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In the standard Coltrane change cycle the ii–V–I is substituted with a progression of chords that cycle back to the V–I at the end. In a 4 4 piece, each chord gets two beats per change. Coltrane developed this modified chord progression for "Countdown", which is much more complex.
Coltrane used the "sheets of sound" lines to liquidise and loosen the strict chords, modes, and harmonies of hard bop, whilst still adhering to them (at this stage in his musical development). [7] Playing with the Miles Davis groups, in particular, gave Coltrane the free musical space in which to apply harmonic ideas to stacked chords and ...
Coltrane's Sound is an album credited to the jazz musician John Coltrane, recorded in 1960 and released in 1964 on Atlantic Records, catalogue SD 1419. It was recorded at Atlantic Studios during the sessions for My Favorite Things, assembled after Coltrane had stopped recording for the label and was under contract to Impulse! Records.
"Bye-Ya" and "Bolivar Blues" were recorded on October 31, 1962; "Body and Soul" and "Bright Mississippi" on November 1; "Sweet and Lovely", "Just a Gigolo" and "Monk's Dream" on November 2; and "Five Spot Blues" on November 6. "Bright Mississippi" is the only composition on the album that Monk had not previously recorded.
John William Coltrane (September 23, 1926 – July 17, 1967) was an American jazz saxophonist, bandleader and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music.
Monk's Music is a jazz album by the Thelonious Monk Septet, which for this recording included Coleman Hawkins and John Coltrane. It was released in November 1957 through Riverside Records . [ 1 ] [ 2 ] The recording was made in New York City on June 26, 1957.
"Naima" (/ n aɪ ˈ iː m ə / ny-EE-mə) is a jazz ballad composed by John Coltrane in 1959 that he named after his then-wife, Juanita Naima Grubbs. Coltrane first recorded it for his 1959 album Giant Steps, and it became one of his first well-known works.
According to Coltrane biographer Ashley Kahn, Four for Trane "was a direct result of Coltrane’s intervention, and his faith in the young tenor saxophonist from Philadelphia." [ 2 ] Shepp recalled his efforts to get a recording date with Impulse!: "I had spent months trying to get Bob [Thiele] on the phone and he never answered the phone.