Sound's like some of the people don't understand this music. Alternate octaves at a fast rate of speed and keeping the energy up and Flanagan's solo is a nice contrast. This is a CLASSIC ! People were shocked when this LP came out on how he had advanced so fast from 1958 to 59. This and other tracks complete a 5 star album.
@Budgie Cat 1. My comment was a meta reference to a Joke 2. No ,in my (Normal Not Nightmare )Dreams the only thing that Always seems to Change are peoples understandings of whats normal, and whats moraly accepted .but the Rest of thr world Always seems to be 1 to 1 copied from Real Life
I only care about how the music sounds, not the skill needed to pull it off. I find this sincerely boring and it tells me no story, other than everyone involved being a skilled musician.
I always loved jazz, but GTA IV got me back into it. There is nothing more fun than driving franticly while listening to the one and only Jazz Nation Radio station hahah :D
I still have my original copy of this album. When you listen to the intensity it almost sounds like it's ready to tip over. Sadly, not many know the name Art Taylor. Comingup in the 50's I trued to emulate Art's playing...good luck. If only this recording was on video.
The best way to remember the chord progression in "Giant Steps": Learn Rodgers and Hart's "Have You Met Miss Jones?" Notice how the opening chord of the bridge--a Bb maj7 moves to the next strong chord 2 measures away as the Gb maj7 and then 2 additional measures to the Dmaj7. Thus, it's movement by 3rds rather than by 5ths (dominant-tonic) that characterizes the continual upward sweep of the progressions (Coltrane's most important recording from a purely musical standpoint). His lauded Blue Note effort, "Blue Train," is not especially distinguished from numerous similar Coltrane recordings of the period (if only J. J. Johnson had appeared with him--just once--that would have made a huge difference). His other Atlantic album was a popular sensation, with its incessant wailing on the 2 scales, minor and Major, of "My Favorite Things" but really does not hold up well. "A Love Supreme" is a iconic album that best reflects the spiritual nature of John's musical odyssey (in person, it was far more tormented and blistering, with the absence of McCoy and Elvin hardly made up for by two louder but less complex drummers and an extra saxophonist (I heard him with Sanders, Shepp and Dolphy--the latter the most bearable on what became unending, scorching searches for rapture ending in disintegration). The best of the later Coltrane recordings was "Live at Birdland '63," on which John's cadenza, at the conclusion of the song composed by Mr. B, "I Want to Talk About You," is a head-turning departure from John's recording of the same song with Garland in the 1950s, marking the distance he'd traveled in just six years. His final two years were, despite anything you've been told, unsettling and unsatisfying, emptying houses (even Soldier's Field), but not seeming to concern John, who seemed unaware of the audience's disillusionment or his role in causing it. Since it had already driven Elvin and McCoy to abandon ship, John's maintaining such an unrewarding course remained all the more puzzling. In fairness to John, it was Pharoah who inflicted the greatest injuries upon the music, often screeching into the microphone from the first to the last note of solos that were anger-magnified-by-repetition-and-maximum-amplification. Endurance tests that, I'm afraid, few other faithful were willing to countenance.
My Favorite Things is a Coltrane classic, along with A Love Supreme, it took me 40 years to appreciate Ascension, Crescent, The John Coltrane Quartet Plays, Kulu Se Mama, Ole', African Brass..etc. these are, among many testament to the giant of modern jazz. The one and only John Coltrane. I heard an interview with his son Ravi who said there wasn't anything special about his dad, implying he was somewhat ordinary but practiced and played a lot. To that I can only say I hope Ravi has come around to the reality that his father was and always will be a legend of jazz!
1959 was an incredible year for jazz. I wish someone would write a book tying together the events of that year with the surging ahead of musical ideas and expression. "Kind of Blue", "Time Out", "Giant Steps", what a great time to be collecting jazz recordings.
I had a dream last night and was lead to learn Giant Steps by John Coltrane. I listened to this and figured out the easiest way to solo over it. I use a augmented hexatonic scale. Then I found out I was correct according to some “Jazz Scholars”. Use these notes starting on B, E flat or G. B, D, E Flat, F sharp G, B Flat. I figured this out while applying sacred geometry. Amazing.
Listen to Bird, Coltrane, the beautiful speed and quickness and ease with which they played i just realized a cat could use these patterns on guitar and sound like one of these modern day shredders!!
