Home » Jazz Articles » Live Review » Ravi Coltrane Quartet: Live at Jazz Alley in Seattle

Ravi Coltrane Quartet: Live at Jazz Alley in Seattle

View Slideshow

Courtesy Lisa Hagen Glynn

By Paul Rauch
August 27, 2025
View read count

Ravi Coltrane Quartet
Jazz Alley
Seattle, WA
August 21, 2025

I suppose there are still those who attend

Ravi Coltrane

saxophone, tenor
b.1965

" data-original-title="" title="">Ravi Coltrane sets out of curiosity, or some attempt to somehow access the Coltrane legacy in real time. It's true that the son of

John Coltrane

saxophone
1926 - 1967

" data-original-title="" title="">John Coltrane and

" data-original-title="" title="">Alice Coltrane has not been one to record in great frequency, and that he has spent a lot of touring currency on performing the music of his mother, music he composed, performed and recorded with the late, great keyboardist and harpist. This being said, he has toured extensively, playing club, theater and festival dates with great frequency. In the process, he has presented his strong, probing and elegant saxophone approach within the context of a plethora of personnel configurations, employing different sounds and colors along the way.

This time around, Ravi returned to Jazz Alley in a guitar-based quartet, diving headfirst into eclecticism along the way. Guitarist

David Gilmore

guitar

" data-original-title="" title="">David Gilmore is himself a bit of a musical chameleon, as his personal journey has stated on no uncertain grounds. Teamed with the esteemed veteran bassist

Scott Colley

bass
b.1963

" data-original-title="" title="">Scott Colley, and the relentless energy of drummer

Kush Abadey

drums

" data-original-title="" title="">Kush Abadey, those entering the venerable Seattle club were left with a lot of wonderment as to what might take place on stage that evening. All three of Coltrane's bandmates have participated in a wide array of sounds and approaches to jazz music, setting up the perfect scenario for mystery and musical intrigue.

Coltrane was greeted by a packed house on a Thursday night, the first of four nights and six shows at the historic nightspot. He seemed genuinely pleased with the sizable crowd, and throughout the evening was highly personable and formed a solid connection with the audience. That factor would add to the success of the performance, as the new quartet delivered an evening to remember in Seattle.

The set opened aggressively with "Intervals," a tune that settled down into intricate interplay and flexibility rhythmic approach, with that establishing the group's "mind vibe," which the quartet would employ throughout the ninety-minute set. All four players were occupying the vast space within the tune's scant harmonic parameters, charging forward, then retreating into brief pockets of swing. What was evident was that Coltrane had taken three very different players, and found the symmetry between them to form a veritable galaxy in which to maneuver. Colley's deep, woody resonance was loud and clear both in ensemble playing and while soloing. Gilmore's comping was not busy nor sparse—it was the connective tissue between Colley and Abadey's intricate polyrhythms. Coltrane responded to his bassist's solo in a very, well, Coltrane-esque manner, conjuring sound poetry that shook the foundation of his musical lineage. While he is a saxophonist with his own, original sound and approach, there are brief moments where the spirit of his father emerges in brief flashes—these are, however, stated in his sound, not in the notes he chooses.

"Be Careful What You Wish For" is a layered Coltrane composition, with an almost somber or brooding theme. Essentially, the intro featured four instruments with equal voicing, the sounds blending like colors on a palette. The second tune of the set really set the precedent for the band's approach, with Abady operating without a directive to groove, but more of an inclination to affect feeling and nuance. Coltrane's sound did not sound mic'd up, all the while employing a clip-on microphone that sounded very organic, giving the saxophonist expressive control of his instrument. That natural sound carried over to the quietest moments of the evening, a dive into

Charlie Haden

bass, acoustic
1937 - 2014

" data-original-title="" title="">Charlie Haden's beautiful ballad, "Silence." Gilmore's sparse yet strongly expressed harmony and Colley's thoughtful playing were a gateway for melodic response from the bandleader in a saintly and peaceful manner.

Coltrane switched over to soprano for

Geri Allen

piano
1957 - 2017

" data-original-title="" title="">Geri Allen's mother to son piece, "Your Pure Self." A mild delay loop was used, with long tones and resonant vibrato setting the vibe for more energetic runs later in the piece. Once again, Gilmore's harmony was but a whisper at times, his lead work articulated with a great sense of grace and ease. His part in the overall dynamic of the band was huge, as the sum of the four parts was greatly accentuated by his part. The conversation was tangibly resolute in terms of respect and creative embrace.

A visitation of the works of John Coltrane did occur, with the band launching into the iconic saxophonist's last session in February of 1967. "Expression" saw his son returning to tenor, the band in a united polyphonic response. It was in sharp contrast when the set's final number jumped in the form of

Ornette Coleman

saxophone, alto
1930 - 2015

" data-original-title="" title="">Ornette Coleman's neo-bop classic, "Bird Food." It was bebop language with a twist, and swinging hard. Coltrane played the head on tenor, then switched to sopranino with mild electronic delay. His solo was the high point of the show, and left the full house on their collective feet in raucous applause. The saxophonist then took the head out once again on tenor to a weighty finish.

After witnessing Coltrane in all-star bands celebrating his mother's music in recent years, there was a foreboding feeling that this set could come off as ordinary in comparison. It did not. The saxophonist, who recently turned 60, has developed a sense as a bandleader to assemble unique combinations of instruments and musicians to enable whatever sounds he chooses to work with. This particular quartet was a joy to witness on all levels, and most certainly a riveting performance by a great jazz musician and bandleader who has made his own legend.

PREVIOUS / NEXT

Shorty Rogers And His Giants
< Previous

Thereupon
Next >

Ravi Coltrane Concerts

Oct 18 Sat

(Broadcast) Ravi Coltrane

Keystone Korner Baltimore
Baltimore, MD

Oct 18 Sat

Ravi Coltrane

Keystone Korner Baltimore
Baltimore, MD

Oct 19 Sun

Ravi Coltrane

Keystone Korner Baltimore
Baltimore, MD

Oct 19 Sun

Ravi Coltrane

Keystone Korner Baltimore
Baltimore, MD

Oct 28 Tue

Ravi Coltrane

Village Vanguard
New York, NY

Oct 28 Tue

Ravi Coltrane

Village Vanguard
New York, NY

Oct 29 Wed

Ravi Coltrane

Village Vanguard
New York, NY

Oct 29 Wed

Ravi Coltrane

Village Vanguard
New York, NY

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.