Before albums like A Love Supreme and Giant Steps cemented his reputation as one of jazz’s most visionary figures, John Coltrane spent the late 1950s establishing himself as a bandleader after notable stints alongside artists such as Miles Davis and Thelonious Monk. Released by Craft Recordings to coincide with the centennial celebration of John Coltrane, The Best of John Coltrane revisits a pivotal stretch in the legendary saxophonist’s early career. The six recordings collected here come from sessions between 1957 and 1958, and they capture Coltrane sharpening the fast-moving improvisational language that critics later dubbed his “sheets of sound.”
The compilation opens with “I Hear a Rhapsody,” a standard that Coltrane approaches with a relaxed confidence. Backed by pianist Red Garland, bassist Paul Chambers, and drummer Albert Heath, the performance balances lyrical phrasing with quick runs that defined Coltrane’s playing. “Traneing In,” one of the few Coltrane originals here, moves into a more straightforward blues structure. The tune gives Coltrane plenty of room to stretch out, and his solo builds steadily with crisp, cascading lines. The familiar rhythm section of Garland, Chambers, and drummer Art Taylor locks into a tight groove, making the track feel both relaxed and purposeful. The tempo shifts with “Theme for Ernie,” a reflective ballad written by guitarist Fred Lacey in memory of saxophonist Ernie Henry. Coltrane’s tone here is controlled and expressive, focusing more on melodic clarity than technical flash.
Side two opens with Cole Porter’s “I Love You,” where Coltrane returns to a brisk tempo and navigates the chord changes with fluid precision. The performance feels loose and conversational, with the rhythm section giving the saxophonist plenty of room to roam. “Lover Come Back to Me” brings in trumpeter Donald Byrd, adding another voice to the arrangement. Byrd’s sharp trumpet lines contrast nicely with Coltrane’s fuller tenor tone, and the two trade ideas across the track. The collection closes with “Trinkle, Tinkle,” written by Thelonious Monk and recorded during Coltrane’s period working alongside the pianist. Monk’s angular composition pushes Coltrane into more complex territory, and he responds with a focused solo built around quick runs and tight phrases.
Released exclusively on vinyl, The Best of John Coltrane is a great introduction to this early chapter of his career. By focusing on just six tracks from his 1957–1958 sessions, the collection offers a concise snapshot of the period when Coltrane was stepping forward as a leader and developing the style that would soon reshape modern jazz. The pressing presents these recordings with a warm, clear sound that suits the small-group sessions well. For longtime fans, it’s a nicely curated reminder of Coltrane’s early recordings as a bandleader, while newer listeners can find a nice introduction before diving deeper into the larger Prestige and Jazzland catalog.
