1
In Soul Eyes:
A close look on John Coltrane’s ballads style
JCM 441 - Advanced Jazz History and Analysis
Professor Jeff Campbell
Final essay by Shaul Einav
April 2nd, 2007
1. Introduction
2. About the tune, background and analysis
2.1
Form & Harmony analysis
2.2
Melody – Harmony relation
3. First recording background and analysis;
3.1
Playing the tune
3.2
Relating to the melody
3.3
Formulas and motifs
3.4
Melodic phrases; scales and harmonic devices
3.5
Phrases contour and Activity level VS rests
3.6
Range and Dynamic levels
3.7
Conclusion: The Musical Offering by John Coltrane
4. Second recording background and analysis;
4.1
Playing the tune
4.2
Relating to the melody
2
4.3
Formulas and motifs
4.4
Melodic phrases; scales and harmonic devices
4.5
Phrases contour and Activity level VS rests
4.6
Range and Dynamic levels
4.7
Conclusions: The gentle giant
5. Comparing the two recordings
6. Last Conclusions
7. Full transcriptions
8. Bibliography, discography and references
1. Introduction
This essay aims to give the reader a deep look into two versions of Mal Waldron’s “Soul
Eyes”, as performed by John Coltrane in 1957 and in 1962. Through analyzing and
examining the different versions I hope to give the reader a spectrum of elements in
Coltrane’s ballad playing style. When analyzing the melodic materials, I tried to give
examples with different harmonic content such as treatment of II-V. I also tried to give
the reader a perspective on the changes that Coltrane had gone through from the first
recording to the second. These two versions of Coltrane playing “Soul Eyes” also reflect
the way he played other ballads in those periods.
Transcribing any ballad solo is trying to transcribe a feeling, or put a very strong
emotion into words, especially when dealing with a very emotional expressive musician
such as John Coltrane. The transcriptions offered in this essay are melodically accurate,
but rhythmically, it is very hard to put Coltrane’s notes into the common rhythmic
notation.
Important note
In order to be clear and understandable I’m using the “>” symbol as a continuation arrow.
4>3 = The phrase moves from the fourth note of the scale to the third.
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In a minor chords, I will mention the 3 as -3.
2. about “Soul Eyes”
In March 22nd, 1957, almost exactly fifty years ago, John Coltrane recorded his
first version of Mal Waldron’s striking new ballad called “Soul Eyes”.
The ballad was written in the same year, and this recording is the first recordings of the
ballad.
Mal Waldron, who was known as Billie Holiday’s musical director in those years
contributed a beautiful arrangement to the new record. Waldron was also a recording
supervisor for Prestige and therefore had more flexibility and a free hand in selecting the
materials and personnel for this session.
The recording was issued under Prestige LP OJC-292 that was entitled “Interplay
for two trumpets and two tenors”, a quite unusual ensemble in jazz history and especially
for that time.
Along with Coltrane, the record featured Bobby Jaspar (1926-1963) on tenor
saxophone, Idrees Sulieman & Webster Young - trumpets and with a rhythm section that
included Waldron himself on the piano, Kenny Burrell – guitar , Paul Chambers – bass
and Arthur Taylor on the drums.
Before analyzing the solos, it is important to understand the tune harmonic structure. It
will help us interpret Coltrane’s solos content properly.
2.1 Form & Harmony analysis:
The tune itself is a 32 measures standard structured by a form of two “A” sections with
different endings.
First A:

Bars 1-4: The tune start on the tonic (Cmin) then goes to the dominant, then back to
tonic and then to IV7+11.
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
Bars 5-8: The IV7 changes to the diatonic iv which function as ii/iii, then comes v/iii,
and right after another ii-v now of the iv degree. The ii-v does not resolve to the
expected I (Fmin) but resolved to vi, which is also the relative major of iv.

Bars 9-12: The vi descends to a ii/v > v/v which put us in a new key of the moment of
G major. Then the tune modulates again to Gb in a simple V – I progression.

Bars 13-16: After the modulation to Gb the harmony descends to a ii/III - V/III – III,
after that the harmony descends by a half step to ii – v which leads us back to the
tonic.
Second A:

Bars 1-10: identical to the first A.

