Have Giant Steps and Meditations scared you away from John Coltrane? Join us on the other side of the Trane tracks with what might be the best trio of albums ever dropped in the same year. We’re talking 1963 Coltrane—at his most accessible (dare we say smooth?) yet still cutting straight to the truth. From the GRAMMY hall-of-famer Ballads to his legendary Impulse! sessions with Duke Ellington and Johnny Hartman, enter the perfect gateway into Coltrane’s world. We break down his honest melodies, the masterful support from McCoy Tyner, Elvin Jones, Jimmy Garrison (and more), and quibble with certain Rudy Van Gelder… choices… Whether you’re Coltrane-curious or already converted, this episode has something special for your ears.
Link to Spotify playlist
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Link to Spotify playlist
🟠 Open Studio Members -> Nerd Nook
Try OS Membership today! → https://osjazz.link/about
Looking to drop a question? Want to listen to the audio pod? Look no further!
https://youllhearit.com/
Creators & Guests
Host
Peter Martin 🎹
Peter Martin is an acclaimed jazz pianist and entrepreneur. Over the past 25 years he has performed at most of the major venues and jazz festivals on six continents, including twice at the White House for President Obama. He is the founder of Open Studio, pioneering in the field of online jazz education. Peter was recently featured in the New York Times for his ground breaking work
What is You'll Hear It?
A podcast about music - how to listen, play, practice, and enjoy. Listen for a combo of advice, insights, and occasional humor from pianists Peter Martin and Adam Maness. A podcast from Open Studio
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Speaker 2
Hey, Bob, you want to take the A-Train? No. Kaleb. How about the Metrolink? No, Adam. The Amtrak. Right. Or not? All right. Well, let's take the coal train. Let's.
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Speaker 2
I'm Adam.
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Speaker 3
And I'm Peter Martin.
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Speaker 4
And you're listening to the you'll hear It podcast.
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Speaker 3
Music explored.
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Speaker 4
Explored, brought to you today by Open Studio. Go to Open studio jazz.com for.
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Speaker 2
Oh.
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Speaker 4
Your
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Speaker 4
jazz lesson needs. What's up here.
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Speaker 3
That was a lot.
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Speaker 4
It was too much. How you doing? The story of my life. Too much. I'm doing okay. I'm doing okay. Yeah. Good, good. It's an interesting time. It's. It's been fun.
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Speaker 3
We pray to live an interesting time. We certainly do.
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Speaker 3
I'm so excited about today's episode. Me too.
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Speaker 3
Me too. We have the new format, the new season, and this is the first time we're doing. Actually, we're going to fold three albums together. Yeah. Within the year of 1963.
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Speaker 4
But we could have done 13 albums, all for that together from this year, 1963. One of the most underrated years in music history. And yeah, credible a year. Go look up all the jazz records that got released in 1963. It's amazing.
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Speaker 3
Yeah. I mean, we're just concentrating on John Coltrane, but we have some illustrious costars. Do we honor Mr. Coltrane? Of course. His classic. He's already into his classic quartet years. Jimmy Garrison, Elvin Jones, McCoy Tyner. Incredible. But there's going to be a Johnny Hartman sighting. There's going to be a Duke Ellington sighting. Even a Sam Woodard sighting.
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Speaker 3
Just like that? Yeah.
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Speaker 4
You know what I think is what's great about the albums you've picked in, the tunes you picked for this episode, is that like, if you've tried some John Coltrane before? Yeah, but maybe he wasn't quite your thing, or you haven't ever gotten the opportunity to get into John Coltrane's music because it can be it can be very intense.
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Speaker 4
Yes. Right. Especially if you dive in on something like Giant Steps through the later live Vanguard sessions. It can be very intense, but this is like one of the greatest artists of his generation, doing some incredibly accessible, romantic dare.
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Speaker 2
I say.
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Speaker 3
Smooth, dare I say it's, you know, I thought, that's.
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Speaker 2
Great.
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Speaker 4
Yeah, it is just it goes to the to how grounded he was as a human being and as a person, because he can make music for like any person on the planet and I think like reach into their, their souls with what he does. It's really special, a special time for a special person.
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Speaker 3
Yeah. And I mean, look, these we're going to be looking at three records. We have a playlist, a bespoke, a bespoke playlist of six.
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Speaker 4
We we're told you can't say that in 2025.
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Speaker 3
Six tracks,
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Speaker 3
two from each of the albums. But it's John Coltrane, ballads, Johnny Hartman and John Coltrane. Incredible. And Duke Ellington and John Coltrane. These are all released in 1963 on the impulse! Jazz record. All 3 in 1 year, yeah.
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Speaker 4
All released in one year.
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Speaker 3
Off. He released a couple, others do. I know he was.
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Speaker 4
A few others, yeah, and he's on a couple of others for other artists. And it's just like an incredible time. All three of these are bangers? Yeah, these are all timers.
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Speaker 3
Yeah. And I think there's a connection between all of these because they're all primarily ballads. Not all ballads,
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Speaker 3
but primarily ballads. They're all,
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Speaker 3
I mean, I would say the most positive sense of the term commercial, commercially viable, palatable,
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Speaker 3
populist, perhaps even 100%. These are things these are, I think, great access points into,
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Speaker 3
like we say, we're trying to turn the Coltrane curious into the Coltrane, convert it, you know what I mean?
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Speaker 3
And a lot of times people talk about giant steps. Giant steps is great. But that's really a thing for nerds, right? That belongs in the nerd nook more than anything.
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Speaker 4
I really missed an opportunity here for Coltrane. Curious? Yes. To Coltrane.
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Speaker 2
Purist purists like you could.
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Speaker 4
I could have liked that up you fix it in post.
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Speaker 3
Yeah. But yeah, it's just to say that, like, these are not I. And I really think hopefully we're gonna be able to show today to that John Coltrane like his lyricism, his the beauty of his sound,
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Speaker 3
was such a, foundation. It's not just all the crazy stuff that he played that he's known for. If you listen to the Live the Vanguard,
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Speaker 3
or the impressions record, which is from Live the Vanguard, they came out this and was recorded this same year.
