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Coltrane on Coltrane: The John Coltrane Interviews (Musicians in Their Own Words)
John Coltrane grew up “under the spell,” as he put it, of Charlie Parker. But he needed to create a new sound, a music that had nothing to do with anyone except himself. The path he chose was difficult and risky. Nevertheless, he persisted. His work now stands with the greatest music of all time, and continues to inspire devotion, adoration, and joy nearly 50 years after his death. Coltrane was also one of the few musicians whose life, thoughts, and words are as inspiring as his music. This book collects, for the first time, those words. Coltrane was a gracious interviewee. His responses were thoughtful and measured; he rarely said anything negative about others (though he could be highly self-critical). Interviewers noted how different Coltrane seemed from his music--this quiet man whose music was so volcanic. Coltrane on Coltrane includes every known Coltrane interview, many in new transcriptions, and several previously unpublished; articles, reminiscences, and liner notes that rely on interviews; and some of Coltrane’s personal writings and correspondence. John Coltrane never wrote an autobiography. This book is as close to one as possible.
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First published September 1, 2010
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Displaying 1 - 30 of 34 reviews
July 20, 2012
I desperately need some inspiration this summer... Coltrane on Coltrane is a wonderful book about tenor master John Coltrane told in his own words. You can really "hear" Coltrane "speak" in this book and his voice is clear, peaceful and intelligent.
July 27, 2023
Although I didn’t find any great revelations reading the book there was plenty of context established behind different Coltrane albums through reading these interviews. You also really get a sense for how much more it seemed European audiences appreciated Trane and his music later in his career. For me it’ll always be challenging to listen to his later recordings, Ascension in particular, but I did enjoy reading what was going through his mind as his music evolved and changed. I also liked hearing his admiration for a certain harpist whose name escapes me and also his high esteem for Ravi Shankar. It’s only too bad there aren’t recordings of the two of them, think of the possibilities!
November 15, 2025
Such a gem; Coltrane is the GOAT!
April 1, 2020
This skilfully edited anthology, not just of interviews, but also letters, articles and linear notes; some put into print for the first time, paints a very rounded, revealing portrait of the man himself more than the music about which they were written. When much of these were first published Coltrane, the man, was still something of an enigma; never one to court the limelight, always quieter and more reserved than many of his contemporaries with a humility, even shyness that precluded any sense of self aggrandisement. The fury and energy with which he played led many to envisage an angry, politicised young man wrestling with an army of inner demons. The first thing that shines through here is that whilst he was indeed socially and politically tuned-in, the music came from a meditative, gentle and deeply spiritual man. The tone of surprise at this revelation is self evident throughout.
What also shines through, beneath this, and I think that this is probably the benefit of hindsight that being able to read this catalogue of writings as a whole provides, is that, rather than rage or a sense of injustice, the energy of John's music came from a very focused and racing intellect that was struggling to express itself and all myriad possibilities that he could envisage musically. He talks candidly about these and reveals some of the inspirations he found in a variety of classical, ethnic and world music especially Ravi Shankar. A must read if you like his music.
What also shines through, beneath this, and I think that this is probably the benefit of hindsight that being able to read this catalogue of writings as a whole provides, is that, rather than rage or a sense of injustice, the energy of John's music came from a very focused and racing intellect that was struggling to express itself and all myriad possibilities that he could envisage musically. He talks candidly about these and reveals some of the inspirations he found in a variety of classical, ethnic and world music especially Ravi Shankar. A must read if you like his music.
February 13, 2013
Very interesting collection of interviews, articles, and liner notes. Some of the interviewers were not good, but Coltrane was nonetheless interesting in his responses. Some of the interviews are artifacts of their time, but are revealing anyway in Coltrane’s refusal to be drawn into political or racial ideology. The portrait that emerges, of a musician who was always trying to extend his music beyond what he could do, who didn’t hesitate to say that other musicians had gone beyond what he had accomplished, to reveal his stalls and frustrations in his musical progress, are very interesting. And although his apparent politeness and lack of presumption survives to the last page, his apparent bitterness toward club owners and other money men and marketing decision makers in the music business comes out at the end of his career.
