When asked to make a short list of the most influential figures in jazz, almost any jazz fan or musician would place John Coltrane near the top of the list. The power of his tone and the strength of his technical virtuosity impressed even the most sophisticated listener. The depth of his musical curiosity drove him to build new harmonic structures that challenged the world and then destroy them in order to find artistic freedom. The honesty of his improvisational statements exposed a man searching for spirituality whose mission outweighed commercial concerns. The scope of his influence remains so wide that almost any modern jazz musician would claim some Coltrane study.

Latin Jazz musicians may have a strong foundation in Cuba, Puerto Rico, or Brazil, but their jazz roots share the same common exposure to Coltrane. While studying harmony and jazz history, Latin Jazz musicians undeniably run into Coltrane’s music and recordings. His work didn’t share the same rhythmic basis as Latin Jazz, but the power of his music is universal. Many Latin Jazz musicians arrived in their careers with Coltrane’s sound resonating in their heads, which eventually led them to record his compositions. This places Coltrane’s legacy in a completely new light, providing unique perspectives of classic material.

I’ve chosen ten examples of Latin Jazz artists performing Coltrane’s compositions, with each musician placing their unique slant upon the song. The diversity of the tracks is stunning, but the Trane influence peers through each song, bringing outstanding musicianship to the forefront. The Coltrane influence reaches to very corner of the Latin Jazz world, and I’ve tried to reflect this in the list. I’ve varied the list by including examples of Coltrane adaptations using Afro-Cuban, Brazilian, Afro-Peruvian, and Argentinean rhythms. Take a few minutes to check out these tracks, you’ll be amazed at the breadth of Coltrane’s influence in the Latin Jazz world.

1. Impressions - Manhattan Mambo, Hilton Ruiz
This intensive song receives a rumba treatment, but the performance stays firmly planted in the Coltrane lineage. Ruiz improvises with a power reminiscent of McCoy Tyner, spinning a non-stop series of inventive ideas. His note choice also reveals Tyner’s influence as he utilizes pentatonic lines and rhythmic interplay from his left hand. Tenor Saxophonist David Sanchez leads the group as a lone wind player, and he invokes Coltrane at every turn - his tone, idea development, and screeching upper register all show an influence. Behind Sanchez, the rhythm section pushes, pulls, and interacts with the strength of Coltrane’s classic quartet, taking the soloist to higher levels. This song always allowed Coltrane’s group to explore extensively, and Ruiz’s band follows their lead with an interpretation that lasts over 10 minutes. These guys did their homework and authentically bring a Coltrane classic into the Latin Jazz world.

2. Moment’s Notice - Impressions, Claudio Roditi
At first turn, the samba foundation seem to fundamentally change the nature of this up-tempo Coltrane classic, but Claudio Roditi and his group validates their vision on many turns through their performance. Roditi puts a unique spin on his improvisation, intertwining a virtuosic trip through the chord changes with his characteristic mellow tone. His creative ability to creatively invent bebop lines recalls trumpeter Lee Morgan’s work on the original recording, but his understated tone remains uniquely his own. Both saxophonist Idriss Boudrioua and pianist Dario Galante avoid a direct Coltrane reference, presenting their own takes on the challenging chord progression. Brazilian drummer Pascoal Mereilles trades eight measure phrases with Roditi offering an inspiring cross between Brazilian and bebop drumming with his statements. It’s a rousing version of the song that appropriately touches both worlds.

This album also serves as a tribute to Coltrane, looking at his work through the eyes of Brazilian samba. In addition to “Moment’s Notice,” Roditi’s quintet tackles a variety of Coltrane classics, including “Impressions,” “Naima,” and “Giant Steps.” His group includes musicians that each share a bi-lingual musical vision - a deep familiarity with Coltrane’s work and a thorough knowledge of samba. For LJC listeners that love both Coltrane and Brazilian music, Roditi’s Impressions is a good place to start.

