John Coltrane 100: John Coltrane in Detroit, June 1966

John Coltrane Memorial in Hamlet, N.C.
Photographer unknown.

By Stuart Broomer

If I can write anything meaningful about the music of John Coltrane, it may be about the context in which I came to experience his work live, in 1966, after listening intently to his work for four years on record and writing reviews of some of it as well. One’s juvenilia is embarrassing almost by definition, but that’s my particular gateway here to a world in which Coltrane was playing live a few feet in front of me. 13 months later he passed away. I write this hopefully to communicate something of the challenging world in which Coltrane made his music, that ever more intense, more radically free music, as testimony to his courage and vision as a great artist, as large a person as one might be in that world.

The John Coltrane Reference (Routledge, 2008) by Chris DeVito, Yasuhiro Fujioka, Wolf Schmaler and David Wild, edited by Lewis Porter (Routledge, 2008) is a monumental work of scholarship. After the introductions, there’s a Chronology of Coltrane’s life and career that runs to 357 large pages of fine print, followed by a Discography of 404 similarly sized pages in identical print, followed by 49 more pages of appendices, index, etc.

Very near the Chronology’s conclusion, there’s an entry for the John Coltrane Quintet’s appearance at Detroit’s Drome Lounge from June 17-26, 1966. The personnel, then consistent, is identified as Coltrane, tenor and soprano saxophones; Pharoah Sanders, tenor saxophone; Alice Coltrane, piano; Jimmy Garrison, bass; Rasheid Ali, drums, Friday to Sunday, matinees on Sunday. Reviewed in Coda (“John Coltrane Quintet – Drome Bar—Detroit” by Stu Broomer, Aug-Sept., 1966, pp.32 - 33). The review is represented by just a few of its sentences, but I’ll restrict myself to the Reference editor’s choices and their punctuation as well.

“This is probably the most moving working band in America (…) Tenor saxophonist Farrell “Pharoah” Sanders is now the most important soloist in the group. (…) When (Coltrane) first heard Albert Ayler in 1962, Coltrane told him he had heard himself playing like that in a dream once. (…). This band has recorded five times but nothing has been released. Perhaps Bob Thiele is hoping Coltrane will return to his old-time sanity. I for one hope he will not”. (Reprinted by permission of the author. All Rights Reserved).

What I’m trying to get at here about John Coltrane is an essential drive for expression and liberation, for liberation from every constraint to discover what’s real or what’s at least possible. If my memories from 60 years ago mean anything, they’re about the value of revolt and the horror of the norm, the judgmental restriction of cultural norms, in some places becoming more restrictive than anything I might have felt 60 years ago (a festival of liberalism by comparison). As a result, I want the music more intense, more personal, more unpredictable and I’ll stand up for it anywhere. But it is not without ambiguities.

As a teenager in the 1960s, I became obsessed with free jazz. It was a promise of freedom from restraint as well as constraint, an explosion of mixed emotions from great sorrow to ecstasy, in effect, perhaps, a promise too far. My absorption in jazz had begun in childhood with the 1957 TV special The Sound of Jazz and followed with the eventual LP. More television: I saw the Robert Herridge Presents episode with Miles Davis and John Coltrane in 1960 and loved it. My brief initial puzzlement and rapid-onset rapture with free jazz started when I picked up the September 1961 Metronome at the corner variety store. It included an epic essay on the jazz avantgarde by the then LeRoi Jones (I still have the essay somewhere — stapled together — the issue is gone). The writing was abstract, mannered and strange but also enchanting (I had already read a paperback of Kerouac’s Tristessa), its subject an arcane revolution. By the time I had purchased Ornette! and Free Jazz a few months later, Metronome had ceased to exist. I had only Down Beat, a magazine at the time sufficiently reactionary to condemn John Coltrane and Eric Dolphy as anti-jazz in a cover story. A few years later, circa 1965, I started writing for Coda, then Canada’s only jazz magazine.

If there’s a shock in that original account (in bowdlerized form), it’s likely the ranking of Sanders’ performance over Coltrane’s. Without digging for the original, I recall moments from that night when I was listening to the dense, tumultuous music and focussing on the brilliant screaming mayhem of the two saxophones, only to open my eyes and discover that John Coltrane was intently hitting a cowbell with a drumstick and Pharoah Sanders was the only person playing a saxophone. This isn’t a criticism of Coltrane. He was one of the greatest musicians who ever played jazz, but we all know now that he was seriously ill and still carrying a heavy musical load. Other memories: I already had certain knowledge that Jimmy Garrison’s solos, as memorably powerful as they were, depended heavily on the bass’s tuning in fourths, and the complex, droning solos dependent to a significant degree on the use of open strings (I was a bass player at the time). At one point in the evening, Coltrane spoke quietly to him (I was sitting at a piano-shaped stage, my ear within four feet of their mouths) specifying the key for one of his extended introductions. Garrison then looked upset, arguing for another key. I wasn’t surprised by the issue. I was surprised that it was happening about four years into Garrison’s tenure in the band.