Best, you learn some technical aspects of his music itself, such as one or two of Thelonious Monk’s concepts when Coltrane worked with him, and a few of the structures that lay behind Coltrane’s “sheets of sound” solos.
One complaint: Too many of the interviews too insistently reproduced all the insignificant detritus of verbal conversation. Despite the editor’s apparent argument that they contribute context and meaning, every “um,” and sentence reset does not do so.
Best, you learn some technical aspects of his music itself, such as one or two of Thelonious Monk’s concepts when Coltrane worked with him, and a few of the structures that lay behind Coltrane’s “sheets of sound” solos.
One complaint: Too many of the interviews too insistently reproduced all the insignificant detritus of verbal conversation. Despite the editor’s apparent argument that they contribute context and meaning, every “um,” and sentence reset does not do so.
February 21, 2024
… I bought around five or six of ‘em. Mouthpieces that is. But I couldn’t find one that I wanted, so I’m still using the old one. Which is better than any of the new ones I found, although it’s not giving me the type of thing I want. But it’s still the best one I have, so I have to use it.
These are interviews with the great John Coltrane, the jazz saxophone player composer of the 1950s and 1960s. What’s he known for? Pushing sound, form and structure of jazz and hence music in general; ripping apart melodies and rearranging them into something more beautiful, having a deep knowledge of music as the means in which he could do that. I don't know much about music. And I’m not much of a musician, but I did try to play the clarinet a few years back as an adult. I didn’t get very far. I found a sympathetic clarinettist teacher. I had bought myself a 1950s Buffet clone from the USA for next to nothing because I had heard that the wood in these instruments was better aged and more solid than modern beginners instruments. My teacher got excited that I had actually bought a terrific Buffet factory instrument rebadged for a budget market and after a few adjustments to the keys and some fresh pads, I was on my way, he said the instrument had a nice sweet sound.
What's the tie in with the clarinet? They use a similar mouthpiece and reed system. The reed sits in a manner just above the face of the angled mouthpiece. Your lips form a seal - embouchure - around the mouthpiece and reed and you blow over the reed to get it to vibrate over the mouthpiece. This vibration determines the sound that will flow through the mouthpiece; and the keys you hold down determine the notes that come out the other end (called the bell btw).
Sound is everything. You find in these interviews that Coltrane doesn't have a lot to say. He often speaks like a taciturn worker, his daily craft is music, like he’s with his band members, talking shop. There’s rare profundity, but there is much love of the life he leads. Shop talk:
The soprano requires a particular way of holding the lips; it requires more muscles than the tenor, and because of that one’s lips get hurt quickly. If I develop the habit of playing very tight, my embouchure will maybe become too tight for the tenor…
I had also bought a few Albert System clarinets, a different key configuration to the Boehm style Buffet. I had a plan to learn how to play some Greek folk music. I never got that far, my fingers moved over the keys like a hand of pork sausages and after a couple of years I gave up. One thing that I did get out of one of one box of old instruments I bought for a song was a Frank Wells D2 Chicago mouthpiece. That meant nothing to me at the time until I found out that Frank Wells was the guy who refaced John Coltrane’s saxophone mouthpieces. Then I got real excited and listened to more Coltrane. And believe me, life would be less had I not done so.
One interview, with Frank Kofsky, perhaps the best, most sympathetic of the lot, goes over one of the big musical challenges in Coltrane’s career – his mouthpiece wasn’t working for him – and when he switched to a soprano sax (a higher register version that looks like a steel clarinet) his embouchure was affected so he found it difficult to go back to his tenor sax. I lived all this talk, because it’s so real and connected to the musicians’ craft and what I'd learned years ago.
From that interview, we get a few little pearls from Coltrane about how he seems music:
I think so, I think so. A new, a new shape came out of this thing, and patterns – you know, the way the patterns would fall.