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Speaker 3
It's a whole nother way of playing in a way, but hopefully we're going to show some connection. So I thought it'd be fun to just take things back a little bit. We're not gonna go all the way back to the very beginning of Coltrane, but we're going to go back to 1957. This is only six years before 63, obviously, if my math is correct.
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Speaker 3
Yeah, I'm a pianist, so, you know, there's that. But this is, you know, you could look at Coltrane as different. There was the Coltrane playing with monk and then Coltrane playing with Miles, and then he came back to monk, and then he went back to Miles. So there's those two connections and that cross-pollination. But this is Ruby, my dear.
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Speaker 3
Of course. Composition of Forest Monks is from 1957. Coltrane and monk, who.
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Unknown
Hey, they go. Hey.
00:06:05:18 - 00:06:09:23
Speaker 3
We're already hearing that beautiful tone, that lyrical edge.
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Speaker 2
Swinging.
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Unknown
Approach to the melody. And.
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Unknown
The.
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Unknown
Heart.
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Speaker 3
And I mean such, such incredible playing, you know, this.
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Speaker 4
One little melody like that. I mean, it really that demonstrates, I think, why people are so attracted to Cold Rain, but also monk, it's like you can hear in just those first few notes, that first phrase you can hear like this, this is going to sound really grandiose and maybe kind of stupid, but you can hear the truth.
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Speaker 4
Like you can hear someone who's cutting through to the truth.
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Speaker 3
There's like this, a purity to it. Right?
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Speaker 4
We're giving getting away from frivolity. Yeah. And getting away from any other bass that we're going to add to the music. I just want what matters. Just, you know, it's mean. It's not even. Just like there's a lot of raw beauty in it. It's just like, let's get to the point. Yes, this and like, let's do this the way that human beings recognize each other in this incredibly raw, like, pure way, this like, person to person way.
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Speaker 4
Yeah. Better than anybody. Yeah. Cutting.
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Speaker 3
And I mean I think.
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Speaker 4
That's monk is there too.
00:07:17:19 - 00:07:27:01
Speaker 3
Well and I think monk very much in his music, his compositional style lends itself to that. We could say that Coltrane learned some of that, you know, from being in that situation, certainly with Miles, too. But, you know,
00:07:27:01 - 00:07:38:08
Speaker 3
Coltrane, it's like 29, 30 years old. He's still pretty young at this point. The next year, 1958, this is one of his most famous, tracks and famous compositions.
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Speaker 2
Blue Train, Blue Note Records.
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Speaker 3
And I just want to, after one more course, get a little bit into the solo.
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Speaker 2
We should do Bhutan. It's, Yeah.
00:07:57:06 - 00:08:08:05
Speaker 3
But a lot of times people point towards this as being the best entry point to train, and I would only say yes, it's a great record, but check out the way he so on on here compared to what we're gonna.
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Speaker 2
Listen to today.
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Unknown
Up front up. Hey.
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Speaker 2
Instead of.
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Speaker 2
He's jumping in there right?
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Speaker 3
And it's dance. It's bluesy, and it's got some, like, interwoven.
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Unknown
Pop stuff in it.
00:08:49:21 - 00:08:53:16
Speaker 2
The greatest man, Vietnam.
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Speaker 4
Yes. The greatest.
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Speaker 3
But if that was your first time coming into here train, it might be a little bit jarring, right?
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Speaker 4
Yeah. I mean, I think this is what we were talking about in the setup is like if like, oh yeah, Blue Train. It's a beautiful sounding record, of course. And like the arrangements with the horns are, are beautiful. But yeah, you're right, it could be a little jarring if you haven't heard that kind of music before.
00:09:10:22 - 00:09:22:08
Speaker 3
Yeah, but he had different sides to him. So just one year later, this is of course, blue and green from kind of blue Miles Davis blue.
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Unknown
And he.
00:09:45:06 - 00:09:49:00
Speaker 4
It it's it stops in your tracks. It really, really does.
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Speaker 3
It sounds like a written out solo or like it's its own tune, you know, or something. I mean, it.
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Speaker 4
Kind of resets you. Yeah, a little bit.
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Speaker 3
And then from the same record, same year, 1959 is, of course, Freddie Freeloader.
00:10:00:11 - 00:10:03:09
Speaker 4
I mean, we could go through all of train solo. We're about to go.
00:10:03:11 - 00:10:10:02
Speaker 3
No, that not the only other one, but again here.
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Speaker 4
Been. The greatest moments in musical history.
00:10:14:18 - 00:10:19:20
Speaker 3
It's arresting right? I mean, it's it's like grabs Ahold of you, right?
00:10:19:20 - 00:10:30:17
Speaker 4
Well, because when solo and Miles are solo up to this point. So different in the pocket. Griffin pretty even right comes in. He's like again we're cutting straight.
00:10:30:17 - 00:10:37:07
Speaker 3
Through it right there. But there's a purity I mean that's like Coltrane's hallmark. Like a directness, a purity, but a beauty.
00:10:37:13 - 00:10:40:13
Speaker 2
Nothing about it. Now.
00:10:40:15 - 00:10:48:19
Speaker 3
But again, if you're not ready for this, you're like, whoa. And then of course, year later, 1960.
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Speaker 4
Now, this is for music nerds.
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Speaker 3
Yeah. This is and this is so great. But again, like, if you're like, oh, I want to get into jazz. John Coltrane, giant steps. Yeah. Like, what the hell.
00:10:58:04 - 00:11:03:08
Speaker 2
Is going on? Yeah. You know, what's a major third?
00:11:03:10 - 00:11:18:16
Speaker 3
I mean, there's a beauty and a symmetry here and a logic that I think that the everyday listener can connect with. But it's a lot to grab, hold on to, especially the soul.
00:11:18:17 - 00:11:22:02
Speaker 3
And.
00:11:22:04 - 00:11:24:09
Speaker 3
This is not a Watson and this and this bush.
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Speaker 2
And this bush.
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Speaker 3
This is like the end of the main course at the 12.
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Speaker 2
Yeah.
00:11:30:04 - 00:11:40:14
Speaker 3
So that's kind of, you know, sort of leading up and then, you know, Coltrane 61, 62 actually, he kind of had a another period where, you know, he was using Eric Dolphy, another,
00:11:40:14 - 00:11:41:12
Speaker 3
horn player, two.
