The radical work of the musician and composer was dismissed by sexist critics and overshadowed by the legacy of her late husband John. But today, musical stars from Doja Cat to David Byrne all champion her experimental sound
It is 19 years since Alice Coltrane’s death and more than half a century since her best known albums, yet only now is her first biography, Andy Beta’s Cosmic Music, being published. The first major exhibition dedicated to her took place last year in LA, too, and she’s championed by musicians from mainstream to left field, to the point there’s now even an abundance of cosmic jazz harpists on festival lineups. “For so long it seemed like her contributions were overlooked,” says her grandnephew Steven Ellison, AKA the psychedelic electronic and hip-hop musician Flying Lotus, who’s worked with the likes of Kendrick Lamar, Snoop Dogg, Thom Yorke and Herbie Hancock alongside his own acclaimed solo material. “As I was growing up, it seemed like everyone just wanted to ask her about John Coltrane.”
Of course John Coltrane was a musical titan. But, as Cosmic Music spells out, Alice was integral to the radicalism of her husband’s late, gamechanging period from the masterpiece A Love Supreme onwards. Not only did they create a sense of stability from 1963 in raising a family and marrying, post his quitting heroin, but they were partners in spiritual and musical exploration. She was a formidable musician before she met him, too. As pianist Alice McLeod, she was “known as a badass on the scene”, says Carlos Niño, longtime California “beat scene” colleague of Flying Lotus and, lately, producer of André 3000’s avowedly Alice-inspired New Blue Sun album; her skills honed in Detroit’s gospel churches and playing Stravinsky and Rachmaninov for pleasure by her mid-teens.
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