Business Blast
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On Wednesday I’ll be in Boston, playing a new program called “James P. Johnson and John Coltrane” at GBH studios.
James P. Johnson and John Coltrane are from different eras, so it is comparatively rare for compositions from each to be placed next to each other. As far as I know they never met, but they could have, for many of the circa-1950 NYC jazz cats knew James P. personally, and Coltrane’s first records with Miles Davis were made in 1955, the year of Johnson’s death.
This new program is essentially two sets of etudes. James P. is serious stride piano, while the Coltrane pieces also have their difficulties, especially conceptually. Indeed, a couple of the things I’m doing like “Mr. P.C.” and “Spiritual” are rarely heard in a solo piano setting.
I don’t plan to keep playing James P. Johnson in concert forever, but for now, it is still quite unusual to hear his fabulous music in person—and also very nutritious for the performer. Last year I created a suite of James P. Johnson for the Mark Morris Dance Group called, “You’ve Got to Be Modernistic,” and this Boston gig gives me a chance to keep presenting this music in concert. (At times my left arm has gotten very slightly sore after so many hours of practicing the tricky uptempo “oom-pah” patterns.) My next “classical” record for Urlicht will officially document this James P. suite, and I plan to make the score generally available for anyone else who wants to play—or build their chops with—some classic stride piano.
As for Coltrane, he remains perpetually relevant, even in terms of what is happening now on the scene in 2026. As far as I know, there is no solo piano album of Coltrane melodies, although obviously McCoy Tyner’s tribute Echoes of a Friend is a partial contender. (Update: Harold Danko released one, After the Rain, as has LeeAnn Ledgerwood, Compassion. Marilyn Crispell also has a solo album, For Coltrane, with several Coltrane compositions.) Decades ago I took an oath to never play Tyner voicings, and it has been a long process to figure out how to deal with something like “Spiritual” without a Tyner fourth chord.
I am always pleased to see think pieces that reference what I’ve written here (or on old DTM).
George Grella on The Bad Plus.
Vinnie Sperrazza on Jason Moran, Brahms, and Ian Fraizer.
Jonathan W, two different essays, one on Wynton Marsalis playing standards and one concerning Mostly Other People Do the Killing playing Kind of Blue.
Ted Panken left a comment on my Wynton posts referring to a 2012 Panken article; Ted has now reposted this intriguing essay comparing Jazz at Lincoln Center to the AACM.
Other good things to read:
Mark Stryker on Miles and Coltrane at 100. Don’t miss the related top 10 lists!
It is heartening to see Hank Shteamer back in action in terms of music listings for NYC.
Ethan Strauss: “You May Not be Political, but Politics Finds You.”
This is the program...the last piece is sort of an homage to both composers
JAMES P. JOHNSON
Keep Off the Grass
Snowy Morning Blues
The Mule Walk
Jingles
Blueberry Rhyme
You've Got To Be Modernistic
JOHN COLTRANE
Blue Train
Lazy Bird
Spiritual
Naima
Mr. PC
After the Rain
ETHAN IVERSON
Cosmic Cycle
> oath to never play Tyner voicings
Thank you. Enough is enough.
> Solo piano Coltrane
Harold Danko's AFTER THE RAIN (Steeplechase 1995)