00:11:41:12 - 00:11:41:22
Speaker 4
Bass player.
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Speaker 3
Two bass players a lot of times and gotten into some, some really,
00:11:45:02 - 00:11:47:16
Speaker 3
you know, well, this is impressions from the vanguard of that period.
00:11:47:18 - 00:11:48:09
Speaker 4
Same year. Right?
00:11:48:09 - 00:11:59:19
Speaker 3
63 this is actually came out of 63. I think it's is 62. They recorded and like this whole way of playing like.
00:11:59:20 - 00:12:15:07
Speaker 3
Less approachable for sure. But beautiful wife. Like. Anyway, so all this stuff is great. It's all sort of part of the lineage and it's just over a few years. But when we get to 1963 and we're going to look at,
00:12:15:07 - 00:12:16:18
Speaker 3
and listen first to,
00:12:16:18 - 00:12:23:00
Speaker 3
My One and Only Love, which is from John Coltrane and Johnny Hartman, wonderful vocalists.
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Speaker 3
This is written by Guy Wood and Robert Mellon. My one and only love.
00:12:32:03 - 00:12:35:10
Unknown
Now.
00:12:35:11 - 00:12:41:19
Unknown
And another.
00:12:41:21 - 00:12:55:00
Speaker 4
This album and the ballads album are also great. A recording example of McCoy Tyner at his best. Yes. And at also pianist McCoy Tyner.
00:12:55:04 - 00:13:01:16
Unknown
Yeah, it is even.
00:13:01:18 - 00:13:10:09
Speaker 3
And Elvin Jones, who's such an architect on these records, isn't even come in yet. Like, this arrangement is fantastic. And this is kind of, you know, the iconic version.
00:13:10:09 - 00:13:14:18
Speaker 4
Of this tune.
00:13:14:20 - 00:13:22:05
Speaker 3
And simple ballad temple without the drums, Jimmy Garrison half notes.
00:13:22:07 - 00:13:25:11
Speaker 4
And Anita McCoy playing every quarter note. Basically.
00:13:25:11 - 00:13:34:01
Speaker 2
Yeah. And. And and then hinting at the double time.
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Speaker 3
Right. Hey, the train is very much still. Just beautifully stayed in the melody. Pretty much just right on.
00:13:45:22 - 00:13:59:04
Unknown
And and and and. And and,
00:13:59:06 - 00:14:12:13
Unknown
And then movement. Nah nah nah nah nah nah. Na na.
00:14:12:15 - 00:14:13:22
Speaker 3
Oh well. For Mata.
00:14:13:22 - 00:14:18:04
Speaker 2
Amazing and beautiful.
00:14:18:06 - 00:14:23:06
Unknown
And and you know.
00:14:26:01 - 00:14:35:10
Speaker 3
And and then this, this is one of the all time great setups. Yep. Very simple over the five.
00:14:35:12 - 00:14:37:19
Speaker 2
Oh.
00:14:37:21 - 00:14:41:16
Speaker 3
Elvin with this the brushes.
00:14:41:18 - 00:14:43:01
Speaker 2
Very fond of.
00:14:43:01 - 00:14:45:10
Speaker 3
You, but how can you not sing great with that set up? Right.
00:14:45:12 - 00:14:56:01
Speaker 2
Smart smile. Anybody got a cigaret? I got a blueberry. This is a beautiful, romantic love spray.
00:14:56:03 - 00:14:56:19
Speaker 4
Johnny Harmon.
00:14:56:19 - 00:14:58:06
Speaker 2
Oh, and McCoy's like.
00:14:58:08 - 00:15:00:05
Speaker 3
Busy with his coffee, but it's all.
00:15:00:05 - 00:15:03:01
Speaker 2
Works. Splendor.
00:15:03:03 - 00:15:05:04
Speaker 4
Everything. Everything in my bank account and.
00:15:05:05 - 00:15:06:09
Speaker 2
Everything like that. I feel this.
00:15:06:09 - 00:15:06:16
Speaker 4
Thing like.
00:15:06:18 - 00:15:13:12
Speaker 3
This is where actually one of my quibble bits, RBG. I come in handy with this mix.
00:15:13:14 - 00:15:14:00
Speaker 2
Because of.
00:15:14:00 - 00:15:14:20
Speaker 3
How much you know it.
00:15:14:21 - 00:15:19:05
Speaker 4
Works. I know, I know, it's it's not great for the pianist.
00:15:19:05 - 00:15:20:07
Speaker 3
But, I mean, that brush.
00:15:20:07 - 00:15:20:22
Speaker 2
That's smells.
00:15:21:02 - 00:15:21:20
Speaker 3
You can't record that.
00:15:21:23 - 00:15:23:21
Speaker 2
The voice. The voice. Wow.
00:15:23:21 - 00:15:27:21
Speaker 3
You hear me, garrison? Everybody. Coltrane.
00:15:27:23 - 00:15:30:13
Speaker 2
No. I feel your lips. So?
00:15:30:15 - 00:15:44:05
Speaker 3
So. Yeah. I mean, this one's just. Yeah, that's that's a sort of legendary track. So I'm starting the playlist out with that because I feel like if you're going to if you never listen to Coltrane, if you're coaching Coltrane curious, and you come and listen to that and you're like, yeah, that's not for me, then you know what?
00:15:44:05 - 00:15:48:12
Speaker 3
I don't really have a lot more. I'm not gonna throw giant steps at you. Yeah. And you're going to be like, I'll.
00:15:48:12 - 00:15:50:13
Speaker 4
Start there is. Yeah. With my own universe, I think.
00:15:50:13 - 00:15:50:19
Speaker 3
So,
00:15:50:19 - 00:15:56:23
Speaker 3
Yeah. So. And then, you know, talking about McCoy Tyner solos, this isn't even one of the tracks on there, but I've got,
00:15:56:23 - 00:16:02:04
Speaker 3
You are too beautiful. Another great ballad on this same record. Check out McCoy solo.
00:16:02:06 - 00:16:05:20
Speaker 2
Too beautiful. And I am.