And I gushed. He doesn’t say much, but Kofsky and those that deeply appreciate Coltrane’s music must dearly love this thought from him. That interview ties in a whole discussion of change in Coltrne's personal life: his response to savage critics and that problem with the damn mouthpiece. But in the end, what prevails is this great music. Among these, he performed more than a dozen versions of the classic from Sound of Music, My favourite things . At each concert around the world he improvised this piece through the 1960s. So each is a little masterpiece in subtle changes and musical craft. Copenhagen, Antibes, Stockholm, Stuttgart, Tokyo, Newport, New York, etc, each performance has a different take on the 12 minute studio version he cut in 1961. There's also a couple of versions, 16 and 21 minutes long from the Newport Jazz Festival in 1961 and 1963, the long one for aficionados contains a solo on the flute by Eric Dolphy. The rest, a dozen or more, are from albums recorded later from the many live performances. Some are rough with poor sound quality, but you can hear how he adapts and changes each time. Find one of these on youtube, they are truly mesmerising.
Reading these interviews, you think not much is said. But Coltrane was like Miles Davis, Eric Dolphy, Cannonball Adderley, Sony Rollins, among the best musicians going around in any field, and mentioned in these interviews. They could cut albums in a weekend, or a day. It's all about the instrument, the notes the musician can produce on it. Not effects and editing. They lived their music, given their craft was Jazz, they were also innovators, endlessly trying, crafting, reworking until their long, improvised concert pieces were as good as any classical performer who played strictly from the page and the conductor’s guidance.
When asked by Ennosuke Saito in Tokyo in 1966 what he wants to tell people what he understands about himself, Coltrane responds:
I would say love, first, and to strive, second. Although they go together in some kind of way. .. Love that holds the universe together…
Unlike Sonny Rollins, who is still alive in his late 90s, Coltrane died aged 40 from liver cancer, having done so much to 20thC music.
ADDIT: every now and then I think that mouthpiece is worth a lot of money, I should sell it to someone who might use it. But I can never own anything that close to Coltrane again unless I buy another one. And the serendipitous way I got it makes it even more precious. Admittedly, it's not a saxophone mouthpiece, but it's a Frank Wells, the man who refaced Coltrane's mouthpieces - meaning, modifying them ever so slightly to fit his sound. I mean... I can't sell it, can I!
These are interviews with the great John Coltrane, the jazz saxophone player composer of the 1950s and 1960s. What’s he known for? Pushing sound, form and structure of jazz and hence music in general; ripping apart melodies and rearranging them into something more beautiful, having a deep knowledge of music as the means in which he could do that. I don't know much about music. And I’m not much of a musician, but I did try to play the clarinet a few years back as an adult. I didn’t get very far. I found a sympathetic clarinettist teacher. I had bought myself a 1950s Buffet clone from the USA for next to nothing because I had heard that the wood in these instruments was better aged and more solid than modern beginners instruments. My teacher got excited that I had actually bought a terrific Buffet factory instrument rebadged for a budget market and after a few adjustments to the keys and some fresh pads, I was on my way, he said the instrument had a nice sweet sound.
What's the tie in with the clarinet? They use a similar mouthpiece and reed system. The reed sits in a manner just above the face of the angled mouthpiece. Your lips form a seal - embouchure - around the mouthpiece and reed and you blow over the reed to get it to vibrate over the mouthpiece. This vibration determines the sound that will flow through the mouthpiece; and the keys you hold down determine the notes that come out the other end (called the bell btw).
Sound is everything. You find in these interviews that Coltrane doesn't have a lot to say. He often speaks like a taciturn worker, his daily craft is music, like he’s with his band members, talking shop. There’s rare profundity, but there is much love of the life he leads. Shop talk:
The soprano requires a particular way of holding the lips; it requires more muscles than the tenor, and because of that one’s lips get hurt quickly. If I develop the habit of playing very tight, my embouchure will maybe become too tight for the tenor…
I had also bought a few Albert System clarinets, a different key configuration to the Boehm style Buffet. I had a plan to learn how to play some Greek folk music. I never got that far, my fingers moved over the keys like a hand of pork sausages and after a couple of years I gave up. One thing that I did get out of one of one box of old instruments I bought for a song was a Frank Wells D2 Chicago mouthpiece. That meant nothing to me at the time until I found out that Frank Wells was the guy who refaced John Coltrane’s saxophone mouthpieces. Then I got real excited and listened to more Coltrane. And believe me, life would be less had I not done so.
One interview, with Frank Kofsky, perhaps the best, most sympathetic of the lot, goes over one of the big musical challenges in Coltrane’s career – his mouthpiece wasn’t working for him – and when he switched to a soprano sax (a higher register version that looks like a steel clarinet) his embouchure was affected so he found it difficult to go back to his tenor sax. I lived all this talk, because it’s so real and connected to the musicians’ craft and what I'd learned years ago.
From that interview, we get a few little pearls from Coltrane about how he seems music:
I think so, I think so. A new, a new shape came out of this thing, and patterns – you know, the way the patterns would fall.
And I gushed. He doesn’t say much, but Kofsky and those that deeply appreciate Coltrane’s music must dearly love this thought from him. That interview ties in a whole discussion of change in Coltrne's personal life: his response to savage critics and that problem with the damn mouthpiece. But in the end, what prevails is this great music. Among these, he performed more than a dozen versions of the classic from Sound of Music, My favourite things . At each concert around the world he improvised this piece through the 1960s. So each is a little masterpiece in subtle changes and musical craft. Copenhagen, Antibes, Stockholm, Stuttgart, Tokyo, Newport, New York, etc, each performance has a different take on the 12 minute studio version he cut in 1961. There's also a couple of versions, 16 and 21 minutes long from the Newport Jazz Festival in 1961 and 1963, the long one for aficionados contains a solo on the flute by Eric Dolphy. The rest, a dozen or more, are from albums recorded later from the many live performances. Some are rough with poor sound quality, but you can hear how he adapts and changes each time. Find one of these on youtube, they are truly mesmerising.
Reading these interviews, you think not much is said. But Coltrane was like Miles Davis, Eric Dolphy, Cannonball Adderley, Sony Rollins, among the best musicians going around in any field, and mentioned in these interviews. They could cut albums in a weekend, or a day. It's all about the instrument, the notes the musician can produce on it. Not effects and editing. They lived their music, given their craft was Jazz, they were also innovators, endlessly trying, crafting, reworking until their long, improvised concert pieces were as good as any classical performer who played strictly from the page and the conductor’s guidance.
When asked by Ennosuke Saito in Tokyo in 1966 what he wants to tell people what he understands about himself, Coltrane responds:
I would say love, first, and to strive, second. Although they go together in some kind of way. .. Love that holds the universe together…
Unlike Sonny Rollins, who is still alive in his late 90s, Coltrane died aged 40 from liver cancer, having done so much to 20thC music.
ADDIT: every now and then I think that mouthpiece is worth a lot of money, I should sell it to someone who might use it. But I can never own anything that close to Coltrane again unless I buy another one. And the serendipitous way I got it makes it even more precious. Admittedly, it's not a saxophone mouthpiece, but it's a Frank Wells, the man who refaced Coltrane's mouthpieces - meaning, modifying them ever so slightly to fit his sound. I mean... I can't sell it, can I!
August 10, 2014
Coltrane’s Interests:
1. Stacking chords like Eb7 or an F#7 onto top of a C7.
2. Superimposing sequences –
Implying/forcing extra progressions over what others were playing.
3. Putting notes in odd groups of 5s and 7s in order to sometimes fit them all in.
4. Using three scales on a chord which led to his “sheets of sound” as an alternative
to modulating within a traditional song’s structure
5. “Incessant” practice - He was seen practicing 24 hours straight without food or sleep until he was too exhausted
and then he still talked on only about music. Other nights his wife would find him asleep with his horn still in his mouth.