3. Giant Steps - Funk Tango, Paquito D’Rivera
Paquito D’Rivera’s quintet applies their ample chops and massive musicality to the best-known and most studied Coltrane classic, placing it over a Peruvian Festejo rhythm. The group alters the classic melody with rhythmic variations, fitting it creatively into the Festejo’s 6/8 pulse. Trumpet player Diego Urcola furiously runs lines through the Peruvian rhythm, until the band moves into an up-tempo guaguanco for D’Rivera’s improvisation. A return to the Festejo foundation provides a backdrop for an interesting interlude, followed by a statement from pianist Alon Yavnai over an airy openness. Drummer Mark Walker and percussionists Pernell Saturnino and Paulo Stagnaro take the center stage with some engaging Festejo percussion work, leading back into the melody. Overall, it’s a Latin Jazz thrill ride that takes an already complex song and makes it much more challenging - Coltrane himself would have been proud.

4. Syeeda’s Song Flute - Tribute to the Masters, John Santos and the Machete Ensemble
This Coltrane classic rarely appears in Latin Jazz circles, but based upon this version, it should be played more often! The rhythm section provides a funky swagger beneath tenor saxophonist Melecio Magdaluyo’s reading of the melody. The band dives into a straight-ahead son montuno behind Magdaluyo’s solo as mixes pieces of Coltrane with a bluesy appeal that matches the arrangement. Trombone player Wayne Wallace tears through the chord changes with creative rhythmic phrasing that builds his statement into a frenzy. Two masters meet as legendary timbalero Orestes Vilato displays his musical muscle over the Coltrane classic. This arrangement touches the Coltrane legacy but also contains all the corner pieces of the Machete sound that made them a legend in San Francisco Bay Area Latin Jazz.

5. Naima - Trio Nuevo +, Dave Askren
Askren balances creative arranging with musical elements from Coltrane’s original performance to develop a strong interpretation of this Coltrane favorite. Bassist Eddie Resto provides a strong bass line that plants the song firmly in 6/8. Askren approaches both the melody and his solo with a blend of innovation and tradition - his performance harkens to a McCoy Tyner influence, but it remains undeniably guitaristic. Resto’s use of double stops and rhythmically interesting lines recalls Jimmy Garrison during his solo. Drummer Ramon Banda stays connected to the 6/8 bell pattern, but he never feels obligated to play it exactly - there’s a freedom and organic feel to his performance that links powerfully to the Coltrane legacy. This song finds its place on a number of Latin Jazz albums, and Askren’s version sits among one of the better interpretations.

6. A Love Supreme - The Latin Side of John Coltrane, Conrad Herwig
Herwig applies a Cha Cha Cha rhythm to this classic piece of the Coltrane legacy. Actually, his group covers only the first movement of the classic suite, Acknowledgment. In a way, the group steps outside of the flexible and free orientation of the original recording, but they’ve done their homework. The classic bass line sits there; it has been altered to fit clave, but it still creates that hypnotic flow of the original. The piano fills the track with open voicings and syncopated rhythms. The musicians take extended solos, exploring the possibilities originally laid down by Coltrane. Most importantly, the group approaches the song with the same spirituality and reverence that Coltrane applied to the overall suite, which fills the recording with a sense of authenticity.

This album exists as one of the essential Latin Jazz tributes to Coltrane; fans of both Latin music and jazz must hear it. Herwig covers both the standard sides of Trane’s repertoire such as “Impressions,” “Blue Trane,” and “Afro Blue.” He also takes the road less traveled by interpreting compositions like “Africa,” “India,” and “After The Rain.” It’s a broad look at Coltrane’s work that reveals an awareness and appreciation for the full spectrum of Coltrane’s career. The arrangements burn with all the intensity of Latin rhythms, and they are executed by some of the best musicians in the Latin Jazz world. The “Latin Side” never steals the spotlight though - this album remains purely about Coltrane, it simply shows the natural connection between the two worlds.

