Coltrane first recorded this piece in 1960 in an innovative interpretation that already sounded radically different from the original, catching Coltrane in the formative stages of his new, modally-based, “avant garde” sound. Interestingly, one of Coltrane’s favorite vehicles for his combos’ sonic explorations was the Richard Rodgers and Oscar Hammerstein II tune “My Favorite Things” from the musical The Sound of Music. In this search they are rediscovering avant garde jazz for the numinous properties with which it was often consciously imbued by its greatest purveyors, notably Sun Ra (who claimed to hail from the planet Saturn and sought to produce music that corroborated his claim) and John Coltrane (whose fascination with “outer space” themes manifested itself more in mystical and spiritual explorations than in science-fiction fantasies). Today, many people of a younger generation, musicians and non-musicians alike, are looking for what Michael Bruce McDonald calls “an experience of the sacred” (275).
MY FAVORITE THINGS BRASS QUINTET SHEET MUSIC FREE
The resulting music was given many names: free jazz, avant garde, the “new thing.” As the decade ended, however, this style of jazz was largely abandoned in favor of more “psychedelic” electronic sounds and jazz-rock fusion. They also brought improvisation to new levels of intensity and complexity, taking greater liberties with respect to the duration, content, and structure of solos, and delving into an unprecedented amount of group improvisation. They broke down traditional techniques and incorporated previously unheard scales, harmonic progressions, and compositional structures. In the 1960s, many jazz musicians, such as Ornette Coleman, Sun Ra, Charles Mingus, and Eric Dolphy, expanded the parameters of their music with respect to form, melody, harmony, rhythm, and texture. John Coltrane, 1960, Down Beat magazine “I’ve found you’ve got to look back at the old things and see them in a new light.” It was presented at the Tenth National Conference on Undergraduate Research, April 1996, University of North Carolina-Asheville and at the Pi Kappa Lambda Spring Banquet, May 1996, Gustavus Adolphus College.
This thesis by Scott Anderson was completed as an independent research project for the Honors in Music History and Literature program at Gustavus Adolphus College, St.
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