St. Elmo Sylvester Hope (June 27, 1923 – May 19, 1967) was an American jazz pianist, composer, and arranger, chiefly in the bebop and hard bop genres. He grew up playing and listening to jazz and classical music with Bud Powell, and both were close friends of another influential pianist, Thelonious Monk.
Hope survived being shot by police as a youth to become a New York-based musician who recorded with several emerging stars in the mid-1950s, including trumpeter Clifford Brown, and saxophonists John Coltrane, Lou Donaldson, Jackie McLean, and Sonny Rollins. A long-term heroin user, Hope had his license to perform in New York's clubs withdrawn after a drug conviction, so he moved to Los Angeles in 1957. He was not happy during his four years on the West Coast, but had some successful collaborations there, including with saxophonist Harold Land.
More recordings as leader ensued following Hope's return to New York, but they did little to gain him more public or critical attention. Further drug and health problems reduced the frequency of his public performances, which ended a year before his death, at the age of 43. He remains little known, despite, or because of, the individuality of his playing and composing, which were complex and stressed subtlety and variation rather than the virtuosity predominant in bebop.
Giant Steps is the fifth studio album by jazz musician John Coltrane as leader, released in 1960 on Atlantic Records, catalogue SD 1311. His first album for his new label Atlantic, it is the breakthrough album for Coltrane as a leader, and many of its tracks have become practice templates for jazz saxophonists. In 2004, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry.
Background
In 1959, Miles Davis' business manager Harold Lovett negotiated a record contract for Coltrane with Atlantic, the terms including a $7,000 annual guarantee. Initial sessions for this album, the second recording date for Coltrane under his new contract after a January 15 date led by Milt Jackson, took place on March 26, 1959. The results of this session with Cedar Walton and Lex Humphries were not used, but appeared on subsequent compilations and reissues. Principal recording for the album took place on May 4 and 5, two weeks after Coltrane had participated in the final session for Kind of Blue. The track "Naima" was recorded on December 2 with Coltrane's bandmates, the rhythm section from the Miles Davis Quintet, who would provide the backing for most of his next album, Coltrane Jazz.
NME and Select named it as album of the year, and it was ranked as #1 in Fanning's Fab Fifty for that year. It reached the UK Top 20, but did not spawn a Top 40 single. Reviewing the album's rerelease in 2008, Sic Magazine wrote, "For 64 minutes they were the greatest band on the planet."
Track listing
Original release
All songs and lyrics written by Martin Carr, with music by The Boo Radleys.
Elmo Hope Trio - De-Dah (Kevin) (1961)
Personnel: Elmo Hope (piano), Paul Chambers (bass), Philly Joe Jones (drums)
from the album 'HERE'S HOPE!' (Celebrity Records)
published: 25 Nov 2012
Elmo Hope Trio — Here's Hope!
published: 17 Mar 2022
ELMO HOPE Monique (1963)
album : SOUNDS FROM RIKERS ISLAND.
Kudos to Spain's Fresh Sound label for digging this one out of its undeserved obscurity. This 1963 session assembled by composer Sid Frey, pianist and composer Elmo Hope, and vibist Walt Dickerson (who doesn't appear on the record) is a blowing date centered around the notion of drug addiction and hopelessness for the addict/slave musician who ends up in places like Rikers Island. As a cultural and social critique, it fails other than in its liner notes. As a musical document, it is an overwhelming success. Hope surrounds himself with musicians whose reputations are now legendary: Philly Joe Jones, John Gilmore, Ronnie Boykins, Lawrence Jackson, and Freddie Douglas. Hope and Frey composed six of the set's nine selections, ranging from the breezy hard b...
published: 16 Jan 2012
Brad Mehldau Quartet – De-Dah (Elmo Hope)
Brad Mehldau - piano
Jorge Rossy - drums
Joris Roelofs - bass clarinet
Clemens van der Feen - double bass
Recorded on 26 March 2021, as part of the Transmission-Transition Festival at TivoliVredenburg (Utrecht, the Netherlands).
Sound mix by Clemens van der Feen.
published: 14 Nov 2021
Elmo Hope Trio - Barfly
Elmo Hope - piano
Jimmy Bond - bass
Frank Butler - drums
Recorded in February 1959 for the album "Elmo Hope Trio" on the HiFi label. Produced by David Axelrod.