11-16: The ii/v – v/v from bar 10 now resolve diatonically to Gm7-5 which function
as a ii/iv – v/iv. Then the vi (Fmin) function as ii/iii – v/iii which resolves to III, then
the harmony descends by a half step to a ii-v.
The last four bars are an extended verse of the last 3 bars of the first A by different
harmonic pace.
2.2 Melody – Harmony relation;
The melody emphasizes the tension notes of the scale through the whole piece.
Bar 2: the B natural is diatonic to the temporary chord but is non-diatonic to the key of
the tune. It is the natural 7th which is to be found in the harmonic or melodic minor.
Moreover, the B natural is coming after a leap and not stepwise which makes it even
more dissonant. Two compositional tools that soften this B natural is 1) the use of a
sequence that contains two descending 4ths (G-D , Eb-B).
2) The “compensation” with the ascending move after the B back to Eb.
Bar 6: This C# (which will be featured 3 more times in the tune) is another tension note.
In this case it function as the +9 of Bb7
Bar 8: The previous note, now as Db is the -9 of C7.
Bar 13: The Db appears again now as a chord tone of Gbmaj7.
Bar 14 of the 2nd A: The C# appears again as the +9 of Bb7 and being used as the climax
of the tune.
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After this brief analysis of the tune we can determine that the tune is using the
fundamental harmonic bricks of the traditional American song book standard.
However, it changes to different keys rapidly and chromatically which increase the
intensity level of the tune.
When simplifying the melody we see movements in thirds and fourths which are
not common in other melodies in the same idiom. In addition, the use of very dissonant
tone as one of the anchors of the melody (the Db or C#) contributes to the very erratic
feeling of the tune.
3. First solo - Background
The year of 1957 was a very fruitful year for John Coltrane. Critics and the
general jazz audience started to recognize him as the leading tenor saxophonist (it was
just when Sonny Rollins decided to retire for 3 years) and, in addition to playing with the
Miles Davis quintet in New-York’s jazz clubs, he was playing in the most important
venues such as the Carnegie Hall with the Thelonious Monk quartet. 1957 was the first
year Coltrane had his first record under his name1.
Associating with Monk, recording and playing his advanced harmonic structured
compositions led Coltrane to broaden his musical vocabulary in a different way than his
colleagues. One of the things that separated Coltrane from other saxophonists of his
generation was his superior technical control of the saxophone and, because of that and
his deep understanding of the harmony, he was able to play vertical successive tension
notes in dexterity that has not been heard by then.
Besides the musical aspects of this year, Coltrane mentions in his linear notes for
“A Love Supreme”2 record that:
1
2
“Coltrane” Prestige PRLP 7105
“A Love Supreme: Deluxe Edition” Impulse 314 589 945-2
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“During the year 1957, I experienced, by the grace of God, a spiritual awakening which
was to lead me to a richer, fuller, more productive life”
The practical meaning was Coltrane’s rehabilitation from drugs and alcohol, which he
was addicted to since the late ‘40s.
In the first recording of “Soul Eyes”, Coltrane’s solo begins after a solo by Idrees
Suliman, who could be mistaken for Miles Davis. At the time of the recording, Coltrane
was at the prime of the Miles Davis quintet and the preceding minimalist solo set the
ground perfectly just like he was used doing with Miles.
The solo contains extensive melodic ideas and can be characterized as a busy,
restless solo. What makes the solo vital is the rhythmic complexity that bonds with the
most tense chord tones. Coltrane’s mastery of the melodic minor, Lydian dominant scale
and the diminished scale are constantly challenging the listener’s ear.
I will now examine the solo under several categories:
3.1 Playing the tune
The first eight measures are played by the whole group in a 4 voice harmony
arrangement done by Waldron. The next eight are played by Coltrane. The sound quality
of Coltrane in the beginning of his bars is hesitant and not rich as his sound in the solo.
He doesn’t add more notes to the melody.
3.2 Relating to the melody:
Coltrane begins his solo away from the melody, but gives us a clue about the melody in
bars ten and eleven, by playing the Bb and then the Db. This is the only example where
Coltrane is playing the melody in the solo, and even this appearance is not obvious.
He does relate to the important tension note that appears in the melody as seen in
bars 29 and 55 where he plays the important Db.
3.3 Melodic motifs & formulas: Walking on the edge
The most prevalent formula in this solo is formula #1.
I’m defining it as a formula because it is not an idea that is being developed.
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Coltrane uses this formula in order to create a lyrical melodic line that contains in it the
most dissonant chord tones. The core of this formula is in its rhythmic-melodic shape that
repeats time after time.
This formula is usually built off of a large leap, then ascending or descending in
stepwise motion that repeats each note twice. In a few occasions the formula ascends and
descends immediately.

