Charlie Wooley
5/5/16
John Coltrane: Echoer of the Civil Rights Movement
Since its early inceptions in the post-Reconstruction era, jazz has long been a
associated with political rebellion and racial tension. After expanding beyond the turmoil
of a highly racial Deep South, jazz took segues into various areas of rebellion, from the
speakeasies of the roaring twenties to the sit-ins of the civil rights movement and the
sampling of golden age hip-hop. Regardless of the era, associated artists or specific
musical movements, jazz has continually evolved, becoming a voice for the
underprivileged and misrepresented in America1. Through the years, some of the nation’s
most talented and intriguing musicians have been associated with jazz, pushing the limits
of music theory and structure.
Yet John Coltrane, one of the most prolific, talented jazz musicians associated
with the genre, was himself quite apolitical and reserved. When asked about his
attendance of a Malcolm X rally in 1967, he simply claimed, “I was quite impressed.”2
Even at the most groundbreaking, political stage of his musical career, he largely avoided
speaking about civil rights (aside from maybe “Alabama”3). Instead, he let his music
speak for him. Although his music possessed no obvious political agenda, or even lyrical
elements, Coltrane was able to convey messages of rebellion, pushing black musicians to
make changes in the civil rights movement and beyond. By challenging the conventions
of traditional music theory, John Coltrane broke barriers, which helped motivate and
inspire the struggling African-American community in the 1960s and beyond.
In three of his landmark releases, Giant Steps, A Love Supreme and Ascension,
John Coltrane was able to reinvent the jazz idiom, breaking barriers in the musical world.
With these releases, he inspired the black community to strive toward political and social
change. Despite lacking an obvious lyrical/political message in his music, there are
inherent instrumental elements, which reflect his increasing involvement in civil rights.
As Coltrane’s career progressed, his music in some ways revealed his increased political
involvement, which mirrors the overall timeline of the civil rights movement. After
beginning as a passive protester, a la Dr. King and evoking messages of black Zionism
and Garveyism, he became increasingly aggressive and militant. After A Love Supreme,
the crux of his late career, Coltrane began to mirror the more radical paths of Malcolm X
and the Black Panther movement. In this way, each major landmark in Coltrane’s career
represents a different approach toward racial resistance.
By 1959, when Giant Steps was recorded, John Coltrane was a man who’d lived
nearly an entire lifetime worth of trials and tribulations. In 1938, at just 22, he witnessed
the death of his grandparents, father and closest aunt within a span of a few short months.
Shortly thereafter, he moved to Philly, joined the US Navy and shipped out to Pearl
Harbor, where he was granted a position in a local swing band. After his discharge, he
stumbled his way into a mentorship with saxophone legend Charlie “Bird” Parker in
Philly, became an alcoholic and heroin addict and botched a dream gig with the Miles
Davis Quintet4. After overcoming his addictions, Coltrane pledged his life to God and
quickly began honing his craft as a musician. Though Giant Steps was one of Coltrane’s
first recordings, he was already 34 at the time of its release.
With Giant Steps, Coltrane not only crafted an upbeat, addictively catchy album
in the hard bop idiom, he completely revolutionized the way jazz is viewed in the
academic lens. He established his own set of chord progressions and harmonic
progressions, which are now aptly known as “Coltrane Changes”5. By applying his
interest in mathematics and “the golden ratio”, he was able to revolutionize the way most
jazz artists viewed music. Coltrane believed that applying these mathematical principles
to the world of music, he could create the most aesthetically pleasing music possible6.
Since these principles are commonly applied to the worlds of architecture and art, he
surmised, why not apply them to music?
In this way, Giant Steps serves as Coltrane’s first major form of musical rebellion.
In other, previous releases, both as a sideman and solo act, Coltrane hadn’t quite
developed his own trademark sound but he certainly rebelled. On previous releases, he
had showed hints of shifting his sound toward the “sheets of sound” (coined two years
previously6) but nothing had been as substantial, cohesive or awe-inspiring. This
landmark release is Coltrane’s first attempt at musical rebellion, applying his own
passions and his own postulates of mathematics to his music. In this way, Coltrane
reflects one approach of the civil rights movement – pacifism. Although Coltrane
completely reworked the jazz chord progressions, he attempted to expand upon a
previously existing set of standards within society. In the same vein as Dr. King, Coltrane
attempted to peacefully rebel, become more academic, more like the status quo. He
merely attempted to fit into the “white racial frame”7 which society relies so heavily
upon. By applying theories of mathematics, Coltrane responded academically,
encouraging those in the civil rights movement to apply their own interests to the fight.
Yet he encouraged a scholarly, almost pacifistic approach, which simply forced the
African-American people to become more like their white contemporaries. It was
certainly a Giant Step in the right direction but perhaps one, which was slightly
misguided.
As Coltrane’s career advanced, he became increasingly interested in the musical
modes and melodies of Africa and the Far East, applying them gradually to his music8.
With releases such as Africa/Brass, Ole Coltrane and Impressions, he dove deeply into
foreign modes, giving his music an unusual ambiance. Coltrane thus echoes the thoughts
of Marcus Garvey and the Black Zionist movement, and the “back to Africa” movement,
urging African-American listeners to “return to their roots”. And as his career continued,
Coltrane applied these modes to his theories of spirituality.
