Coltrane Quotes
The best sayings about Coltrane that you can share on Instagram, Pinterest, Facebook and other social networks!
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Everyone on the set has a mobile phone, and I found by pushing a few buttons, they could be programmed into different languages. I fixed Robbie's Coltrane to speak in Turkish.
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John [Coltrane] was like a visitor to this planet. He came in peace and he left in peace; but during his time here, he kept trying to reach new levels of awareness, of peace, of spirituality. That's why I regard the music he played as spiritual music -- John's way of getting closer and closer to the Creator.
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Bob Erlendson, a local piano player, taught me chord structure and which scales go along with them. Later, I began listening to [pianists] Bill Evans and McCoy Tyner. Then I got interested in [saxophonist] John Coltrane.
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This is a tradition of resistance to the term that's as old as the term itself, especially because that term has been used to commodify and reduce black creativity, and also to appropriate and sell it. That's what John Coltrane said in an interview with a Japanese journalist: "Jazz is a word they use to sell our music, but to me that word does not exist." And he's treated as one of the central figures in the history of jazz. So if he rejected it, then why is it weird when I do it? I'm in the tradition!
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It's interesting to get older and realize that part of your job growing up in this profession is to help the next generation. More and more, with Boyhood and with Ellar Coltrane and with Emma [Watson], I start to see that role. There's no better way. Nobody wants advice, so you can't really give it. You just have to try to wish them well on their journey.
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Listen to John Coltrane enough and after two bars, just two bars at any place, and you know that's him. We all have signature things that happen to be similar that you can predict and you try to stay away from that except the rhythms: those pauses, they're part of my signature, the part where I know when I say nothing, I already painted enough, led enough and I don't even have to say anything. But those pauses don't belong to me. Jack Benny was one of the first guys in comedy to make the anticipation so great that during the pause people start to laugh before the execution.
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Coltrane, you cant play everything at once!
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When somebody turned me on to a Coltrane record around seventh grade, I took up saxophone.
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I think we've all had enough of Coltrane saxophonists. There's a case of someone ruining a generation of saxophonists, as Louis Armstrong may have ruined a generation of trumpeters.
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I took LSD and listened to Coltrane a lot; a lot of people did.
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Make no mistake, this music is for everyone. Jazz is not an exclusive, elite club. Go ahead, listen to your Snoop Doggy Dog, Pearl Jam, Garth Brooks, but add a little Ellington, Basie and Coltrane to your life as well.
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I remember when my father was dying, I remember listening to Bjork, and listening to John Coltrane, and these things, and I don't know why but music has the power to transcend your physical being and take you up just a little bit.
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I love jazz. So to me, there are two main types of jazz. There's dancing jazz, and then there's listening jazz. Listening jazz is like Thelonius Monk or John Coltrane, where it's a listening experience. So that's what I like; I like to make stuff that you listen to. It's not really meant to get you up; it's meant to get your mind focused. That's why you sit and listen to jazz. You dance to big band or whatever, but for the most part, you sit and listen to jazz. I think it comes from that aesthetic, trying to take that jazz listening experience and put it on hip-hop.
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For me, musicians are poets. Beethoven describes himself as a poet of tones, just like Coltrane's a poet of tempo.
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Who ... what are they?" "My pride and glory," Alex said fondly. "Betty and Lucy Coltrane. Best damned bouncers in the business. Though of course I'd never tell them that. Fiercer than pit bulls and cheaper to run. Married to each other. They had a dog once, but they ate it.
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Jazz musicians like John Coltrane needed these very clear titles for their abstract music, and your decision to bring voices into your music as a way to tap into content. It's related to the way my text-based work still functions as abstraction for me. If I repeat a sentence down a canvas, the text starts to smudge and disappear. It essentially becomes an abstract piece. The meaning of the text is still there.
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Well, Grover Washington was my main influence and when I went to college, I started listening to more of the jazz masters like Sonny Rollins, Cannonball Adderley, and John Coltrane.
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My father was a jazz tenor sax player. He played in a lot of big bands. So I had that sound around me all the time. The first record that really caught my ear was Clifford Brown's 'Brownie Eyes.' I grew up listening to John Coltrane and Illinois Jacquet. This is where I come from... I love improvisational music.
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Well, you know, the first step I took was to drop the alto and baritone and concentrate on tenor exclusively, a decision I've never really looked back on with any regret. Another thing was that I was 17 when I moved up there, and my listening had really focused on freer music in the previous couple of years- Coltrane was playing with his expanded group, and everyone was listening closely to that, and we were into Shepp and Ayler as well.
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To me John Coltrane was like an angel on earth. He struck me that deeply.
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If there's any such thing as a perfect man, I think John Coltrane was one. And I think that kind of perfection has to come from a greater force than there is here on earth.
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John Coltrane is still probably one of the greatest musicians of this century. His tone truly puts demons on a leash. His gift is directly from the mind of God and is very powerful. ..... The first time I heard a Love Supreme, it was really an assault. It could've been from mars as far as i was concerned, or another galaxy. I remember the album cover and the name, but the music didn't fit into the patterns of my brain at that point. It was like someone trying to tell a monkey about spirituality or computers, you know, it just didn't compute.
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...I got a call from a record company offering me a contract, I did not want to take it because the Lord had pointed me in the direction of spiritual activity...And then it was disclosed to me that I could do both spiritual and musical work. So for five years I executed that contract, and when it was finished, after I made the album Transfiguration, I didn't make another album until twenty-six years later. This new album, Translinear Light, came out of the pleading and constant appealing from my son Ravi Coltrane: 'Ma, please make a CD.' So I eventually agreed.
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Coltrane would do what you'd get a Roland Pro Tools module to do but with a group of jazz musicians.
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I am the flying saucer man from another world trapped on yours until they come to rescue me. One day the saucer will land. Jimi Hendrix and John Coltrane will open the hatch and tell me to get in before someone tries to blow up the ship. I'll just ask what took them so long. Within seconds we'll be out of here.
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He didn't say nothing. He would just do things. He never said nothing or explained nothing. He just would do it and that was it. You were on your own. You had to be very independent being around John [Coltrane].
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I don't consider myself a musician who has achieved perfection and can't develop any further. But I compose my pieces with a formula that I created myself. Take a musician like John Coltrane. He is a perfect musician, who can give expression to all the possibilities of his instrument. But he seems to have difficulty expressing original ideas on it. That is why he keeps looking for ideas in exotic places. At least I don't have that problem, because, like I say, I find my inspiration in myself.
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I remember when A love Supreme was released - I heard it at a friends house. ... Man it was incredible. That record sounded different than the rest. I was trying to gather my spirituality together, trying to get an understanding of life ..... I felt Coltrane was the first musician who made a transition from one side to the other.
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I take my fundamental cue from John Coltrane that says there must be a priority of integrity, honesty, decency, and mastery of craft.
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... We borrowed it all from Coltrane. I started encouraging everybody in the band to listen to John Coltrane - 'Check it out, see what these guys do.' They take one chord, the tonic chord, and just play all over it. 'We can do that too!' I wanted to make our music something really amazing - I wanted it to be jaw-dropping and turn on a dime and do all of those things that I knew music could do, and nobody told us we couldn't do it. I shouldn't say 'I,' though - Jerry Garcia was behind it the whole way.
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