Bars 4-5: descending motion that starts on the b13 > 5 > 4 > +9 > -9 the line
resolves ultimately to the 5 of the next chord.

Bars 6-7: Coltrane plays the formula again, now ascending with a leap down to
the 6 > maj7 > 1 > 9 > 3 > 4 > 6.

Bar 39: This time, Coltrane uses the 9>3>5>7 arpeggio to reflect the F7 chord.

Bar 51-52: Coltrane starts on the coming root tone of Am7-5 then leap up to 5
and descend to 4>3.
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
Bar 54-55: As a response for the previous phrase Coltrane now begins on the
natural 5 of G although the chord is again a half diminished chord, then he
continues to nat.13 > maj7 > 1 > 9 > -3 > 4 and leap down to the b5.
In addition to these occurrences, the reader can find more examples of formula
#1 in bars: 18 & 22-23.
Formula #2 appears only twice in the solo is to be found in bars 11 & 14.
In this formula Coltrane emphasize certain minor chord tones by repetition.

Bar 11: Coltrane repeats 4>3>9>1 of the F-7 chord

Bar 14: Repetition of 7>-5>4>-3 of G-7b5. In this phrase Coltrane simply plays
the Ab major scale from the sixth degree to the second, which gives it an Aeolian
sound.
There is a close relation between the two occurances of this formula. They are basically
the same in rhythm, and they both express the Aeolian sound of the chord they are played
over.
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After analyzing these appearances we can see that Coltrane is using very closely
connected tension notes that are being resolved to a consonant chord tone immediately.
This way of phrasing resembles to walking on a cliff edge, with one foot on the safe side
and one is in the air.
Motifs;
In this solo, Coltrane does not develop a single idea. However, every new phrase strongly
connects to its predecessor.
3.4 Melodic phrases; scales and harmonic devices
Coltrane is using a very distinctive vocabulary in this solo. He does not use any
jazz clichés. One can find Coltrane phrases as excerpts of classical etudes or scale
exercises. What makes it genuine, though, is Coltrane’s ability of to connect these
excerpts into a meaningful, expressive improvisation rather than just ascending or
descending scales. Following are two very characteristic examples:
1. Bars 16-17, The single chord treatment
This phrase shows us how Coltrane can put a variety of notes over one chord
The phrase will be divided to 4 parts.

First part begin on beat 3, we see a beginning of scale sequence 3>1>9>3, we
would expect it to proceed into a 4>9>3>4 then 5>3>4>5 and so on.
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
Instead, Coltrane continues to the second part on beat 4 to: 4>9 #4>9
5>3>1>5.The 4>9 +4>9 leads the phrase into the descending arpeggio (5>3>1>5).
Once again, Coltrane doesn’t proceed obviously (4>9 #4>9 5>9 #5>9 etc.), and
the sequence of 4>9 +4>9 is broken.

The third part start on the end of the 1st beat; this part of the big phrase imply to
express IIm7b5-V harmony. The Dm7b5 can be found on the downbeat of 2:
D>F>Ab, and the G7 is expressed on the end of 2: G>D>F>Eb. The Eb is used as
an enclosure for the next note of the last bracket.

The fourth part is implying a C7+9 chord arpeggio that begins from the 3:
E>G>Bb>D# , after reaching the very dissonant +9 which is on a C7-9 chord
Coltrane proceed to another dissonant tone of -9 before resolving it to the C
(which is now function as the Ab 3).
2. Bars 43-46; II-V treatment
In this phrase we can see how Coltrane treats the II-V common harmonic brick.
This phrase will be divided to 4 parts too:

First part begins with a descending arpeggio of the F-7 chord beginning from the
5 of the chord.

Second part – We see a similar content from the previous example only now it’s
with maj7>5 to 7>5 resolves to 6.
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
The beginning of this third part implies a D Locrian scale that fits perfectly to
both of the chords (F-7 & Bb7) and by that connects them in a melodic way.
However, at the 4th 16 note of the 1st beat Coltrane uses a chromatic note that
leads him to the 7 of Bb7. This chromatic tone comes from the dominant bebop
scale3 of Bb. as expected; the following notes are coming directly from the Bb
dominant bebop scale.

