PDF Summary:3 Shades of Blue, by James Kaplan

In 3 Shades of Blue, James Kaplan examines the convergence of three iconic jazz figures: Miles Davis, John Coltrane, and Bill Evans. Through their intertwining personal and artistic journeys, we witness a pivotal period in jazz's evolution — from post-bop styles to modal explorations to the avant-garde.

Davis spearheaded innovative quintets and crafted landmark albums like Kind of Blue and Sketches of Spain. Coltrane fused his deep spirituality with musical genius, creating masterpieces such as A Love Supreme. And Evans, whose lyrical approach transformed the piano trio, left an indelible mark with his work alongside Davis and in his own recordings. Kaplan explores the highs and lows, triumphs and struggles of three musical titans whose artistry changed jazz forever.

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Kaplan emphasizes two critical events that influenced the artist's artistic development: his decision to join the navy as a way to avoid being drafted during the Korean War, which resulted in his first recording session in Hawaii with a makeshift band of white sailors, and his life-changing experience upon hearing Charlie Parker and Dizzy Gillespie in 1945 at the age of eighteen. He remembered their concert at the Academy of Music in Philadelphia as a profound revelation. Performing on stage with Joe Webb's, King Kolax's R&B bands, and Eddie "Cleanhead" Vinson's group, as well as his spontaneous jam sessions with Parker, filled him with artistic fulfillment and personal happiness, yet they also highlighted his quest to forge a distinctive musical persona.

The influence of heroin addiction on John Coltrane's evolution as a musician.

Kaplan portrays a difficult and prolonged phase of Coltrane's existence, characterized by his battle with heroin dependency that commenced in the latter part of the 1940s, intensified by the pressures of playing in a setting where, as Rollins noted, the bebop style, especially as exemplified by Charlie Parker, aimed to transform American culture. Rodney articulated the widespread yearning to be integrated into a broader entity. You strive to blend seamlessly into the group. Heroin served as our exclusive emblem, signifying our belonging to a distinct fraternity, a belonging for which we sacrificed all other aspects of our lives.

Kaplan details the consequences of addiction, highlighting the occasions when Coltrane failed to appear for performances or dozed off on stage. He underscores the irritation experienced by his peers who recognized his extraordinary talent and refers to the recollections of Dizzy Gillespie concerning the saxophonist's struggle with substance dependence.

The deep guidance profoundly influenced John Coltrane.

The author documents the crucial impact that Thelonious Monk had on shaping John Coltrane's career, beginning with their collaboration in 1954 following an encounter at a Philadelphia club, where they found common ground in their creative pursuits and personal histories. Coltrane, who had always been intrigued and impressed by Monk's distinctive harmonic sensibilities and unconventional rhythms, cultivated a deep bond with him based on reciprocal admiration.

Kaplan describes the thorough musical preparation that culminated in the 1947 piece "Monk's Mood," a tribute to his wife Nellie, which Coltrane was resolute in mastering. The author depicts the crucial, impromptu jam sessions at Monk and Nica de Koenigswarter's residences as key events that significantly influenced the direction of Coltrane's creative journey.

John Coltrane's path to a spiritual awakening also involved the evolution of his unique sound in music.

Kaplan delves into the profound impact of Coltrane's spiritual rebirth on his life, an event that, when combined with his deep romantic relationship with Naima Grubbs in 1955, his investigation into various global spiritual beliefs, and his triumph over addiction, launched him into an unprecedented realm of artistic innovation. John Coltrane credited a divine influence for guiding him to a more fulfilling and fruitful life, an epiphany he detailed in the liner notes of his renowned 1964 album, A Love Supreme, which occurred in 1957.

The narrative demonstrates how Naima's profound commitment to Islam provided a steadying influence amid the chaotic realm of jazz, while it also describes Miles Davis's approach of using firm but encouraging techniques to assist Coltrane in overcoming his dependencies, an endeavor that was further reinforced by Thelonious Monk's affirmative mentorship. James Kaplan delves into the progression of Coltrane's musical genius, emphasizing his development of the "sheets of sound" technique and his growing commitment to expressing spirituality and profound gratitude to the divine through improvisation.

John Coltrane rose to a significant stature among jazz aficionados.

Kaplan depicts the ascent of Coltrane in the jazz world, marked by growing artistic autonomy, numerous recording sessions, and increasing acclaim from reviewers. His first release with Atlantic Records, "Giant Steps," introduced at the beginning of 1960, received widespread praise and firmly established him as an important figure in the jazz world.

The author describes how Trane's performances at the Five Spot with Monk provided him with a chance for extensive improvisation, captivating a new wave of jazz aficionados and laying the groundwork for his subsequent musical explorations. He investigates Coltrane's evolution as a creator of musical structures and as a bandleader, his joint performances with Miles Davis, and the advancement of his groundbreaking concepts in harmony and rhythm.

The origins and societal influence of the iconic song "My Favorite Things"

Kaplan explores how the distinctive rendition of the deeply moving song "My Favorite Things" by Richard Rodgers and Oscar Hammerstein, initially showcased in the beloved musical "The Sound of Music," was crafted by the innovative musician. The writer details how a straightforward tune, set against the backdrop of "raindrops on roses and whiskers on kittens," transformed into an extended jazz composition lasting thirteen minutes, crafted by the saxophonist, and it became one of the most lauded jazz works of the 1960s.

Coltrane showcased his unique approach by incorporating the soprano saxophone into his array of instruments, choosing it as his main instrument, and his extensive improvisation was guided primarily by a two-chord vamp from the A section of Rodgers’ original piece, which also mirrored the Indian ragas that were inspiring him during that period.

John Coltrane's increasing inclination towards experimental jazz began to create tension in both his career and personal life.

Kaplan details how Ornette Coleman's groundbreaking approach to jazz, known by the early 1960s as "free," came into being. A veteran artist, attuned to unique musical expressions, acknowledged Coleman's contributions as a catalyst for innovation and began delving into avant-garde improvisational methods, sparking a spectrum of critical responses, some of which were not favorable.

The writer portrays a period of intense change and upheaval, characterized by Coltrane's decision to include the versatile musician Eric Dolphy in his ensemble, which was succeeded by Dolphy's departure, the onslaught of negative criticism over the increasing dissonance and extended duration of his performances and recordings, and his partnership with the groundbreaking Impulse! record company. John's spiritual journey, which once aligned with Naima's profound Islamic beliefs, eventually played a significant role in the breakdown of their marriage.

The creation of the deeply spiritual tribute known as "A Love Supreme."

The author explores the intricacies of Coltrane's "A Love Supreme," a quartet of movements that transcended conventional jazz ideas with its enigmatic and ecstatic characteristics, scrutinizing its unparalleled musical brilliance and deep religious significance. Kaplan takes us back to December 9, 1964, at Rudy Van Gelder's studio in Englewood, New Jersey, where Coltrane's ensemble, in a single, productive four-hour session, laid down the tracks for this remarkable work.

Kaplan delves into the parts of the composition: "Acknowledgement," "Resolution," "Pursuance," and "Psalm," emphasizing the album's core message of profound gratitude expressed in a musical language that blends gospel with innovative jazz influences and echoes of Buddhist spirituality.

In his last phase, John Coltrane delved into avant-garde jazz territories.

Kaplan delves into the final and most innovative period of Coltrane's work, marked by the entrance of Pharoah Sanders, a tenor saxophonist from Arkansas, in 1965, followed by the departures of McCoy Tyner and Elvin Jones, and the incorporation of Alice Coltrane, who contributed her skills on the piano and harp. Trane and his group ventured beyond their established musical limits, moving from the familiar modal beats of pieces such as "My Favorite Things" to a sonic realm that held an almost sacred allure.

The author details the changes in Coltrane's personal life, which encompassed his separation from Naima, his later union with Alice McLeod, who was a classically trained pianist and had similar spiritual goals, and the birth of their two boys. He recounts a period characterized by relentless shows and artistic obstacles, culminating in the production of Ascension, a 1965 work which a critic characterized as "cacophonous and discordant, akin to an unpleasant hallucinogenic experience."

John Coltrane's lasting impact as a legendary figure in jazz music.

Kaplan emphasizes how Coltrane expanded the horizons of jazz and transformed its possibilities, portraying him as a pivotal saxophonist. The author emphasizes the praise Coltrane received from various jazz musicians, including Dizzy Gillespie, who at first failed to understand the novel sound but eventually acknowledged its groundbreaking nature, and Sonny Rollins, who conveyed to Kaplan that his discussions with Coltrane were always imbued with a spiritual depth, as well as the trumpeter Wallace Roney, who spoke of Coltrane's quest to comprehend the fundamental nature of being.

The author delves into how, after his premature death from liver cancer in 1967 at the age of forty, Coltrane's groundbreaking genius elevated him to legendary status. He offers a detailed description of how the Saint John Coltrane Church in San Francisco came to be, a venue where Coltrane was revered as a saint, and he shares Miles Davis's touching homage to his former bandmate: "No matter what he played," Davis noted, "it was unmistakably the sound of Trane."

