John Coltrane My Favorite Things
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Play track. Love this track. More Love this track Set track as current obsession Get track Loading. Monday 8 July Tuesday 9 July Wednesday 10 July Friday 12 July Sunday 14 July Monday 15 July Tuesday 16 July Wednesday 17 July Thursday 18 July Friday 19 July Saturday 20 July Sunday 21 July Monday 22 July Tuesday 23 July Wednesday 24 July Thursday 25 July Friday 26 July Saturday 27 July Sunday 28 July Monday 29 July Tuesday 30 July Wednesday 31 July Thursday 1 August John Coltrane My Favorite Things Friday 2 August Saturday 3 August Sunday 4 August Monday 5 August Various Nouvelle Ambiance Tuesday 6 August Wednesday 7 August John Coltrane My Favorite Things 8 August Friday 9 August Saturday 10 August Sunday 11 John Coltrane My Favorite Things Monday 12 August Tuesday 13 August Wednesday 14 August John Coltrane My Favorite Things Thursday 15 August Friday Love From San Francisco The Florida Fantasy EP August Saturday 17 August Sunday 18 August With the exception of Steve Lacy 's late s work with the pianist Cecil Taylorthe John Coltrane My Favorite Things had become little used in jazz at that time.
After leaving the Davis band, Coltrane, for his first regular bookings John Coltrane My Favorite Things New York's Jazz Gallery in the summer ofassembled the first version of the John Coltrane Quartet. The melody is heard numerous times throughout, but instead of playing solos over the written chord changes John Coltrane My Favorite Things, both Tyner and John Coltrane My Favorite Things take extended solos over vamps of the two tonic chords, E minor and E majorplayed in waltz Afrikan Dreamland Jah Message. InColtrane left Miles [Davis] and formed his own quartet to further explore modal playing, freer directions, and a growing Indian influence.
They transformed "My Favorite Things", the cheerful populist song from 'The Sound of Music,' into a hypnotic eastern dervish dance. The ultimate listenability may reside in this quartet's capacity to not be overwhelmed by the soloist. Likewise, they are able to push the grooves along surreptitiously and unfettered. For instance, the support that the trio -- most notably Tyner -- gives to Coltrane on the title track winds the melody in and around itself.
However, instead of becoming entangled and Jack Stauber Pop Food, these musical sidebars simultaneously define the direction the song is taking. As a soloist, the definitive soprano sax runs during the Cole Porter standard "Everytime We Say Goodbye" and tenor solos on "But Not for Me" easily establish Coltrane as a pioneer of both instruments.
I live in a generation that owes what slight knowledge of jazz it possesses primarily to recordings and books, not to experiences of live jazz. This situation makes for a rather sterile and mechanical approach to jazz music, especially for someone doing scholarly research on the subject.
Surely, other forms of jazz endured and developed, but the essential lineage of jazz seemed to terminate on that day in July Never was this point made clearer to me than in my first and, as yet, only encounter with the legacy of the famous John Coltrane Quartet so thoroughly examined herein.
Paul, Minnesota. My experience paralleled that described by Eric Nisenson in the introduction to Ascension xv-xix. It has often been said that for Coltrane, jazz was more than music. His work was a spiritual quest — a religious experience.
The tradition of jazz is inextricably linked to the Negro spiritual of the 19th century, and to the percussion ensembles of Africa, whose music serves an essential and very real role in the spiritual lives of its practitioners and their communities. Even more alien is the idea that this music carries real power to move its listeners.
As I watched the musicians performing on stage, I realized that there was more to what they were doing than just the sounds they were producing.
Aaron Scott, the drummer, engaged in a dance of fluid grace upon the drum kit. Bassist Avery Sharpe became so intimately engaged with his upright that for a moment I was embarrassed to watch, until I realized that this was something I was meant to witness and to experience.
McCoy Tyner played the piano in such a way that I felt his very being transported through its keys and into the strings from which it resonated in the room, pure and exposed. As I observed others in the audience, I knew I was not alone. People around me were bobbing their heads, rolling and shaking as if in a state Herb Alpert Rise religious ecstasy or hypnotically linked Ozias Taxi Driver some supernatural world.
This was something real — something organic and present in the room. Readers are hereby given permission to print one 1 copy of the page for personal use, which is not to be altered in any way, nor is it to be redistributed or duplicated in part or whole in any medium.
Owners of the copyrights of cited materials retain their rights to those materials. Thesis Bibliography Discography Links About. Eric Nisenson, in a personal recollection of a Coltrane performance, explains: It was probably no more than a single hour, but time seemed to stop or at least become irrelevant; I could sense that the rest of the audience, too, was in the grip of this astonishing performance….
A e minor. Interlude e minor. Later appearances of the Interlude may be extended greatly. Tyner continues, with the Interlude serving as a basis for modal harmonization. Tyner solos. Incessant piano chording sounds almost like a second player under right hand piano solo. Haynes plays accompanimental counter-rhythms.
Tyner plays. Group polyrhythms are more apparent than on earlier recordings. Tyner continues on Interlude. Coltrane solos with angular, large interval leaps and occasionally wailing tone. Great use of repetitive rapid scalar John Coltrane My Favorite Things. Tyner adds some new harmonic flavor to accompaniment.
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