Carving The Rock by Elmo Hope and Sonny Rollins performed by Grant Stewart
CARVING THE ROCK by Elmo Hope and Sonny Rollins, performed by saxophonists Grant Stewart, Eric Alexander, pianist Ehud Asherie, guitarist Joe Cohn, bassist Joel Forbes, and drummer Phil Stewart. On Grant's album Estaté. Lead sheets and more available on https://jazzleadsheets.com.
published: 25 Jul 2021
Elmo Hope Trio - Crazy (Race for Space)
Elmo Hope Trio - Crazy (Race for Space) (1961)
Personnel: Elmo Hope (piano), Butch Warren (bass), G.T. Hogan (drums)
from the album 'HIGH HOPE!' (Beacon Records)
published: 22 Sep 2013
Crazy
Provided to YouTube by Universal Music Group
Crazy · Elmo Hope
Trio And Quintet
℗ 1979 Blue Note Records
Released on: 1991-01-01
Associated Performer, Piano: Elmo Hope
Producer: Alfred Lion
Studio Personnel, Recording Engineer: Rudy Van Gelder
Associated Performer, Bass ( Vocal): Percy Heath
Associated Performer, Drums: Art Blakey
Associated Performer, Trumpet: Freeman Lee
Associated Performer, Tenor Saxophone: Frank Foster
Composer: Elmo Hope
Auto-generated by YouTube.
Elmo Hope Trio - De-Dah (Kevin) (1961)
Personnel: Elmo Hope (piano), Paul Chambers (bass), Philly Joe Jones (drums)
from the album 'HERE'S HOPE!' (Celebrity R...
Elmo Hope Trio - De-Dah (Kevin) (1961)
Personnel: Elmo Hope (piano), Paul Chambers (bass), Philly Joe Jones (drums)
from the album 'HERE'S HOPE!' (Celebrity Records)
Elmo Hope Trio - De-Dah (Kevin) (1961)
Personnel: Elmo Hope (piano), Paul Chambers (bass), Philly Joe Jones (drums)
from the album 'HERE'S HOPE!' (Celebrity Records)
album : SOUNDS FROM RIKERS ISLAND.
Kudos to Spain's Fresh Sound label for digging this one out of its undeserved obscurity. This 1963 session assembled by co...
album : SOUNDS FROM RIKERS ISLAND.
Kudos to Spain's Fresh Sound label for digging this one out of its undeserved obscurity. This 1963 session assembled by composer Sid Frey, pianist and composer Elmo Hope, and vibist Walt Dickerson (who doesn't appear on the record) is a blowing date centered around the notion of drug addiction and hopelessness for the addict/slave musician who ends up in places like Rikers Island. As a cultural and social critique, it fails other than in its liner notes. As a musical document, it is an overwhelming success. Hope surrounds himself with musicians whose reputations are now legendary: Philly Joe Jones, John Gilmore, Ronnie Boykins, Lawrence Jackson, and Freddie Douglas. Hope and Frey composed six of the set's nine selections, ranging from the breezy hard bop of "Ode for Joe," which allowed Jones the ability to drive the band from outside the arrangement, to the lushly romantic "Monique" and the waltz-as-turnstile blues of "Kevin." "Trippin'" is a blues that slips through harmonic changes quickly and seamlessly with startling stop-and-start cadences. The high points of the session are "A Night in Tunisia," a stretch-out for everyone, and the amazing rendition of "Groovin' High" that closes the album, featuring Marcelle Daniels on scatted vocals. Veteran Earl Coleman also appears as a singer on the Ellington tune "It Shouldn't Happen to a Dream," but even in these two tracks, the level of musical empathy and improvisational reciprocity is inspiring. This is an obscure date but it shouldn't be, as it features some of Hope and Gilmore's finest playing, and shows Jones in rare, lighthearted form.
album : SOUNDS FROM RIKERS ISLAND.
Kudos to Spain's Fresh Sound label for digging this one out of its undeserved obscurity. This 1963 session assembled by composer Sid Frey, pianist and composer Elmo Hope, and vibist Walt Dickerson (who doesn't appear on the record) is a blowing date centered around the notion of drug addiction and hopelessness for the addict/slave musician who ends up in places like Rikers Island. As a cultural and social critique, it fails other than in its liner notes. As a musical document, it is an overwhelming success. Hope surrounds himself with musicians whose reputations are now legendary: Philly Joe Jones, John Gilmore, Ronnie Boykins, Lawrence Jackson, and Freddie Douglas. Hope and Frey composed six of the set's nine selections, ranging from the breezy hard bop of "Ode for Joe," which allowed Jones the ability to drive the band from outside the arrangement, to the lushly romantic "Monique" and the waltz-as-turnstile blues of "Kevin." "Trippin'" is a blues that slips through harmonic changes quickly and seamlessly with startling stop-and-start cadences. The high points of the session are "A Night in Tunisia," a stretch-out for everyone, and the amazing rendition of "Groovin' High" that closes the album, featuring Marcelle Daniels on scatted vocals. Veteran Earl Coleman also appears as a singer on the Ellington tune "It Shouldn't Happen to a Dream," but even in these two tracks, the level of musical empathy and improvisational reciprocity is inspiring. This is an obscure date but it shouldn't be, as it features some of Hope and Gilmore's finest playing, and shows Jones in rare, lighthearted form.
