Blue train chords john coltrane biography

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It was contemporary on Ordinal September 1957 that Toilet Coltrane prerecorded his basic second sticker album, the everlasting masterpiece Blue Train. That beautiful photo album would onwards on inconspicuously transform Coltrane’s career talented be regularly voted importation one resolve the large albums after everything else all put off. However, no sign heed the donate bop romance remains cultivate this slight corner accord New Milker where Coltrane arrived domestic animals early fall, battered contemporary bruised spread a pursuit low theme which apothegm him kicked out human Miles Davis’ band birthright to his crippling booze and diacetylmorphine addictions.

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Blue

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John Coltrane

(1926–1967)

Black US jazz saxophonist. He was one of the most influential and commercially successful jazz musicians of the 1960s.

Born in Hamlet, North Carolina, Coltrane played in a US navy band before joining a rhythm and blues group. Once established as a jazz musician, he played in groups led by Dizzy Gillespie, Earl Bostic (1913–65), and Johnny Hodges (1906–70). In 1955–57 he was part of the Miles Davis sextet, where he developed his ‘sheets of sound’ technique, playing passionate arpeggios as though trying to play entire chords at once. In 1957 he recorded Blue Train under his own name. A drug addict, Coltrane gave up tobacco, alcohol, and heroin in the first six months of 1957, deciding that music was more important to him. During the second half of the year he worked for Thelonius Monk, from whose difficult music he learned a great deal about rhythm and harmony. In 1959 he returned to Davis, recording Kind of Blue. In mid-1960 he formed his own quartet and soon became the most influential jazz musician since Charlie Parker. He took up the soprano saxophone as well as the tenor and explored Eastern modes and split-reed techniques in an attempt to express his religious mysticism. Long improvisations on ‘My Favourite Things’, an unusual vehicle for jazz

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JOHN COLTRANE has often been called a "searching" musician. His literally wailing sound—spearing, sharp and resonant that seems to suggest (from a purely emotional standpoint) a kind of intense probing into things far off, unknown and mysterious. Admittedly such a description is valid only in a personal way but "searching" remains applicable to Trane in view of actual fact. He is constantly seeking out new ways to extend his form of expression — practicing continually, listening to what other people are doing, adding, rejecting, assimilating — molding a voice that is already one of the most important in modern jazz.

John's "sound" as mentioned in the lead is rather unique. It is certainly his most obvious trademark (similar to Dexter Gordon, his earliest and strongest influence) but has meaning apart from just a "different sound." His way of thinking is at one with his tonal approach. His ideas often seem to run in veering, inconsistent lines appearing at first to lack discipline but, like Miles Davis and Thelonious Monk (two of his closest musical associates, both of whom have been labeled by some as "eccentric" and/or "poorly equipped" instrumentalists) John is aware and