Blue Train is a studio album by John Coltrane which was released in January 1958 by Blue Note Records. Recorded at the Van Gelder Studio in Hackensack, New Jersey, it is the only Blue Note recording by Coltrane as session leader. It has been certified a gold record by the RIAA.

Duke Ellington & John Coltrane is a jazz album by Duke Ellington and John Coltrane recorded on September 26, 1962, and released in February 1963 on Impulse! Records.
It was one of Ellington's many collaborations in the early 1960s with musicians such as Count Basie, Louis Armstrong, Coleman Hawkins, Max Roach, and Charles Mingus, and placed him with a quartet (in this case, saxophone, piano, bass, and drums), rather than a big band. The quartet was filled out by the bassist and drummer from either of their bands. The album featured Ellington standards (e.g., "In a Sentimental Mood"), new Ellington compositions, and a new Coltrane composition ("Big Nick").
Coltrane said:
I was really honored to have the opportunity of working with Duke. It was a wonderful experience. He has set standards I haven't caught up with yet. I would have liked to have worked over all those numbers again, but then I guess the performances wouldn't have had the same spontaneity. And they mightn't have been any better!

Bass – Jimmy Garrison
Drums – Elvin Jones
Layout, Design – Norman Granz, Sheldon Marks
Liner Notes – Ed Michel
Photography By – Roberto Polillo
Piano – McCoy Tyner
Tenor Saxophone, Soprano Saxophone – John Coltrane

John Coltrane — soprano saxophone on "Blues to Bechet" and "Mr. Syms"; tenor saxophone on all others
McCoy Tyner — piano
Steve Davis — bass
Elvin Jones — drums

Recorded July 2, 1965, at the Newport Jazz Festival.
The John Coltrane Quartet
John Coltrane – tenor saxophone on "One Down One Up", soprano saxophone on "My Favorite Things"
McCoy Tyner – piano
Jimmy Garrison – double bass
Elvin Jones – drums
The Archie Sheep Quartet
Archie Shepp – tenor saxophone, (recitation on "Scag")
Bobby Hutcherson – vibraphone
Barre Phillips – double bass
Joe Chambers – drums

Younger fans may think John Coltrane can't possibly have recorded everything on this six-box Prestige collection in only a year and a half--the first session being in May 1957, the last in December 1958. These days, even the most prolific artists are lucky if they get to record once a year. But these chronologically ordered standards and bop-school exercises, a good chunk of which was released years after the fact, flowed at a time when albums were only beginning to become artful Albums and spending time in the studio was how artists developed. Recorded during the same period as Thelonious Monk Quartet with John Coltrane: Live at Carnegie Hall, one of a pair of 2005 discoveries that repolished Coltrane's legend, the music has its inconsistencies and misfires. In the company of such players as pianist Red Garland, bassist Paul Chambers, trumpeters Wilbur Harden and Freddie Hubbard and drummer Arthur Taylor, Coltrane was still working out his own sound on tenor saxophone--the revolutionary chord progressions of "Giant Steps" and incantatory preachings of "A Love Supreme" were still to come. But even the subpar performances are lifted by his remarkable streams of invention, sustained urgency and surpassing blend of power and beauty. The settings are mostly straight-ahead quartets and quintets, but there are also memorable trio performances such as "Trane's Slo Blues" and an invigorating sextet with baritone saxophonist Sahib Shihab. Marking what would have been Coltrane's 80th birthday, Fearless Leader is the first of three planned box sets to document his Prestige recordings, on which he also was featured as a sideman and all-star group stalwart.

爵士乐里，Alice Coltrane可类比于摇滚乐里的Yoko Ono或Courtney Love，因为人们在提到这三位寡妇时，总不知怎样去避开不谈她们各自大名鼎鼎的逝夫，尽管她们自己的成就皆可各成一章。所以一定要公允地讲，Alice的声望绝非仅建立在她死于40年前的丈夫、被誉为自由爵士乐之神的John Coltrane之上；怎样通过器乐建立人与神的沟通路径，怎样将音乐幻为形而上的器械、思考并呈现东方远古宗教里灵知一系，现代音乐里，没有人比她走得更远更缥缈。

Limited Edition Slipcased Boxed Set featuring five more outstanding albums from the master. Each original album newly remastered from the original master tapes. Digi-pak packaging re-creating the original LP design

Personnel:
John Coltrane - tenor saxophone
Jimmy Garrison - bass
McCoy Tyner - piano
Roy Haynes - drums
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on April 29, 1963 and May 26, 1965. Includes liner notes by David Wild.

专辑介绍： by Steve Leggett
John Coltrane appeared at the Newport Jazz Festival on five different occasions, the first in 1958 as a member of Miles Davis' Kind of Blue-era sextet. As a bandleader, Coltrane performed at the festival in 1961, 1963, 1965 and 1966, and it is the middle two sets that are combined here on this intriguing release. The 1963 band was a variation on Coltrane's classic quartet (Coltrane on tenor sax, McCoy Tyner on piano, Elvin Jones on drums and Jimmy Garrison on bass) with veteran drummer Roy Haynes sitting in for Jones, who was unable to be in attendance. Jones was back in the drum chair for the 1965 appearance, while Coltrane's final Newport showing in 1966 found him working with an entirely different band that included his wife Alice Coltrane and Pharoah Sanders. Since Coltrane did lengthy versions of his signature arrangement of "My Favorite Things" in both 1963 and 1965 (he did it in 1966, as well), it's impossible not to compare the approach of the two different drummers. Haynes has a lighter, skittering touch that gives the piece a kind of airiness while Jones is all power and propulsion which makes for a more ambiguous and ominous feel. Both versions are striking, but the real treat here is the 23 minute and change take on "Impressions" from 1963, which has never before been released in its entirety (an edited version was released in 1978). Here Coltrane and Haynes trade phrases and percussive glides after Tyner and Garrison lay out what is a truly wonderful dialogue between two veteran jazz musicians. There's little doubt that the quartet hits with more raw power with Jones driving it, but here Haynes' contribution is perfect for the moment. Taken together, the 1963 and 1965 sets make a nice whole, and having two great drummers with slightly different approaches only underscores how complete Coltrane's vision was at this point in his career.