Journal 12 – Mainstream Jazz
Pick an artist from the Mainstream: Miles Davis, John Coltrane or Charles Mingus. Listen to a musical selection from Kind of Blue (Miles Davis), Giant Steps (John Coltrane) or Mingus Ah Um (Charles Mingus). Make sure it is a piece not in the textbook. Write a paragraph about the piece using musical language. Make sure you tell us the name of the piece and why you chose it.
I chose “My Little Brown Book” by John Coltrane and Duke Ellington. This piece has a somber yet uplifting mood. Its tempo is relatively slow and cool. John Coltrane’s tenor saxophone performance is clean and smooth. The melody of the saxophone makes the song very recognizable. The performance dynamic of all instruments has a soft touch to the ears.
My selection for this week’s journal is “Mr.P.C.” by John Coltrane of his album “Giant Steps”. This fast-paced selection is a great tune for many different scenarios like exercising, studying, playing at an event, and is just an all-around upbeat song. I like Coltrane’s speed and intensity in this song and how every other instrument emulates this throughout the song. Looking into the song more “Mr.P.C.” is a tribute to a longtime collaborator with Coltrane, Paul Chambers. Technically “Mr.P.C.” is excellent with simple chord progressions allowing for expansive and creative solos all throughout.
My choice was Charles Mingus’s “Self-Portrait in Three Colors” as it’s rich texture and complex composition was extremely vibrant and changing. The piece opens up using dissonant harmonies that give an eerie landscape and creates a tense atmosphere in anticipation. Mingus’s use of contrasting dynamics and rhythmic complexity showcases a solid foundation for the brass and woodwinds to show their timbre and colorful sounds moving around the bass being in center focus. The piece’s innovation and development allows for the composition to make the listener feel all of it’s expressive phrases through spirit, struggle, and tension through it’s compelling and advancing dynamic.
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I chose the piece “Freddie Freeloader.” I chose this piece initially because of the
comments left on the YouTube video. Almost all YouTube music will have very positive
comments, but this one had a cult following compared to the other pieces on the record.
This YouTube video also had a very distinctive “Most Played” point. I see why the
comments are so attached to this piece in particular. It starts off very mellow with a
long-drawn-out trumpet part before erupting into a new trumpet theme. After the trumpet
solo, a saxophone solo comes next. The saxophone solo, I think, was the real star of
this piece. It was almost like it predicted guitar solos in the future. It sounded that
similar. At the end of the piece, when it’s just the drums and the piano, it feels like Miles
is giving the listener a break to process what just happened before ending the song.
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The piece I chose to write about is “Jelly Roll” by Charles Mingus. “Jelly Roll” starts with a piano stride, and the trumpet introduces the song with the bass playing almost quietly. The trumpet and saxophone have a beautiful syncopation that goes in and out of the song, and it is quite recognizable. There is also a playful melody throughout the whole song that makes it almost feel airy and conversational. The piano keeps the song together as various solos come out and give the song so much depth.
The piece I choose is “Blue in Green” by Miles Davis and Bill Evans. This is one of the most atmospheric, colorful, poignant, and beautiful pieces of music I have ever heard. The piece starts off with this super open ambient piano played by Bill Evans. It is then followed by the rich sound of Miles Davis’ trumpet. The melody in this piece is very slow and elegant. Another piano solo leads into the soothing sound of John Coltrane’s tenor saxophone. This solo adds just the right amount of excitement and dynamics that the piece needs. Miles Davis finishes with another solo reiterating the melody. My favorite part of this piece is the ending. The solo by Bill Evans is so ambient and harmonically interesting. The piece fades out like it was never even there…
I chose John Coltrane’s “Spiral” because of its hypnotic, cyclical structure and the way it showcases his evolving approach to improvisation. The piece opens with a modal feel, centering around a recurring harmonic pattern that gives it a meditative, spiraling quality. Coltrane’s tenor saxophone lines weave in and out of the changes with fluid phrasing, employing techniques like motif development and rhythmic displacement.
The rhythm sections creates a subtle, yet dynamic foundation, allowing him to explore the piece’s harmonic space with both intensity and restraint.