The last part of the phrase begins with an ornamented enclosure to the 5 of the
Bb, then, a leap to the 9. From here, we can see, just like in the previous example
how Coltrane implies a II-V progression by using a descending arpeggio of F-7
that begins on the 3>1>5>7>1, following this arpeggio, he comes back to the
main chord of the bar – Bb7+9 and plays a series of ascending and descending
arpeggios, using the most dissonant chord tones:
Ascends: 3>5>+9 Descends: b9>b13>3>-3(+9)>-9 resolves to > 3 of Gm7-5.
If we pay close attention, we can see that Coltrane resolves the two examples to the root
of the last chord (1st example to C, 2nd example to Bb) but they are both being used as the
3 of the next chord in both occasions.
Diminished scale sequence phrase
It would be a crime to avoid the phrase in bars 12-13, since this phrase served Coltrane
through almost all of his recordings.
The phrase is built of the symmetric Whole-Half tone diminished scale4 using a sequence
of: half tone > leap down of a diminished fourth > whole tone > leap up of a perfect forth.
This scale contains almost all the tension notes of a dominant chord: +9, -9, +11, 13.
3.5 Phrase Contour and Activity level VS Rest
3
4
Bebop dominant scale 1>2>3>4>5>6>7>maj7>8
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Coltrane’s phrases are constantly balancing each other. After a descending phrase
an ascending phrase will come. Coltrane uses the old art of leap and stepwise motion to
compensate the leap.
Looking at the solo, Coltrane does not rest for more than 3 beats. The richness
and logic of his improvisation (both rhythmically, melodically and general phrase
structure) keeps the listeners attached. In my opinion, the fact that every note has a
meaning scale-wise and every phrase is balanced rhythmically and shape-wise makes this
solo, and Coltrane’s playing in general, unavoidable.
3.6 Range and Dynamics
The last aspect might be the most important one. When playing a ballad, more
than the notes, the feel and the variety of emotion a player can express is highly
important. The dynamics and the range of playing are the tools of expression in music.
Coltrane plays most of the solo in the second octave and uses the upper notes
extensively. However he doesn’t use the altissimo range. The second octave in the tenor
saxophone is known to have a very intense focused quality of sound. Using this range
was not common when playing ballads.
When comparing to the tenor saxophonist ancestors such as Coleman Hawkins
and Ben Webster, we will find that the ballad was usually played over the low-middle
register of the tenor5. Even Lester Young, who was a major influence on Coltrane’s style,
played ballads not higher than second C6. Coltrane’s range tends to stay between first A
to third F which is the highest note in the saxophone before moving to the altissimo range
which requires special fingering.
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The tenor saxophone range:
An example for Lester Young ballad style can be found on “East Of The Sun” / The Complete Aladdin
Recordings / Blue Note 32787.
6
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The dynamic Coltrane is using is even more evoking and surprising.
Coltrane uses through the entire first A of the tune a very assertive forte if not fortissimo
when playing in the upper part of the second octave. In the second A the dynamic calm
down, but still very strong.
The use of this extreme dynamic palate was very rare in ballads in those days.
“Shouting” the ballad like Coltrane did was the opposite of what the other saxophonists
would play back then. The ballad was played in a very soft sub-tone sound, usually using
mezzo-piano or in rare cases mezzo-forte.
In my opinion, combining the high register and the loud dynamics creates the
feeling that Coltrane wants to “force” the listener to listen, the energy level is very high
and it seems like Coltrane tries to manifest the listener with an important message, rather
than only entertain.
3.7 Conclusion: The Musical Offering by John Coltrane
To conclude this part of the essay, I’d like to put this phrase on the spotlight.
The last phrase of the solo (bars 65-66), is a perfect example of Coltrane’s unique
musical wit. Coltrane leaves the phrase open to the next soloist to comment, he doesn’t
finish the story. Instead, he writes a question mark by leaving the natural 6 hung in the
air. Indeed, the soloist, Mal Waldron continues Coltrane’s last phrase.
In Barbra Gardiner’s article – “John Coltrane” from Down Beat Music, 1962
The author writes:
“Gradually, the first wave of critical laughter passed and was replaced by a general
outrage or a sophisticated mockery. Writers articulate in their craft referred to him as an
“angry young tenor”, to his sound as “the bark of a dog”, to his ideas as “epileptic fits
of passion”
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Personally, I feel that this phrase, coming after a very technically demanding and
melodically challenging solo is what makes Coltrane’s playing so human and compelling
rather than rage or violent.
4. Second solo – 1962 – Five years later
During the five year period between the two recordings, Coltrane’s career took off
tremendously. He was known as one of the most modern and adventurous musicians in
the jazz world.
Coltrane traveled to Europe twice in this period and his popularity was in its peak.
The second recording of “Soul Eyes” finds Coltrane’s quartet after a major change,
bassist Reggie Workman leaves and is replaced by Jimmy Garrison in the beginning of
1962. This year was the beginning of what is now known as the “Classic Quartet”.
In the couple of years before this recording, Coltrane tries many musical
experiments, like recording with Don Cherry7 and recruiting new personnel to his quartet,
like Eric Dolphy on the bass-clarinet, alto saxophone and flute. Another experiment and
development in Coltrane’s playing was picking up the soprano saxophone. The soprano
saxophone wasn’t a solo instrument in mainstream jazz of the ‘50s. The last one who put
it on the spotlight before Coltrane did was Sidney Bachet.
It seems that in this record he settles down, at least for a brief moment in his
career. The record includes a variety of tunes of different styles such as:
The Inch Worm – a song that was written by Frank Loesser and was featured in the
biographical movie "Hans Christian Anderson", on this take, Coltrane plays the soprano.
Out This World – a free avant-garde version of Johnny Mercer’s tune. Miles Mode – an
interesting composition using modern classical music composition techniques (cancermirror). Tunji – a tune Coltrane wrote for Nigerian born drummer Ola Tunji.
In this recording of “Soul Eyes”, Coltrane takes the lead after McCoy Tyner’s
solo and improvises only on the first A section, then he plays the theme and finish with
an improvised coda.
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John Coltrane/Don Cherry - The Avant-Garde (Atlantic LP 1451, SD 1451)
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On recording sessions such as “Ballads” or “John Coltrane & Johnny Hartman”
Coltrane tends to take short solos, sometime playing only the theme with his
interpretation. On live performances however he used to play full-length solos.
4.1 Playing the tune
In this recording, Coltrane plays the theme with confidence. He ornaments the melody
notes with chromatic glissandos and appoggiaturas. Thus, he sticks to the original melody
and does not try to change any of the notes.
4.2 Relating to melody
In this solo, Coltrane relates to the melody through the entire solo. He uses the important
notes of the melody as milestones and connects between them.
1. Bar 3: Coltrane emphasizes the D natural that comes directly from the
melody.
2. Bars 8-9: quotation of the melody going from G>D.
3. Bars 10-11: quotation of the melody with an upper neighbor; Eb>F>G>D>Bb
4. Bar 13: quotation of the melody Bb>Db.
5. Bar 16: quotation of the melody Eb>Db.
6. Bar 19: quotation of the melody C>Eb.
7. Bar 23: Using the melody notes of C>B>D
8. Bars 27-29: emphasizing the melody notes Db, and then Bb.
4.3 Melodic formulas & motifs
In this solo, I couldn’t find a single formula or motif that is being developed.
Therefore we will now continue to the melodic phrases analysis.
4.4 Melodic phrases
By 1962, Coltrane developed an entirely new personal vocabulary. He’s not
playing any clichés and, moreover, it seems like his playing is full of completely different
melodic phrase conceptions from what he used in the first recording. The truth is that he’s
using the same materials, only now, not putting them into common phrase structure.
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Examples:
Bars 5-6: Dominating the dominant
I divided the phrase to 3 parts:
1. The phrase begins on the 5 (which was the 9 of the previous chord) and proceeds to:
3>-13>+9>9>-9
2. The second part is 1>7>1>-9>-5>-13>7>-9.
3. The third part is -5>-5>-9>3>-13
We had already seen Coltrane using all of this material in the previous solo, but
what makes this phrase different is the way he chose not to resolve the dominant and
different contour of the phrase. Coltrane basically uses almost every tension note
available – but not in a scale like grouping.
Bar 15 -18: II-V in a pentatonic state of mind
In this long phrase we can see two different melodic sources.
II chord: bars 15-16
Coltrane uses notes that derive from the Eb pentatonic scale with an addition of
the G which is the 9 of the chord. The use of this material is in a relatively simple phrase,
but in contrast to up-tempo tunes, or just Coltrane from the late fifties, this phrase is
rhythmically asymmetric and the notes are not grouped as in a scale like exercise.
V chord: bars 17-18
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In this part we see a statement taken directly from the melody of the tune,
Coltrane continues with a series of 16th notes:
-13>maj7>7>-5>+9>-13>+9>-9>-13>-9>7>-13>3
This complex phrase is obviously constructed of tension notes that are not resolved to the
tonic.
However, while looking on the phrase with a closer look, I found that except for the last
note, the whole phrase is built of Gb pentatonic scale:
What convinced me even more that this phrase is structured of a specific scale is the
phrase contour which looks like a descending 4-notes group sequence.
The Gb pentatonic scale played over the C7 chord gives Coltrane the sounds of:
-5, -13, 7, -9, +9
Major seventh pentatonic approach:
1. One more proof for the pentatonic language Coltrane uses is to be found in bar 24:
In this bar, Coltrane uses the D pentatonic scale with different displacement, using this
scale over the Gmaj7 chord gives Coltrane the sound of the Ionian mode.
2. A mixed phrase, built of pentatonic and chord arpeggio is to be found in bar 31:
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
In part 1 of the phrase we can see a simple descending and ascending Bb
pentatonic scale which contains all the Ebmaj7 chord tones.

