Three of the great jazz virtuosos of the mid-latter 20th century were Charlie Parker, Miles Davis and John Coltrane.
Charlie Parker proved that he could play faster than anyone, with very rapid complex alto saxophone solos. In response, Miles Davis ironically proved that he could play slower than anyone, with perfect minimalist trumpet phrasing. John Coltrane could play anything he wanted to, and proved to be simply more intense than anyone, with an anguished-ecstatic crying-searching human-tone.
Coltrane first attracted attention playing for the notorious Miles Davis, who confounded audiences by letting his protege solo for as long as he wanted, often for more than 32 bars, when at that time an average solo was 8 bars and a long solo was 16 bars.
When Coltrane first started his own band he set his credentials with Giant Steps, a detailed harmonic exercise which established his technical abilities. Now he was free to show his audience that he could be raw and primal when he wanted to.
His biggest hit was his fiery interpretation of a waltz from The Sound of Music, My Favorite Things, played on a cute little Soprano Saxophone, and featuring the adventurous drumming of Elvin Jones.
Notorious as an avant-garde rebel, he went back and recorded some traditional old-fashioned romantic Ballads.
Coltrane's introspection led to his final challenging spiritual masterpieces, A Love Supreme and Ascension, performed by larger ensembles with overwhelming free-jazz crescendos which some listeners found disturbing.
John Coltrane was a modest and serious person with a deep curiosity about all religions. He contemplated the mystical oneness of the universe and the interconnectedness of things. When he died of liver cancer at age 40, he left behind virtually every young tenor saxophone player not only mourning his passing, but also wondering what to do next after Coltrane had explored almost everything possible on the instrument. Around this time, Miles Davis was leaving conventional jazz behind to develop rock/funk-influenced 'fusion-jazz'.
A Spiritual Icon: "Trane" (1926-1967):
So What
Giant Steps
My Favorite Things
Naïma
- VB 10-24-2010 3:08 pm
Three of the great jazz virtuosos of the mid-latter 20th century were Charlie Parker, Miles Davis and John Coltrane.
Charlie Parker proved that he could play faster than anyone, with very rapid complex alto saxophone solos. In response, Miles Davis ironically proved that he could play slower than anyone, with perfect minimalist trumpet phrasing. John Coltrane could play anything he wanted to, and proved to be simply more intense than anyone, with an anguished-ecstatic crying-searching human-tone.
Coltrane first attracted attention playing for the notorious Miles Davis, who confounded audiences by letting his protege solo for as long as he wanted, often for more than 32 bars, when at that time an average solo was 8 bars and a long solo was 16 bars.
When Coltrane first started his own band he set his credentials with Giant Steps, a detailed harmonic exercise which established his technical abilities. Now he was free to show his audience that he could be raw and primal when he wanted to.
His biggest hit was his fiery interpretation of a waltz from The Sound of Music, My Favorite Things, played on a cute little Soprano Saxophone, and featuring the adventurous drumming of Elvin Jones.
Notorious as an avant-garde rebel, he went back and recorded some traditional old-fashioned romantic Ballads.
Coltrane's introspection led to his final challenging spiritual masterpieces, A Love Supreme and Ascension, performed by larger ensembles with overwhelming free-jazz crescendos which some listeners found disturbing.
John Coltrane was a modest and serious person with a deep curiosity about all religions. He contemplated the mystical oneness of the universe and the interconnectedness of things. When he died of liver cancer at age 40, he left behind virtually every young tenor saxophone player not only mourning his passing, but also wondering what to do next after Coltrane had explored almost everything possible on the instrument. Around this time, Miles Davis was leaving conventional jazz behind to develop rock/funk-influenced 'fusion-jazz'.
(Liner notes by VB)
- VB 10-24-2010 3:09 pm