It's a serious question; I don't know. I can't think of any current musicians but that's not conclusive. Also, I'm not sure exactly how popular John Coltrane was in 1960; certainly jazz was orders of magnitude more popular than it is now.
Wadada Leo Smith, Vijay Iyer, Branford Marsalis, Dave Douglas, Kamasi Washington
They all have varying degrees of popularity and avant-gardness. Also, it’s not really fair to compare any of them (or any other contemporary players) to Coltrane - that was a special time for jazz. Plus music has moved on — new genres, instruments, it’s new times.
Candidates for the new John Coltrane, Id argue, would be hip hop producers:
J Dilla, Madlib, Flying Lotus (who is actually related to Alice Coltrane), DJ Premier, Pete Rock, RZA, Q-Tip, are some of the most influential producers who have strong connections to jazz. By which I mean knowledge of, musical influence from, and also using samples of jazz (though arguably that’s the least relevant part) in their work.
You could make an argument for rappers, too (Rakim, Nas, etc), as hip hop is the inheritor of the jazz tradition, but it is trickier comparing rapping - oral poetry at heart - to instrumental music.
One reason, imho, jazz had that golden age was that it was during a time in NYC when there was a critical concentration of talent and opportunities for jazz musicians to make a living playing gigs there.
If you look at any live performance of a pop star, most likely their band will include drummer, guitarists, keyboard player, sound engineers at the top of their game. They might even be playing jazz on the side :)
Check out this pretty much random video of two great young guitarist getting pretty deep in applying theory
But nearly every musician you will hear on a recording or at a concert these days went to music school. Music school has to employ all of its academic faculty, so as a result, they have to require several years of varying kinds of theory, counterpoint, jazz theory, etc. I could go into why the music schools feel that they have to overload every musician with all kinds of required theory classes, but you'd likely be bored. Let's just say it makes everyone feel comfortable with how legit pro they are.
So to answer the question, no, jazz is not unique. Bebop is not unique in this way. All musicians who go to a serious top-10 conservatory must waste a boatload of time taking all sorts of theory classes. Some programs are better than others. The conservatory I went to put musicians through a brutally boring and in-depth multi-year course of theory and analysis.
Jacob Collier springs to mind, though he's less well known than John Coltrane.
Don't know if it's true since I never got into Phish so YMMV.