alt Hacker NewsSure. It's also true that if you speed anything up enough it becomes impossible for anybody to play. But neither of those reductio ad absurdum observations tells us much.
The point is that this Vox presentation and many other articles on the Coltrane changes present them as so revolutionary that improvisers struggle, but on its own that's not true.
There are records which predate Giant Steps which are equally harmonically interesting and challenging and which similarly modulate through many key centers, like Con Alma [1] by Dizzy Gillespie from 1954 or Lush Life [2] by Billy Strayhorn from 1948.
What Coltrane did with Giant Steps was akin to calling for Lush Life at 300 beats per minute.