The track " Naima " was recorded on December 2 with Coltrane's bandmates, the rhythm section from the Miles Davis Quintet, who would provide the backing for most of his next album, Coltrane Jazz.

" The title track is a long, rhythmically variegated blues with a brooding minor theme that gradually shifts to major during Coltrane's first chorus.

Jazz pioneers such as John Coltrane — who recorded a composition entitled ' India ' during the November 1961 sessions for his album Live At The Village Vanguard ( the track was not released until 1963 on Coltrane's album Impressions )— also embraced this fusion.

For example, John Coltrane's 1965 album Ascension, uses eleven musicians.

* " Locomotion ", a song on John Coltrane's album Blue Train

Resnick also recorded using the two-handed tapping technique in 1974 on the John Mayall & the Bluesbreakers album " Latest Edition " and has said that he was attempting to duplicate the legato of John Coltrane's " Sheets of Sound ".

*" Satellite ", on John Coltrane's 1964 album Coltrane's Sound

Together with Eric Dolphy, Hubbard was the only ' session ' musician who appeared on both Olé and Africa / Brass, Coltrane's first album with ABC / Impulse!

John Coltrane's admiration led to recordings for Impulse Records, the first of which was Four for Trane in 1964, an album of mainly Coltrane compositions on which he was sided by his long-time friend, trombonist Roswell Rudd, bassist Reggie Workman and alto player John Tchicai.

The album Giant Steps had been one of Coltrane's best-known.

In 1999, Cline paired up with jazz drummer Gregg Bendian to record a modern rendition of John Coltrane's 1967 album, Interstellar Space.

A Love Supreme is a studio album recorded by John Coltrane's quartet in December 1964 and released by Impulse!

In 1999, he and Nels Cline released Interstellar Space Revisited, a critically acclaimed cover album of John Coltrane's Interstellar Space, which Bendian described as " my love letter to Free Jazz drumming ".

Recorded at the Van Gelder Studio in Hackensack, New Jersey, it is Coltrane's second solo album, the only one he recorded for Blue Note as a leader, and the only one he conceived personally for the label.

During that period he also took part in John Coltrane's Africa / Brass ensemble, which played with Coltrane's quartet on the album by the same name recorded in 1961.

It was the first album to feature Coltrane's playing on soprano saxophone, and yielded a commercial breakthrough in the form of a hit single that gained popularity in 1961 on radio, an edited version of the title song, " My Favorite Things.

Sessions the week before Halloween at Atlantic Studios yielded the track " Village Blues " for Coltrane Jazz and the entirety of this album, along with the tracks that Atlantic would later assemble into Coltrane Plays the Blues and Coltrane's Sound.

The album was also the first to quite clearly mark Coltrane's change from bebop to modal jazz, which was slowly becoming apparent in some of his previous releases.

The music reflects Coltrane's evolving emotional and musical range, where he explores jazz modality, the music of India, the blues, and a traditional Swedish folk song ( this last track was not included on the original 1963 album, but appeared first on a 1970s previously-unissued LP compilation and is on the current — as of year 2000 — CD release of Impressions as a bonus song ).

The cover is reminiscent of John Coltrane's album Interstellar Space, of which Watt is a fan.

John Coltrane had joined Monk after a spell with the Miles Davis Quintet, and this is Coltrane's only studio recording with Monk, who can be heard enthusiastically calling on him to take the first solo on the album in " Well, You Needn't " ( though Coltrane's name does not appear on the front cover ).

Several of Coltrane's albums from the period are recognized as seminal albums in jazz more broadly, but especially modal jazz: Giant Steps, Live!

John Coltrane's composition " Satellite " is also based on the chords of " How High the Moon ", which Coltrane embellished with the three-tonic progression he also used on his composition " Giant Steps ".

* Spiral, track four from John Coltrane's Giant Steps

Two of its songs — " Moment's Notice " and " Lazy Bird " — demonstrate Coltrane's first recorded use of Coltrane changes, which he would later expand upon on Giant Steps.

Kelly likewise appears on a single track from John Coltrane's Giant Steps, replacing Tommy Flanagan on " Naima ".

Coltrane's modal explorations gave rise to an entire generation of saxophonists ( mostly playing tenor saxophone ) that would then go on to further explore modal jazz ( often in combination with jazz fusion ), such as Michael Brecker, David Liebman, Steve Grossman, and Bob Berg.

They would often exchange ideas and learn from each other, and eventually, after many nights sitting in with Coltrane's band, Dolphy was asked to become a full member.

The event would inspire the African-American poet Dudley Randall's opus, " The Ballad of Birmingham ", as well as jazz musician John Coltrane's song " Alabama ".

The recording exemplifies Coltrane's melodic phrasing that came to be known as sheets of sound, and features his explorations into third-related chord movements that came to be known as Coltrane changes.

" Emerging from John Coltrane's groups of the mid-1960s Sanders is known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of " sheets of sound.

Musicologist Lewis Porter has also demonstrated a harmonic relationship between Coltrane's " Lazy Bird " and Tadd Dameron's " Lady Bird ".

) This enabled Shorter to use only one or two scales on each piece, thereby obtaining the modal flavour of John Coltrane's contemporary work without sacrificing the customary harmonic complexity of his writing.

Originating in the late 1950s and 1960s, modal jazz is epitomized by Miles Davis's " Milestones " ( 1958 ), Kind of Blue ( 1959 ), and John Coltrane's classic quartet from 1960 – 64.

Though he never fully embraced the free jazz of the 1960s, he appeared on two of its landmark albums: Coleman's Free Jazz and Coltrane's Ascension, as well as on Sonny Rollins ' 1966 ' New Thing ' track East Broadway Run Down with Elvin Jones and Jimmy Garrison.

Ponty's attraction to jazz was propelled by Miles Davis's and John Coltrane's music, which led him to adopt the electric violin.

Coltrane's epochal, proto-free jazz " Chasin ' the Trane " was inspired partly by Gilmore's sound.

As well as its enormous artistic influence, Coltrane's classic 1965 LP A Love Supreme became one of the most successful jazz albums ever released — it sold more than 100, 000 copies on its first release, and by 1970 it had sold more than half a million.

It is generally considered to be among Coltrane's greatest works, as it melded the hard bop sensibilities of his early career with the free jazz style he adopted later.

Performing with bassist Reggie Workman in Coltrane's group, Davis pioneered the use of two basses in a jazz combo setting.

After moving to New York City in 1963, Tchicai fell into the free jazz scene, co-forming the New York Contemporary Five and the New York Art Quartet, and playing on John Coltrane's epochal Ascension, and with Albert Ayler and others on New York Eye and Ear Control.

After one year spent with Ten Wheel Drive, one of the early jazz fusion groups, Liebman secured the saxophone / flute position with the group of John Coltrane's drummer, Elvin Jones.

" Dear Old Stockholm " is a Swedish folk song, best known in the English-speaking world for versions by jazz artists such as Stan Getz, Miles Davis, Paul Chambers and John Coltrane's Impressions album.