First Chapter Feature: Noble Sounds
Step into the world of cool sounds with Miles Davis and the dark shadows of Robert Johnson introduced by the joyous opening chapter of Joel Strauss’s easy guide to jazz and blues.
Noble Sounds offers a friendly journey into the world of jazz and blues. Author Joel Strauss shares his love for these uniquely American musical styles, guiding readers through their rich history and cultural impact. The book introduces key artists and important recordings, helping newcomers understand what makes this music special.
Strauss writes in a clear, conversational style that's easy to follow. He explains musical concepts without getting too technical, making the book accessible to those without formal music training. Personal stories and experiences add color to the narrative, bringing the music to life.
From Louis Armstrong to B.B. King, readers will meet the legends who shaped jazz and blues. The book explores how these styles evolved over time and influenced other forms of music. Strauss also offers listening recommendations, allowing readers to experience the sounds firsthand.
Noble Sounds is more than just a history lesson. It's an invitation to discover soul-stirring music that has moved people for generations. Whether someone is curious about jazz and blues or wants to deepen their appreciation, this book provides a welcoming starting point for exploring these enduring musical traditions.
CHAPTER 1 JOHN COLTRANE “MY FAVORITE THINGS”
John Coltrane cured my headache. I listened to “My Favorite Things,” and before the cut had finished, my headache was gone. Don't be surprised. People have made all sorts of miraculous claims for Coltrane's music; some even claim to have seen God while listening to Trane. This would have made Coltrane very happy, for that's exactly what he was after—nothing less than the vision of God.
Coltrane, nicknamed Trane, didn't start his musical career looking for God. He just wanted to play music. The Vision appeared later. First came the years of struggle. Trane, by jazz standards, was a slow developer. Many who believe he was one of the greatest jazz musicians (if not the greatest) forget how many years it took him to master his art. He was almost 30 years old before most people heard of him, when he joined the Miles Davis Quintet in 1955.
A musician who decides on a life in jazz is like the monk who dedicates his life to unending prayer and takes a vow of poverty. You hear about gold records ($1 million in sales), platinum (one million units), and even multi-platinum. A jazz album is a big hit if it moves 10,000 units. And jazz gigs are so few that most musicians have day jobs—sometimes as music teachers but often any sort of work they can get. If they strike it lucky, they might be offered a fairly steady job in a club, but often they take whatever there is.
A fellow sax player walking into a club in Philadelphia was horrified to see the very studious, shy, almost introverted John Coltrane “walking the bar.” This occurs when a musician, usually a tenor saxophonist, is supposedly gripped with such passion that he loses control of himself, jumps up on the bar and begins to honk and wail on his horn, head bobbing, eyes closed, shuffling from one end to the other, while the drunken patrons yell encouragement. No doubt, Trane needed the bread. Critics write about musicians as artists, which is fair enough. They forget these musicians are also out to make a living. Almost every jazz musician has had his time “walking the bar,” or its equivalent. Musicians say: “You got to pay your dues if you want to play the blues.”
John Coltrane spent more time than most paying dues. He spent six or more hours a day practicing. If a musician friend came by his home to visit, Trane would invite him down to the basement to practice for a few hours. He would even practice in his dressing room between sets at a club. When you hear Coltrane and maybe think he plays like a man possessed, you're right. He was on a quest: first for Excellence, then for Beauty, then finally for the Love Supreme.
If you want to hear Coltrane's Excellence check out the album Giant Steps or a number like “Chasin’ the Trane.” If you want to hear Coltrane's Beauty, I highly recommend “In a Sentimental Mood” off his album with Duke Ellington or “My One and Only Love” with singer Johnny Hartman. For his Vision, go directly to the album A Love Supreme, which I love supremely. I've taken the easy way out and selected his most famous song, “My Favorite Things.” I believe it illustrates Coltrane's excellence, beauty, and vision. '
Jazz has always taken music composed in another style and done something different with it—“jazzed” it up. “My Favorite Things” comes from the Rodgers and Hammerstein musical
The Sound of Music. It's a fine little tune and its’s nicely within the context of the overall show, but does it really qualify as the all-time greatest Richard Rodgers composition? Coltrane turned it into a classic. He did this on three levels: sound, rhythm, and interpretation. The sound on “My Favorite Things” is—for want of a better word—haunting. It stays in your head long after the track has finished. This haunting quality comes from Coltrane's choice of performing the number on a then-recently acquired soprano saxophone. In 1960 when Coltrane's version of “My Favorite Things” came out, the soprano was seldom heard. Only a few musicians played it. The most notable was New Orleans jazz great Sidney Bechet, a contemporary of Louis Armstrong’s. After Coltrane, many sax players began using the soprano as a second horn. The soprano produces an “oriental” sound absolutely right for the trance-like meditative mood Trane wishes to convey.
