Unfortunately, Lady of Spain is the "Free Bird" of the accordion. I've known some great players and some no so great, like any instrument.Cotati Accordion Fest August 18 and 19 2018. Hundreds of accorianists playing "Lady of Spain" is something you will never forget no matter how hard you try.
I was interested in this so did a quick search and found this article: http://jerryjazzmusician.com/2014/0...cosby-john-coltrane-played-birdland-together/I remember reading that Bill Cosby appeared in a club as warmup for Trane and when Trane opened with Giant Steps, Cosby sang along with the head. I don't remember whether it was an account by Nat Hentoff or by J.C. Thomas (Chasin' the Trane). If the anecdote is true, then it's testimony to a live performance of Giant Steps.
That Art van Damme clip is for sure virtuoso, but in accordeon playing using a keyboard is not seen as the highest form of virtuosity. We had a Dutch accordeon virtuoso from Amsterdam who played an accordeon with only buttons (much more difficult). He normally played Amsterdam folk music, but also did some jazz things. Here is 'After You've Gone' played by Johnny Meijer:Thanks for this. I love virtuosity in many forms!
This is pure conjecture, but I'm not buying anything in the quote above. The idea that such innovative and master improvisors like Sonny Rollins and John Coltrane would balk at playing any of their compositions in live performance on the off chance that they wouldn't live up to the recorded version is highly unlikely, imo. I simply can't imagine that being the case.I wouldn't be surprised if Trane never played it before a live audience because if you listen to all of the 20+ takes that he did, you'll notice how the improv begins relatively tame and not very complex but evolves in complexity with each take. Out of the 20+ takes, number 17 is the version that most of us are most familiar with and it's the only take that one finds the transposition of (to my knowledge). My point is that perhaps he couldn't match the studio performance unless he did a lot of warm-up. It's just a guess.
I'm taking that guess because none of Sonny Rollins' recorded improvs of St. Thomas match his studio performance on Saxophone Colossus. His live performances aren't nearly as complex. I wonder if it was the same thing for Trane, only Trane didn't want to chance a lackluster performance of the tune.
I didn't say that Sonny Rollins balked at playing anything. I said that none of the live recordings (that I've heard) of St. Thomas matched his solo on Saxophone Colossus. I've seen Rollins live only four times. Each time his solo on St. Thomas didn't come close to the complexity of what I heard on Saxophone Colossus. I'm sorry that we've had different experiences.This is pure conjecture, but I'm not buying anything in the quote above. The idea that such innovative and master improvisors like Sonny Rollins and John Coltrane would balk at playing any of their compositions in live performance on the off chance that they wouldn't live up to the recorded version is highly unlikely, imo. I simply can't imagine that being the case.
And having been lucky enough over the years to hear Sonny Rollins and many other jazz masters playing live (unfortunately Trane was gone before I was going to jazz clubs), in almost every case what I heard in the live performance surpassed, and often FAR surpassed, anything they had recorded. Most of the top jazz musicians took full advantage of the freedom afforded in a live situation that doesn't exist in the studio. So no, if Coltrane never played Giant Steps live (and I would be surprised if he didn't), I don't for a second believe it was because he was afraid it wouldn't be up to the standards of the recorded version. As mentioned already here, just because it wasn't recorded live, doesn't mean he never played it live.
I like this live version better than the Saxophone Colossus version .I didn't say that Sonny Rollins balked at playing anything. I said that none of the live recordings (that I've heard) of St. Thomas matched his solo on Saxophone Colossus. I've seen Rollins live only four times. Each time his solo on St. Thomas didn't come close to the complexity of what I heard on Saxophone Colossus.
I wonder if Trane just wrote that tune as part of his on-going study process for that time period and by the time he had his first quartetThe more I understand the person John Coltrane, the more I see Giant Steps as a breaking of shackles. I've made the assertion that JC made Giant Steps to prove (mostly to himself) that he could play changes, all of them...to the extent of creating his own template. I find angst and tension with a boxed in feel whenever I listen to Trane's playing before Giant Steps. I think he made Giant Steps out of frustration and to prove a point. I don't enjoy hearing anyone play Giant Steps live and I've heard many do it. I wish it weren't such a litmus test.
Oh, about the number of takes...I think Tommy Flanagan et al were seeing it for the first time.