6. Trying to pass four hours a day of practice in order to break into “something new”.
7. Ignoring the theme-solos-fours-theme format of most other bands.
8. Developing the octave above the normal top limit for tenor sax through fingering.
In the end you have this – few musicians practiced with total dedication for more hours than John Coltrane and look how it paid off! Chance favors the prepared mind. In contrast, today’s “musicians” are flooded with educational materials yet spend more time daily on their iPhones than they do on their instruments; look how that is not paying off.
1. Stacking chords like Eb7 or an F#7 onto top of a C7.
2. Superimposing sequences –
Implying/forcing extra progressions over what others were playing.
3. Putting notes in odd groups of 5s and 7s in order to sometimes fit them all in.
4. Using three scales on a chord which led to his “sheets of sound” as an alternative
to modulating within a traditional song’s structure
5. “Incessant” practice - He was seen practicing 24 hours straight without food or sleep until he was too exhausted
and then he still talked on only about music. Other nights his wife would find him asleep with his horn still in his mouth.
6. Trying to pass four hours a day of practice in order to break into “something new”.
7. Ignoring the theme-solos-fours-theme format of most other bands.
8. Developing the octave above the normal top limit for tenor sax through fingering.
In the end you have this – few musicians practiced with total dedication for more hours than John Coltrane and look how it paid off! Chance favors the prepared mind. In contrast, today’s “musicians” are flooded with educational materials yet spend more time daily on their iPhones than they do on their instruments; look how that is not paying off.
May 18, 2017
"Damn the rules, it's the feeling that counts."
- John Coltrane
One of the biggest losses in the history of not just jazz but in the history of music was John Coltrane passing away at forty years old. Despite passing away at a relatively young age (an unfortunate common thing in the jazz community) Coltrane's breadth of work makes the strong argument as him being the greatest musician to ever pick up a saxophone. Considering the long list of music legends, that's no small statement.
One of the more unfortunate things about Coltrane passing away suddenly at a young age is the lack of autobiography or real history from the man himself on his life, music, and more. Coltrane on Coltrane is a collection of every known interview with the writer, some liner notes from his albums, and even some personal correspondence involving 'Trane.
DeVito has put together a wonderful collection that gives the reader a better sense of the man who helped shape music. Only unfortunate part is many interviewers of Coltrane either completely talked over him or weren't very good interviewers.
If you consider yourself a fan of John Coltrane or jazz, this is a must-read for you.
- John Coltrane
One of the biggest losses in the history of not just jazz but in the history of music was John Coltrane passing away at forty years old. Despite passing away at a relatively young age (an unfortunate common thing in the jazz community) Coltrane's breadth of work makes the strong argument as him being the greatest musician to ever pick up a saxophone. Considering the long list of music legends, that's no small statement.
One of the more unfortunate things about Coltrane passing away suddenly at a young age is the lack of autobiography or real history from the man himself on his life, music, and more. Coltrane on Coltrane is a collection of every known interview with the writer, some liner notes from his albums, and even some personal correspondence involving 'Trane.
DeVito has put together a wonderful collection that gives the reader a better sense of the man who helped shape music. Only unfortunate part is many interviewers of Coltrane either completely talked over him or weren't very good interviewers.
If you consider yourself a fan of John Coltrane or jazz, this is a must-read for you.
April 11, 2024
Can one really rate a collection of letters and interviews as a piece of literature?
I don't think so.
But I do think that John Coltrane is an ideal inspiration, and someone I look up to an incredible amount. The life of an artist, in the most pure way, and all as an extension(or expression)of a spiritual pursuit.
This is the kind of man I would hope to become!
I don't think so.
But I do think that John Coltrane is an ideal inspiration, and someone I look up to an incredible amount. The life of an artist, in the most pure way, and all as an extension(or expression)of a spiritual pursuit.
This is the kind of man I would hope to become!