00:16:05:20 - 00:16:09:11
Speaker 3
Often. And how he comes out of the melody on this and they go into the other field.
00:16:09:11 - 00:16:15:22
Unknown
Of view, and he.
00:16:16:00 - 00:16:23:18
Speaker 4
A this is where me and Rudy have problems.
00:16:29:08 - 00:16:29:23
Speaker 2
Oh come on.
00:16:30:00 - 00:16:33:15
Speaker 3
Cascading. But that's subtle.
00:16:33:15 - 00:16:36:23
Speaker 2
Elvin peak McCoy. Maybe.
00:16:36:23 - 00:16:41:18
Speaker 4
I think early 60s is peak McCoy. And everybody loves the real McCoy that this era do.
00:16:41:18 - 00:16:48:02
Speaker 2
Baby. Doo doo doo doo doo.
00:16:48:04 - 00:16:49:09
Speaker 2
Ooh. Come on.
00:16:49:09 - 00:17:09:02
Speaker 3
And Elvin and Jimmy gets the support on this. So perfect. This is kind of a. Low key, kind of a perfect solo for. I'll throw that out there. Anyway, that's not even one of the tracks, but I just wanted to kind of throw that in there for you. Yeah.
00:17:09:02 - 00:17:10:17
Speaker 3
All right. Let's go on to the next,
00:17:10:17 - 00:17:18:18
Speaker 3
tune of the playlist. This is from the ballads record, so it's all instrumental. Fantastic record. This is a little bit lesser known. Harry Warren,
00:17:18:18 - 00:17:25:14
Speaker 3
great American Songbook composition. I wish I knew and I love there's something that happens in here and I want I want you to confirm this.
00:17:25:18 - 00:17:26:17
Speaker 3
It should be done in the near.
00:17:26:21 - 00:17:28:11
Speaker 4
I cannot confirm nor deny.
00:17:28:12 - 00:17:31:08
Speaker 3
I think there's an open studio moo happening in here.
00:17:31:08 - 00:17:41:03
Speaker 4
I wonder if that's what they called it. I wish it was my chart.
00:17:48:05 - 00:17:49:01
Speaker 3
Just now train.
00:17:49:06 - 00:17:56:07
Speaker 4
It out of the park every time. McCoy.
00:17:56:09 - 00:18:00:08
Speaker 3
They just come right in on the time.
00:18:00:09 - 00:18:04:11
Speaker 2
He.
00:18:04:13 - 00:18:05:02
Speaker 4
High level.
00:18:05:04 - 00:18:10:23
Speaker 3
Yeah. This train's leaving a lot of space.
00:18:11:01 - 00:18:16:03
Speaker 2
The.
00:18:31:01 - 00:18:31:22
Speaker 2
This. It's crazy.
00:18:32:00 - 00:18:32:19
Speaker 4
It's crazy. How good.
00:18:32:19 - 00:18:36:14
Speaker 2
This. Yeah. How beautiful.
00:18:36:16 - 00:18:43:05
Speaker 3
And then it comes out of this Lydian.
00:18:43:07 - 00:18:44:20
Speaker 2
Oh.
00:18:44:22 - 00:18:52:00
Speaker 3
This next phrase, the way he approaches.
00:18:52:02 - 00:18:58:22
Speaker 3
It. Listen for the moon.
00:18:59:00 - 00:18:59:23
Speaker 4
I think he might have moved.
00:19:00:03 - 00:19:02:08
Speaker 2
I think he moved there by the moon a little bit.
00:19:02:10 - 00:19:22:01
Speaker 4
You know what's so great? A great about the premise of this for you, for this episode here is like, if you're new to jazz, right? Yeah. You are expecting to hear stuff like this. Like, this is the kind of thing you want to hear, you know what I mean? And, this delivers, but then again, again in a way that is so soulful and so honest.
00:19:22:01 - 00:19:28:05
Speaker 4
Yeah, right. That it's like it's deeper than a coffeehouse. So bass coffeehouse spot.
00:19:28:05 - 00:19:30:19
Speaker 3
I could see you. You even I can like, I can I.
00:19:31:00 - 00:19:31:18
Speaker 2
Say that I want to.
00:19:31:18 - 00:19:32:03
Speaker 3
Say the.
00:19:32:03 - 00:19:34:06
Speaker 4
Presence of trains music. You know what I mean?
00:19:34:06 - 00:19:50:08
Speaker 3
Right? But it's like, that's just a cheap rip off caricature of, like, some kind of, like, all he gets is like, the visuals of it. But this is the thing. Like, you want you want a jazz club vibe. You want to be sophisticated. Yeah. It's no problem that you haven't got yet in your life. Now's your time. But you come in with this.
00:19:50:10 - 00:19:54:07
Speaker 3
There's so many layers that you, you know, come for the beauty. Stay for the core.
00:19:54:07 - 00:19:55:01
Speaker 4
That's right. You know what I mean?
00:19:55:01 - 00:20:07:09
Speaker 3
That's right. It's like there's so much cool stuff. I can tell you, having listened to these records over and over again, it's like, you know, there's a lot of great movies out there, but there's not that many movies that what you could watch over and over and over and still be discovering things.
00:20:07:09 - 00:20:10:13
Speaker 4
Something you might call like a, I don't know, like a rewatchable.
00:20:10:15 - 00:20:12:11
Speaker 3
Rewatchable kind of movie. Exactly.
00:20:12:11 - 00:20:34:11
Speaker 3
Now a lot of this stuff, you know, is very atmospheric, romantic, even cinematic. And I think this next track, a lot of folks will recognize it directly from the introduction. One of the most iconic piano rhythm section introductions ever, the greatest. The great Duke Ellington.
00:20:40:00 - 00:20:46:00
Unknown
Let me.
00:20:46:02 - 00:20:53:15
Speaker 3
This has been in a lot of movies, famously love Jones.
00:20:53:17 - 00:20:56:10
Unknown
In as he.
00:20:56:12 - 00:20:57:09
Speaker 3
Is in a sentimental.
00:20:57:09 - 00:21:01:06
Speaker 2
Mood. If you.
00:21:01:08 - 00:21:02:11
Speaker 3
Order crunchiness.
