Jazz for aficionados

Remember, the Good Book says, man can't live on be-bop alone.

https://www.youtube.com/watch?v=YJvgQSa6D2Y

Cheers

Great clips. Navarro was definitely one of the all time greats. Except for Dizzy’s high chops, probably an even better trumpet player from an instrumentalist point of view. Dizzy’s equal, but ultimately not, as far as overall influence (died too young).

The Kenny Clarke (1946) clip is particularly interesting from a historical point of view. It shows players who were transitioning from Swing to Bebop. The solos, with one notable exception, and even the tune itself show experimentation with what would become “bebopisms”; stretching of harmony and interesting little melodic twists. Only one player, Sonny Stitt, sounds fully ensconced in the language of Bebop. Good stuff.

frogman,
I have listened to John Coltrane’s version of Giant Steps many times over the years. But a month or two between listens.

I plan on listening to it repeatedly through my headphones over and over until I "get it". Then I will compare other players improvisations over the melody. I think this is the best way for me to learn the "Mystery of soloing to Giant Steps"

What did you think of the duo playing organ and drums. Did you think they played the melody and rythm of Giant Steps adequately?


On Coltrane’s studio recording the final release had Tommy Flanagan on piano on all songs except "Naima" in which Wynton Kelly played piano.

Art Taylor played drums on all the songs except "Naima" as well. Jimmy Cobb played drums on that song.

Lex Humphries and Cedar Walton played drums and piano, respectively, on "alternate versions" of 2 songs - Giant Steps and Naima.

Paul Chambers played bass on everything that was put down on wax including alternate versions.

What do you think were the factors for replacing Flanagan and Taylor for just the one song Naima?

If you have the time check out this video:

https://www.youtube.com/watch?v=qCJh-7BVkRc

Do not skip the nearly 5 minute advertisement which is interesting and would suggest that James Carter, while technically brilliant, has not trained his "mental state" adequately enough. 

16 measures ?, 3 tonal centers?..... G major 7, chord structure upper minor 3rd - down a 5th? I leaned a lot and now I know why the song is titled "Giant Steps"

Another thing, which you may already know, Trane used to go to Thelonious Monk's apartment daily and sit for hours on end practicing with him. Do you think this helped him with all the compositions he wrote with "melodic shifts" ?

frogmanI have to agree with your assessment of "Giant Steps".  I listen to the first cut with Tenors Brecker and Mintzer  and it's obvious their technical facilities are  being used more than Carter. I liked Mintzer's version better then brecker's. I like the fact they adhere to the changes of the song and you can hear them going through them when they play. I think for James Carter he has carved a style of his own when playing that is very demonstrative, exciting and different than anyone else. Of course this is an important element for anyone's development. Sometimes I find James veers off into for lack of a better term an R&B Style. But he is never less than interesting exciting and I think he has incorporated previous styles of jazz into to his own personal statement. Maybe James is abandoning some or all of the to Giant Steps to make a different statement. But then it's not Giant Steps is it?