Take Some ‘Giant Steps’ Part Two
Last time, I explored the basics of the abstract and beautiful chord progression that saxophonist John Coltrane made famous on his Giant Steps album. To summarize, the “Coltrane matrix” utilizes IIm–V7 clusters and V7 chords to frame key centers that move up or down in major-3rd intervals. Unlike the conventional jazz harmony found in American songbook standards and their derivatives, the Coltrane matrix key centers don’t move with regard to the circle of 5ths. This month’s column continues to explore the tricky progression.
Previously, I explained how the Coltrane matrix is a useful substitute for simple IIm–V7–I progressions. On my first CD, Tale of the Fingers [Concord Jazz, 1993], I played the Coltrane matrix in my solo over the changes to Paul Chambers’s composition “Tale of the Fingers” (Ex. 1).
To master “Giant Steps,” start slowly with simple patterns (Ex. 2). The beauty of Coltrane’s original solo is that he combines a lot of simple melodic fragments into a complex mosaic of sound. When you have the Coltrane matrix in your ears and under your fingers, you can use the pattern to alter standard progressions, or “go outside” a basic harmony. You can even use the Coltrane matrix to create an ultra-slick line over the blues (Ex. 3).
Most important, get John Coltrane’s legendary 1960 recording Giant Steps [Atlantic]; it’s one of the most influential recordings in jazz history. For a bass perspective on this classic tune, check out John Patitucci playing 6-string electric over “Giant Steps” on his recording Now [Concord Jazz, 1998], or the very cool bowed version from Avery Sharpe on his recording Extended Family [www.itsaboutmusic.com]. Start slowly—need I say, with baby steps—and work your way into this classic piece of jazz history. After some solid hours in the woodshed, you’ll be blowing “Giant Steps” with the best of the saxes.