This reminds me of an Escher drawing. It seems to be ALWAYS climbing, although, of course, it goes both up and down. A conundrum. A wonderful illusion. I think it is showing the great energy of Blacks in the 60's: We are ascendent! Very uplifting, to anybody. (I'm white)
I got turned on the Giant Steps as a person experimenting with jazz styles in my late teens and early 20's. This cut remains one of my faves, some 20 some odd years later. Genius.
When you jump in you really take the leap!! This is the GOd of saxaphone. If there were a Mt Rushmore for Improvisational artists,Coltrane would be there...NO QUESTION. Enjoy the ride.
my friend has a term for when you take a solo and you get left behind by the entire band - Flanaganized. Much respect to Mr. Flanagan tho. He is a giant in his own right.
If you talking about the simple heavy metal or the alternative forms of nowadays metal, i agree. If you talking about extreme metal such like black metal, death metal, doom metal, you totally wrong about that man, you can't compare any jazz with extreme metal in terms of heaviness...
أفمن يعلم أنما أنزل إليك من ربك الحق كمن هو أعمىا إنما يتذكر أولوا الألبابإذا تتلىا عليهم ءاياتنا بينات قالوا ما هذا إلا رجل يريد أن يصدكم عما كان يعبد ءاباؤكم و قالوا ما هذا إلا إفك مفترى و قال الذين كفروا للحق لما جاءهم إن هذا إلا سحر مبين و ما ءاتيناهم من كتب يدرسونها و ما أرسلنا إليهم قبلك من نذير
No. Coltrane is following a harmonic pattern. Ornette Coleman went "free," meaning picking notes without reference to harmonic patterns, although he did call his system "Harmolodics." Coltrane was forcing Harmony to its outer edges, but I would say he didn't leave it behind. Where does Pharaoh Sanders fit in this discussion?
Bon ca y est pour moi aujourd'hui c'est vacances:) et ne t'inquiète pas je t'avais dit qu'il fallait pas en faire un tour un fromage, tout va bien.... au final je me marre pcq je crois qu'on est devenues "meilleures copines":) bon je te vais te laisser alors tout simplement bonnes vacances, take care pour de vrai pour tout tout le temps
I agree with the guy who said that Tommy Flanagan played this better than any of them could have. He comps the heck out of 'Countdown' which is just as complex and almost even faster. My only problem with the piano is the timbre- It has no sustain, along with no-so great- miking, & sounds almost like an 80's Casio keyboard at times
There's a story to that. This was recorded with Coltrane walking into the studio and just playing with the musicians who were there. They had never seen the song before, and thought it would make a nice ballad when they were handed the music. Then, Coltrane, who had been practicing this song for 12 hours a day every day, counts it off at this speed. This pianist was just some random 19 year old kid named Tommy Flannagan (last name is spelled wrong). After Coltrane nailed his solo, he went out to smoke. Flannagan tried his best, but he was mainly just not familiar with the song. When Coltrane heard Flannagan start getting lost, he ran back in and took another solo. At the end, since Coltrane liked how he sounded, the recording was kept. Afterwards, Flannagan went on to become a very successful pianist.
My band director's old director taught their kid to sing the ABCs to this song
+Stu the Buffalo was he fired for child abuse?
rofl
I have to hear that
To stu the Buffalo: I suggest it would be recommend that the director should first try to teach the ABC of English alfabet.
Sound's like some of the people don't understand this music. Alternate octaves at a fast rate of speed and keeping the energy up and Flanagan's solo is a nice contrast. This is a CLASSIC ! People were shocked when this LP came out on how he had advanced so fast from 1958 to 59. This and other tracks complete a 5 star album.
Rapid key changes with little rehearsal will reduce even the best pianists to dust.
Alternate octaves? What do you mean.
@Budgie Cat First we need to talk about Parallel Universes
@Budgie Cat 1. My comment was a meta reference to a Joke 2. No ,in my (Normal Not Nightmare )Dreams the only thing that Always seems to Change are peoples understandings of whats normal, and whats moraly accepted .but the Rest of thr world Always seems to be 1 to 1 copied from Real Life
I only care about how the music sounds, not the skill needed to pull it off.
I find this sincerely boring and it tells me no story, other than everyone involved being a skilled musician.
Coltrane was a master.
I always loved jazz, but GTA IV got me back into it. There is nothing more fun than driving franticly while listening to the one and only Jazz Nation Radio station hahah :D
60 year anniversary! Just genius! Damn!
I still have my original copy of this album. When you listen to the intensity it almost sounds like it's ready to tip over. Sadly, not many know the name Art Taylor. Comingup in the 50's I trued to emulate Art's playing...good luck. If only this recording was on video.
The best way to remember the chord progression in "Giant Steps": Learn Rodgers and Hart's "Have You Met Miss Jones?" Notice how the opening chord of the bridge--a Bb maj7 moves to the next strong chord 2 measures away as the Gb maj7 and then 2 additional measures to the Dmaj7. Thus, it's movement by 3rds rather than by 5ths (dominant-tonic) that characterizes the continual upward sweep of the progressions (Coltrane's most important recording from a purely musical standpoint). His lauded Blue Note effort, "Blue Train," is not especially distinguished from numerous similar Coltrane recordings of the period (if only J. J. Johnson had appeared with him--just once--that would have made a huge difference). His other Atlantic album was a popular sensation, with its incessant wailing on the 2 scales, minor and Major, of "My Favorite Things" but really does not hold up well. "A Love Supreme" is a iconic album that best reflects the spiritual nature of John's musical odyssey (in person, it was far more tormented and blistering, with the absence of McCoy and Elvin hardly made up for by two louder but less complex drummers and an extra saxophonist (I heard him with Sanders, Shepp and Dolphy--the latter the most bearable on what became unending, scorching searches for rapture ending in disintegration). The best of the later Coltrane recordings was "Live at Birdland '63," on which John's cadenza, at the conclusion of the song composed by Mr. B, "I Want to Talk About You," is a head-turning departure from John's recording of the same song with Garland in the 1950s, marking the distance he'd traveled in just six years. His final two years were, despite anything you've been told, unsettling and unsatisfying, emptying houses (even Soldier's Field), but not seeming to concern John, who seemed unaware of the audience's disillusionment or his role in causing it. Since it had already driven Elvin and McCoy to abandon ship, John's maintaining such an unrewarding course remained all the more puzzling. In fairness to John, it was Pharoah who inflicted the greatest injuries upon the music, often screeching into the microphone from the first to the last note of solos that were anger-magnified-by-repetition-and-maximum-amplification. Endurance tests that, I'm afraid, few other faithful were willing to countenance.
My Favorite Things is a Coltrane classic, along with A Love Supreme, it took me 40 years to appreciate Ascension, Crescent, The John Coltrane Quartet Plays, Kulu Se Mama, Ole', African Brass..etc. these are, among many testament to the giant of modern jazz. The one and only John Coltrane. I heard an interview with his son Ravi who said there wasn't anything special about his dad, implying he was somewhat ordinary but practiced and played a lot. To that I can only say I hope Ravi has come around to the reality that his father was and always will be a legend of jazz!
caponsacchi thank you. That was very informative and helpful. Always glad to learn from someone who is SERIOUS about this art.
woosh!
I play this on the triangle.
1959 was an incredible year for jazz. I wish someone would write a book tying together the events of that year with the surging ahead of musical ideas and expression. "Kind of Blue", "Time Out", "Giant Steps", what a great time to be collecting jazz recordings.
Bought this Album (1960) when first released in Manchester, UK.
Believe I had first copy in town.
I had a dream last night and was lead to learn Giant Steps by John Coltrane. I listened to this and figured out the easiest way to solo over it. I use a augmented hexatonic scale. Then I found out I was correct according to some “Jazz Scholars”. Use these notes starting on B, E flat or G.
B, D, E Flat, F sharp G, B Flat. I figured this out while applying sacred geometry. Amazing.
Wow! You are amazing!
Wow you spoke alot of shit here! Great!
I could listen to this while I sleep..
J.Coltrane is my favorite
Listen to Bird, Coltrane, the beautiful speed and quickness and ease with which they played i just realized a cat could use these patterns on guitar and sound like one of these modern day shredders!!
Listen to Hendrix on Stone Free. He's channeling Charlie Parker.
This is the first time I have EVER listened to Coltrane and I have never really listened to jazz, trying to educate myself musically.
How are you doing after 7 years?
I am curious as well
The people need to know
tell us man
Are you still listening to this same album?