00:21:02:11 - 00:21:08:04
Speaker 2
Let.
00:21:08:06 - 00:21:14:23
Speaker 3
Me. Alvin.
00:21:15:00 - 00:21:16:16
Speaker 4
Everything I was doing here.
00:21:16:18 - 00:21:16:23
Speaker 2
Yeah.
00:21:17:04 - 00:21:23:07
Speaker 4
This is like the squishiness of the hi hats. Yeah. Symbols going.
00:21:23:09 - 00:21:26:10
Speaker 3
It's like you're viewing. It's like you're seeing it in a blur.
00:21:26:10 - 00:21:26:22
Speaker 2
A little bit of.
00:21:26:22 - 00:21:34:18
Speaker 3
A fog. And then there's like this clarity of the other, you know, the melody here and this orchestral thing that.
00:21:34:20 - 00:21:41:18
Speaker 4
Is the greatest man. This album, Duke Ellington, John Coltrane is the greatest. This is what we played at the top. The take the Coltrane is from this.
00:21:41:18 - 00:21:44:10
Speaker 2
Yeah, exactly.
00:21:44:11 - 00:21:46:13
Speaker 4
He moves so good.
00:21:46:15 - 00:21:58:19
Speaker 3
Yeah. And I mean, it's very much to like along the lines of on these three records, you know, Johnny Hartman, John Coltrane, Duke Ellington, John Coltrane and ballads, you know, mostly Great American Songbook. But then a few of these,
00:21:58:19 - 00:22:06:08
Speaker 3
which I would really consider straddling the line between Great American Songbook and greatest jazz compositions of all time, like, is in a sentimental movie.
00:22:06:08 - 00:22:07:15
Speaker 3
That's a great American songbook, right?
00:22:07:15 - 00:22:09:12
Speaker 4
It's it's the jazz standard, right?
00:22:09:12 - 00:22:17:02
Speaker 3
And Lush Life, probably the greatest standard, in my opinion, ever written. 100%, you know, by Billy Strayhorn. By little, Brown book. Correct.
00:22:17:02 - 00:22:19:10
Speaker 4
Take on that. Yeah. And like, is the best Coltrane.
00:22:19:12 - 00:22:27:13
Speaker 3
Like the way they're put together and shot of Bob Teel who produced every one of these records. I mean, he was the head of impulse all through the 60s. Impulse.
00:22:27:13 - 00:22:29:23
Speaker 4
Reed Taylor crushing it in this era.
00:22:30:00 - 00:22:38:06
Speaker 3
Yeah, yeah, everything's recorded at Rudi Van Gelder Studios. All these records, and all released in 1963. I mean, just, like bad for pianist.
00:22:38:06 - 00:22:41:00
Speaker 4
Great for everybody else. Yeah, right. Everybody else sounds amazing.
00:22:41:00 - 00:22:42:01
Speaker 3
Exactly.
00:22:42:01 - 00:22:48:05
Speaker 3
Speaking of Lush Life, that's actually track number four. We make it through all the tracks on this playlist, which we rarely do. So we listen to a little bit of that.
00:22:48:07 - 00:22:49:05
Speaker 4
Please. Okay.
00:22:52:00 - 00:22:54:20
Speaker 2
Oh, I know I used to. Okay.
00:22:54:22 - 00:22:59:20
Speaker 3
Let's just talk about I. This might be the most concise, greatest piano intro.
00:22:59:20 - 00:23:01:19
Speaker 4
How come I can't resonate like that?
00:23:01:21 - 00:23:09:10
Speaker 3
With McCoy was here, you'd be able to just check this out. I mean.
00:23:09:12 - 00:23:24:21
Speaker 2
You blink. You. There you go. Oh, just the facts. Is those come what may place is what? Where one realizes all the answers of the. We want to get the man.
00:23:24:23 - 00:23:27:03
Speaker 4
I don't know what McCoy just played there, but.
00:23:27:05 - 00:23:35:05
Speaker 2
Banjos and cocktail. These Strayhorn 16 when he wrote this sullen, gray face.
00:23:35:08 - 00:23:36:15
Speaker 3
The words and the.
00:23:36:17 - 00:23:45:05
Speaker 2
Reviews and characterizes his longing. I used to be there. You could see where they'd been washed away. Was always.
00:23:45:06 - 00:23:46:01
Speaker 3
Walking with him.
00:23:46:01 - 00:23:55:14
Speaker 2
Ahead, behind and with 12:00 to. Them you came up.
00:23:55:15 - 00:24:01:01
Speaker 3
So this is just an incredible thing. Check the whole thing and they have a link to the players. I want to just to jump ahead to,
00:24:01:01 - 00:24:05:04
Speaker 3
John Coltrane's solo. Although am I getting ahead of myself? This might be,
00:24:05:04 - 00:24:08:06
Speaker 3
Oh, no, it's not on my apex moments. There's so many apex moments. That's good. I don't have it.
00:24:08:11 - 00:24:14:13
Speaker 3
I want to just play train solo, because the transition going ahead is one of the most genius Elvin moments, by the way of all time.
00:24:14:15 - 00:24:16:11
Speaker 4
Where can people hear all this? We got a playlist for him.
00:24:16:11 - 00:24:19:13
Speaker 3
Leave a playlist on a little thing that a little startup. We are helping out. Spotify.
00:24:19:13 - 00:24:26:17
Speaker 4
Check out the show notes where you can go to the bespoke playlist from our own Peter Martin on this. I think I got a pretty good order this year of John Coltrane.
00:24:26:17 - 00:24:30:22
Speaker 3
Yeah, yeah, this is up for the long, lush life. Once there, audience time.
00:24:30:22 - 00:24:32:23
Speaker 2
Staff member.
00:24:33:01 - 00:24:35:16
Speaker 4
This is one of my apex moments. Actually, the end of last year.
00:24:35:16 - 00:24:39:17
Speaker 3
Yeah. Well, this is actually before the train solo, but the end is incredible.
00:24:39:17 - 00:24:51:04
Speaker 2
To, some small dive. Beat while I write that chorus.
00:24:51:06 - 00:25:03:21
Speaker 3
But check out how Elvin lives, percolates and affects the transition here. And.
