This is another track off the album Sartori for a Hungry Ghost by local (Twin Cities) jazz/reggae group Parker Paisley (Park Evans, Guitar; Adam Wozniak, Bass; