An Etude for a Brighter Day! - John Coltrane's "Mr. Day"
On numerous levels, John Coltrane's original 12-bar blues “Mr. Day” has always been an inspirational favorite of mine.
Recorded during an evening session on Oct. 24th, 1960, it became part of the classic Atlantic LP “Coltrane Plays the Blues”, which was released in July 1962, after Coltrane had moved to the Impulse! record label.
This session was part of several which took place that same week and which produced all the material for the Coltrane albums “My Favorite Things” - released March, 1961 - and “Coltrane's Sound”, not released until June, 1964 a well a the rest of "Coltrane Plays the Blues".
A previous version, slower in tempo and more deliberate, listed as “Mr. Day (aka One and Four)”, was recorded in Los Angeles about a month and a half earlier as part of a compilation for the Roulette label. Coltrane was touring the West Coast with his new quartet, which did not yet include Elvin Jones on drums, who joined the group a few weeks later. Instead Billy Higgins, an LA native, known for his work with Ornette Coleman and subsequently everyone else, was the drummer.
Recorded during an evening session on Oct. 24th, 1960, it became part of the classic Atlantic LP “Coltrane Plays the Blues”, which was released in July 1962, after Coltrane had moved to the Impulse! record label.
This session was part of several which took place that same week and which produced all the material for the Coltrane albums “My Favorite Things” - released March, 1961 - and “Coltrane's Sound”, not released until June, 1964 a well a the rest of "Coltrane Plays the Blues".
A previous version, slower in tempo and more deliberate, listed as “Mr. Day (aka One and Four)”, was recorded in Los Angeles about a month and a half earlier as part of a compilation for the Roulette label. Coltrane was touring the West Coast with his new quartet, which did not yet include Elvin Jones on drums, who joined the group a few weeks later. Instead Billy Higgins, an LA native, known for his work with Ornette Coleman and subsequently everyone else, was the drummer.
A few obvious elements that make "Mr. Day" so unique as a blues are:
The key of F# Major, with 6 sharps, is considered to be the “brightest” sounding Major key on the “bright – dark” continuum. It was likely no accident that this bright sounding key was chosen by Coltrane to express “Mr. Day”.
|| F#13 | | | | B13 | | F#13 | | B9 | A9 | F#13 | ||
They can also be seen and heard as sus chords with an added Maj 3rd.
There is an almost total absence of ii-V7 movement or cliches in the bebop sense.
- The uncommon key – F# concert, (tenor saxophone key – Ab)
The key of F# Major, with 6 sharps, is considered to be the “brightest” sounding Major key on the “bright – dark” continuum. It was likely no accident that this bright sounding key was chosen by Coltrane to express “Mr. Day”.
- The modified blues progression.
|| F#13 | | | | B13 | | F#13 | | B9 | A9 | F#13 | ||
They can also be seen and heard as sus chords with an added Maj 3rd.
There is an almost total absence of ii-V7 movement or cliches in the bebop sense.
- The consistent rhythmic pattern held by the piano and bass individually, throughout.
The 2-bar “clave-like” pattern played by pianist McCoy Tyner, is the deciding element, above all else, which gives this recorded version its inspirational character. This pattern, played or implied throughout, plus the various voicings used by McCoy, give the piano a sound reminiscent of a West African balliphone; his solo lines being Kalimba like.
The bass anchors with roots on beats 1 & 4 in the first bar of each 2-bar pattern in bars 1 – 8 and 11 & 12, rhythmically syncing with the piano pattern on the “and” of 3 in the second bar of each. Tension is released momentarily, as the rhythm is “swung” in bars 9 & 10.
The bass anchors with roots on beats 1 & 4 in the first bar of each 2-bar pattern in bars 1 – 8 and 11 & 12, rhythmically syncing with the piano pattern on the “and” of 3 in the second bar of each. Tension is released momentarily, as the rhythm is “swung” in bars 9 & 10.
The etude, based on the chord changes of “Mr. Day”, consists of 4 choruses of 12 bars each - the first chorus of which is a slightly tweaked version of an etude found in “Bluesitudes”.
I created a 12-bar loop with what sounded to me like one of the main piano voicings used by McCoy Tyner on the recording - just enough for me to play to on tenor. The tempo was set at 220 bpm.
The key of Ab for tenor saxophone is not one of your often played keys, or for that matter, either is F# or Gb concert for most any other instrument, so this is an excellent and challenging practice vehicle for familiarizing one's self with this key. Plus, as was recorded by 'Trane & Co., typical ii-V7 bebop cliches are virtually non existent, as are most dominant 7 alterations. The melodic and harmonic material which comprise “Mr. Day” is almost completely derived from three Mixolydian modes and their 13th chords.
