This relationship means portraying Seb - a self-described jazz purist who chafes at crowd-pleasing - via the extra-cheese sound and aesthetic of musical theater creates a pleasant irony. Listen to the Hollywood and Coltrane versions of each below. ItвЂ™s widely seen as a breakthrough moment for Coltrane, bringing him both new popularity (partially because of the familiar song choice) and critical renown, thanks to his almost-unrecognizable modal reinvention of the Rodgers & Hammerstein tune and use of the soprano saxophone.ДЄll four songs on the release are originally from a musical (or in the case of вЂњSummertime,вЂќ an opera), and two had already been on the big screen: вЂњSummertimeвЂќ (Otto PremingerвЂ™s now-lost 1959 MGM version of Porgy and Bess) and вЂњBut Not For MeвЂќ (the 1943 MGM version of Girl Crazy). The title track is a reinvention of The Sound of Music classic, which at the time was just two years old (to compare, jazz musicians today are already putting their own spin on songs from Kendrick LamarвЂ™s To Pimp A Butterfly). Take, for example, John ColtraneвЂ™s seminal 1961 album My Favorite Things.

вЂњI just wanted to get at that a little bit.вЂќ ItвЂ™s a part of American history that Chazelle explicitly wanted to spotlight: вЂњ had sort of a conjoined birth,вЂќ he told New York Magazine in December. It was only as musicians began to tinker with (and eventually subvert) those songs that the genres grew apart. In the era of those early musicals, jazz and pop were more or less one, which meant the songs they produced were simply hits that musicians across genres would be compelled to perform. The hundreds of musicals that soon followed, from the GershwinsвЂ™ Girl Crazy (1930) to the groundbreaking Stormy Weather (1943) to basically the entire Fred Astaire/Ginger Rogers oeuvre, created whatвЂ™s now known as the Great American Songbook. With that first вЂњtalkieвЂќ came the first movie-assisted jazz standard, the Irving Berlin-penned вЂњBlue Skies.вЂќ

Jazz and musicals have been tied since the very first feature-length вЂњtalkie,вЂќ The Jazz Singer (1927), which starred then-megastar Al Jolson as a Jewish immigrant trying to make it as a jazz singer (both in the film and outside of it, Jolson performed in blackface - the film was loosely autobiographical). The perverse thing, though, is that those same problematic musicals are actually an essential part of jazz history. 2 on Billboard 200 Chart, Weeknd Spends Third Week at No.

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