Read
January 19, 2016Pretty good read, and as a writer myself, I loved seeing these interviews. I also really enjoyed reading the letters that Coltrane wrote back to fans.
February 7, 2020
Invaluable
June 15, 2024
In the realm of jazz literature, "Coltrane on Coltrane: The John Coltrane Interviews," edited by Chris DeVito, stands as a definitive and insightful compilation that offers a profound glimpse into the mind and artistry of one of the 20th century’s most revered musicians. This meticulously curated anthology presents a comprehensive collection of interviews, articles, and personal correspondence, providing readers with a rare opportunity to delve into the thoughts and reflections of John Coltrane himself.
At its core, the book serves as a testament to Coltrane’s enduring legacy, capturing not only his musical evolution but also his philosophical insights and spiritual journey. DeVito’s editorial prowess shines through in the seamless integration of diverse sources, including previously unpublished materials, which collectively paint a nuanced portrait of Coltrane beyond the boundaries of his celebrated discography.
What sets "Coltrane on Coltrane" apart is its ability to transcend mere documentation of interviews. Each conversation, whether with journalists or fellow musicians, reveals Coltrane’s measured yet passionate engagement with his craft. His discussions on musical innovation, spirituality, and cultural influences resonate with a clarity that reflects both his intellectual depth and humble demeanor. Readers are treated not only to anecdotes about his collaborations with luminaries like Thelonious Monk and Miles Davis but also to intimate reflections on the creative process that drove his groundbreaking compositions.
Moreover, the book navigates the complexities of Coltrane’s public persona versus his private introspection with a deft touch. It dispels myths surrounding his supposed aloofness, portraying instead a man deeply committed to his art and community, albeit in a manner that eschewed the spotlight. DeVito’s editorial decisions to include personal letters and rare insights into Coltrane’s interactions with contemporaries further enrich the narrative, offering fresh perspectives on his legacy that extend beyond the stage.
Critically, "Coltrane on Coltrane" does not shy away from addressing the challenges Coltrane faced, both musically and personally. His journey from bebop innovator to avant-garde luminary is traced with meticulous detail, providing context to his experimental phases and the societal context within which they unfolded. This contextual richness not only enhances our understanding of Coltrane’s musical progression but also underscores the broader cultural milieu that shaped his artistic convictions.
If there is a minor critique, it lies in the occasional unevenness of the interviews, where some interactions lack the finesse of others in eliciting Coltrane’s profound insights. However, this minor flaw does little to detract from the overall impact of the book, which remains a seminal work in jazz scholarship and a captivating read for aficionados and newcomers alike.
"Coltrane on Coltrane" emerges as an indispensable addition to the library of any jazz enthusiast. Chris DeVito’s meticulous curation and insightful annotations ensure that John Coltrane’s voice resonates authentically throughout, making this anthology not just a collection of interviews but a profound exploration of artistic integrity, musical evolution, and the enduring legacy of a jazz icon.
At its core, the book serves as a testament to Coltrane’s enduring legacy, capturing not only his musical evolution but also his philosophical insights and spiritual journey. DeVito’s editorial prowess shines through in the seamless integration of diverse sources, including previously unpublished materials, which collectively paint a nuanced portrait of Coltrane beyond the boundaries of his celebrated discography.
What sets "Coltrane on Coltrane" apart is its ability to transcend mere documentation of interviews. Each conversation, whether with journalists or fellow musicians, reveals Coltrane’s measured yet passionate engagement with his craft. His discussions on musical innovation, spirituality, and cultural influences resonate with a clarity that reflects both his intellectual depth and humble demeanor. Readers are treated not only to anecdotes about his collaborations with luminaries like Thelonious Monk and Miles Davis but also to intimate reflections on the creative process that drove his groundbreaking compositions.
Moreover, the book navigates the complexities of Coltrane’s public persona versus his private introspection with a deft touch. It dispels myths surrounding his supposed aloofness, portraying instead a man deeply committed to his art and community, albeit in a manner that eschewed the spotlight. DeVito’s editorial decisions to include personal letters and rare insights into Coltrane’s interactions with contemporaries further enrich the narrative, offering fresh perspectives on his legacy that extend beyond the stage.