7. Countdown - Que Viva Coltrane, Conrad Herwig - Brian Lynch
This tune exists as one of the primary studies in Coltrane’s harmonic variations, and this group tackles it with a thorough knowledge. The percussionists provide a funky songo rhythm as bassist John Benitez plays a solo that leads into a nicely harmonized version of the melody. Herwig, Lynch, and saxophonist Mario Rivera all takes turns improvising upon the famous chord changes, playing upon the complexities of both the harmony and rhythm. Pianist Edsel Gomez winds quick melodies and rhythmic snippets until he jumps into a montuno for an explosive solo from conguero Richie Flores. It’s a strong jam session that lets the musicians flex their chops upon a Coltrane classic.

This album deserves many of the same compliments as the Herwig’s other Trane tribute, The Latin Side of John Coltrane, yet the two albums are far from copycat twins. This album contains a completely different selection of Coltrane compositions, covering the same broad range. The songs include “Wise One,” “Locomotion,” and “Central Park West.” Once again the album contains an all-star cast of Latin Jazz musicians, so the arrangements and the performances are top-notch. In reality, Que Viva Coltrane and The Latin Side of John Coltrane should be viewed together as Herwig’s loving Latin Jazz tribute to the master musician.

8. Like Sonny - Portraits in Jazz and Clave, Ray Barretto
Although Barretto places this tune into a Cha Cha Cha, it resonates with a loose groove that provides improvisers great liberty. Barretto began his career deeply intertwined with straight-ahead jazz, so he never hesitated a dip into that world - we hear that influence here. Barretto opens his tumbao, giving leeway to the drum kit without loosing his powerful presence. This track also presents an album highlight when regular band member Adam Kolker trades ideas with guest artist Joe Lovano. Lovano spends the majority of his time in the modern jazz realm, and he has made his Coltrane influence known regularly. The two saxophone players make a major statement here though, proclaiming that the Coltrane influence spans throughout genres.

9. Lonnie’s Lament - Provinciano, Fernando Huergo
Huergo relates his vision of this song’s natural beauty in the liner notes to Provinciano, and he captures that spirit with a sparse Argentinean Vidala rhythm. Huergo’s electric bass shares the melody with flautist Yulia Musayelyan, exposing a simple beauty inherent to the song. There’s a sensitivity and introspection that gets to the core of the song. Saxophonist Andrew Rathbun follows with an equally thoughtful improvisation that quietly builds momentum into Huergo’s understated statement. While visions of Coltrane’s bold tenor sax tone may not jump into your head upon hearing this track, it offers us the opportunity to hear Coltrane through a completely original perspective.

10. Equinox - The Best of the Concord Years, Tito Puente
El Rey brings his characteristically energetic and musically exquisite style to this Coltrane song, placed over an Afro-Cuban 6/8 rhythm. Recorded live, the minor blues serves as a blowing session for many musicians in the group. Saxophonist Mario Rivera pays tribute to Coltrane with a searing soprano sax solo that recalls Trane’s cutting sound and impressive technique. The rhythm section pushes the song forward at every moment, never dropping an ounce of propulsion. When the wind players set aside to reveal a percussion feature, the song explodes with power. At times, the track may loose some “Coltranesqe” sound, but the intensity of the influence remains apparent with forceful improvisations and a driving rhythm section.

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This list presents a good start to the crossroads between John Coltrane and Latin Jazz artists, but it’s certainly not a complete list. Countless Latin Jazz artists have visited Trane numerous times throughout their career, giving us several perspectives upon his compositions. What are your favorite Latin Jazz interpretations of John Coltrane’s work? We could come up with quite a list - leave a comment with your favorites and let’s look at discover all the different ways that the Latin Jazz world has visited John Coltrane’s legacy.

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Check Out These Related Articles:

Remembering Thelonious Monk Through Latin Jazz
Revisiting Latin Jazz Classics: Manhattan Mambo, Hilton Ruiz
Album of the Week: Provinciano, Fernando Huergo
Album of the Week: Funk Tango, The Paquito D’Rivera Quintet

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