However, even before you hear Coltrane's soprano, the rhythm sets you up. McCoy Tyner (piano) and Steve Davis (bass) introduce the number in waltz time. But this is not your ordinary waltz. I had trouble convincing a friend of mine who plays classical music that “My Favorite Things” is really done in 3/4 time. Maybe she was expecting something by Strauss for students at the Arthur Murray Dance Academy. This is no Bavarian oom PAH PAH or Viennese DUM dah dah waltz. Davis on bass acts as the rhythmic anchor. He starts off accenting the first beat but not exactly on the beat. Sometimes he's ahead, sometimes he's behind. After the first few minutes, he moves the accent all over the place. Elvin Jones would probably rather poke a drumstick in his eye than go oom PAH PAH. No sir, Elvin does what he does best—cross-rhythms. He plays clear and for Elvin, known as a power drummer, rather subdued, relying on his cymbal and snare drum with some subtle bass drum accents here and there. Meanwhile Tyner lays out easy-going block chords (chords played simultaneously with both hands). The combination of Davis-Jones-Tyner creates a hypnotic meditative mood. Simultaneously they provide a fluid rhythmic reservoir for Coltrane to float in, pleasant musical waves on a calm, clear lake.
And in floats Coltrane. He plays the first 16 bars pretty much the way Richard Rodgers wrote them. Well not exactly because Coltrane plays jazz so the notes don't fall exactly on the beat and since no one is playing on the beat; anyhow, it all blends together. Anyway, you know right off what you're listening to—“My Favorite Things.” And you also know right off this is no ordinary version of “My Favorite Things”; something special is happening. Coltrane is one of the most lyrical ballad musicians in all of jazz. He played only ballads he loved and had the ability to convey that love to the listener.
Tyner-Davis-Jones does eight bars of what is now becoming hypnotic rhythm and back comes Coltrane for a repeat of the first half of this 32-bar song. In fact, you won't hear the second 16 bars of the Rodgers melody until the ending of Coltrane's version. After this second statement of the theme, Trane flashes some of his fantastic technique at you for 24 bars. Then two more repeats of the theme where he begins to unwind with a few flurries of notes at the end, after which comes another 16 bars of technique.
All this, at its most elementary level, is building and releasing tension. You hear the intro in a minor scale with beats falling every which place, and the tension starts rising. What is this all about, you wonder. Coltrane plays the melody in a major scale, and you begin to relax. Then the minor scale and cross-rhythms—tension. Statement of the melody—release. Then Trane does some serious BLOWING—tension. Restatement of the melody—release. And so it goes.
Coltrane turns it over to McCoy Tyner's piano. Tyner’s job is to put you in a euphoric trance. At one point Tyner plays the same right-hand note for 16 bars while his left hand keeps the chords going. Then 16 bars of moving off that note and returning: up and back, down and back, up and back, up and back, down and back. Tyner builds and builds with his blocks. Builds and builds; four and a half minutes building and building. You're in no state to ask what he's building to. You know he's building to something.
Coltrane returns with a fairly straight run-through of the 16-bar melody. And then he lets loose with six minutes of the most beautiful sounds you can possibly imagine. Trane soars, glides, dips, climbs, circles. Flurries of notes, “sheets of sound” (writer Ira Gitler’s term): These come flying at you. Trane does some flat-out amazing interval jumps at triple speed. He plays so wildly, and so wonderfully, it is beyond my limited ability to describe these six minutes in words. I can call it a musical ecstasy. Only once during his solo does Trane restate the theme to remind you that this ecstasy is about “favorite things.”
What favorite things? His favorite things. Your favorite things. the things you love. the things that have the most meaning in your life. Somehow Trane knows. And you know that he knows. How can he know? Elvin Jones, many years later, said Coltrane was “... like an angel on Earth. This is not just an ordinary person. I've been touched by something greater than... than life.” It seems to me Trane knows that although our favorite things are different, we all have our favorite things. And this unites us to him and to each other. And realization of this unity of us all is Trane's ecstasy.
Finally he plays the entire 32-bar melody and ends it… slowly, beautifully. We come out of our trance and float lightly down to earth. What an experience—all 13 minutes of it. Now you know why “My Favorite Things” is one of my favorite things and how John Coltrane cured my headache.
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Coltrane is a musical genius. Thanks for sharing.