{"id":6148,"date":"2014-10-29T23:53:04","date_gmt":"2014-10-30T06:53:04","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=6148"},"modified":"2014-10-29T23:54:57","modified_gmt":"2014-10-30T06:54:57","slug":"chica-chica-boom-steps","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2014\/10\/chica-chica-boom-steps\/","title":{"rendered":"Chica Chica Boom Steps?"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;QJHEEjwGfK9BD1xwmUs4vs23hvuTE4Uz&#8221;]<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/10\/Coltrane-tenor.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/10\/Coltrane-tenor.jpg\" alt=\"Coltrane tenor\" width=\"200\" height=\"173\" class=\"alignleft size-full wp-image-6149\" \/><\/a>Conventional wisdom in jazz is that the harmonies in the bridge section of Rogers and Hart\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Have You Met Miss Jones?\u00e2\u20ac\u009d inspired John Coltrane\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Giant Steps.\u00e2\u20ac\u009d Recently Mark Gilbert, the editor of the British magazine <a href=\"http:\/\/www.jazzjournal.co.uk\"target=\"_blank\"><em>Jazz Journal<\/em><\/a> suggested that a more likely source was composer Harry Warren\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Chica Chica Boom Chic,\u00e2\u20ac\u009d from the 1941 film <em>That Night In Rio<\/em>. Pianist Jan Lundgren followed up with a letter to the magazine calling Gilbert\u00e2\u20ac\u2122s proposition a \u00e2\u20ac\u0153sensational discovery.\u00e2\u20ac\u009d Lundgren<a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/10\/Harry-Warren.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/10\/Harry-Warren.jpg\" alt=\"Harry Warren\" width=\"156\" height=\"200\" class=\"alignright size-full wp-image-6150\" \/><\/a> said his analysis showed that the way Warren (pictured right) used moving key centers in major thirds in the final strain of the novelty movie song is \u00e2\u20ac\u0153more or less exactly the way Coltrane used the sequence in the first important three bars of \u00e2\u20ac\u0153Giant Steps.\u00e2\u20ac\u009d <\/p>\n<p>Let\u00e2\u20ac\u2122s listen to and watch Carmen Miranda and Don Ameche perform the song. The section in question comes near the end of the movie clip, at 2:37. You needn\u00e2\u20ac\u2122t bother digging into your record collection for the comparison. Coltrane\u00e2\u20ac\u2122s 1959 recording of \u00e2\u20ac\u0153Giant Steps\u00e2\u20ac\u009d follows.  <\/p>\n<div style=\"text-align: center;\"> <iframe loading=\"lazy\" width=\"580\" height=\"360\" src=\"\/\/www.youtube.com\/embed\/KHJLm6WNEv4?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n<p>\n<div style=\"text-align: center;\"> <iframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"\/\/www.youtube.com\/embed\/30FTr6G53VU?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n<p><p>It is unlikely that we will ever know whether Coltrane was familiar with \u00e2\u20ac\u0153Chica Chica Boom Chic,\u00e2\u20ac\u009d but Gilbert\u00e2\u20ac\u2122s and Lundgren\u00e2\u20ac\u2122s speculation is intriguing.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;QJHEEjwGfK9BD1xwmUs4vs23hvuTE4Uz&#8221;] Conventional wisdom in jazz is that the harmonies in the bridge section of Rogers and Hart\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Have You Met Miss Jones?\u00e2\u20ac\u009d inspired John Coltrane\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Giant Steps.\u00e2\u20ac\u009d Recently Mark Gilbert, the editor of the British magazine Jazz Journal suggested that a more likely source was composer Harry Warren\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Chica Chica Boom Chic,\u00e2\u20ac\u009d from the [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-6148","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6148","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=6148"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6148\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6148"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6148"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6148"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}