00:25:03:23 - 00:25:08:12
Speaker 2
His drive, it.
00:25:08:14 - 00:25:13:00
Speaker 4
Trains how much 20th century music owes to these.
00:25:13:00 - 00:25:14:12
Speaker 2
Moments. Taking the train.
00:25:14:18 - 00:25:22:12
Speaker 4
Man? You know how much so much 20th century music owes to moments like that? Yeah, and all of these recordings. Amazing, amazing.
00:25:22:14 - 00:25:28:00
Speaker 3
And these are just a few. I mean, there's always you know, cool, great moments, but if every moment is great, then nothing is special, you know what I mean?
00:25:28:00 - 00:25:29:00
Speaker 4
I think that's how that works.
00:25:29:02 - 00:25:29:17
Speaker 2
I don't think that's.
00:25:29:22 - 00:25:32:06
Speaker 3
But that's the fun. That's what I'm talk about. The layers of zero sum.
00:25:32:06 - 00:25:32:15
Speaker 4
Moment.
00:25:32:15 - 00:25:38:15
Speaker 3
Wise. No, but I mean, there's all these little things you can kind of start to go in and pick out your favorites, which is really fun.
00:25:38:15 - 00:25:43:11
Speaker 3
Yeah. So I mean, that's the last, like, of course, Billy Strayhorn is probably most famous composition outside of Take the Train.
00:25:43:11 - 00:25:47:00
Speaker 3
But this next tune, which is from.
00:25:47:00 - 00:26:14:22
Speaker 3
actually, which one of these is, is from also from the Duke Ellington. So they start to all become one record after a while. But this is another Billy Strayhorn lesser known, but I think one of his greatest tunes, my little Brown Book. Duke Ellington on piano, of course.
00:26:15:00 - 00:26:15:14
Speaker 3
I believe this is.
00:26:15:14 - 00:26:19:06
Speaker 2
Sam Woodyard on drums here.
00:26:19:08 - 00:26:26:19
Speaker 3
And Aaron Bell.
00:26:26:21 - 00:26:33:19
Speaker 2
Come on up the swing. It's just stunning. This is laid back.
00:26:33:21 - 00:26:35:15
Speaker 4
You wouldn't make any sudden noise.
00:26:35:15 - 00:26:39:00
Speaker 2
It's just, you know, folks, he's here.
00:26:39:02 - 00:26:40:06
Speaker 4
That is a grown person.
00:26:40:07 - 00:26:50:07
Unknown
These are all. Hey, hey.
00:26:50:09 - 00:27:08:20
Speaker 4
I'm amazing man. I keep saying amazing because I'm just amazed every time. I'm like, there's no other artists. That hits me as hard as John Coltrane now. Every every single time.
00:27:08:20 - 00:27:09:02
Speaker 3
And this.
00:27:09:02 - 00:27:13:14
Speaker 2
What I'm saying is mind blowing now. But there's something.
00:27:13:16 - 00:27:17:03
Speaker 4
There's something there's. And like I said, there's an, honesty that happens
00:27:17:03 - 00:27:19:21
Speaker 4
in his playing and his tone and phrasing.
00:27:19:23 - 00:27:25:19
Speaker 2
And his choices. Yeah, that is it's so inspiring, really.
00:27:25:21 - 00:27:28:19
Speaker 3
Like there's a lot of other stuff that you can't understand sometimes.
00:27:28:19 - 00:27:30:12
Speaker 2
But on these records.
00:27:30:13 - 00:27:33:18
Speaker 3
Really just, you know, it's just doing his thing.
00:27:33:18 - 00:27:49:08
Speaker 3
Well, talking about just, you know, lyricism, beauty and the tone, I found this little excerpt. There's only a couple of interviews, audio of John Coltrane. Amazingly, I couldn't even find any video interviews. But check out in his own words in this little snippet from a 1960 interview on this show.
00:27:49:10 - 00:27:57:09
Speaker 5
You claim that you were trying to get, as I understood it, a more beautiful song.
00:27:57:11 - 00:27:58:14
Speaker 2
Only with,
00:27:58:16 - 00:28:24:22
Speaker 5
Well, I hope to play, not necessarily a more beautiful sound, though, I, I would like to, you know, this a tone wise, I would like to be able to produce a more beautiful sound, but now I'm primarily interested in trying to work what I have, what I know down into the more lyrical I. You know, that's what I mean by beautiful but more lyrical sort of being, you know, just easily understood.
00:28:25:00 - 00:28:48:21
Speaker 3
Such as he talks about that because there is there's beauty in the tone, you know, is thinking about vibrato, intonation, you know, affectation of, of the sound, all these different things that you have. But in focusing on lyric, the lyrics and the lyricism, I think on these records with these great standard tunes, I think he had such a well, that's how we could just play those melodies so straight and so powerfully, so direct.
00:28:48:21 - 00:29:06:09
Speaker 4
And so interesting that the way he qualifies that is like, I want to play more in a more lyrical way so that I can be more easily understood. That's a really interesting take. Like, I want to be more easily understood. I'm playing more lyrically. Yeah, I'm telling you, man, mission accomplished. Yeah. It's really it's really the North Star for all of us.
00:29:06:10 - 00:29:13:18
Speaker 4
Let's get to some categories. Okay, so Apex Moments, you have Coltrane solo on my little Brown book. Yeah.
00:29:13:20 - 00:29:21:04
Speaker 3
Can we just check it out and then you can tell me if you know.
00:29:21:06 - 00:29:29:07
Speaker 2
Anything here. That's pretty good. Yeah. I'm.
00:29:29:09 - 00:29:35:20
Speaker 2
I'm really. Duke's copping to the way they just interacted.
00:29:35:22 - 00:29:40:23
Unknown
And.
00:29:41:01 - 00:29:47:03
Unknown
I love the gorgeous.
00:29:47:05 - 00:29:51:03
Speaker 2
Oh, yeah. Dude, I know Duke's kind of spurred.
00:29:51:03 - 00:29:52:00
Speaker 3
Some of that. All I do.
00:29:52:00 - 00:29:52:11
Speaker 4
Is a crazy.
