| Giant Steps |  | Artist: John Coltrane
Label: Warner Jazz
Category: Music
List Price: £9.99
Buy New: £7.98
You Save: £2.01 (20%)
New (17) Used (4) Collectible (2) from £4.24
Rating:  6 reviews
Sales Rank: 10433
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.1
Dimensions (in): 5.4 x 4.9 x 0.3
UPC: 081227361020
EAN: 0081227361020
ASIN: B00006H67D
Release Date: September 23, 2002
Shipping: Eligible for Super Saver Shipping
Availability: Usually dispatched within 24 hours
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| Tracks:
| • | Giant Steps | | • | Cousin Mary | | • | Countdown | | • | Spiral | | • | Syeeda's Song Flute | | • | Naima | | • | Mr PC | | • | Giant Steps | | • | Naima | | • | Cousin Mary | | • | Countdown | | • | Syeeda's Song Flute | | • | Giant Steps | | • | Naima | | • | Giant Steps |
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| Customer Reviews: Read 1 more reviews...
 Relentless Coltrane November 3, 2007
1 out of 1 found this review helpful
That is what Coltrane is on the title track of this album. At what is already a ferocious tempo Coltrane kicks into his first solo playing a double time solo where it seems every chord change has every possible note combination played. I was absolutely astonished when I first heard this. Ira Gitler used the term 'Sheets of Sound' to describe Coltrane's playing, and I'm sure it was this title track that gave him the idea. However don't misunderstand this album. This isn't the Coltrane of the mid 1960's onwards, where I do struggle to keep up with his more avant-garde playing.
The tunes on this album are very strong. 'Naima' is a beautiful slow number that hints at the ballads record he would record a year or two later. The vastly under-rated Wynton Kelly is the only musician to play a solo on this track. Its both lyrical and subtle and leads back to Coltranes repeated theme statement. 'Mr. P.C.' is a simple minor blues that belts along. Again though unless you are die-hard traditionalist there is nothing on this track that could be considered 'difficult'.
The other musicians are:
Lex Humphries, Art Taylor, Jimmy Cobb - Drums
Paul Chambers - Bass
Cedar Walton, Tommy Flanagan, Wynton Kelly - Piano
This is essential for any Jazz collection.
 yyyyyyyyyyyyyyyyyyyyyy October 4, 2007
Back when jazz was just a wild mass of sound that I didn't understand, Giant Steps was the object I turned to for some sort of solace. It was the album I felt I could get my head around most from the genre, and finally hearing sax noises blaring from my speakers that didn't make me want to bury the CD in a far away forest was always a welcome sign of change. While the title track and "Naima", a ballad composed for his wife, always seemed to be the picks for greatness from the jazz crowd, I was more drawn to "Spiral"; the opening melody takes the title literally, as it constantly curves downwards into a pit of jolted piano and drums, the latter of which has a lethargic swagger that I found completely captivating. Oh, and "Countdown" is just a crazed exhibition of skill, going from scattered rhythm to 100mph playing to undiluted melody all within two minutes. I can't say I understand why it's seen as the weakest cut on this record.
It wasn't the first jazz album I truly loved (that honour would have to go to the most overlooked masterpiece in the Mingus back catalogue: Pithecanthropus Erectus) but it was definitely one that I admired greatly, and I'll be forever in its debt for allowing me to edge closer to this new music world. I kept going; running past classic after classic until I managed to find myself a decent foothold in the genre. Ironically, this came in the form of free jazz, the artform at its most maddening and structureless.
Returning to Giant Steps after many months of Sun Ra, Charles Tyler and Pharoah Sanders, I find that it washes over me way more than it used to. More importantly, way more than I want it to. Man, it's still a technical tour de force, don`t get me wrong; some would argue that he never retained the hunger in his playing that he showed here, but I'm always gonna reach for Ascension when I want my monthly hit of Trane.