Critically, "Coltrane on Coltrane" does not shy away from addressing the challenges Coltrane faced, both musically and personally. His journey from bebop innovator to avant-garde luminary is traced with meticulous detail, providing context to his experimental phases and the societal context within which they unfolded. This contextual richness not only enhances our understanding of Coltrane’s musical progression but also underscores the broader cultural milieu that shaped his artistic convictions.
If there is a minor critique, it lies in the occasional unevenness of the interviews, where some interactions lack the finesse of others in eliciting Coltrane’s profound insights. However, this minor flaw does little to detract from the overall impact of the book, which remains a seminal work in jazz scholarship and a captivating read for aficionados and newcomers alike.
"Coltrane on Coltrane" emerges as an indispensable addition to the library of any jazz enthusiast. Chris DeVito’s meticulous curation and insightful annotations ensure that John Coltrane’s voice resonates authentically throughout, making this anthology not just a collection of interviews but a profound exploration of artistic integrity, musical evolution, and the enduring legacy of a jazz icon.
October 20, 2021
DeVito's book brings together most of the known extant interviews with John Coltrane into a single volume, which sheds tremendous light on his career and vocation. His personality and thought on music clearly come across in this volume, which was a pleasant surprise.
Many jazz musicians refuse to engage with questions in the spirit in which they are asked, but prefer to posture as existing on another plane, but to my surprise and considerable pleasure, Coltrane made every effort to answer every single question in the terms in which it was asked. When interviewers, for example, expressed confusion over the direction he was taking as he started to move in the direction of free jazz with Eric Dolphy and Ornette Coleman, he did not scoff at such questions or exhibit the scorn of the avant garde musician with contempt for the little people who don't comprehend their lofty motivations, but tried his level-headed best to plainly understand musically what he was doing and why.
I would highly recommend this book to anyone interested in this colossus of twentieth-century music. No one will come away without a deeper understanding of his art and his development.
Many jazz musicians refuse to engage with questions in the spirit in which they are asked, but prefer to posture as existing on another plane, but to my surprise and considerable pleasure, Coltrane made every effort to answer every single question in the terms in which it was asked. When interviewers, for example, expressed confusion over the direction he was taking as he started to move in the direction of free jazz with Eric Dolphy and Ornette Coleman, he did not scoff at such questions or exhibit the scorn of the avant garde musician with contempt for the little people who don't comprehend their lofty motivations, but tried his level-headed best to plainly understand musically what he was doing and why.
I would highly recommend this book to anyone interested in this colossus of twentieth-century music. No one will come away without a deeper understanding of his art and his development.
August 30, 2020
Not a biography, rather a compendium of interviews, liner notes, and conversations with Coltrane. It’s interesting to a point, but the interviews all seem the same after a while, people asking similar questions. Toward the end, interviewers attempt to gauge Coltrane’s views on civil rights, Vietnam, etc. but he deflects that’s mostly and focuses on the music. I found myself listening to the albums that they were discussing, seeking a connection between the music and the conversation. I found myself enjoying several pieces I’d not heard before, and others I’d prefer not to hear again. He certainly did experiment widely with his instrument and changed the world of jazz, and music in general.
July 4, 2020
In an interview with Japanese journalists in Tokyo, in 1966, Coltrane answers a question about what he would like to in twenty years as a person or musician by saying: "In music, or-as a person...I would like to be a saint."
This book, by compiling Coltrane's responses in interviews and the many articles written about him by critics, provides a rich portrait of Coltrane the true patron saint of jazz: one of the most important musicians of the 20th century and a deeply dedicated, humble, and wonderful man.
This book, by compiling Coltrane's responses in interviews and the many articles written about him by critics, provides a rich portrait of Coltrane the true patron saint of jazz: one of the most important musicians of the 20th century and a deeply dedicated, humble, and wonderful man.
