Digitally remastered by Kevin Reeves (Universal Mastering Studios-East).
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on June 10 & 16, 1965 and at Western Recorders, Los Angeles, California on October 14, 1965. Includes liner notes by David A. Wild and Nat Hentoff.
Reissue producer: Bryan Koniarz.
Engineers include: Rudy Van Gelder.
Personnel: John Coltrane (tenor saxophone, jingle bells, percussion); Frank Butler (vocals, drums, percussion); Juno Lewis (vocals, hand drums, conch shell, percussion); Pharoah Sanders (tenor saxophone, kalimba, percussion); Donald Rafael Garrett (bass clarinet, bass, percussion); McCoy Tyner (piano); Jimmy Garrison (bass); Elvin Jones (drums).
Producers: John Coltrane, Bob Thiele.
Remastered

Released in 2008 as a strong jazz entry in the affordable
Starbucks/Rhino Special Products Opus Collection series, "A Man
Called Trane" is a worthwhile and accessible introduction to the
powerfully moving music of saxophonist John Coltrane. Drawing upon
the Blue Note, Atlantic, and Impulse catalogs, this ten-track
sampler spans a timeline from September 1957 to December 1964,
revisiting his live performances at the Village Vanguard and the
Newport Jazz Festival, dipping into the albums Blue Train,
Coltrane's Sound, Giant Steps, Coltrane Plays the Blues, and My
Favorite Things, and reaching a logical conclusion with the
profoundly beautiful opening movement of his extended prayer and
magnum opus "A Love Supreme." While literally dozens of equally
fine Coltrane collections exist, "A Man Called Trane" is a welcome
addition to the discography. Hopefully the producers accomplished
their goal which was clearly to expose as many people as possible
to the majesty of Trane's spiritually informed and often
restlessly ambitious artistry. This has been achieved for decades,
however, by A Love Supreme in its entirety, as an album unto
itself, the way it was originally conceived and presented to the
world, which is still perhaps the ideal choice for introducing
people to Coltrane's music. Indeed the truncation of his soul-
baring masterpiece "A Love Supreme" is the only conceivable
drawback to this otherwise excellent collection. We get the
"Acknowledgement" but no "Resolution," no "Pursuance," and no
"Psalm." ~ arwulf arwulf, All Music Guide

录音时间： 1958年7月、12月

Digitally remastered reissue of 1963 concert the sax greatgave at the Koncerthusen in Stockholm, Sweden on October22nd of that year with McCoy Tyner, Jimmy Garrison and ElvinJones. Four tracks. 1996 Charly release.

Since most (if not all) of the master tapes from legit Impulse! recording sessions have been released, the label continued on with a "digging in the crates" approach to expanding their John Coltrane catalog. Subsequently, they came across this recording that 'Trane arranged to record without the assistance (or interference) of Impulse!. Olatunji Concert: The Last Live Recording documents a live performance on April 23, 1967, one of the last times Coltrane would appear on stage, as he passed three months later. Strictly as a document, this is a rich and telling recording. It demonstrates his sonic blast free jazz direction that was becoming more aggressive and out of bounds; It portrays what could have been one of the most dynamically stellar groups of the mid-1960s avant jazz scene with Pharoah Sanders (who, in some ways, steals the show), Alice Coltrane, Rashied Ali, and Jimmy Garrison totally ripping it up; it also gives the average collector a taste of what the maniacal collector goes out of their way to find, as the sound quality is on the level of a sub-par bootleg. Don't expect to hear Bob Theil's warm production or one of Rudy Van Gelder's pristine live recordings ?la Live at the Village Vanguard. Instead the equalization is uneven, and there are some parts where the tape drops out. Besides that though, this is essential for seasoned Coltrane listeners . ~ Sam Samuelson
Recorded at the Olatunji Center Of African Culture, New York, New York on April 23, 1967. Includes liner notes by David Wild and Ed Rhodes.
Reissue producers: Ken Druker, Bryan Koniarz.
Personnel: John Coltrane (soprano saxophone, tenor saxophone); Pharoah Sanders (tenor saxophone); Alice Coltrane (piano); Rashied Ali (drums); Jumma Santos (percussion).
Recording information: New York, NY (04/23/1967).
Personnel: John Coltrane (soprano & tenor saxophones); Pharoah Sanders (tenor saxophone); Alice Coltrane (piano); Jimmy Garrison (bass); Rashied Ali (drums); Algie DeWitt (bata drum).

