In 2026, the Coltrane Estate marks the 100th anniversary of John Coltrane’s birth with COLTRANE 100, an ambitious, year-long global celebration honoring an artist whose work permanently reshaped the language, ambition, and purpose of music. Explore more at the link in bio, including new merch, recordings, reissues, live performances, experiences, and more.
On today’s date in 1956, the first of two recording sessions took place for a four album collection with the Miles Davis Quintet: Steamin’, Relaxin’, Workin’, and Cookin’, all featuring John Coltrane on tenor saxophone. These four albums include renditions of standards by Rodgers & Hammerstein, Dizzy Gillespie, Sonny Rollins, and Frank Loesser.
At the time of recording, Columbia Records was courting Miles Davis to leave Prestige Records, despite the fact that Davis’ contract would not lapse for an additional three years. Davis had the idea for Prestige to stockpile albums, leading to the marathon recording sessions in May and December 1956, which were recorded with no retakes.
The third collection, Workin’ with the Miles David Quintet, includes “Trane’s Blues,” a John Coltrane composition. On this recording, Coltrane and Miles Davis interpolate a brief section of Charlie Parker’s “The Hymn” towards the end of the song before returning to the main theme.
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📸: The Miles Davis Quintet performing at Peacock Alley in St. Louis, Missouri, presumed in July 1956. Photo by Bernie Thrasher
The Miles Davis Quintet, 1956:
Miles Davis, trumpet
John Coltrane, tenor saxophone
Red Garland, piano
Paul Chambers, bass/cello
Philly Joe Jones, drums
On today’s date in 1959, John Coltrane recorded compositions for the album Giant Steps at Atlantic Studios in New York City. Various takes of Cousin Mary, Mr. P.C., Syeeda’s Song Flute, and the title track were recorded on this day, and the album was Coltrane’s first for Atlantic Records, where he signed a recording contract in 1958.
In 2005, Coltrane’s handwritten lead sheet for Syeeda’s Song Flute, a composition written for his stepdaughter, was auctioned.
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John Coltrane, tenor saxophone
Tommy Flanagan, piano
Paul Chambers, bass
Art Taylor, drums
For decades, the private recordings of @JohnColtrane ’s group, captured by musician Frank Tiberi in the early 1960s, have lived in legend, surrounded by rumor and deep intrigue. After 65 years, these recordings will now be made available as part of John Coltrane’s Centennial celebrations.
These notes are a preview of the liner essay from Ashley Khan, a Grammy-winning American music historian, author, professor and producer. Sign up at the link in bio to grab your copy of John Coltrane's 'The Tiberi Tapes, when it becomes available.
The New York State Assembly and the New York State Senate today passed a legislative resolution “celebrating the 100th Anniversary of the birth of John Coltrane, renowned artistic trailblazer and innovative New York jazz musician.” In a ceremony conducted at the New York State Capitol building, members of the Legislature joined representatives of Impulse!, the jazz great’s record label in the latest event of COLTRANE 100, a global, year-long series organized by the Coltrane Estate to commemorate the 100th anniversary of the jazz legend’s birth on September 23, 1926.
Sponsored by Senators Cordell Cleare and Jamaal Bailey, and Assemblymember Jordan J.G. Wright, Resolution J1845 was passed unanimously by both chambers.
In a statement, the Coltrane Estate said, “Thank you, New York, for this great honor and recognition of the work and contributions of John Coltrane. New York played such a special role in his life and career. This resolution will be a permanent fixture of the collection at the John and Alice Coltrane Home in Dix Hills, NY – site of the definitive Coltrane collection - and we encourage all to visit that cultural and educational landmark. We thank Senators Cordell Cleare and Jamaal Bailey, and Assemblymember Jordan J.G. Wright.”
On today’s date in 1964, John Coltrane recorded takes for the album “Crescent” with his classic quartet at Van Gelder Studios in Englewood Cliffs, NJ. Produced by Bob Thiele, the album includes five original John Coltrane compositions.
On side two, Coltrane does not solo, instead spotlighting Jimmy Garrison (double bass) on Lonnie’s Lament, and Elvin Jones (drums) on The Drum Thing, an improvisational piece that includes brief melodic accompaniment from Coltrane and Garrison.
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John Coltrane’s Classic Quartet
John Coltrane, tenor saxophone
McCoy Tyner, piano
Jimmy Garrison, double bass
Elvin Jones, drums
“THE TIBERI TAPES: A PREVIEW OF THE MYTHICAL RECORDINGS” is a special single-LP release, available now exclusively at participating Record Store Day stores and offering an early glimpse ahead of the full release arriving September 2026 as part of Coltrane’s centennial celebration.
For decades, the private recordings of John Coltrane’s group, captured by musician Frank Tiberi in the early 1960s, have lived in legend, surrounded by rumor and deep intrigue. Following Coltrane through clubs in New York and Philadelphia, Tiberi documented the boundary-pushing, otherworldly performances unfolding night after night on his portable tape recorder.
Find more info and participating stores at the link in bio
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On today’s date in 1957, John Coltrane recorded “Monk’s Mood” with Thelonious Monk and Wilbur Ware at Reeves Sound Studios in New York City. The only selection recorded by Coltrane and Monk that day, “Monk’s Mood” is the sole track on Thelonious Himself (1957) featuring additional instruments; the other tracks are solo piano. Monk’s Mood was also included on Thelonious Monk with John Coltrane (1961), compiling more material recorded in 1957, but issued four years later - in this time, John Coltrane established himself as a band leader and jazz star. #Coltrane100
Photo: Thelonious Monk and Nellie Monk at their home with John Coltrane, late 1950s (courtesy of T.S. Monk)
Monk’s Mood
Thelonious Monk, piano
John Coltrane, tenor saxophone
Wilbur Ware, bass
Coltrane’s classic Atlantic album from 1961 gets the Rhino Reserve treatment. My Favorite Things is Coltrane’s first recorded use of the soprano sax, which he would go on to play extensively until the end of his career. The modal exploration of the title track is something he would return to in live performances for the rest of his career.
In honor of Jazz Appreciation Month, this album has been cut from the original analog mono master by Matthew Lutthans at The Mastering Lab and is pressed locally on 180 gram premium-quality vinyl at Fidelity Record Pressing’s plant in Oxnard, California as part of the Rhino Reserve line.
Available now at the link in bio. #Coltrane100
Today in 1959, John Coltrane performed as part of the Miles Davis Quintet, taping an in-studio performance for WCBS-TV Studio 61. Coltrane performed one solo during “So What” and covered Cannonball Adderley’s parts on alto saxophone in the ensemble of the Gil Evans Orchestra for the remainder of the performance, as Adderley was absent from the Quintet due to illness. The performance was later broadcast on July 21, 1960.
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Photo: Frank Rehak, John Coltrane, and Miles Davis on April 2, 1959