“Jelly Roll” by Charles Mingus stood out to me in his “Mingus Ah Um” album. Though I was wondering what the title had to do with the song itself, the music itself was interestingly relaxing, but also had that “slick and sassy” vibe that I enjoy in the jazz genre. The compilation of instruments contributing to their individual solos kept the song going and prevented the piece from simply “dragging on”. The mixture of individual roles between the instruments in each chorus, mixing up the song and bringing in new note composures helped with the same idea.
I chose “Better Git it In Your Soul” by Charles Mingus. The reason I chose this song was that it immediately used a very interesting technique from a sound design perspective. Right in the beginning it had the trumpet and vocals entirely paned to the right side. What this did was create a very interesting atmosphere allowing you to imagine where you were when listening to this song it also opened up space for the rest of the instruments to shine. The end result is a very dynamic song that is easy to follow.
I chose Freddie Freeloader by Miles Davis. The reason I chose this was because I absolutely love the phrasing done by Miles Davis on the trumpet. It is slow, it is specific and chosen precisely for the energy given by the song. The rhythm section done by the piano is very sudden, not crazy fast to the point we can’t understand it, every little part of this song in my opinion is done perfectly. The walking bass line delivers a great outline of the harmony and helps the trumpet, and the piano really shine. The tempo makes you relaxed, and interested in the music and every little part of it is done just right.
I chose “Flamenco Sketches” by Miles Davis because of its calm and expressive mood set up throughout the song. The piece features a slow tempo and a soft melody that almost makes it feel like the instruments are having a conversation with each other. Davis’s trumpet sound is very smooth and emotional, I personally love the trumpet in jazz pieces so I really enjoyed hearing it in this song. The rhythm section plays very lightly underneath, giving the soloists lots of freedom to explore with the piece. I really enjoyed the improvisation as it felt so natural and effortless, each note being placed perfectly. The peaceful, dreamy, quality of the piece drew me in right away and really made it stand out!
I chose “Spiral” by John Coltrane. The first thing that popped out to me was the saxophone sounded as if it were in a spiral which I thought was fitting for the name. Coltrane performs with flowing phrases that rise and fall organically over the consistent rhythm section. I really liked the saxophones tone I think it led the song. The percussion and bass line maintain a gentle but steady pulse below, which lets the horns more freely take over the melodies. I also saw the usage of dynamics, in which the music at times becomes louder and more forceful before returning to quieter, more contemplative sections. This really makes the work seem tense and releasing ironically. “Spiral” is more about conveying intense emotion by means of improvisation than it is about flaunting technical ability.
For this journal entry, I chose to listen to John Coltrane’s “Naima” from his Giant Steps album. I was drawn to this piece because, after listening to “My Favorite Things,” I wanted to hear more of Coltrane’s softer, more emotional side. “Naima” immediately stood out with its gentle, haunting melody and slower tempo, offering a beautiful contrast to the more aggressive, fast-paced tracks that Coltrane is often known for. The piece has a deeply lyrical quality, with Coltrane’s saxophone almost singing the melody rather than just playing notes. His phrasing is smooth and expressive, using dynamics and subtle shifts in tone to create a feeling of longing and tenderness. The rhythm section, especially the piano and bass, provides a calm, steady foundation that allows the saxophone to float freely over the top. I appreciated the way the piece maintained a sense of space, allowing each note to breathe, and the use of minor tonalities gave the song an emotional weight that really resonated with me. Listening to “Naima” felt almost like hearing a conversation or a love letter expressed purely through sound, and it deepened my appreciation for the emotional power that instrumental jazz can hold.
I liked John Coltrane’s “Syeeda’s Song Flute.” As a kid I played a lot of Zelda games and this piece reminded me of some of the soundtrack from Ocarina of Time. There is a lot of piano though which is different. I like the way the music leads back and forth in the process. It’s like an auditory adventure.
I really liked Freddie Freeloader by Miles Davis’ album kind of blue. This piece really stood out to me because it has a great laid back bluey feel. The song opens with a great swinging piano, which sets a lively groovy mood. The horn section takes their turns doing solos and it adds an extremely personal feeling to the song. The rhythm section keeps the groove in tune and keeps the song simple and sophisticated at the same exact time.
I chose Miles Davis and listened to “Freddie Freeloader” from Kind of Blue. I picked it because the title sounded fun. The song has a smooth, easy feel with a steady beat. Miles Davis plays a calm, clear trumpet, and the piano adds a warm, bluesy sound. Each solo sounds a little different, but they all fit together well. The music feels relaxed but still full of life, which made it really enjoyable to listen to.
