The sax star turned his back on fame to embrace free jazz

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The sax star turned his back on fame to embrace free jazz. The report also notes that Caught on a tape machine hidden in an overcoat, newly revealed recordings show how he did it In August 1965, at the height of his fame, saxophonist John Coltrane headlined the DownBeat jazz festival in Chicago. Taking to the stage with a new member of his band, young experimentalist Archie Shepp on tenor, Coltrane’s quartet blew through a series of jagged and free improvisations, straying from structured compositions and, instead, hurling down sheets of sound so loud and aggressive that they reportedly caused widespread walk-outs. DownBeat’s own reviewer later wrote : “They gave as tasteless a display of musicianship as I’ve ever heard … Shepp and Coltrane seemed to be more interested in trying to out-honk, out-squeal and out-bleat each other than in playing music.” That 1965 performance should have been a triumphant moment, following five years of Coltrane’s star ascending. Since leaving Miles Davis’s “first great quintet”, with whom he had recorded what would become the bestselling jazz album of all time – 1959’s Kind of Blue – Coltrane founded an entirely new harmonic language in jazz with the 1960 release of his solo LP Giant Steps , had a radio hit with his 1961 version of The Sound of Music’s My Favourite Things and, in January 1965, formulated his own spiritual imagining of jazz music with the Grammy-nominated album A Love Supreme . He was already a giant of the genre, contributing dozens of compositions to the standard repertoire, but two years later, in 1967, aged just 40, he woul

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