Editing John Coltrane (section)

===1965: Adding to the quartet and avant-garde jazz===
[[File:PharoahSanders.jpg|thumb|right|As Coltrane's interest in jazz became experimental, he added Pharoah Sanders (center; circa 1978) to his ensemble.]]
In his late period, Coltrane showed an interest in the [[avant-garde jazz]] of Ornette Coleman,<ref>{{cite web|last=Richardson|first=Mark|title=New York Is Killing Me: Albert Ayler's Life and Death in the Jazz Capital|url=https://pitchfork.com/features/from-the-pitchfork-review/9857-new-york-is-killing-me-albert-aylers-life-and-death-in-the-jazz-capital/|work=[[Pitchfork (website)|Pitchfork]]|date=April 28, 2016|access-date=January 16, 2020|archive-date=January 16, 2020|archive-url=https://web.archive.org/web/20200116133722/https://pitchfork.com/features/from-the-pitchfork-review/9857-new-york-is-killing-me-albert-aylers-life-and-death-in-the-jazz-capital/|url-status=live}}</ref> [[Albert Ayler]],<ref name="beta">{{cite web|last=Beta|first=Andy|title=Astral Traveling: The Ecstasy of Spiritual Jazz|url=https://pitchfork.com/features/pitchfork-essentials/9724-astral-traveling-the-ecstasy-of-spiritual-jazz/|work=[[Pitchfork (website)|Pitchfork]]|date=September 25, 2015|access-date=January 16, 2020|archive-date=June 5, 2022|archive-url=https://web.archive.org/web/20220605212901/https://pitchfork.com/features/pitchfork-essentials/9724-astral-traveling-the-ecstasy-of-spiritual-jazz/|url-status=live}}</ref> and Sun Ra. He was especially influenced by the dissonance of Ayler's trio with bassist [[Gary Peacock]],<ref>{{cite news|last=Whitehead|first=Kevin|title=Albert Ayler: Testifying The Breaking Point|url=https://www.npr.org/2001/05/08/1122654/avant-garde-made-easy-albert-ayler|publisher=[[NPR]]|date=May 8, 2001|access-date=January 16, 2020|archive-date=April 4, 2020|archive-url=https://web.archive.org/web/20200404135917/https://www.npr.org/2001/05/08/1122654/avant-garde-made-easy-albert-ayler|url-status=live}}</ref> who had worked with [[Paul Bley]], and drummer [[Sunny Murray]], whose playing was honed with [[Cecil Taylor]] as leader. Coltrane championed many young free jazz musicians such as [[Archie Shepp]],<ref name="bray">{{cite web|last=Bray|first=Ryan|title=Jazz Legend Archie Shepp Reflects On John Coltrane's Quest For Musical Freedom|url=https://consequenceofsound.net/2016/03/jazz-legend-archie-shepp-reflects-on-john-coltranes-quest-for-musical-freedom/|work=[[Consequence of Sound]]|date=March 2, 2016|access-date=January 16, 2020|archive-date=July 6, 2020|archive-url=https://web.archive.org/web/20200706091141/https://consequenceofsound.net/2016/03/jazz-legend-archie-shepp-reflects-on-john-coltranes-quest-for-musical-freedom/|url-status=live}}</ref> and, under his influence, Impulse! became a leading free jazz label.

After ''A Love Supreme'' was recorded, Ayler's style became more prominent in Coltrane's music. A series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming abstract, with greater incorporation of devices like [[multiphonics]], use of overtones, and playing in the [[altissimo]] register, as well as a mutated return of Coltrane's sheets of sound. In the studio, he all but abandoned soprano saxophone to concentrate on tenor. The quartet responded by playing with increasing freedom. The group's evolution can be traced through the albums ''[[The John Coltrane Quartet Plays]]'', ''[[Living Space (album)|Living Space]]'', ''[[Transition (John Coltrane album)|Transition]]'', ''[[New Thing at Newport]]'', ''[[Sun Ship]]'', and ''[[First Meditations]]''.

In June 1965, he went into Van Gelder's studio with ten other musicians (including Shepp,<ref name="aceves">{{cite web|last=Aceves|first=Rusty|title=A Look Back At John Coltrane's Ascension|url=https://www.sfjazz.org/onthecorner/look-back-john-coltranes-ascension|work=[[SFJAZZ Center]]|date=January 27, 2017|access-date=January 16, 2020|archive-date=July 30, 2020|archive-url=https://web.archive.org/web/20200730021616/https://www.sfjazz.org/onthecorner/look-back-john-coltranes-ascension|url-status=live}}</ref> [[Pharoah Sanders]],<ref name="aceves"/> [[Freddie Hubbard]],<ref name="aceves"/> [[Marion Brown]], and [[John Tchicai]]<ref name="aceves"/>) to record ''[[Ascension (John Coltrane album)|Ascension]]'', a 38-minute piece that included solos by young avant-garde musicians.<ref name="bray"/> The album was controversial primarily for the collective improvisation sections that separated the solos. After recording with the quartet over the next few months, Coltrane invited Sanders to join the band in September 1965. While Coltrane frequently used [[overblowing]] as an emotional exclamation-point, Sanders "was involved in the search for 'human' sounds on his instrument,"<ref>{{cite book | last = Wilmer | first = Val | author-link = Val Wilmer | title =As Serious as your Life | publisher =Serpent's Tail | year =2018 | pages=43 }}</ref> and drastically expanding the vocabulary of his horn by employing [[multiphonic]]s, [[Growling (wind instruments)|growling]], and "high register squeals [that] could imitate not only the human song but the human cry and shriek as well."<ref>{{cite book | last = Anderson | first =Iain | title =This Is Our Music: Free Jazz, the Sixties, and American Culture | publisher =University of Pennsylvania Press | year =2007 | pages=111 }}</ref> Regarding Coltrane's decision to add Sanders to the band, [[Gary Giddins]] wrote "Those who had followed Coltrane to the edge of the galaxy now had the added challenge of a player who appeared to have little contact with earth."<ref>{{cite book | last =Giddins | first =Gary | author-link = Gary Giddins | title =Visions of Jazz: The First Century | publisher =Oxford University Press | year =1998 | pages=488 }}</ref>