After much introspection and contemplation in the mid-sixties, John Coltrane
switched his approach. He tinkered with his lineup in the mid-sixties, endlessly
reworking the formula in preparation for a four-part spiritual dedication to God - A Love
Supreme. He brought in unconventional, young musicians to record on the album,
pushing it toward new spiritual heights. Elvin Jones provided an unusual flair on the
drums, with a polyrhythmic style, which reversed that of a traditional waltz9. And McCoy
Tyner took a unique percussionist approach on the piano, hammering notes raucously,
utilizing a detached, staccato approach. With A Love Supreme, Coltrane pushed musical
boundaries - but only when he felt it was completely necessary. Throughout the four-part
suite, he never completely abandons the traditional structure of music, opting to wander
slightly into the avant-garde. Yet he quickly returns to the norm, remaining fairly
traditional for large stretches of the album. In this way, Trane followed the messages of
Malcolm X – breaking the rules only when absolutely necessary. During a majority of his
life as an activist, Malcolm X encouraged retribution, condoning violence only in
response. For parts of his life, he became militant but it’s often forgotten that he
condemned this period, later returning to his more “don’t turn the other cheek” stance.
The same goes for A Love Supreme, which is often remembered as an avant-garde piece
despite its clear foundations in tradition. It flirts with pure, unadulterated freedom – but
stays grounded in traditional structure.
In addition, A Love Supreme encourages listeners and fellow musicians to express
themselves in their own personal manner… but this time with religion. Though religion is
a staple in contemporary American society, the exploration of religious themes in music
can be a bit controversial. Just two years later, Brian Wilson recorded “God Only
Knows”, which was briefly criticized for using “God” in the title. Thus, Coltrane seemed
to be preaching the same messages, in a similarly controversial, rebellious fashion.
Though Coltrane’s fascination with individual spirituality was intriguing to say
the least, it wasn’t the last stop on his revolutionary journey of black empowerment. With
his release of Ascension in 1965, he joined the blossoming free jazz movement, which
aimed to completely abandon all traditional rules or conventions of music. Gone were
rhythm, melody and harmony. Instead, improvisation reigned, resulting in a violent, noisy
nearly incoherent form of music. With this release, Coltrane encouraged those in the civil
rights movement to strike violently, and fight for freedom passionately regardless of the
consequences. By completely abandoning the traditions of the past, Coltrane was able to
make his own music, to craft his own artistic statement. Sure, it wasn’t pretty, it wasn’t a
very pleasant listen – but it was his own and that in itself was inspiring to many. With
Ascension and later works of free jazz such as Meditations and the posthumous
Interstellar Space (featuring just Coltrane and a drummer), Coltrane echoed the
aggressive sentiment of civil rights extremists, such as those in the Black Panthers
movement. By completely abandoning previous precedents, he was able to form his own
identity, finding his own place in America. Much like the Black Panthers, it was a
controversial approach but it was certainly a powerful and unique statement.
Since his death in 1967, John Coltrane has inspired artists all across the globe,
from saxophonist Archie Shepp10 to poet Amiri Baraka11. His bold, academic approach
and ability to adapt is mirrored by few artists in history. As a whole, his career path
seems to echo that of the civil rights movement – from academic pacifism to later
approaches of violence and extremism. Regardless of his personal political involvement,
his music echoes the sentiments of the civil rights movement. By examining his
influences, it’s apparent that his upbringing and environmental surroundings impacted his
music. He made his music immensely personal, by adding elements from his own
passions, from mathematics to astrology and religion. Yet it remains distinctly human,
remaining easily relatable several decades later. Regardless of his intentions, Coltrane’s
music encourages those to pave their own paths and pursue their own interests, which is
certainly a beautiful thing.
SOURCES:
1
Sullivan, Megan. "African-American Music as Rebellion: From Slavesong to HipHop." Discoveries: JOHN S. KNIGHT INSTITUTE FOR WRITING IN THE
DISCIPLINES CORNELL UNIVERSITY ITHACA, NEW YORK (Spring 2001): n.
pag. Web.
2
Kofsky, Frank. "Rare John Coltrane Interview on Life, Jazz & Malcolm X." Blank on
Blank. N.p., n.d. Web. 08 May 2016.
3
Stevenson, By Tommy. "AT LARGE: Coltrane's 'Alabama' Mirrors King's Eulogy."
TuscaloosaNews.com. N.p., n.d. Web. 08 May 2016.
4
Kahn, Ashley. A Love Supreme: The Story of John Coltrane's Signature Album. New
York: Viking, 2002. Print.
5
Adler, Dan. "The ‘Giant Steps’ Progression and Cycle Diagrams." Jazz Studies (2012):
1-11. University of South Carolina. Web.
6
8
"John Coltrane - Soultrane - Prestige." Jazz Record Center. N.p., n.d. Web. 8 May 2016.
Clements, Carl John. "John Coltrane and the Integration of Indian Concepts in Jazz
Improvisation." Jazz Research Journal Jazz 2.2 (2009): 155-75. Web.
7
Feagin, Joe R. Systemic Racism: A Theory of Oppression. New York: Routledge, 2006.
Print.
9
Sabanovich, Dan. "DRUM!Magazine." Inside The Drumming Of Elvin Jones. N.p., n.d.
Web. 08 May 2016.
10
Freeman, Phil. "Red Bull Music Academy." Red Bull Music Academy. N.p., n.d. Web.
08
May 2016.
11
Feinstein, Sascha. "FROM "ALABAMA" TO A LOVE SUPREME: THE
EVOLUTION OF THE JOHN COLTRANE POEM." Southern Review 32.2 (1996): n.
pag. Web.
Charyton, Christine, John G. Holden, Richard J. Jagacinski, and John O. Elliott. "A
Historical and Fractal Perspective on the Life and Saxophone Solos of John
Coltrane." Jazz Perspectives 6.3 (2012): 311-35. Web.
Swiboda, Marcel. "Mode and Motivation Sounding the Political in the Music of John
Coltrane." Parallax 11.4 (2005): 56-70. Web.