Brad Mehldau - piano
Jorge Rossy - drums
Joris Roelofs - bass clarinet
Clemens van der Feen - double bass
Recorded on 26 March 2021, as part of the Transmissio...
Brad Mehldau - piano
Jorge Rossy - drums
Joris Roelofs - bass clarinet
Clemens van der Feen - double bass
Recorded on 26 March 2021, as part of the Transmission-Transition Festival at TivoliVredenburg (Utrecht, the Netherlands).
Sound mix by Clemens van der Feen.
Brad Mehldau - piano
Jorge Rossy - drums
Joris Roelofs - bass clarinet
Clemens van der Feen - double bass
Recorded on 26 March 2021, as part of the Transmission-Transition Festival at TivoliVredenburg (Utrecht, the Netherlands).
Sound mix by Clemens van der Feen.
Elmo Hope - piano
Jimmy Bond - bass
Frank Butler - drums
Recorded in February 1959 for the album "Elmo Hope Trio" on the HiFi label. Produced by David Axelrod....
Elmo Hope - piano
Jimmy Bond - bass
Frank Butler - drums
Recorded in February 1959 for the album "Elmo Hope Trio" on the HiFi label. Produced by David Axelrod.
Elmo Hope - piano
Jimmy Bond - bass
Frank Butler - drums
Recorded in February 1959 for the album "Elmo Hope Trio" on the HiFi label. Produced by David Axelrod.
CARVING THE ROCK by Elmo Hope and Sonny Rollins, performed by saxophonists Grant Stewart, Eric Alexander, pianist Ehud Asherie, guitarist Joe Cohn, bassist Joe...
CARVING THE ROCK by Elmo Hope and Sonny Rollins, performed by saxophonists Grant Stewart, Eric Alexander, pianist Ehud Asherie, guitarist Joe Cohn, bassist Joel Forbes, and drummer Phil Stewart. On Grant's album Estaté. Lead sheets and more available on https://jazzleadsheets.com.
CARVING THE ROCK by Elmo Hope and Sonny Rollins, performed by saxophonists Grant Stewart, Eric Alexander, pianist Ehud Asherie, guitarist Joe Cohn, bassist Joel Forbes, and drummer Phil Stewart. On Grant's album Estaté. Lead sheets and more available on https://jazzleadsheets.com.
Provided to YouTube by Universal Music Group
Crazy · Elmo Hope
Trio And Quintet
℗ 1979 Blue Note Records
Released on: 1991-01-01
Associated Performer, Pia...
Provided to YouTube by Universal Music Group
Crazy · Elmo Hope
Trio And Quintet
℗ 1979 Blue Note Records
Released on: 1991-01-01
Associated Performer, Piano: Elmo Hope
Producer: Alfred Lion
Studio Personnel, Recording Engineer: Rudy Van Gelder
Associated Performer, Bass ( Vocal): Percy Heath
Associated Performer, Drums: Art Blakey
Associated Performer, Trumpet: Freeman Lee
Associated Performer, Tenor Saxophone: Frank Foster
Composer: Elmo Hope
Auto-generated by YouTube.
Provided to YouTube by Universal Music Group
Crazy · Elmo Hope
Trio And Quintet
℗ 1979 Blue Note Records
Released on: 1991-01-01
Associated Performer, Piano: Elmo Hope
Producer: Alfred Lion
Studio Personnel, Recording Engineer: Rudy Van Gelder
Associated Performer, Bass ( Vocal): Percy Heath
Associated Performer, Drums: Art Blakey
Associated Performer, Trumpet: Freeman Lee
Associated Performer, Tenor Saxophone: Frank Foster
Composer: Elmo Hope
Auto-generated by YouTube.
John Coltrane - Giant Steps (2020 Remaster) [Official Audio]
GIANT STEPS: 60th ANNIVERSARY DELUXE EDITION is available as a 180g 2-LP set and as a 2-CD set, both featuring a remastered version of the landmark album plus 8 alternate takes. The super deluxe edition, available to download and stream, includes an additional 20 outtakes: https://Rhino.lnk.to/giantsteps60
published: 21 Aug 2020
Giant Steps
"Giant Steps" is a jazz recording by John Coltrane, on tenor saxophone, which is the first track on the album of the same name and is 4 minutes and 49 seconds long. The composition is a milestone for jazz musicians' progress, given the difficulty of improvising its rapid progression of chord changes that progress through three keys (see Coltrane changes) shifted by major thirds, creating an augmented triad.
The saxophonist had previously used this technique on the LP Blue Train on the tunes Moment's Notice and Lazy Bird. Coltrane continued in this vein on a recording with Cannonball Adderley of the standard "Limehouse Blues," and on his original "Fifth House." He continued to use this approach on other tunes, such as "Countdown", based on the Miles Davis tune "Tune Up"; "26 2" based on Ch...
published: 29 Sep 2010
The most feared song in jazz, explained
Making sense of John Coltrane's "Giant Steps."