October 2, 2020
I’m giving it only three for this reason and it’s nobody’s fault: almost every interview involves some form of questions regarding his career up to certain points. This leads to quite a bit of repeating multiple stories. Again, no fault to anyone. With a career as iconic as JC’s, interviews were bound to start from the beginning. Still a cool read and worth the time. But like I said, a lot of repeating.
November 7, 2022
As someone who has been a classic rock singer for a long time I decided to take up jazz and thought I’d read some books like this if the jazz greats to get a better idea of what I was getting into. Coltrane had some really great perspectives on jazz and hot to describe it and love/live it. Great read overall. Some parts were pretty dry and some redundant but the parts that are great are worth the read.
July 22, 2017
Nie jest to książka, która opowie ci o życiu Coltrane'a od A do Z. To raczej uzupełnienie wiedzy, rzecz dla fanów, ale niezwykle cenna i bardzo dobrze przetłumaczona. Coltrane to przeciwieństwo Davisa, święty jazzu, gość do którego trudno się przyczepić i który z nieśmiałego i skromnego człowieka przekształcał się w sceniczną bestię. Warto.
July 19, 2023
Fun read but only made it through ~200 pages before I called it. I'd recommend putting the album they're discussing by interview on to complement the reading. It allowed me a better understanding of where Coltrane was coming from and was really fun.
March 1, 2019
Coltrane has been a hero of mine since my teenage years .humble but extremely talented A truly great musician and man.I enjoyed this book ,it gives a look into Coltrane himself
October 3, 2022
Gdyby nie to tragiczne polskie tłumaczenie dałbym 4
October 26, 2022
Words by and on this musical mystic.
May 17, 2025
Mostly short newspaper and magaazine interviews from the 1952-1965. As you would expect, Coltrane gives rather short and to the point replies to the questions.
September 1, 2025
An absolutely fantastic resource for fans of Coltrane. These really help paint a picture of the man in his own words and made me appreciate his work on such a deeper level.
March 22, 2011
Encompassing virtually every word John Coltrane ever uttered to an interviewer, this is a fascinating and at times repetitive read. Because Coltrane tended to give interviews in spurts, say during a short European tour, there are often several interviews in a row that are from the same day or within a few days of each other which is a little tedious at times. What shines through more than anything, however, is John Coltrane's lifelong quest to find.....well......more. His spirit and creativity was forever restless, perpetually looking forward and we as jazz listeners we are much better off for it.
This is a must if you are a fan of John Coltrane and worth a read even if you're not. It is a glimpse inside the thoughts of an intensely private, deeply driven American master.
This is a must if you are a fan of John Coltrane and worth a read even if you're not. It is a glimpse inside the thoughts of an intensely private, deeply driven American master.
August 31, 2010
This book was good, not because I'm such a big fan of Coltrane (because I'm not really), but because I loved how insightful and spiritual he was about everything. The man knew exactly what he was looking for and he was willing to put the time in to find it and recreate it with his horn. If you ever read the words to "A Love Supreme" - they are beautiful.
I might not love all his music, but now I have a much deeper respect for the musician.
I might not love all his music, but now I have a much deeper respect for the musician.
March 31, 2013
Excellent book, beautifully presented. Journalists ask the same questions and make the same statements, so for that reason this book is repetitious in places - in some ways perhaps better to be dipped into than read cover to cover. But having reached the end I think you're left a good picture of the public persona and a hint of insight into the private mind of Coltrane.
April 2, 2019
If you care about John Coltrane you have to read this. It's everything he ever said or wrote that anybody thought to record and save. Valuable insights. You'll get tired of the questions people asked him ad nauseam about what the intent of his music is. You'll marvel at how patiently and earnestly he answered.
October 24, 2019
It is exactly what it says it is: a collection of musings from the preeminent Saxophonist himself. Coltrane is potentially the most important and influential performer of our times, so every word here is to be savored.
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