The way Coltrane takes off as soon as Tommy Flanagan's solo is done...0-120 in 0 seconds!
So what key is this in?
John Coltrane: Y E S
tommy flanagan is like "uhhhhhhhhhhm"
@Aiden Walker This comment is from 4 years ago lmfao
The solo ends just as Trane realizes Tommy is in over his head.
If Tommy screwed it up real bad they would have just put it on that dross LP 'Om' lol !
The heavyweight champion
This reminds me of an Escher drawing. It seems to be ALWAYS climbing, although, of course, it goes both up and down. A conundrum. A wonderful illusion. I think it is showing the great energy of Blacks in the 60's: We are ascendent! Very uplifting, to anybody. (I'm white)
yes!
I'm Human
I'm Purple
I'm blue
Me too!
Im just beginning to play the sax (I have a lot experience with musical theory) and I cant believe how professional this guy is.
I got turned on the Giant Steps as a person experimenting with jazz styles in my late teens and early 20's. This cut remains one of my faves, some 20 some odd years later. Genius.
When you jump in you really take the leap!! This is the GOd of saxaphone. If there were a Mt Rushmore for Improvisational artists,Coltrane would be there...NO QUESTION. Enjoy the ride.
I was impressed when he said about John Coltrane!
The breakdown is unbelievable.
This is DOPE. This has me smiling so hard.
Lol ok mr. House
One of the greatest songs ever!!!!
When the pianist is suppose to solo at 290 bpm and migrate to literally 20 different keys no one has ever even heard of
feels bad man
my friend has a term for when you take a solo and you get left behind by the entire band - Flanaganized. Much respect to Mr. Flanagan tho. He is a giant in his own right.
I love that piano solo
Spiral - love it
Yes !
Wow !
Invokes memories if my father...
amazing
wonderful!
Giant leaps across the circle of fifths.
Fantastic!
My favorite part is Tommy Flanagan hanging on for dear life
Classic !
man this golden got me going today !
damn that sound quality is good
tänk de är snart 60 år sen ja fick this Record av Gunilla .. vi lever än och bråkar lite då och då om va egentligen JAZZ ÄR - hepp .. womderful !
Close my eyes...and soar...
Nobody mention drummer! Who is it? He is the glue, holdin on tight!
That would be one of the greatest jazz drummers of all time - Elvin Jones.
great!
pure fire
"Yo Trane. What key is this tune in?
*_We don't do that here_*
This is heavier then 95% of metal
gnarlyastronaut This crushes metal....
gnarlyastronaut Jazz: The original shredding!
Than 100% easily
If you talking about the simple heavy metal or the alternative forms of nowadays metal, i agree.
If you talking about extreme metal such like black metal, death metal, doom metal, you totally wrong about that man, you can't compare any jazz with extreme metal in terms of heaviness...
Just listen to avant-garde/free jazz, that has it beat by miles.
G.O.A.T 🎷
My mans John said "Fuck a key signature. I am the key signature."
Non capisco come possano esserci 47 dislike per un Simile Capolavoro!!!
C'è gente che non capisce questa musica... non si può fare niente.
Giant steps baby
Everyone else is speaking English and Tommy Flanigan's improvisation is like Mandarin Chinese.
Here that bass keeping up with the tempo
Actually, in Jazz, bebop and hard bop, styles, the bass is the rhythm keeper. This is a fast swing tempo somewhere between 140 and 150 bpm.
@@davebrian5455 In literally every style of music bass keeps rhythm??? And this is like 200bpm.
heavy heavy
I like to think that this song is about inner turmoil
No John, MY tempo
tommy flanagan sightread these changes better than any of yall would have
This is in GTA4 its a good song
jnr wonderful
Kool…!
joli!!!!
أفمن يعلم أنما أنزل إليك من ربك الحق كمن هو أعمىا إنما يتذكر أولوا الألبابإذا تتلىا عليهم ءاياتنا بينات قالوا ما هذا إلا رجل يريد أن يصدكم عما كان يعبد ءاباؤكم و قالوا ما هذا إلا إفك مفترى و قال الذين كفروا للحق لما جاءهم إن هذا إلا سحر مبين
و ما ءاتيناهم من كتب يدرسونها و ما أرسلنا إليهم قبلك من نذير
Big fan of miles Davis😄💣😈
yeah.
ITS FUCKING LIT
Like the tune so much, but why is John panned all over left?
