A Reflection on John Coltrane
On what would have been John Coltrane’s 100th birthday, pianist Atzko Kohashi reflects on the extraordinary saxophonist and composer whose music continues to inspire generations of musicians.
On the 100th Anniversary of His Birth
As a Japanese pianist, I’ve always felt a special connection between John Coltrane’s music and something deeply rooted in Japanese aesthetics. This may sound unexpected, but when I listen to Coltrane, I sometimes think of Shodo, the traditional Japanese art of calligraphy. In Shodo, a brush is filled with black ink and placed directly onto thin paper. The artist takes a deep breath, clears the mind, and then makes the first stroke. From that moment, there is no going back. Each movement of the brush becomes part of the whole.
Of course, as human beings, we all have moments of doubt and hesitation. But in Shodo, when the brush touches the paper, you simply begin. I feel something similar in the way Coltrane begins a phrase and develops his music. There’s a strong sense of concentration, but also a feeling of freedom. His music seems to come directly from his inner being. In Japanese calligraphy, even a single stroke can have a strong spiritual presence. I feel that same presence in Coltrane’s playing. Every note has weight and meaning, and there is also a great sense of space around the notes. As a Japanese listener and musician, there is something about this way of creating music that makes deep sense to me.
Atzko Kohashi
And then there is another side of Coltrane. When he plays a ballad, his sound can be incredibly warm and embracing. It feels as if the music gently surrounds you. Perhaps that’s why, whenever I’ve gone through difficult times in my life, I’ve often wanted to listen to John Coltrane. I don’t know if music can truly heal us, but Coltrane’s music has always had that effect on me. It gives me strength. It encourages me to keep going, and sometimes it feels as if it quietly shows me which direction to take.
I’ve found so much courage in listening to John Coltrane’s Crescent (Impulse!, 1964). It’s been a particularly important album for me, and I’ve returned to it many times over the years. The music from Crescent has stayed with me, and this is one of the reasons why recording some of these pieces in a piano and bass duo setting was such a special experience for me.
Tony Overwater & Atzko Kohashi
For me, playing Coltrane’s music is not only about paying tribute to a great jazz musician. As a Japanese pianist living and making music in Europe, it’s also a way of exploring how different musical and cultural worlds can meet through sound.
Atzko Kohashi
Inspired by John Coltrane’s music, Atzko Kohashi and Tony Overwater recorded Crescent in the warm acoustics of a former church. An intimate musical conversation between piano and double bass, reflecting the beauty, spirituality and enduring inspiration of Coltrane’s music.
