensely productive and Atlantic imprint would go on to issue two further albums from the vast amount of music that was captured on tape over the three days in Coltrane’s Sound and Coltrane Plays the Blues. Both were released after his Atlantic contract had expired and capitalised on the back of the saxophonist’s continued success with his new label Impulse! Records.

The Complete Africa/Brass Sessions (Impulse – 1961)

Coltrane’s debut for his new label finds the saxophonist looking to explore a larger setting for his music. Often, the orchestrations, although highly effective, is kept subservient to the quartet. McCoy Tyner’s piano is as imposing as ever and Elvin Jones polyrhythmic drumming keeps the music suitably unsettled. Coltrane is quite magnificent form his entry on ‘Africa’ with his by now familiar sheets of sound, and Tyner’s vamps supporting his solo.

The other tracks issued on the Africa/Brass LP were ‘Blues Minor’ and the traditional ‘Greensleeves’ ‘Blues Minor’ with its driving ensemble theme and drumming from Elvin Jones. Once again, Coltrane’s opening phrases in his solo grabs the attention as his lines unfurl in another gargantuan effort, while ‘Greensleeves’ is another modal vehicle for an extended soprano solo.

The Complete Africa/Brass Sessions include further tracks from the session that were issued posthumously in 1974 by Impulse! Records as The Africa/Brass Sessions, Volume 2 that included an alternative take of ‘Africa’ and ‘Greensleeves’ along with a traditional piece ‘Song of the Underground Railroad’.

While it is usually recommended to hear the originally issued album first, here it is easy enough to isolate the three original tracks, the two alternate takes of ‘Africa’ and ‘Greensleeves’ and Calvin Massey’s ‘The Damned Don’t Cry’ that make up The Complete Africa/Brass Sessions are well worth the time and attention to assimilate.

Live at the Village Vanguard: The Master Takes (Impulse! – 1961)

Recorded with the Classic John Coltrane Quartet as Reggie Workman heard on these recordings was joined by Jimmy Garrison on bass who would them replace him in the group, this extraordinary live album also has Eric Dolphy on bass clarinet. A controversial move by Trane to invite Dolphy to join the band it was of course a pivotal moment for both men and generated music of intense excitement.

It is Dolphy’s bass clarinet solo on ‘Spiritual’ that it is the focal point of this particular performance. With his use of vocalised cries, he adds to the range of timbres to the instrument that he has already made his own, and making the bass clarinet a viable voice for jazz improvisation.

The important track is ‘Chasin’ the Trane’ in which pianist McCoy Tyner sits out, and the trio of tenor, bass and drums are left to their own devices. This is where Coltrane comes into his own with a staggeringly direct, powerful and complex extended solo. Garrison and Jones lay down such a strong foundation for the tenorist that he is free to go where the music takes him in a long an exhaustive solo that is like anything else he had committed to record until this point. In a remarkably creative couple of evenings work, Coltrane unleashed some ferocious tenor playing, and laid down another ground breaking and important solo on ‘Impressions’, this time with Tyner back at the piano. The pianist is at time hesitant and sparse in his accompaniment and does drop out for periods within this expansive solo

Coltrane brings out his soprano saxophone for ‘India’ that features the twin basses of Jimmy Garrison and Reggie Workman and another strong performance from Jones at the drums. As Coltrane’s solo unfolds Tyner once again lays out, returning tentatively for the commencement of Dolphy’s bass clarinet outing.

These live cuts show not only how far Coltrane’s music has come, but also hint at what was to follow, but before that the saxophonist had more for his quartet to accomplish as the following couple of albums testify.

For those who want to hear more, Impulse! Records have issued the exhaustive 4CDset, The Complete 1961 Village Vanguard Recordings.

Crescent (Impulse! – 1963)

A troubled and troubling recording that in recent years has been regarded as one of Coltrane’s most important recordings. It certainly captures the Classic Quartet in a transitional stage between the successes of the 1961 and 1962 live recordings, and is now seen as bridging the gap between these albums and the monumental and searching A Love Supreme that was to follow eighteen months later.

Recorded in June 1963, the original LP comprised of five original compositions by Coltrane, and two of which that occupied side two the saxophonist did not solo on at all, with ‘Lonnie’s Lament a feature for Jimmy Garrison, and ‘The Drum Thing’ for Elvin Jones.

From side one we are presented with a fascinating ballad in ‘Wise One’ and Coltrane solos with his usual steely sound yet full of ideas that often come across very tenderly. Tyner’s solo is full of dark chords and any hint of relief is heard and felt in Jones’s cymbal work.’ Bessie’s Blues’ by seems a little light by comparison in a piece that lasts barely three and half minutes. It transpires that there were longer versions of this tune along with the title track but the masters for these no longer exist.

The main point of interest on the first side remains ‘Crescent’ itself. A dark and foreboding theme there are moments with hindsight that suggest the thought process and structure that Coltrane would bring to parts of A Love Supreme.

A Love Supreme (Impulse! – 1964)

And here it is, Coltrane’s undisputed masterpiece and one of the greatest jazz records of all time. Seven years after freeing himself from addiction, Coltrane lays down his prayer to the Almighty. The four movements of the suite ‘Acknowledgement’, ‘Resolution’, ‘Pursuance’ and ‘Psalm’ is a deeply spiritual piece of music. The through-composed suite is not always pretty, Elvin Jones polyrhythmic drumming is at the heart of the music with his almost wild and relentless attack pushing Coltrane on the opening movement in to multi noted passages replete with split tones and multiphonics. The moment that Coltrane’s overdubbed voice is heard chanting the four note motif of the theme ‘A Love Sup-reme’ the music subsides reducing the tension leading into Garrison’s bass solos that bridges the first movement with the second, ‘Resolution’.