Follow Vox Earworm on Facebook for more: http://www.facebook.com/VoxEarworm
And be sure to check out Earworm's complete first season here: http://bit.ly/2QCwhMH
John Coltrane, one of jazz history’s most revered saxophonists, released “Giant Steps” in 1959. It’s known across the jazz world as one of the most challenging compositions to improvise over for two reasons - it’s fast and it’s in three keys. Braxton Cook and Adam Neely give me a crash course in music theory to help me understand this notoriously difficult song, and I’m bringing you along for the ride. Even if you don’t understand a lick of music theory, you’ll likely walk away with an appreciation for this musical puzzle.
Braxton Cook: https://www.braxtoncook.com/
Adam Neely: htt...
published: 12 Nov 2018
Animated Sheet Music: "Giant Steps" by John Coltrane
This is what John Coltrane's landmark tune and solo look like when they come to life on paper.
If you try to play along, you may notice that the transcription for the head is transposed for C and the solo's in Bb. Weird, I know, but the transcription book that I based this animation on was in concert.
You can buy the sheet music here:
http://www.amazon.com/gp/product/0793563453
published: 03 Jan 2007
giant steps is not music..
Giant Steps (John Coltrane)
New Jazz Underground (IG: newjazzunderground)
Eric "ELEW" Lewis - Piano (IG: ELEWROCKJAZZ / YT: @ELEWTube)
Abdias Armenteros - Sax (IG: elcuba__)
Sebastian Rios - Bass (IG: seb_rios_)
TJ Reddick - Drums (IG: tjreddick_)
MERCH:
https://www.newjazzunderground.com/merch
Original Music:
https://newjazzunderground.bandcamp.com/
Tips:
https://paypal.me/newjazzunderground?...
or
https://www.patreon.com/newjazzunderg...
thumbnail/graphics/clothing design - IG: reena.tattoo
published: 31 Jan 2023
Giant Steps in 13/8
I had the idea to try playing Giant Steps in 13/8. It's pretty fun and challenging to solo over. Just ignore the bad notes. Lol
published: 13 Aug 2013
Joey Alexander - Giant Steps (In-Studio Performance)
Joey Alexander performs "Giant Steps" in studio, from his debut album "My Favorite Things"!
Get "My Favorite Things": http://joeyalexander.lnk.to/mftID
Join the mailing list at http://JoeyAlexanderMusic.com
Like on Facebook: http://bit.ly/joeyfacebook
Follow on Twitter: @_JoeyAlexander http://bit.ly/joeytwitter
An extraordinary and uniquely gifted pianist from Bali, Joey Alexander marks his recording debut with the release of My Favorite Things (May 12, 2015). Joey brings a delicate, profound and soulful touch to his own interpretation of such classics as “My Favorite Things”, “Giant Steps” and “Over the Rainbow” and showcases his talents as an arranger, composer and bandleader.
Album features:
Larry Grenadier (bass),
Ulysses Owens Jr. (drums),
Sammy Miller (drums),
Russell Hall (ba...
GIANT STEPS: 60th ANNIVERSARY DELUXE EDITION is available as a 180g 2-LP set and as a 2-CD set, both featuring a remastered version of the landmark album plus 8...
GIANT STEPS: 60th ANNIVERSARY DELUXE EDITION is available as a 180g 2-LP set and as a 2-CD set, both featuring a remastered version of the landmark album plus 8 alternate takes. The super deluxe edition, available to download and stream, includes an additional 20 outtakes: https://Rhino.lnk.to/giantsteps60
GIANT STEPS: 60th ANNIVERSARY DELUXE EDITION is available as a 180g 2-LP set and as a 2-CD set, both featuring a remastered version of the landmark album plus 8 alternate takes. The super deluxe edition, available to download and stream, includes an additional 20 outtakes: https://Rhino.lnk.to/giantsteps60
"Giant Steps" is a jazz recording by John Coltrane, on tenor saxophone, which is the first track on the album of the same name and is 4 minutes and 49 seconds l...
"Giant Steps" is a jazz recording by John Coltrane, on tenor saxophone, which is the first track on the album of the same name and is 4 minutes and 49 seconds long. The composition is a milestone for jazz musicians' progress, given the difficulty of improvising its rapid progression of chord changes that progress through three keys (see Coltrane changes) shifted by major thirds, creating an augmented triad.
The saxophonist had previously used this technique on the LP Blue Train on the tunes Moment's Notice and Lazy Bird. Coltrane continued in this vein on a recording with Cannonball Adderley of the standard "Limehouse Blues," and on his original "Fifth House." He continued to use this approach on other tunes, such as "Countdown", based on the Miles Davis tune "Tune Up"; "26 2" based on Charlie Parker's "Confirmation"; and a reharmonization of the jazz standard "Body and Soul." Songs such as "Naima" and "Like Sonny" also show some harmonic similarity to "Giant Steps." Coltrane continued to employ similar concepts in his soloing during his more open and modal middle period. A Love Supreme features examples of lines based on "Giant Steps" cycles over modal vamps, to create a Polytonal effect (see modal jazz).