The second part is implying a Bb7+5 chord which leads to the next series of Bb
pentatonic which basically mean Eb, so here Coltrane draws a V-I motion.

The third part is an ascending Bb pentatonic beginning on the 3rd note.
4.5 Phrase Contour and Activity level VS Rest
The phrase is not as rhythmically clear as the 1957 solo, but Coltrane sounds
much more calculated in his rhythmic ideas. The rhythms are abstract and don’t fit
symmetrically in the staves.
The contour of the phrases is not in one direction, but rather goes up and down
inside single phrases. The use of different intervallic sequences taken from various
pentatonic scales is what gives the phrases a very unique dynamic contour.
The end of each phrase doesn’t balance itself on each time but the next phrase does.
What prevents the sequences of sounding boring is the impulsive-abstract rhythm that
Coltrane provides to each phrase.
In terms of activity VS rest, this solo is much more relaxed attitude to it.
The amount of rests Coltrane takes is not larger than the 1957 solo, however, what makes
it more spaced and relaxed is the spaces that Coltrane leaves inside a long phrase, these
spaces makes the phrase much lighter to the ear. A good example can be found in bar 27:
4.6 Range and Dynamic level
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In this solo, the range Coltrane uses is similar to the range he used on the 1957 recording;
the highest note is 3rd F, and the lowest is 1st F, not a single use of the lower register of
the tenor saxophone8.
The dynamic level Coltrane uses in this solo is mezzo-forte / forte. Coltrane
alternates between the two dynamic levels, and each phrase and range gets another
treatment. Still, Coltrane uses loud dynamic levels that, by 1962 had already been a
trademark of his playing.
4.7 Conclusion; The gentle giant
Combining all of the aspects that have been examined gives us a picture of a very
advanced developed musician. Coltrane of 1962 has a new vocabulary that consist
various scales. We can even see that Coltrane had developed a definitive style of playing
the ballad. Coltrane pays allot of attention to the melody and try to make the solo
coherent to the melody and to the listener. The shape of the phrases, melodically and
rhythmically are advanced and sophisticated, and moreover very personal.
What convinced me more than anything else that Coltrane had a much more
mature way of playing the ballads is the calm-relaxed phrasing and use of dynamics,
which is not “shouting” but nevertheless, contain a high level of musical integrity.
5. Comparing between the two recordings
1.Relating to the
melody
2.Formulas & Motifs
3.Melodic phrases
materials
8
See footnote n.5
1957 Recording
Coltrane barely relates to the melody, there
are only three times where he plays the
tension Db note that is the feature note of
the tune.
Coltrane repeats one formula through the
entire solo.
There is no use of a single motif idea that is
being developed.
Extensive use of the diminished scale,
diatonic patterns (exercise excerpts),
Locrian & Aeolian modes. Every chord is
1962 Recording
Coltrane relates to the melody
through the entire solo, he quotes
the melody and uses these
quotations as a road-map for the
listener.
There are no formulas or motifs
in this solo.
The melodic material in this solo
is mostly derived from the
pentatonic scale.
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being expressed by arpeggio or a scale that
includes chord-tones and tension notes.
4.Phrase Contour &
solo contour
Each phrase is balanced and the phrases are
long and intensive:
Trane plays a pentatonic triton
above the temporary chord and
therefore creates a series of
tension notes combined in one
legitimate scale.
Coltrane uses various shapes of
phrases, some phrases remains
open to be balanced by the next
phrase.
The inner shape of the phrase