00:29:52:11 - 00:29:53:13
Speaker 2
Copper. Yeah. Ever look.
00:29:53:13 - 00:29:55:05
Speaker 4
At the transcriptions.
00:29:55:07 - 00:30:02:02
Unknown
That I. I never.
00:30:02:04 - 00:30:18:06
Speaker 3
Yeah, I just I love that. So I think that's, that's kind of where he's, it's the intersection of like all the crazy stuff he can do. He's doing some of it. But it's, but it's super like direct and lyrical by the way. Like he's almost letting Duke say, it's okay, you can go to some of that crazy kind of stuff.
00:30:18:08 - 00:30:19:02
Speaker 3
My for your.
00:30:19:02 - 00:30:37:08
Speaker 4
Apex, my apex moment is just the last few seconds of Lush Life. Just the way they end it, it's there's nothing super special about it, but I don't know, it always stands out to me, especially in that Johnny Hartman album. The way they they end the tune. We hear a little bit at the end.
00:30:37:10 - 00:30:40:12
Speaker 2
Let's do it.
00:30:40:14 - 00:30:48:18
Unknown
Those whose lives are long.
00:30:48:20 - 00:30:55:02
Unknown
Too.
00:30:55:04 - 00:30:59:10
Unknown
Oh!
00:30:59:12 - 00:31:04:06
Unknown
My.
00:31:04:07 - 00:31:06:02
Speaker 2
And so this is something that.
00:31:06:02 - 00:31:06:14
Speaker 4
It's just.
00:31:06:14 - 00:31:07:02
Speaker 3
So awesome.
00:31:07:02 - 00:31:08:08
Speaker 4
Really, I really love.
00:31:08:09 - 00:31:11:08
Speaker 2
Boop boop boop boop boop boop boop boop.
00:31:11:10 - 00:31:13:02
Speaker 3
That's you talking about lyrical? Yeah.
00:31:13:02 - 00:31:28:20
Speaker 4
This is beautiful. I love that so much. And I love the note that Johnny Hartman picks. I love what train does. I love what all of them are doing. Do you see me? Don't. Please don't. Bespoke playlist title. If this were on a Spotify playlist, what would the name of the title of a possible playlist? I mean, we already have.
00:31:28:20 - 00:31:32:15
Speaker 4
Like, I'm talking upstairs. Wait, we don't want us.
00:31:32:16 - 00:31:36:18
Speaker 3
Why am I? I'm already second guessing minds. Why don't you go first and then we'll circle back to me? I have a.
00:31:36:18 - 00:31:52:18
Speaker 4
Couple. I have the 1963 baby boom, boom boom. I know what I'm talking about. Boomers. I think they were probably some kids born in late 63, early 64 that owe it to some of these records. That's right. And right. And then I have, Japanese whiskey commercial bangers.
00:31:52:23 - 00:31:56:03
Speaker 3
That's totally, totally. Yeah. For sure. I've got,
00:31:56:03 - 00:32:05:08
Speaker 3
get on board the smooth train tr A and E 1963. But I'm not let's not, let's not, settle in on that too much, because that's not it's not one of my better ones.
00:32:05:09 - 00:32:10:19
Speaker 4
If you play all of these on Spotify, what would be the up next? What would be a good. Oh up next.
00:32:10:19 - 00:32:20:00
Speaker 3
Well I think kind of blue. Yeah. You know I know we mentioned a lot but you know sketches of Spain. Good call. You know in terms of like cinematic atmospheric thematic for sure.
00:32:20:02 - 00:32:20:21
Speaker 4
Great.
00:32:20:23 - 00:32:29:18
Speaker 3
But also a great up next, if you love this, you know, come for the ballads, stay for Crescent. They came out the next year. You know what I'm saying?
00:32:29:19 - 00:32:32:15
Speaker 4
We got a poster part. Come for the ballads, save.
00:32:32:16 - 00:32:37:09
Speaker 3
For the Crescent. Yeah. You know, you started out curious. Now you're in their crescents. Your next step.
00:32:37:12 - 00:32:38:18
Speaker 4
Now your series.
00:32:38:20 - 00:32:39:11
Speaker 3
Three.
00:32:39:13 - 00:32:41:03
Speaker 4
Exactly. Yeah, exactly.
00:32:41:05 - 00:32:45:04
Speaker 3
You're converted. You're Coltrane converted. So now it's time for Crescent. Great record from 1960.
00:32:45:04 - 00:32:58:03
Speaker 4
Four, I think. Probably my top choice for Up Next would be Nancy Wilson. And Cannonball Adderley, especially off of the Johnny Hartman. I think those really pair nicely together. And then also Chet Baker. Things would be an obvious one. Again, a similar vibe, similar era.
00:32:58:03 - 00:32:59:22
Speaker 4
What about quibble bits? Peter anything to cover with.
00:32:59:22 - 00:33:11:00
Speaker 3
My only quibble bit is that my usual one, the Van Gelder piano song. I feel like drum corps is scrunch this way, scrunch that way, then triangulate and then put it into a little box.
00:33:11:00 - 00:33:15:05
Speaker 4
Did you know what? I didn't even have computers to do that back in the day. They had to do that with microphones.
00:33:15:05 - 00:33:21:04
Speaker 3
Yeah. But like I, like I mentioned earlier, I do think that because of this idea of,
00:33:21:04 - 00:33:35:03
Speaker 3
like, there's only so much you can fit into the stereo soundscape right into the areas that we have coming at us from the speakers, so the piano can take over everything. I think that the drums is a ten out of ten.
00:33:35:03 - 00:33:40:11
Speaker 3
I think Johnny Hartman's voice ten out of ten. I think Coltrane's sound on these impulse recordings, on,
00:33:40:11 - 00:33:52:02
Speaker 3
at Van Gelder Studios is like the perfect sound of, you know, everything. Jimmy Garrison I think the piano is thin, and I think it's kind of at the expense of everything else being perfect. Maybe the thing is, I still like we're geeking out.
00:33:52:02 - 00:33:53:18
Speaker 3
It's not like we're not loving.
00:33:53:20 - 00:33:54:17
Speaker 4
Was so good it didn't.
