• • • • It’s possible, if not likely, that we are living in a time when nothing matters less than the musical legacy of a Jazz musician, that discussing the influence of an artist like John Coltrane is akin to an in depth analysis of the trebuchet–something best left to the historians and NPR stations at the extreme left of the dial, so to speak. Jazz has long since been pushed to the margins, there if you look for it, but there’s no available bandwidth for it in this moment’s mainstream. If there is a player who is moving through Jazz today the way Coltrane did–starting about 60 years ago, tracing a too-short arc through a music that was still an integral part of Pop Culture–the number of people who might notice is only slightly more than the number of people who would care.

For better or worse, however, we’re here for those people who care. We’re here, scribbling in the aforementioned margins, eager to consider the musical legacy of John Coltrane, particularly as it affects our little guitar-centric corner of the world. (Top) Wes Montgomery and John Coltrane at the Monterey Jazz Festival, September 24, 1961, © Jim Marshall (Above) Coltrane during the recording of “Kind of Blue” with Miles Davis, Photo: Don Hunstein And it’s massive, you know.

Coltrane’s fingerprints can be found all over guitar players and the music they’ve made for the past half-century plus, from Jimi Hendrix to Duane Allman to Tony Rice. There’s a lot to point to: the sound, the ambition, the little bits of theory that translate so easily to a guitarists’ technique (modal harmony, pentatonic scales, etc.) and, of course, the covers: from the classic Wes Montgomery version of “Impressions” (a song also well-covered by Pat Martino) to Pat Metheny’s take on “Giant Steps,” numerous versions of “Naima,” by artists like George Benson and Derek Trucks (an avowed Coltrane acolyte who has also recorded “Mr. Photo: Jon Gorr Just before I began to study with Dennis Sandole in Philadelphia in the mid-’70s, a big part of my anticipatory thrill was knowing that John Coltrane had been a former student Dennis seldom talked about Coltrane to me, but when he did it was with certain pride and a big smile.In one anecdote I remember, Dennis described attending a show at a Philadelphia club where Trane’s band was booked. Usb vga display adapter driver linux windows 7. According to Dennis, when Trane, who was on stage playing, saw him come into the club, he immediately began to quote some of what Dennis typically referred to as “my literature” (his students will remember the use of this term, and the accompanying gleam in the Maestro’s eye). I can believe this, too, because the only player I’ve ever heard who really sounded like he completely absorbed what Sandole taught was Coltrane. Outside of that incidental connection, Coltrane has had, and continues to have, a powerful influence on me.

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I fell in love with the guitar in 1968 when I heard the sounds of the “British Invasion” players, all playing electric guitars through cranked up amplifiers. There was a very expressive, vocal quality to those sounds, a result of the way the amp allowed the notes to sustain and the way a light gauge string could be shaken and bent and made to scoop into notes, yielding a sound more like a saxophone or a cello than an acoustic guitar. I fell in love with jazz in 1974 when I heard the sound of John Coltrane’s saxophone playing.

I had listened to quite a lot of jazz players by then, but there was an unrelenting power in Trane’s playing that drew me in deeper, and led to a lifetime commitment to learning and listening to jazz. I realize now these two epiphanies of mine are connected by the expressive power of the human voice and the capacity of melody to “light up” the musical mind. Learning to produce those sounds and listening to Coltrane turned out to be two peak experiences for me on my music making journey.

In listening to the whole breadth of his work, it’s clear that by 1964 (perhaps my favorite year of Coltrane’s), his approach sounded increasingly more “vocal;” his playing regularly included a more blues-based, vocal-like shout; and he was clearly interested in reclaiming some of the early blues and spiritual roots of jazz. He also seemed to want his playing to express a struggle or a striving, much like many blues guitar players, though unlike many other jazz players who seemed to aim for more of an effortless sounding, controlled virtuosity. I know that Trane’s approach spoke to me, and ultimately led to my refusal to give up the sound of an electric guitar through a cranked up amp, in spite of all my efforts to embrace a more traditional jazz guitar tone (still through an amp, but without the distortion that comes from cranking it up). For a while I came to feel that jazz and the traditional sounds of jazz guitar were like my second musical language.