Pharoah Sanders is an American jazz saxophonist. A member of John Coltrane's groups of the mid-1960s, Sanders is known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of "sheets of sound".

Two days prior to the recording of Olé Coltrane, Coltrane had made his inaugural recording session for his new label, Impulse! Records, at the new Van Gelder Studio in Englewood Cliffs, New Jersey.[5] With one further album due his old label Atlantic, he brought in his working quintet along with two participants in the Africa/Brass sessions, Art Davis and Freddie Hubbard.[6] Owing to his concurrent contract with Prestige Records, Eric Dolphy was listed on the credits under the pseudonym George Lane.[7]
Coltrane's interest in the music of Spain evident in "Olé", may have been spurred by his ex-employer Miles Davis's Sketches of Spain from the previous year.[8] The structure and melody of the modal jazz vamp "Olé" was borrowed from the Spanish folk song El Vito (maybe better known as El Quinto Regimiento from the Spanish Civil War, which was made known by Pete Seeger), while the soprano saxophone work recalled 1961's "My Favorite Things". The titles for the songs on side two reflect the band's continued interest in African forms as expressed on the May 23 Africa/Brass recordings.
On September 19, 2000, Rhino Records reissued Olé Coltrane as part of its Atlantic 50th Anniversary Jazz Gallery series. Included was a single bonus track which had appeared on The Heavyweight Champion: The Complete Atlantic Recordings in 1995.

Offering: Live at Temple University is a 2014 live album released posthumously by John Coltrane on Resonance Records. The album was recorded from original master reels stored by WRTI-FM. Proceeds from the album benefit the John Coltrane Home.
The album was given a mixed review by Geoff Dyer of The New York Review of Books, calling the moments of extreme experimentation "a bit daft—which is not to say they are without value".[1] Mark Richardson of Pitchfork Media gave the album an 8.5 out of 10, praising the experimentation, calling it "almost unbearably intense" but with beautiful solos by percussionist Rashied Ali.[3] AllMusic reviewer Matt Collar placed the album in context of Coltrane's career, calling it "a live culmination of Coltrane's musical journey, a homecoming and spiritual communion with the deep, creative forces that drove him right until the end of his life".

Saxophone [Tenor] - John Coltrane
Bass - Jimmy Garrison
Drums - Rashied Ali
Piano - Alice Coltrane
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on February 15, 1967.

Expression is an album by jazz saxophonist John Coltrane. The title track was Coltrane's last studio recording[citation needed]; the rest of the album was recorded at about the same time as Interstellar Space. "To Be" features Coltrane on flute, the only recording he made on the instrument for an entire track.[citation needed] Expression was the last studio album to be approved for release by Coltrane before his death in July 1967, and was released in September 1967.

Recorded May 28, 1966
Venue Village Vanguard, New York City
John Coltrane – soprano saxophone, tenor saxophone, bass clarinet, flute
Pharoah Sanders – tenor saxophone, flute
Alice Coltrane – piano
Jimmy Garrison – bass
Rashied Ali – drums
Emanuel Rahim – percussion

Coltrane's Ascension was originally released with the second take of the music from the recording session on June 28, 1965. These original pressings are commonly referred to as 'Edition I' and are grouped in a separate master release (Ascension (Edition I).
Shortly thereafter, Coltrane expressed a desire to instead use the first take. Impulse swapped out the stamper(s) for one(s) with the first take and inscribed 'Edition II' in the dead wax - ceasing production of the original version.
If you have an orange/black labelled pressing of Ascension from the mid-to-late 1960s, the presence or absence of 'Edition II' in the dead wax is the simplest way to determine which version you have.
The solo order differs slightly between the takes; Edition II also features no drum solo by Elvin Jones.
Some later CD issues have included both takes.