contains many ups and downs:
The whole solo is played with several peaks
without a pre planned scheme.
5. Activity level VS
rests
6.Range & Dynamic
level
The activity level is not balanced, Coltrane
force the listener to be attached to every
single phrase and doesn’t leave space
between the phrases. He doesn’t leave more
than 3 beats of rest over the entire solo.
Fortissimo & forte, very “shouting” quality.
On the other hand, we can still
find phrases that their shape looks
like the one from the 1957 solo
(bars 30-31).
This solo doesn’t have a pre
planned scheme that includes a
specific peak but it is structured
by the melody milestones that
Coltrane plays.
The activity level is balanced; the
phrases are shorter and have rests
inside them. The rests are not
more than 3 beats.
Forte & mezzo-forte
6. Last conclusions
After looking at this comparison chart, we can find clear evidences to a journey of
maturity that Coltrane has gone through. If in 1957 Coltrane was a prodigy tenor
saxophonist that used ordinary jazz materials in a fast rhythm and unconventional
grouping, in 1962 he is a complete individual musician with a unique vocabulary and
rhythmic conception.
If in 1957 Coltrane just blew into the horn without thinking about the melody, in
1962 the entire solo is understandable even though he uses much more advanced and
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modern vocabulary. In the 1962 take, the shape of the phrases and the entire solo are
more planned and structured than the 1957.
One of the facts that give a clear confirmation of Coltrane’s maturity is the
dynamic level that he uses. In the 1957 recording, Coltrane’s dynamic level was
distinctively loud and not compromising while in the 1962 recording, he use much more
subtle dynamic without losing his very personal sound. The dynamic levels are not so
different but Coltrane sounds much more mature and confident in his tone production and
his ability to control the dynamic.
These conclusions don’t try to avoid Coltrane achievements from the 1957
recording. The truth is that now days, the 1957 recording might even be considered to be
more revolutionary than the 1962 one. Coltrane was one of few who played ballads with
such high level energy, intensity and seriousness in those years.
For years, Coltrane’s sincerity, integrity and devotion to music had been a torch
that enlightened the life of many people. John Coltrane has been my favorite jazz
saxophonist and a main influence on my playing.
Writing this essay was another step in understanding the jazz language and Coltrane’s
language particularly. Analyzing the solos and deeply understanding the aesthetic
differences was very rewarding and extremely educational for me.
Shaul Einav, March 31st, 2007.
Bibliography & References:

Woideck, Carl.
The John Coltrane Companion, Five Decades of Commentary.
(1998 Schirmer books)

Porter, Lewis.
John Coltrane, His Life and Music.
(University of Michigan Press, c1998.)
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
Rosenthal, David H.
Hard Bop, Jazz and Black Music 1955-1956
(Oxford University Press, c1993)

Hester, Karlton E.
The Melodic and Polyrhythmic Development of John Coltrane’s Spontaneous Compositions in a
Racist Society.
(The Edwin Mellen Press, c1997)

Kernfeld, Barry.
The new Grove dictionary of jazz / 2nd edition

The John Coltrane Discography Project website:
http://www.jazzdisco.org/trane/
Discography used in the essay:
 The Prestige All-Star – Interplay For 2 Trumpets and 2 Tenors
Prestige PRLP 7112, recorded on March 22nd, 1957
At Sibley Library:
The Prestige Recording / John Coltrane
Media 419: Disc 2, track 9.
 John Coltrane – Coltrane
Impulse A-21, also issued on Impulse IMPD 215, Recorded on June 20th 1962.
At Sibley Library:
The classic Quartet: complete Impulse! Studio recordings
CD 11,682: Disc 1, track 6.