I guess I just find comfort in chaos.
absolute genius! June 21, 2007
5 out of 5 found this review helpful
A reviewer cannily called this "be-bop x10". I have to add +1 to that statement, there's (unfortunately) only ever been the one John Coltrane-nobody but nobody ever, regardless of instrument or genre has ever showed such complete mastery of their instrument in a "solo" context. Miles (in jazz circles) is ultimately & rightfully known to be the master for manifold reasons but nobody, even bird, coleman hawkins, sonny, diz or the master himself has ever displayed virtuosity quite like "trane".
This album marks the peak of this man's recorded prowess, yes, a love supreme is truly a supreme recording but for me, actually serves as a bookmark that pairs with this record. giant steps marks the beginning of coltrane's absolute peak of perfection & the impulse recording serves as the last truly great statement made by the man.
What an incredible couple of months april & may of 1959 turned out to be in the history of music! "trane" revolutionising, indeed re-inventing what could be done with an instrument as a solo voice with miles on kinda blue as miles turned jazz on it's head & then putting the pedal to the metal & blowing away everybody who thought they could still stun with ultra fast, slick be-bop principles despite miles having just provided an alternative expression, by making this album!
If you consider yourself a virtuoso on your instrument then you must have studied this album, if you're a discerning music listener please don't be put off because the melodies are strong, the grooves are hypnotic, the band are empathetic & inspired & you shouldn't believe the older reviewers who call it difficult listening.
If you appreciate great music & don't possess this album, whatever your taste, open your mind NOW.
Breathtaking November 25, 2004
22 out of 22 found this review helpful
'Giant Steps' overturned many of the stereotypes I had about post-war (more specifically 1950's) jazz. From most of the movies I've seen from that era, jazz was wallpaper music, bland background to the cliches on the screen. Imagine how I felt when I first put on 'Giant Steps'. This is definitely not "easy-listening".The energized melody of the title track bursts from the record in a relentless attack. The imagination of Coltrane's playing can best be heard on 'Cousin Mary' where he begins with swing before taking the melody on a world tour from the blues to the Far East. 'Countdown' sounds initially like uncomprimising free-jazz but there is a strong rhythm behind it that you can even snap your fingers to and there isn't a more delightful moment on the album than it's whistful ending. Coltrane's playing on the second version included here is even more astounding. Coltrane takes us on another journey back and forth between jazz's past and future with 'Spiral', swaying between a swinging tempo and a halting, Eastern-thinged descent. It's emotional intensity is a staple of this remarkable album. On 'Syeeda's Song Flute' the master gives the other players a chance to shine with Tommy Flanagan's playing unthinkably cool and unrelenting at the same time. The track segues ponderously into 'Naima' where Flanagan again comes to the fore with some of his most personal playing, while the saxophone smoulders. 'Mr. PC' combines all the best of John Coltrane and the backing trio on this album. His heady mixture of old-time jazz, swing and his own intense improvisations conspire to deliver a hothouse performance with the other players driving hard behind him. 'Giant Steps' is an album that any serious music lover should have in their collection, artistic, cerebral and emotional all at the same time.
Classic, early Coltrane August 27, 2004
11 out of 12 found this review helpful
This is a justly famous CD by Coltrane and features some of his most reknown compositions such as the title track, "Mr. P.C", "Countdown" and the beautiful ballad "Niama". However, there are a few other lesser known items included on the disc that are worthy of mention. "Syeeda's song flute " illustrates the influence of Thelonious Monk and is, perhaps, the closest Coltrane came to recording a light-hearted composition. On the other hand, there is the sadly neglected number "Spiral" that never seemed to make the "jazz standard" reportoire even though I believe this to be one of his finest tunes from this era.
Whilst Coltrane had further to develop, this is a fascinating recording in the you can literally hear the confines of hard bop creaking as the saxophonist pushes at the boundaries of jazz. Pianist Tommy Flanagan, one of the very finest of his generation, can be envisaged literally hanging on as the music builds up momentum. My biggest criticism is that a very poor quality piano was used for the session and Flanagan's solos almost sound like they are being played on a marimba. Luckily, the saxophonist dominates proceedings and this is not too great an issue, even though a studio would not get away with letting a respected musician playing such a duff instrument today.
Although "Crescent" and the album with Ellington remain my favourite efforts by John Coltrane, this is an essential purchase. Needless to say, every record collection should not be without this disc.
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