The artistic odyssey of Bill Evans, encompassing both his musical exploits and his battles with substance dependence.

Bill Evans, one of the three pivotal figures in the creation of "Kind of Blue," followed a path marked by quiet contemplation, setting him apart from the inward-looking Miles Davis and the outwardly expressive John Coltrane. Evans' proficiency in chord structuring, stemming from his background in both classical and jazz piano, allowed him to infuse his music with a profound melodic quality, which bestowed upon both his solo performances and the interplay within his trio a uniquely lyrical essence. Kaplan portrays a man constantly seeking balance, wrestling with his chaotic early life, the challenges of racial strife, and the relentless temptation of addiction as he endeavors to establish his own place within the world of jazz.

Despite a difficult family situation, Bill Evans dedicated himself to refining his musical talents during his formative years.

William John Evans was born in 1929 and became part of a family with complex relationships and considerable struggles in Plainfield, New Jersey. Evans was raised in an environment that nurtured his musical talents, thanks to the guidance of his pianist parents and community musicians, but he also faced a backdrop of emotional turmoil. Pat, the widow of Harry, characterizes their marriage as stormy, citing her late husband's struggle with alcohol dependency, his inclination towards gambling, and his abusive conduct.

Kaplan highlights the contrasting personalities, noting the younger sibling's tendency toward reflection and prudence, in contrast to the elder Harry's more assertive nature. Pettinger characterizes Bill as a compassionate person and additionally remarks on his significant intellectual abilities, which are paired with a delicate vulnerability akin to that of a young person who appears misplaced. The author details Bill's shift from a strict classical music background, where he held composers such as Rachmaninoff in high esteem, to a fondness for modern melodies, often taking breaks from his academic pursuits to visit Manhattan's jazz venues, where he would engage in spontaneous listening and improvisation.

Bill Evans's first venture into music harmoniously integrated his classical training with his growing fascination for jazz.

Kaplan narrates that Evans initiated his structured musical studies at Southeastern Louisiana College in Hammond after receiving a scholarship in 1947. The writer portrays a setting rich in musical influences that nurtured the classical composition abilities and the growing love for jazz of Evans, particularly his aptitude for spontaneous musical creation. Pat Evans speaks of her profound connection with music as an enthralling voyage of discovery, where she devoted her time to the esteemed institution for musical education, dedicating every possible instant to honing her craft, driven not by duty but by the pure joy of the experience. Students, drawn by his skill, began to congregate in the hallway adjacent to where he was rehearsing, keen to hear him play.

The author details Evans's military service, highlighting his participation as a flutist and piccolo player in the Fifth Army band in Chicago during the Korean War. In this time, Evans found himself increasingly drawn to classical music and the nascent style of bebop, and he also began to dabble in the use of marijuana and heroin. In 1955, after coming back to New Jersey, Evans immersed himself in intensive practice and study, which laid the groundwork for his debut in the recording industry, where he played as an accompanist for the singer Lucy Reed.

Bill Evans's harmonic style was greatly shaped by his work alongside George Russell.

The author explores the pivotal role that George Russell played, both as a composer and theorist, in molding the musical genius of Bill Evans. During the late 1940s and early 1950s, Russell was subtly transforming jazz through his innovative use of unconventional scales and modes, and he not only mentored but also developed a deep connection with Evans. In August 1955, as they sought relief from the sweltering heat, their lives intersected aboard the Staten Island Ferry for the initial encounter. Evans seated himself at the piano in their unassuming Beechwood Hotel room, and as he started his performance, the simple and unassuming impression Russell had was beginning to diminish.

Kaplan depicts the synergistic energy between the two musicians, their shared passion for the basic elements of music, and their journey into novel harmonic techniques specific to jazz. Russell, who had been Evans' mentor, introduced him to a novel approach that involved utilizing scales and harmonies in a way that diverged from the traditional major and minor key structures.

Bill Evans's trio transformed the conventional dynamics of the ensemble by elevating the status of the bass and drums to that of equal partners in the musical dialogue.

Kaplan characterizes Evans's approach to the jazz piano trio as an interactive dynamic in which the bassist and drummer provide much more than simple rhythmic support, but rather serve as key participants in a three-way musical conversation of equal significance. Evans's initial collaborations with guitarist Mundell Lowe reinforced his distaste for the traditional setup that usually grants the greatest creative freedom to the individual at the piano. While performing solo with Mundell's accompaniment, he frequently contemplated the intricate aspects of his musical ideas in comparison to Mundell's.