‘Pursuance’ begins with an Elvin Jones drum solo that leads into a brief theme that the saxophonist uses to launch not his own solo but that of McCoy Tyner. This is a relaxed and flowing solo, and the most comfortable that Tyer sounds throughout the album. Building to a climax with crashing chords, Tyner makes way for Coltrane’s tenor onslaught, a tumultuous solo in which the notes tumble of the horn in a frenzied yet strangely cohesive statement that has such a pent up and emotional outpouring that one seeks a resolution. This comes in the shape of a second Jimmy Garrison bass solos that leads into the fourth and final movement, ‘Psalm’ in which the tenor saxophone performs a “musical narration”, in Coltrane’s words, of the text that is written on the reverse of the album cover. The saxophonist’s prayer to God in a recited without word in a heartfelt and personal outpouring of emotion. As the last notes fade there is a sense of relief that the journey is over, but a feeling of calm none the less pervades.

Ascension (Impulse! – 1965)

There is nothing else like Ascension in Coltrane’s discography. His only foray into working with a big band since Africa/Brass, and yet as far removed from the earlier recording as it was possible to get. If he had sat on the fence before, this was the saxophonist placing himself firmly in the avant garde or New Thing. A huge sprawling sound that has caught many by surprise, the opening theme and ensemble passages are have a chord structure but following the chords appears to be optional. The solos emerge out of the ensemble passages with no set structure and the soloist is accompanied by the rhythm section.

Recorded as a continuous suite, two versions were recorded, and this is where the confusion then occurs. Take Two was issued by Impulse! Records but then a few months later Coltrane advised that he actually preferred the first take and the label then issued Ascension (Edition II) with the same artwork and catalogue number. Both versions are now available on CD with the tracks listed as ‘Ascension Parts 1 and 2 – Edition I’ (which is the originally issued take two), and ‘Ascension Parts 1 and 2 – Edition II’ (take one).

The music on both takes is equally as intense with the soloists appearing in a different order. With the intensity of the ensemble passages tension is somewhat unusually resolved in the solos, and even if the improvisations are of the free music vernacular of the day, the rhythm section keep a steady pulse and pianist McCoy Tyner appears to find a way to bind it all together. Extraordinary music the likes of which Coltrane would not repeat, although did indicate the direction in which his small group music would follow until his death in July 1967.

Sun Ship (Impulse! – 1965)

Recorded just two months after the sessions for Ascension and released posthumously, this album may not be so well known but is a vital part of the Coltrane discography. One of the final albums to be recorded with the classic quartet in a session on 26 August 1965 this paradoxically shows the group in the final stages of their undisputably gigantic contributions to jazz, while also touching on the work covered on A Love Supreme. While this may be pure speculation, there is certainly a feeling in the music of a continuation of Coltrane’s musical ideas from the December 1964 session that produced the classic album.

The playing and feeling of the quartet heard on ‘Amen’ (check out McCoy Tyner’s piano solo) and ‘Attaining’ certainly give the impression that Coltrane felt the music of the quartet was not yet finished. The members of the group however felt they were done, and in December 1965 Mc Coy Tyner left the band, to be followed by Elvin Jones the following month. As one chapter closed for Coltrane so another would begin, and the last eighteen months of his life would witness the saxophonist take his music even further out, expanding his groups by the addition of two bass players and/or drummers.

Interstellar Space (Impulse! – 1967)

If the studio and live albums recorded by the saxophonist in the previous twelve months featured Coltrane leading a larger ensemble for Interstellar Space, he pared the line up right back to tenor saxophone and drums. In doing so, perhaps on any album since Ascension, Coltrane found within him the most direct way to communicate the ever more complex ideas he was hearing. Looking to bridge the gap between jazz, free improvision and his spiritual beliefs, Coltrane with drummer Rashied Ali was able to push his solos further than ever before.

Recorded in single session on 22 February, 1967 and originally issued on 1974, Interstellar Space consisted of just four tracks, ‘Mars’, ‘Venus’, ‘Jupiter’ and ‘Saturn’, with an additional track ‘Leo’ and second take in ‘Jupiter Variation’ added to the CD reissue as bonus tracks.

After the onslaught of the opening ‘Mars’ great restraint is shown by both musicians in ‘Venus’ in which while Coltrane looks to explore the melodic possibilities of hi solo while incorporating high register forays and split tones, Rashied Ali all the time keeps the music on a low simmer with his brushwork that provides a perfect and intricate platform for the saxophonist.

Nothing reaches such wild heights as ‘Mars’ with ‘Jupiter’ increasing the rhythmic tempo/pulse and ‘’Saturn’ opening with a fine drum solo serving as the introduction from Ali. This in turn leads into a measured solo from Coltrane that, as the piece develops becomes gradually more intense. It is much to Ali’s credit that he resists the urge to follow Trane’s lead and instead contains the performance with a superb rhythmic narrative. While some may find this a tough listen, it must surely be regarded as Coltrane’s final masterpiece.