The progression continues to stimulate harmonic thinking in contemporary jazz. There are a number of different approaches to soloing on the song. While Coltrane favoured arpeggiation over the changes, other players have used different tricks and patterns to bring out the sound of the changes. The chord progression was later used by Freddie Hubbard as a basis for his composition "Dear John" (on Hubbard's 1991 album Bolivia). Covers have been recorded by such artists as Rahsaan Roland Kirk, Pat Metheny, Buddy Rich, Jaco Pastorius, Mike Stern, Greg Howe, Tommy Flanagan (who played on the original recording), McCoy Tyner, Kenny Werner, Kenny Garrett, Woody Herman, and Taylor Eigsti, Gary Bartz. The song was recorded by Chaka Khan in 1982 as part of the "Be Bop Medley" from her album "Chaka Khan".
John Coltrane was known for coming into the studio with unrehearsed songs - "Giant Steps" was no exception. On the original recording, Tommy Flanagan (piano) played a choppy start-stop solo where it sounds like he is struggling to improvise over Coltrane changes without adequate preparation. Flanagan would revisit Giant Steps on several recordings later in his career and mastered the progression. In some of the alternate takes, Cedar Walton is at the piano, declining to take a solo and also playing at a slower tempo than the takes with Flanagan.
"Giant Steps" is a jazz recording by John Coltrane, on tenor saxophone, which is the first track on the album of the same name and is 4 minutes and 49 seconds long. The composition is a milestone for jazz musicians' progress, given the difficulty of improvising its rapid progression of chord changes that progress through three keys (see Coltrane changes) shifted by major thirds, creating an augmented triad.
The saxophonist had previously used this technique on the LP Blue Train on the tunes Moment's Notice and Lazy Bird. Coltrane continued in this vein on a recording with Cannonball Adderley of the standard "Limehouse Blues," and on his original "Fifth House." He continued to use this approach on other tunes, such as "Countdown", based on the Miles Davis tune "Tune Up"; "26 2" based on Charlie Parker's "Confirmation"; and a reharmonization of the jazz standard "Body and Soul." Songs such as "Naima" and "Like Sonny" also show some harmonic similarity to "Giant Steps." Coltrane continued to employ similar concepts in his soloing during his more open and modal middle period. A Love Supreme features examples of lines based on "Giant Steps" cycles over modal vamps, to create a Polytonal effect (see modal jazz).
The progression continues to stimulate harmonic thinking in contemporary jazz. There are a number of different approaches to soloing on the song. While Coltrane favoured arpeggiation over the changes, other players have used different tricks and patterns to bring out the sound of the changes. The chord progression was later used by Freddie Hubbard as a basis for his composition "Dear John" (on Hubbard's 1991 album Bolivia). Covers have been recorded by such artists as Rahsaan Roland Kirk, Pat Metheny, Buddy Rich, Jaco Pastorius, Mike Stern, Greg Howe, Tommy Flanagan (who played on the original recording), McCoy Tyner, Kenny Werner, Kenny Garrett, Woody Herman, and Taylor Eigsti, Gary Bartz. The song was recorded by Chaka Khan in 1982 as part of the "Be Bop Medley" from her album "Chaka Khan".
John Coltrane was known for coming into the studio with unrehearsed songs - "Giant Steps" was no exception. On the original recording, Tommy Flanagan (piano) played a choppy start-stop solo where it sounds like he is struggling to improvise over Coltrane changes without adequate preparation. Flanagan would revisit Giant Steps on several recordings later in his career and mastered the progression. In some of the alternate takes, Cedar Walton is at the piano, declining to take a solo and also playing at a slower tempo than the takes with Flanagan.
Making sense of John Coltrane's "Giant Steps."
Follow Vox Earworm on Facebook for more: http://www.facebook.com/VoxEarworm
And be sure to check out Earworm's ...
Making sense of John Coltrane's "Giant Steps."
Follow Vox Earworm on Facebook for more: http://www.facebook.com/VoxEarworm
And be sure to check out Earworm's complete first season here: http://bit.ly/2QCwhMH
John Coltrane, one of jazz history’s most revered saxophonists, released “Giant Steps” in 1959. It’s known across the jazz world as one of the most challenging compositions to improvise over for two reasons - it’s fast and it’s in three keys. Braxton Cook and Adam Neely give me a crash course in music theory to help me understand this notoriously difficult song, and I’m bringing you along for the ride. Even if you don’t understand a lick of music theory, you’ll likely walk away with an appreciation for this musical puzzle.