The author describes the pianist's passionate search for ideal musical partners, which reached a high point in 1959 when he selected the remarkably skilled bass player Scott LaFaro, younger by four years, and percussionist Paul Motian, with whom he had earlier performed briefly in Tony Scott's ensemble. The group led by Evans played a crucial role in transforming the landscape of jazz with their performances and recorded works.

Bill Evans collaborated with Miles Davis, breaking through racial barriers and achieving considerable artistic progress.

The narrative explores the complex relationship between Evans and Miles, characterized by their profound musical connection and difficult personal exchanges. After Red Garland left the sextet, George Russell recommended Evans to Davis, and throughout his following two-year period with Davis's group, he encountered considerable hostility from both his fellow musicians and African American jazz enthusiasts.

Kaplan highlights the contradiction of Evans's participation in Davis's groups in the late 1950s—an era marked by intensifying racial tensions and the rise of the civil rights movement in America—and his crucial contribution to shaping the unique sound of the sextet, along with Davis's increasing interest in modal jazz, which ultimately led to the production of "Kind of Blue."

His personal and professional life in the music industry was deeply impacted by his struggle with heroin dependency.

Kaplan details the continuous battle Evans faced with addiction, particularly to heroin, which molded his personal life and had a significant impact on his artistic output. Evans bonded with drummer Philly Joe Jones over their mutual heroin addiction, especially as he dealt with the loneliness of being the sole white musician in an otherwise entirely African American group.

The author describes the toll addiction took, citing the testimony of Evans’s various bass players and drummers: Paul Motian, Chuck Israels, Eddie Gomez, Jack DeJohnette, and Eliot Zigmund–as well as Evans himself.

Following his separation from Davis, Bill Evans maintained a remarkable level of lyrical sophistication within his compositions, even as he faced personal difficulties.

The author delves into the highs and lows of Evans's professional journey following his work with Davis, marking a phase distinguished by his considerable contributions to the arts and the challenges he encountered due to persistent substance abuse problems. Scott LaFaro's passing in July 1961 had a profound impact on him, leading to a six-month hiatus from the jazz world, after which he established a new trio that featured Chuck Israels handling the bass duties alongside his longtime associate Paul Motian.

Kaplan explores the progression of Evans's artistic and melodic voyage, highlighting his collaborations with Riverside and Verve, and featuring significant works like "Dialogues with My Inner Voice." He emphasizes the challenges of maintaining his career amidst personal chaos, such as his tumultuous bond with drummer and fellow substance abuser Ellaine Schultz, the loss of his father, and the growing consensus among reviewers that, despite his technical skill, he was caught in a creative impasse.

The collaboration between Bill Evans and Eddie Gomez led to a heightened emphasis on the double bass's role.

Kaplan delves into the profound partnership between Bill Evans and Eddie Gomez that began in 1966 and spanned over a decade. Gomez, a young virtuoso recognized for his avant-garde tendencies, encountered both benefits and constraints stemming from the concept linked to Evans's group, which some critics considered excessively confining.

The author ascribes Gomez's exit from the group in the 1970s to his intensifying heroin addiction. Gomez's bass lines gained prominence in many recordings and performances.

Bill Evans's final years were a pendulum swing between the joy of family life and the danger of succumbing to his dependency.

The writer portrays the final chapter of Evans's existence, blending tenderness and melancholy, while emphasizing a period marked by profound personal change and unwavering commitment to his artistry. This period was punctuated by his marriage to Nenette Zazzara, a move to the suburbs, and the birth of his son, Evan, amidst struggles with addiction, a feeling of artistic stagnation, and a deep longing for the past that had passed.

Kaplan details Evans's struggles with cocaine addiction, beginning soon after he and Nenette had settled down in Closter. He underscores the deep bond with Philly Joe Jones, a past associate who also battled addiction, the end of his marital relationship, and his meeting with and ensuing fondness for Laurie Verchomin, a young woman of twenty-two who recognized his exceptional ability and a man approaching the twilight of his life.

Practical Tips

• Explore the transformative power of collaboration by partnering with someone who has different skills or interests to create a small project. For instance, if you're a writer, team up with a visual artist to produce a zine that combines your poetry with their illustrations, mirroring the collaborative synergy of Miles Davis and Bill Evans.
• Use personal challenges as a catalyst for creative expression by starting a journal or blog where you document how you turn difficult experiences into opportunities for growth. This could be as simple as writing about how you overcame a fear of public speaking by joining a local toastmasters club, reflecting the way John Coltrane's personal losses fueled his musical journey.
• Integrate mindfulness into your daily routine to enhance your focus and creativity, similar to how Bill Evans's lyrical sophistication was maintained despite personal difficulties. Begin with five minutes of meditation each morning, focusing on your breath, and gradually increase the time as you become more comfortable with the practice.

