Giant Steps (composition)
Giant Steps is a composition by John Coltrane in song form, which in 1960 laid and first appeared as the title track of the same name Coltrane album. The song played in the up tempo became a jazz standard.
Characteristics of the composition
The 32 bars extensive topic is written in the form of a song AA. It begins in B major, but changes in the second cycle over a seventh chord D to G and the third bar on B7 to E flat major. The melody is " not much more than a reenactment of the chord changes in leaps and bounds " and consequently passes in the first three bars " three tonal centers, which are to each other in one-third octave relationship. " Even the more harmony of the piece moves for the next five bars " in such third - progressions. " Then follow eight bars with II-VI progressions.
On the succession of harmonic changes Coltrane had worked according to McCoy Tyner during his stay in Philadelphia in 1957. In 1958, he rehearsed the piece already; According to Wayne Shorter, he was again and again to practice the "Changes".
First recordings of Coltrane
At the first recording of Giant Steps on March 26, 1959 Cedar Walton was involved; with him, Coltrane had practiced the piece, but the end of the play by the rhythm section ( Paul Chambers and Lex Humphries ) was more difficult; part was also played a longer ( 260 beats / minute). Coltrane biographer Lewis Porter According to the Walton himself had to concentrate to accompany Coltrane here at all correct.
On May 5, 1959 originated with pianist Tommy Flanagan, who did not know that Walton had been used for previous recording attempts, as well as Paul Chambers and Art Taylor the recording, which was selected as the title track for the resulting album. Also Flanagan found it difficult to play a good solo; on one of the rejected shots he interrupted himself in Solo, on another he only played the chords.
Other recordings
Due to the rapid progressions Giant Steps is considered one of " the most difficult pieces to be played throughout the jazz literature. " This will make it " a virtuoso, madcap Etude in Changes games, which is precisely why part of the standard repertoire of almost all young saxophonist. " also recognized saxophone virtuosos such as Bob Mintzer, Bobby Watson, Paquito D' Rivera or Jerry Bergonzi have therefore recorded the piece. Archie Shepp and Max Roach have also touched on their live album The Long March, the Giant Steps. Interpretations of such diverse musicians as Rahsaan Roland Kirk, Pat Metheny, Buddy Rich, Jaco Pastorius, Mike Stern, Lionel Hampton, McCoy Tyner, Kirk Nurock, Kenny Werner, Kenny Garrett, Woody Herman, Joe Pass, Gary Bartz, Taylor Eigsti or Trio Globo ( Howard Levy, Eugene Friesen, Glen Velez ) illustrate that the piece has a strong attraction. Also arrangers appealed to implement the composition in ensemble structures - here are Maria Schneider, Tito Puente, to name the Lee Konitz Nonet, as well as the Cologne Saxophone Mafia.
The song has been betextet more than once; Marie Volpee, Carmen McRae, Chaka Khan, Vanessa Rubin, Meredith D' Ambrosio and the New York Voices have sung it. The chord progression has Freddie Hubbard used as a harmonic basis for his song Dear John, which he dedicated to the composer of Giant Steps.