I initially found negotiating bars 9 & 10 (B9 to A9 concert) and resolving smoothly back to the home key (F# concert) in bars 11 & 12 to be somewhat unfamiliar, and therefore uncomfortable. Remember, this blues moves from IV7 to bIII7 to I7, rather than V7 to lV7 to l7.
The simplest way to achieve this, though, is running an A Maj (concert) Pentatonic through both the IV7 & bIII7. Coltrane did this often in his solo. In fact, it's part of the "Mr Day" head. In simplest terms, this has the effect of F# min resolving to F# Maj.
But for a little more melodic variety, 'Trane also clearly enunciated each individual chord. This is represented here in the etude as well.
Examples 2 - 5 below are of the last 4 bars of each of the etude's four choruses (the full version can be heard and a pdf downloaded via the links below).
In analyzing this etude after the fact, it's interesting to notice how the melodic connections and resolutions between the three chords of the final 4 bars of each chorus take place.
Triads, 026 & 027 trichords plus some scalar movement are all in evidence here.
Noticeable on the A9 chord in examples 2, 4 & 5 are expressions of G Major. This implies the Triad Pair A & G Maj (2 Maj triads a whole step apart) with the bottom triad being expressed first.
Ex. 2
I created a 12-bar loop with what sounded to me like one of the main piano voicings used by McCoy Tyner on the recording - just enough for me to play to on tenor. The tempo was set at 220 bpm.
The key of Ab for tenor saxophone is not one of your often played keys, or for that matter, either is F# or Gb concert for most any other instrument, so this is an excellent and challenging practice vehicle for familiarizing one's self with this key. Plus, as was recorded by 'Trane & Co., typical ii-V7 bebop cliches are virtually non existent, as are most dominant 7 alterations. The melodic and harmonic material which comprise “Mr. Day” is almost completely derived from three Mixolydian modes and their 13th chords.
I initially found negotiating bars 9 & 10 (B9 to A9 concert) and resolving smoothly back to the home key (F# concert) in bars 11 & 12 to be somewhat unfamiliar, and therefore uncomfortable. Remember, this blues moves from IV7 to bIII7 to I7, rather than V7 to lV7 to l7.
The simplest way to achieve this, though, is running an A Maj (concert) Pentatonic through both the IV7 & bIII7. Coltrane did this often in his solo. In fact, it's part of the "Mr Day" head. In simplest terms, this has the effect of F# min resolving to F# Maj.
But for a little more melodic variety, 'Trane also clearly enunciated each individual chord. This is represented here in the etude as well.
Examples 2 - 5 below are of the last 4 bars of each of the etude's four choruses (the full version can be heard and a pdf downloaded via the links below).
In analyzing this etude after the fact, it's interesting to notice how the melodic connections and resolutions between the three chords of the final 4 bars of each chorus take place.
Triads, 026 & 027 trichords plus some scalar movement are all in evidence here.
Noticeable on the A9 chord in examples 2, 4 & 5 are expressions of G Major. This implies the Triad Pair A & G Maj (2 Maj triads a whole step apart) with the bottom triad being expressed first.
Ex. 2
Ex. 3
Ex. 4
Ex. 5
Below is a graphic of the first six bars of the etude. Download the free pdf and give the whole thing a look and a listen.
Ex. 6
Ex. 6
Listen
As mentioned, "Mr. Day" has always been both an inspiration to listen to, as well as a challenge to play.
Why did I record this short etude?
'Cause "It's my blog and I'll play if I want to!"
But hey - don't take it from me!
Listen to, transcribe and study from the source - John Coltrane himself!
Why did I record this short etude?
'Cause "It's my blog and I'll play if I want to!"
But hey - don't take it from me!
Listen to, transcribe and study from the source - John Coltrane himself!
While he was not necessarily politically outspoken during the demand for racial justice and equality during the 1950s and '60's, 'Trane was an inspirational icon as his music constantly evolved to reflect who he was as a Black man and artist in America. His musical message was always one of universal love and compassion - "A Love Supreme" is but one example.
His strong faith in humanity's gradual evolution toward perfection and enlightenment, regardless of the obstacles, was felt and understood by those affected through the spirituality of his musical legacy; then and since.
His message rings urgently clear today.
Like right now!
B. Stern
His strong faith in humanity's gradual evolution toward perfection and enlightenment, regardless of the obstacles, was felt and understood by those affected through the spirituality of his musical legacy; then and since.
His message rings urgently clear today.
Like right now!
B. Stern
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While the etude featured in this post is but a condensed 4 choruses, Coltrane plays 15 choruses, followed by McCoy with 7, folllowed by 'Trane with 6 more!
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The original "Mr. Day (aka One and Four)" was recorded in LA on Sept.. 8th, 1960, with Billy Higgins on drums, ca. six weeks before recording the definitive version in New York for Atlantic.
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