The Development and Impact of Bebop Styles.

The narrative Kaplan spins intertwines the personal journeys of three individuals with a transformative period in jazz history, characterized by rapid changes in style that began in the late 1930s and accelerated thereafter. Throughout the 1940s and '50s, even with its broad popularity and rhythmically engaging qualities, swing music came to be seen by many jazz musicians as a limiting form, leading to the emergence of a new genre known for its fast paces and complex harmonies. Jazz developed as a result of significant artistic innovation intertwined with the complex interplay of societal and cultural forces within the United States, which, while raising its profile, also contributed to certain aspects of its declining appeal.

The bebop genre emerged dynamically with its inherent limitations.

The musical style commonly known as "Bop," marked by its swift eight-note patterns and dynamic vigor, drew inspiration from a wide range of origins such as the strenuous vocalizations and rhythmic innovations present in blues, as well as the complex harmonies and original compositions influenced by European classical traditions. Gary Giddins described it as a daring display of virtuosity.

Bebop arose as a groundbreaking style that disrupted the repetitive patterns inherent in swing.

During the early stages of World War II, groundbreaking African American jazz artists such as Dizzy Gillespie started to feel confined by the limitations inherent in swing music. The genre's musical compromises were partly due to its origins as a rhythmic diversion for a wide-ranging audience, and they were also linked to the racial humiliations inherent in the industry: Black performers often experienced a need to perform in a manner reminiscent of minstrel shows, infused with both irony and resentment, for largely white audiences. Billy Eckstine commented on the difficulties they encountered, emphasizing that their style of music was akin to a type of jazz usually played in concert venues. People initially moved rhythmically, yet shortly thereafter, they turned their focus to other concerns. Our music occasionally had a tempo that verged on being overly complex for dancing. Spectators were merely onlookers, since the setting was entirely inappropriate for dance.

The author details how the jazz landscape evolved during the war, observing that the enlistment of many musicians into the armed forces resulted in the continual introduction of new artists into dance and regional bands, which increasingly consisted of younger musicians more in tune with Charlie Parker's approach rather than that of the older swing era icon Goodman. The American Federation of Musicians' walkout stopped major orchestras from recording. The introduction of the Federal Cabaret Tax significantly discouraged nightclub owners from hiring big bands with memberships often exceeding twelve musicians.

Charlie Parker and Dizzy Gillespie pioneered a groundbreaking genre of music.

Kaplan highlights the emergence of bebop as a crucial development in music, crediting Charlie Parker and Dizzy Gillespie with crafting an entirely new auditory experience through their unparalleled musical talent and expertise. Gillespie, adept at juggling his commitment to his family and his business pursuits while remaining acutely conscious of his audience, offered a stark juxtaposition to Parker, whose tumultuous disposition frequently clashed with his environment because of his battles with substance abuse. Gillespie frequently mentioned that Bird's rhythm synchronized perfectly with the beat of his own heart.

The author chronicles the evolution of their collaborative efforts, beginning with their first collaboration in a group led by Clyde Hart in 1942, then moving on to their work with Earl Hines's band in 1943, and finally culminating in the creation of their famous quintet in New York in the summer of 1945. He narrates the innovative music they created in places like the Three Deuces, the crowds that assembled to experience their shows, the excitement it ignited, the inevitable conflicts between the two jazz icons, and the lasting impression they made on all their listeners.

The rise and subsequent decline of Fifty-Second Street.

Kaplan masterfully captures the essence of the classic jazz scene found in a small section of midtown, a single block within Manhattan known for its dynamic music scene before the conflict.

Other Perspectives

• While bebop was indeed dynamic, some critics argue that its complexity made it less accessible to the general public, potentially alienating listeners who preferred the more danceable and straightforward swing music.
• The assertion that bebop disrupted swing's repetitive patterns could be contested by highlighting that swing itself was a diverse genre with many innovative musicians who pushed its boundaries.
• The pioneering role of Charlie Parker and Dizzy Gillespie in bebop is well-established, but it could be argued that other musicians also played significant roles in the development of the genre that may not receive as much attention.
• The narrative of the rise and decline of Fifty-Second Street might oversimplify the complex socio-economic factors that contribute to the evolution of music scenes, and it may not account for the continued influence of the area and its musicians beyond its so-called decline.