Sep 22, 2026 · 50 min · 22 segments
*WIRED*’s Andy Greenberg explains how a cybercrime operation in Southeast Asia trapped computer engineers into defrauding victims of billions of dollars. Plus he discusses the scam involving *Fresh…
Andy GreenbergGuest
Terry GrossHost
Kevin Whitehead
It's filled with typical Coltrane gestures: the optimistic, upward leaping phrases, the built-in repetitions, the way he balances long notes and fast phrases.
Coltrane was one of jazz's all-time great practicers, which gave him a hard, majestic tone consistent all over the tenor saxophone's range and clean articulation at supersonic speed.
He was a late bloomer, apprenticing in his 20s with Dizzy Gillespie and master saxophone technician Earl Bostic.
We hear early glimmerings of Coltrane's mature tenor in 1954 when he backed his early sax idol Johnny Hodges, who taught him by example the value of a dramatic entrance.
[jazz music] In 1955, John Coltrane got his big break when Miles Davis hired him.
The saxophonist played a lot of notes while trumpeter Miles played famously few, and they tugged the music in opposite directions.
Coltrane's next boss, pianist Thelonious Monk, played even fewer notes than Miles, but in this case, opposites attract.
Monk and Coltrane sound like they approach the same musical problems from opposite directions.
[jazz music] Monk also indulged Coltrane's penchant for long solos, which Miles discouraged.
In this period, Coltrane would punctuate his improvisations with rapid up-and-down runs based on various scales.
Critic Ira Gitler called those outbursts "sheets of sound," one of the enduring jazz metaphors.
In the late '50s, Coltrane practiced out of exercise books for the harp, an instrument where fast scalar runs are easy.
[jazz music] Now Coltrane became even more preoccupied with fast-moving chords.
On his famous test piece Giant Steps, the chords change on every beat while bouncing around three distantly related keys.
In the studio, the great pianist Tommy Flanagan could barely keep up.
[jazz music] Miles Davis then advised Coltrane, "When you squeeze in a whole bunch of chords like that, don't make the rhythm section track your every move.
It's filled with typical Coltrane gestures: the optimistic, upward leaping phrases, the built-in repetitions, the way he balances long notes and fast phrases.
Coltrane was one of jazz's all-time great practicers, which gave him a hard, majestic tone consistent all over the tenor saxophone's range and clean articulation at supersonic speed.
He was a late bloomer, apprenticing in his 20s with Dizzy Gillespie and master saxophone technician Earl Bostic.
We hear early glimmerings of Coltrane's mature tenor in 1954 when he backed his early sax idol Johnny Hodges, who taught him by example the value of a dramatic entrance.
[jazz music] In 1955, John Coltrane got his big break when Miles Davis hired him.
The saxophonist played a lot of notes while trumpeter Miles played famously few, and they tugged the music in opposite directions.
Coltrane's next boss, pianist Thelonious Monk, played even fewer notes than Miles, but in this case, opposites attract.
Monk and Coltrane sound like they approach the same musical problems from opposite directions.
[jazz music] Monk also indulged Coltrane's penchant for long solos, which Miles discouraged.
In this period, Coltrane would punctuate his improvisations with rapid up-and-down runs based on various scales.
Critic Ira Gitler called those outbursts "sheets of sound," one of the enduring jazz metaphors.
In the late '50s, Coltrane practiced out of exercise books for the harp, an instrument where fast scalar runs are easy.
[jazz music] Now Coltrane became even more preoccupied with fast-moving chords.
On his famous test piece Giant Steps, the chords change on every beat while bouncing around three distantly related keys.
In the studio, the great pianist Tommy Flanagan could barely keep up.
[jazz music] Miles Davis then advised Coltrane, "When you squeeze in a whole bunch of chords like that, don't make the rhythm section track your every move.
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