Braxton Cook: https://www.braxtoncook.com/
Adam Neely: https://www.youtube.com/adamneely
Note: The headline for this video has been updated since publishing.
Previous headline: Jazz Deconstructed: John Coltrane's "Giant Steps"
Some songs don't just stick in your head, they change the music world forever. Join Estelle Caswell on a musical journey to discover the stories behind your favorite songs.
Vox.com is a news website that helps you cut through the noise and understand what's really driving the events in the headlines. Check out http://www.vox.com.
Watch our full video catalog: http://goo.gl/IZONyE
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Or Twitter: http://goo.gl/XFrZ5H
Making sense of John Coltrane's "Giant Steps."
Follow Vox Earworm on Facebook for more: http://www.facebook.com/VoxEarworm
And be sure to check out Earworm's complete first season here: http://bit.ly/2QCwhMH
John Coltrane, one of jazz history’s most revered saxophonists, released “Giant Steps” in 1959. It’s known across the jazz world as one of the most challenging compositions to improvise over for two reasons - it’s fast and it’s in three keys. Braxton Cook and Adam Neely give me a crash course in music theory to help me understand this notoriously difficult song, and I’m bringing you along for the ride. Even if you don’t understand a lick of music theory, you’ll likely walk away with an appreciation for this musical puzzle.
Braxton Cook: https://www.braxtoncook.com/
Adam Neely: https://www.youtube.com/adamneely
Note: The headline for this video has been updated since publishing.
Previous headline: Jazz Deconstructed: John Coltrane's "Giant Steps"
Some songs don't just stick in your head, they change the music world forever. Join Estelle Caswell on a musical journey to discover the stories behind your favorite songs.
Vox.com is a news website that helps you cut through the noise and understand what's really driving the events in the headlines. Check out http://www.vox.com.
Watch our full video catalog: http://goo.gl/IZONyE
Follow Vox on Facebook: http://goo.gl/U2g06o
Or Twitter: http://goo.gl/XFrZ5H
This is what John Coltrane's landmark tune and solo look like when they come to life on paper.
If you try to play along, you may notice that the transcriptio...
This is what John Coltrane's landmark tune and solo look like when they come to life on paper.
If you try to play along, you may notice that the transcription for the head is transposed for C and the solo's in Bb. Weird, I know, but the transcription book that I based this animation on was in concert.
You can buy the sheet music here:
http://www.amazon.com/gp/product/0793563453
This is what John Coltrane's landmark tune and solo look like when they come to life on paper.
If you try to play along, you may notice that the transcription for the head is transposed for C and the solo's in Bb. Weird, I know, but the transcription book that I based this animation on was in concert.
You can buy the sheet music here:
http://www.amazon.com/gp/product/0793563453
Giant Steps (John Coltrane)
New Jazz Underground (IG: newjazzunderground)
Eric "ELEW" Lewis - Piano (IG: ELEWROCKJAZZ / YT: @ELEWTube)
Abdias Armenteros - Sax...
Giant Steps (John Coltrane)
New Jazz Underground (IG: newjazzunderground)
Eric "ELEW" Lewis - Piano (IG: ELEWROCKJAZZ / YT: @ELEWTube)
Abdias Armenteros - Sax (IG: elcuba__)
Sebastian Rios - Bass (IG: seb_rios_)
TJ Reddick - Drums (IG: tjreddick_)
MERCH:
https://www.newjazzunderground.com/merch
Original Music:
https://newjazzunderground.bandcamp.com/
Tips:
https://paypal.me/newjazzunderground?...
or
https://www.patreon.com/newjazzunderg...
thumbnail/graphics/clothing design - IG: reena.tattoo
Joey Alexander performs "Giant Steps" in studio, from his debut album "My Favorite Things"!
Get "My Favorite Things": http://joeyalexander.lnk.to/mftID
Join t...
Joey Alexander performs "Giant Steps" in studio, from his debut album "My Favorite Things"!
Get "My Favorite Things": http://joeyalexander.lnk.to/mftID
Join the mailing list at http://JoeyAlexanderMusic.com
Like on Facebook: http://bit.ly/joeyfacebook
Follow on Twitter: @_JoeyAlexander http://bit.ly/joeytwitter
An extraordinary and uniquely gifted pianist from Bali, Joey Alexander marks his recording debut with the release of My Favorite Things (May 12, 2015). Joey brings a delicate, profound and soulful touch to his own interpretation of such classics as “My Favorite Things”, “Giant Steps” and “Over the Rainbow” and showcases his talents as an arranger, composer and bandleader.
Album features:
Larry Grenadier (bass),
Ulysses Owens Jr. (drums),
Sammy Miller (drums),
Russell Hall (bass), and
Alphonso Horne (trumpet)
Video Created by Yasunari Rowan/yasrowan.com
Joey Alexander performs "Giant Steps" in studio, from his debut album "My Favorite Things"!