It's probably because the recording was done in stereo.
You think?...
Jeffrey Middelveld I noticed that too, I'm not really sure.
Why?? Because he was staunch liberal! Duh!!
Jeffrey Middelveld I think it is just this upload to UA-cam.
ㅎㄷㄷㄷㄷ
Is this the freeform jazz I must acquire a taste for?
Affirmative
No. Coltrane is following a harmonic pattern. Ornette Coleman went "free," meaning picking notes without reference to harmonic patterns, although he did call his system "Harmolodics." Coltrane was forcing Harmony to its outer edges, but I would say he didn't leave it behind. Where does Pharaoh Sanders fit in this discussion?
Taylor and Chambers, enough said.
Art Taylor and Paul Chambers. I love their records with Red Garland in a trio format.
He was good.
I've to learning the armony...
ima slow this down ;")
When you hear Jazz, you know I'm coming.
"what keys is this in?"
coltrane: fuck that key! i am the key now
Shedding like wood
H minor should always follow K major.
i like the i minor part
Bon ca y est pour moi aujourd'hui c'est vacances:) et ne t'inquiète pas je t'avais dit qu'il fallait pas en faire un tour un fromage, tout va bien.... au final je me marre pcq je crois qu'on est devenues "meilleures copines":) bon je te vais te laisser alors tout simplement bonnes vacances, take care pour de vrai pour tout tout le temps
C'est quoi ce commentaire ??
Yo - I love French
Have you listened to Larry Coryell's version? It's a good try. There's a version on UA-cam from his LP Dragon's Gate.
Along with Pharoah Sanders, Charlie Parker, Sonny Rollins, and even Ravi Coltrane, IMO
I agree with the guy who said that Tommy Flanagan played this better than any of them could have. He comps the heck out of 'Countdown' which is just as complex and almost even faster. My only problem with the piano is the timbre- It has no sustain, along with no-so great- miking, & sounds almost like an 80's Casio keyboard at times
this song reminds me of mode for joe henderson
Shouldn't it be the other way around?
0:26
And
0:00
My favorite part was the piano solo, go figure🤔
On what Key is this?
Yes
What's his setup for this performance? Does anyone know? Is he playing on a metal mouthpiece?
are you asking him to?
Metal Link
punk rock on sax ..simply
Don't be ridiculous...
Ye not really
you're confused. punk rock is three chords and the truth. this is three keys and the Truth.
Not quite my tempo
Ahahahah!
Rushing or dragging?!
overtheunder5
@Aiden Walker Thanks! I love people who hate on popular things! NOT! Go hate post somewhere else.
@dylan foley But just because it doesn't have to do with Coltrane or whatever doesn't mean it's bad.
what is ANYONE doing in this song
Ummmm yea have fun transcribing that !
basically the feeling of getting hit by a bolt of lightning on record
i wonder of cole train from gears of war was based of this guy.
Am i the only one who doesn't like the stereo sound on these songs? Anyways, still wonderfull.
2501 good :)
2:50
3:44
Free caz çekilmiyor cidden ya. Bebop'tan sonra caz bitti.
what's wrong with piano solo?
There's a story to that. This was recorded with Coltrane walking into the studio and just playing with the musicians who were there. They had never seen the song before, and thought it would make a nice ballad when they were handed the music. Then, Coltrane, who had been practicing this song for 12 hours a day every day, counts it off at this speed. This pianist was just some random 19 year old kid named Tommy Flannagan (last name is spelled wrong). After Coltrane nailed his solo, he went out to smoke. Flannagan tried his best, but he was mainly just not familiar with the song. When Coltrane heard Flannagan start getting lost, he ran back in and took another solo. At the end, since Coltrane liked how he sounded, the recording was kept. Afterwards, Flannagan went on to become a very successful pianist.
+Owen Frazier Great story Owen, thank you!
I love the way piano solo, the opposite of Coltrane riff..cool but still on root
I've always thought the piano solo was pretty great for someone sight reading.
Qué te importa chamaco cagón?
He's practicing right?
For anyone who wants to see an animation of Trane's iconic solo with the whole quartet, check this out: ua-cam.com/video/Pxw4AQLVLis/v-deo.html
If you listen carefully, Tommy starts to falter very early on. ...even in the first few bars you can hear his haltering, a bit confused phrasing.