00:33:54:17 - 00:33:55:11
Speaker 3
Ruin his play.
00:33:55:11 - 00:34:05:09
Speaker 4
Oh, and it's it sounds good in the mix, actually. Like everybody playing together and McCoy's comping. It really works. When you played that McCoy solo. Yeah, with the rhythm section was nice.
00:34:05:09 - 00:34:06:03
Speaker 3
You tasty?
00:34:06:03 - 00:34:11:10
Speaker 4
I mean, the solos nice and tasty, but my heart drops a little bit. It does because compared to the drums, yeah, it's super weak.
00:34:11:10 - 00:34:14:05
Speaker 3
Yeah, yeah, yeah. The only quibble bits.
00:34:14:11 - 00:34:23:04
Speaker 4
I don't like the piano sound is a is a definitely a ditto for me. But other than that, I really don't have any. All all three of these are near perfect albums. Yeah.
00:34:23:04 - 00:34:26:06
Speaker 4
It's anemometer. No, it's not, it's not. I don't think.
00:34:26:06 - 00:34:32:08
Speaker 3
This is very snobby. In fact, I put a for now that I'm thinking it could easily be like a 2 or 3 even,
00:34:32:08 - 00:34:50:10
Speaker 3
I mean, there's always a snobbishness with anything Coltrane, I think, because it's it's undeniable. Yeah. I mean, you can never be like, cool. Chain six, man. Everybody knows Coltrane is good. But I do think that the true jazz snobs are going to feel like these are some of the most commercially viable, most accessible records, which I don't think is a bad thing.
00:34:50:10 - 00:34:57:08
Speaker 3
I think it's a good thing. I think Coltrane is playing is is super well presented here. So I don't know.
00:34:57:10 - 00:35:16:05
Speaker 4
I almost put a lot lower. So more towards like the accessible meter to like a 2 or 3. But it is Coltrane's, you know what it is. It's the truth. Like we were talking about like his ability to cut through the truth is uncomfortable sometimes. The truth. The truth is not always easy to take down. Yeah. Because he has this incredibly honest sound.
00:35:16:07 - 00:35:29:03
Speaker 4
Sometimes it's harder than if it were like, say, someone like Ben Webster or Lester Young. Yeah. That are going to give you a very syrupy. Yeah. Sonny Rollins like this. Really beautiful. Yeah. Big sound sometimes Coltrane sound.
00:35:29:03 - 00:35:33:18
Speaker 3
Coltrane not beautiful. No. Absolutely gorgeous. I've got a most beautiful, absolutely gorgeous.
00:35:33:18 - 00:35:38:12
Speaker 4
The most beautiful. Because it's a little bit more on the raw on a side. Yeah, for sure, for sure.
00:35:38:14 - 00:35:59:08
Speaker 3
But wouldn't you say that these records, these three records are some of his most, you know, sonically, like in terms of his sound because of the material, the way that he plays and wraps himself within this material, it's some of the most accessible. Yeah. I mean, yeah, for sure. It's still direct. It's still Trane, but it's still some of the easiest, I think access.
00:35:59:08 - 00:36:01:11
Speaker 4
I think it's the most accessible for sure. Yeah.
00:36:01:11 - 00:36:03:16
Speaker 4
Is it better than kind of blue?
00:36:03:18 - 00:36:15:20
Speaker 3
No, but I mean, I have maybe I yeah, maybe it is, I might, I might sweat, I might be equal with it. I mean I got no problem shifting this into there in terms of, you know, Apex Mountain or Desert Island Records.
00:36:15:20 - 00:36:20:08
Speaker 4
I think these three albums that you picked out ballads, Duke Ellington, John Coltrane.
00:36:20:08 - 00:36:21:21
Speaker 3
And I didn't pick them. They picked me.
00:36:21:22 - 00:36:31:06
Speaker 4
Know when Johnny Hartman, I think if you were to put if they were to come out as one album of like Coltrane plays ballads with these legends. Yeah, better than Kind of Blue. But.
00:36:31:08 - 00:36:37:19
Speaker 3
Yeah, maybe. So what about just the Hartman record? Because that would be seen as the greatest of these three, I think, in terms of.
00:36:37:19 - 00:36:47:11
Speaker 4
Population, honestly, I think all three are pretty equal. Yeah. At least in my eyes. I think they're all very close. And I think when you put them together like you have, it's pretty. It's pretty unstoppable. Yeah.
00:36:47:11 - 00:36:48:17
Speaker 4
Accouterments.
00:36:48:19 - 00:36:56:23
Speaker 3
I give it a nine. I mean, all three covers are great classic impulse records. There's nothing wrong with them. I mean, killing covers. Yeah, yeah, I mean, it's great.
00:36:57:01 - 00:36:59:11
Speaker 4
Okay. So, like, that was really fun.
00:36:59:11 - 00:37:07:18
Speaker 3
That was fun, man. Yeah. Hope you guys enjoyed. This is our first, like, breaking into a couple of different records. Our own little bespoke curated playlist, if you want.
00:37:07:18 - 00:37:08:03
Speaker 4
He's put.
00:37:08:03 - 00:37:09:05
Speaker 2
Two.
00:37:09:07 - 00:37:12:08
Speaker 4
Horrible words right together. Bespoke curated playlists.
00:37:12:21 - 00:37:16:11
Speaker 4
Yeah, man. So maybe we go out on a ballad.
00:37:16:13 - 00:37:23:04
Speaker 3
Yeah. How about that? Yeah, yeah, yeah, yeah. You don't know what love is. Yeah, it's a nice one. That's a classic.
00:37:23:06 - 00:37:33:07
Speaker 4
Hey, give it up for Bob drew on the bass, Caleb Kirby on the drums. Don't forget about our incredible rhythm section. Yeah, and leave us a rating and review. Oh, yeah. Back to that. Good. Leave a solo in.
00:37:33:07 - 00:37:39:08
Speaker 3
Our Lady's agreement, if you know what that is. You know, a little back to back in time, but job, man. Yeah. See you next time. Until next time.
00:37:39:08 - 00:39:14:15
Speaker 2
You'll hear it.
00:39:14:17 - 00:39:27:10
Speaker 2
Oh.