Get "My Favorite Things": http://joeyalexander.lnk.to/mftID
Join the mailing list at http://JoeyAlexanderMusic.com
Like on Facebook: http://bit.ly/joeyfacebook
Follow on Twitter: @_JoeyAlexander http://bit.ly/joeytwitter
An extraordinary and uniquely gifted pianist from Bali, Joey Alexander marks his recording debut with the release of My Favorite Things (May 12, 2015). Joey brings a delicate, profound and soulful touch to his own interpretation of such classics as “My Favorite Things”, “Giant Steps” and “Over the Rainbow” and showcases his talents as an arranger, composer and bandleader.
Album features:
Larry Grenadier (bass),
Ulysses Owens Jr. (drums),
Sammy Miller (drums),
Russell Hall (bass), and
Alphonso Horne (trumpet)
Video Created by Yasunari Rowan/yasrowan.com
Elmo Hope Trio - De-Dah (Kevin) (1961)
Personnel: Elmo Hope (piano), Paul Chambers (bass), Philly Joe Jones (drums)
from the album 'HERE'S HOPE!' (Celebrity Records)
album : SOUNDS FROM RIKERS ISLAND.
Kudos to Spain's Fresh Sound label for digging this one out of its undeserved obscurity. This 1963 session assembled by composer Sid Frey, pianist and composer Elmo Hope, and vibist Walt Dickerson (who doesn't appear on the record) is a blowing date centered around the notion of drug addiction and hopelessness for the addict/slave musician who ends up in places like Rikers Island. As a cultural and social critique, it fails other than in its liner notes. As a musical document, it is an overwhelming success. Hope surrounds himself with musicians whose reputations are now legendary: Philly Joe Jones, John Gilmore, Ronnie Boykins, Lawrence Jackson, and Freddie Douglas. Hope and Frey composed six of the set's nine selections, ranging from the breezy hard bop of "Ode for Joe," which allowed Jones the ability to drive the band from outside the arrangement, to the lushly romantic "Monique" and the waltz-as-turnstile blues of "Kevin." "Trippin'" is a blues that slips through harmonic changes quickly and seamlessly with startling stop-and-start cadences. The high points of the session are "A Night in Tunisia," a stretch-out for everyone, and the amazing rendition of "Groovin' High" that closes the album, featuring Marcelle Daniels on scatted vocals. Veteran Earl Coleman also appears as a singer on the Ellington tune "It Shouldn't Happen to a Dream," but even in these two tracks, the level of musical empathy and improvisational reciprocity is inspiring. This is an obscure date but it shouldn't be, as it features some of Hope and Gilmore's finest playing, and shows Jones in rare, lighthearted form.
Brad Mehldau - piano
Jorge Rossy - drums
Joris Roelofs - bass clarinet
Clemens van der Feen - double bass
Recorded on 26 March 2021, as part of the Transmission-Transition Festival at TivoliVredenburg (Utrecht, the Netherlands).
Sound mix by Clemens van der Feen.
Elmo Hope - piano
Jimmy Bond - bass
Frank Butler - drums
Recorded in February 1959 for the album "Elmo Hope Trio" on the HiFi label. Produced by David Axelrod.
CARVING THE ROCK by Elmo Hope and Sonny Rollins, performed by saxophonists Grant Stewart, Eric Alexander, pianist Ehud Asherie, guitarist Joe Cohn, bassist Joel Forbes, and drummer Phil Stewart. On Grant's album Estaté. Lead sheets and more available on https://jazzleadsheets.com.
Provided to YouTube by Universal Music Group
Crazy · Elmo Hope
Trio And Quintet
℗ 1979 Blue Note Records
Released on: 1991-01-01
Associated Performer, Piano: Elmo Hope
Producer: Alfred Lion
Studio Personnel, Recording Engineer: Rudy Van Gelder
Associated Performer, Bass ( Vocal): Percy Heath
Associated Performer, Drums: Art Blakey
Associated Performer, Trumpet: Freeman Lee
Associated Performer, Tenor Saxophone: Frank Foster
Composer: Elmo Hope
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St. Elmo Sylvester Hope (June 27, 1923 – May 19, 1967) was an American jazz pianist, composer, and arranger, chiefly in the bebop and hard bop genres. He grew up playing and listening to jazz and classical music with Bud Powell, and both were close friends of another influential pianist, Thelonious Monk.
Hope survived being shot by police as a youth to become a New York-based musician who recorded with several emerging stars in the mid-1950s, including trumpeter Clifford Brown, and saxophonists John Coltrane, Lou Donaldson, Jackie McLean, and Sonny Rollins. A long-term heroin user, Hope had his license to perform in New York's clubs withdrawn after a drug conviction, so he moved to Los Angeles in 1957. He was not happy during his four years on the West Coast, but had some successful collaborations there, including with saxophonist Harold Land.