For this assignment, I chose “Syeeda’s Song Flute” by John Coltrane in Giant Steps. The piece starts off slightly eerie, with a rhythmic hi-hat and spaced-out chords before the introduction of the saxophone. Coltrane’s solos start off very simply, with staccato lines ending with extended notes. As it continues, he gets much more complex with a quicker line and sliding between notes, reaching higher in register with each line. This style is mimicked in the piano solo in the middle of the song, as the rhythm section continues with the steady hi-hat swing. The piece is a great example of the swing history of mainstream jazz, with the complexities of other jazz elements adding to the song.
‘Cousin Mary’ off the album Giant Steps starts with a nice repeating tense riff before breaking into a slow solo. The composition is rather scant, having piano, sax, and a small drum kit. The solo continues for a couple minutes, incorporating elements of the riff we heard at the beginning of the piece, and completely recontextualizing them, even just the 2-note vamp that forms the basis of the intro riff is a swiss army knife in his hands. When the piano picks up the lead, his solo is almost entirely removed from the musical ideas presented in the piece before, until the end when he begins to incorporate the 2 note riff. The drums have a small but interesting solo, sax picks back up the intro riff, and plays us out. Textbook, but amazing.
the piece that i have chosen is freddie freeloader by miles davis. freddie freeloader is from kind of blue by miles davis. this song had solos that spoke to each instrument. each solo gave the song a little more, and put an effaces on what the instrument is capable to do. this was a smooth song, and something about the trumpet solos really stood out to me. at first i only picked this song because of the title and how it stuck out to me, but now i know it was much more than that. it was a smooth jazz with one of the best trumpet solos.
I chose “Syeeda’s Song Flute” from John Coltrane’s Giant Steps because it immediately grabbed my attention with its playful, almost bluesy feel. Compared to some of Coltrane’s more intense pieces, this one feels lighter and more relaxed, but still full of energy and intricate playing. The melody is catchy and riff-like, played by Coltrane on tenor saxophone with a bright, joyful tone. The rhythm section — piano, bass, and drums — keeps a swinging, steady groove underneath, giving the tune a bouncing, forward momentum. During the solos, Coltrane showcases his fluid, fast-moving improvisation, but it never feels rushed; it sounds like he’s telling a story with his saxophone. I really liked how the piece blends simple melodic ideas with complex improvisational lines, showing Coltrane’s ability to make challenging music still feel accessible and fun. I chose this piece because it shows a different side of Coltrane — less intense and more playful — and it made me appreciate how versatile he really was as an artist.
For this entry I selected a piece by Miles Davis from the Kind of Blue album titled All Blues. It is a fairly long piece, but I enjoyed it. There is a steady back beat throughout providing a pace to follow. There were a few transitions in the tempo which seems to symbolize moods, and quite a few solos. Can’t help but wonder what was on his mind at the time.
I really enjoyed listening to “Open Letter to Duke” from Mingus Ah Um. It experimented with tempo and intensity, with some parts slow and sultry only to rev up to a bebop pace. Similarly, the piece had a variety of musical densities and textures: we had everything from smooth, relaxed sax soloes with minimal back-up to racing melodies with everything from sax to drums to piano, everything energetic and fast. I also feel that at the beginning, it had a more typical small-band jazz feel, but at the end it took on a more Latin flavor. All of this in one piece of music might seem overwhelming, but it felt fun and experimental, like a variety platter or painting practice, where the goal is to see how far you can stretch your medium and how many different methods or items you can try.
I chose “Better Git It in Your Soul” from Charles Mingus’s Mingus Ah Um album because it immediately hits with a sense of urgency and vibrant energy that commands attention. The piece opens assertively, driven by rhythmic shouts, hand claps, and a potent bass line that anchors its gospel infused swing. Mingus’s strategic layering of instruments, brass punctuations and spirited woodwind solos, creates a dynamic interplay that continuously refreshes the listener’s engagement. Practically, this translates into music that feels both celebratory and disciplined, inviting listeners into the emotional core without losing structural coherence. If it was just about technical skill, the piece would still impress, but because Mingus infuses it with palpable passion, it elevates beyond mere proficiency into something genuinely stirring and memorable.