Another and crucial surprise goes to the heart of the history of free jazz. My party (myself and three others, young musicians from Toronto, three Caucasian, one Japanese) were, in effect, insiders (however “out” we might feel in the Drome). We arrived early, conveying Rashied to the venue since we were staying in the same place, the Detroit Artists Workshop. Arriving early, we found a strange mix of conviviality and formality. Standing just inside the foyer, Jimmy Garrison was shaking hands with patrons as they entered. Even to a bass player, Garrison’s right hand (the plucking one) came as a shock: it felt like a bundle of sticks.

As popular, as great, as John Coltrane was, there was a fundamental divide in the audience about the shape his music was assuming, that was apparent from the time the music began (a shock perhaps influenced by the very music that Impulse was choosing to release). In essence there were two audiences. In the Drome it happened largely along racial lines, generally slightly older blacks on the one hand, and the white audience, many significantly younger, significantly suspended between hip and hippie. One audience looked disgruntled, offering spare, obligatory applause; the other clapped wildly with exclamatory shouts. Late in the evening, Coltrane broke into the opening phrase of his anthem, “My Favorite Things”, its bright coiling phrases instantly recognizable from the first note. It was amazing. With my back to the rest of the audience, I could actually feel the room lift, so strong was the shift in mood, comparable, for a brief instant, to the sun breaching a cloud cover. Within a couple of minutes, the sonic tumult had taken over again, and one could feel, even more intensely, the mood of the room dropping, to frustration and disappointment, perhaps, and most intensely, I felt, the abandonment, the sense of betrayal.

In total, (expanding on Coltrane's grimly disappointed Black audience) the trip seemed at times to be about race but things would get much darker, or should I say lighter (toxic metaphors lurk in our tongue) -- I had gone there with three other young Toronto musicians with whom I played. I had an association with John Sinclair (then in jail on drug charges -- not sure how current John's name is, but his greatest moment of celebrity came when imprisoned during Woodstock: Abby Hoffman interrupted the beginning of the Who's performance with a comment to the effect that Woodstock didn't mean shit while John Sinclair was in jail; then Pete Townsend hit Hoffman with his guitar for trying to take over the Who's stage). In John’s absence, his partner Leni Sinclair was running the Workshop.

I knew The Detroit Artists Workshop through shared performances between Detroit and Toronto, performances arranged by John Sinclair and the Toronto poet Victor Coleman of the Bohemian Embassy, a Toronto coffee house and performance space. Shared performances had included members of Detroit trumpeter Charles Moore’s MC5 with featured musicians that had included Marion Brown and Andrew Hill (through which I got to play bass with Andrew for a weekend among other playing associations). I had also published a poem and a record review in John's mimeo'd music journal Changes, which I think may have only gone to two (or maybe three) issues.

The Workshop was the epicentre of radical culture in Detroit whether the issue was music, race, drugs, economics or language. Later it was the spawning ground of the MC5, of "Up Against the Wall Motherfucker" fame, who John Sinclair managed. He later was a founder of the White Panther Party, a Black Panther support group. When I met the members of [Ahmed] a few years ago in Guelph, talk turned to Detroit. Some members were thinking about visiting Detroit, and Pat Thomas and I found ourselves reminiscing about John, whose poetry Pat had accompanied during an Amsterdam performance. John's contract, Pat recalled, required a private pot smoking loft.

A few days before our group arrived in Detroit, a young inter-racial couple from the Workshop had been violently attacked on the street by the sons of a former Mississippi sheriff whose property adjoined the Workshop at the rear. While we were staying there, the sheriff had invited the residents of the Workshop to a get together/ barbecue to make peace. None of the Workshop residents (naturally) wanted to go and Leni Sinclair asked our Toronto group (whom they were temporarily housing, four males sufficiently groomed to get across the border without close scrutiny) to go as their representatives. We accepted with a certain reluctance, though things (barbecue, blanched pleasantries) went civilly enough.

An hour later, on the way out of Detroit, we stopped at an ice cream outlet before we hit the border. The sons and their wives and children were there as well. On neutral ground, none of us acknowledged the existence of the other. 

Charles Tyler, Stuart Broomer + Perry Robinson, 1966 
©2014 Bill Copeland

AN AFTERWORD: 60 years on, I frequently listen to John Coltrane recordings, probably more than to any other historical jazz artist. I have the complete runs of the Prestige and Atlantic recordings and most of the Impulses on CD and the recordings with Monk and Miles Davis and isolated one-offs like Blue Train on Blue Note. My usual listening choices run the gamut from the Prestige and Atlantic recordings (especially Olé, the last of them, with Freddie Hubbard, Eric Dolphy and Art Davis added to the working quartet of McCoy Tyner, Reggie Workman and Elvin Jones). My listening range ends with one of my favorites, Meditations, with the “classic” quartet augmented by Rashied Ali and Pharoah Sanders. I hardly ever, if at all, listen to much that came later. Whether that’s because the actual experience of the last quintet live was enough – sufficiently intense -- to satisfy my need for that music, or that the music is so unstable or destabilizing that I don’t feel a need to hear it in its “frozen” form. The sole exception made among recordings of the last stage is Interstellar Space, the recording of four duets with Rashied Ali, recorded in February 1967, though it too is rarely played, singled out perhaps for the relative coherence of the music and the focus of its intensity.

© Stuart Broomer, 2026