More recordings as leader ensued following Hope's return to New York, but they did little to gain him more public or critical attention. Further drug and health problems reduced the frequency of his public performances, which ended a year before his death, at the age of 43. He remains little known, despite, or because of, the individuality of his playing and composing, which were complex and stressed subtlety and variation rather than the virtuosity predominant in bebop.
GIANT STEPS: 60th ANNIVERSARY DELUXE EDITION is available as a 180g 2-LP set and as a 2-CD set, both featuring a remastered version of the landmark album plus 8 alternate takes. The super deluxe edition, available to download and stream, includes an additional 20 outtakes: https://Rhino.lnk.to/giantsteps60
"Giant Steps" is a jazz recording by John Coltrane, on tenor saxophone, which is the first track on the album of the same name and is 4 minutes and 49 seconds long. The composition is a milestone for jazz musicians' progress, given the difficulty of improvising its rapid progression of chord changes that progress through three keys (see Coltrane changes) shifted by major thirds, creating an augmented triad.
The saxophonist had previously used this technique on the LP Blue Train on the tunes Moment's Notice and Lazy Bird. Coltrane continued in this vein on a recording with Cannonball Adderley of the standard "Limehouse Blues," and on his original "Fifth House." He continued to use this approach on other tunes, such as "Countdown", based on the Miles Davis tune "Tune Up"; "26 2" based on Charlie Parker's "Confirmation"; and a reharmonization of the jazz standard "Body and Soul." Songs such as "Naima" and "Like Sonny" also show some harmonic similarity to "Giant Steps." Coltrane continued to employ similar concepts in his soloing during his more open and modal middle period. A Love Supreme features examples of lines based on "Giant Steps" cycles over modal vamps, to create a Polytonal effect (see modal jazz).
The progression continues to stimulate harmonic thinking in contemporary jazz. There are a number of different approaches to soloing on the song. While Coltrane favoured arpeggiation over the changes, other players have used different tricks and patterns to bring out the sound of the changes. The chord progression was later used by Freddie Hubbard as a basis for his composition "Dear John" (on Hubbard's 1991 album Bolivia). Covers have been recorded by such artists as Rahsaan Roland Kirk, Pat Metheny, Buddy Rich, Jaco Pastorius, Mike Stern, Greg Howe, Tommy Flanagan (who played on the original recording), McCoy Tyner, Kenny Werner, Kenny Garrett, Woody Herman, and Taylor Eigsti, Gary Bartz. The song was recorded by Chaka Khan in 1982 as part of the "Be Bop Medley" from her album "Chaka Khan".
John Coltrane was known for coming into the studio with unrehearsed songs - "Giant Steps" was no exception. On the original recording, Tommy Flanagan (piano) played a choppy start-stop solo where it sounds like he is struggling to improvise over Coltrane changes without adequate preparation. Flanagan would revisit Giant Steps on several recordings later in his career and mastered the progression. In some of the alternate takes, Cedar Walton is at the piano, declining to take a solo and also playing at a slower tempo than the takes with Flanagan.
Making sense of John Coltrane's "Giant Steps."
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John Coltrane, one of jazz history’s most revered saxophonists, released “Giant Steps” in 1959. It’s known across the jazz world as one of the most challenging compositions to improvise over for two reasons - it’s fast and it’s in three keys. Braxton Cook and Adam Neely give me a crash course in music theory to help me understand this notoriously difficult song, and I’m bringing you along for the ride. Even if you don’t understand a lick of music theory, you’ll likely walk away with an appreciation for this musical puzzle.
Braxton Cook: https://www.braxtoncook.com/
Adam Neely: https://www.youtube.com/adamneely
Note: The headline for this video has been updated since publishing.
Previous headline: Jazz Deconstructed: John Coltrane's "Giant Steps"
Some songs don't just stick in your head, they change the music world forever. Join Estelle Caswell on a musical journey to discover the stories behind your favorite songs.
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This is what John Coltrane's landmark tune and solo look like when they come to life on paper.
If you try to play along, you may notice that the transcription for the head is transposed for C and the solo's in Bb. Weird, I know, but the transcription book that I based this animation on was in concert.
You can buy the sheet music here:
http://www.amazon.com/gp/product/0793563453
Joey Alexander performs "Giant Steps" in studio, from his debut album "My Favorite Things"!
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An extraordinary and uniquely gifted pianist from Bali, Joey Alexander marks his recording debut with the release of My Favorite Things (May 12, 2015). Joey brings a delicate, profound and soulful touch to his own interpretation of such classics as “My Favorite Things”, “Giant Steps” and “Over the Rainbow” and showcases his talents as an arranger, composer and bandleader.
Album features:
Larry Grenadier (bass),
Ulysses Owens Jr. (drums),
Sammy Miller (drums),
Russell Hall (bass), and
Alphonso Horne (trumpet)
Video Created by Yasunari Rowan/yasrowan.com