My Favorite Things
LP (12" album, 33 rpm)
Frequently bought together
Customers who bought this item also bought
Customers who viewed this item also viewed
Another Coltrane landmark, in which he lends his inimitable style to pop standards.
This 1960 recording was a landmark album in John Coltrane's career, the first to introduce his quartet with pianist McCoy Tyner and drummer Elvin Jones and the first release on which he played soprano saxophone. It also provided him with a signature hit, as his new group conception came together wonderfully on the title track. It's an extended modal reworking in 6/4 time that brought the hypnotic pulsating quality of Indian music into jazz for the first time, with Coltrane's soprano wailing over the oscillating piano chords and pulsing drums. The unusual up-tempo version of Gershwin's "Summertime" is a heated example of Coltrane's "sheets of sound" approach to conventional changes, while "But Not for Me" receives a radical harmonic makeover. This is an excellent introduction to Coltrane's work. --Stuart Broomer
Showing 1-4 of 100 reviews
There was a problem filtering reviews right now. Please try again later.
"Every Time We Say Goodbye" is a slower tune, still very post bop. Coltrane hangs on to one note in the melody, and keeps repeating it, with different tonalities, different expressions, and then goes back to the melody once more. "Summertime" is an up temp blues, but with those unexpected Coltrane harmonies, finishing a phrase some interval up from where you'd expect it to go. And "But Not For Me" takes a standard and gives it the full treatment, with the Coltrane change substitutions in the head and then a more straight treatment of the chorus, all of which leads to an extended solo on those themes. It's just great music from the greatest tenor sax player of all time.
My Favorite Things
Pianist McCoy Tyner sets the pace and mood for Coltrane's lead sax. "Trane" gradually modifies the initial theme by varying the tone and note selection. Tyner trades leads on the main motif, and then, after experimenting with differently paced note repetitions, he gives the melody several twists--close to the original, but considerably fresher. Coltrane returns with a stronger, more confident reading, as if he and the band, having paid homage to the familiar, are now free to do their own thing. Coltrane blows long strings of notes, sometimes pinching them (a little like Jackie McClain) and, at other times, cascading the sounds like raindrops. Elvin Jones' tapping drums and Tyner's insistent piano add to this rainfall effect; one wonders whether precipitation is one of their favorite things. Finally, Coltrane finishes with a glorious twisting profusion of notes, spinning around his backing and ending on a tone of celebration and renewal. The playing is not overtly spiritual, but it has a similar effect. Though the song is not at all "difficult," it's definitely a great introduction for the Coltrane initiate.
Ev'ry Time We Say Goodbye
Over a languorous background that recalls the Bill Evans trio, Coltrane plays this ballad with sensitivity and lyricism. Tyner enters with a truly beautiful solo that emphasizes long strings of notes and superb chord dynamics. I'm really quite taken with the shimmering quality of the piece, another rainy day atmospheric piece that deeply interplays dark and light moods.
The band takes a more swinging, bold, and muscular approach. Coltrane reaches upwards with strong, rapid fire phrases, bassist Steve Davis is all over the map, Jones adds boppish drum accents, and Tyner combines his percussive and melodic powers. Coltrane's at the forefront, however, his pure, from-the-gut blowing giving the cut its power and heart. Tyner and JOnes continue in this strong, imaginative manner with superb bop playing. Davis finally has a bass solo, his thoughtful playing bursts with creative impulse (although an appreciation of the bass and repeated listening will yield the greatest rewards). Later, Chambers duos with Jones (sounding like Max Roach, but with fewer pyrotechnics) in an interesting, although not essential section. Coltrane closes the piece with some fierce playing, before leading the song briefly back to the melody.
But Not for Me
This has one of the most original opening riffs of modern jazz; it's like the famous Gillespie opening to "All the Things You Are." Coltrane restates the opening theme with some flat notes and a tone that is both sad and defiant. Overall, it has an unmistakable Coltrane sound, including his rapid, whirling notes. The approach is dissonant yet within harmonically reach of the melody. In other words, he expresses the melody through finding notes that mesh harmonically. At times, the riffs and even the melodic restatement sounds a bit like "A Love Supreme." As always, the rhythm section, especially the driving bass, brilliantly propels the song. During Coltrane's sax journeys, Tyner punctuates the sound percussiony accents. About midway through, he breaks into his own version of the theme, then takes off into a fluid--but hard-hitting and slightly abstract--solo that takes side trips along Coltrane's territory. The outstanding main riff and overall approach appropriately darkens the Gershwin tune, so that the brooding message ("they're singing songs of love, but not for me") is less the playful punning of lyricist Ira Gershwin, and more an acknowledgement and resistance of love's disappointment.
An album you'll play over and over again, with fresh insights and continued enjoyment each time.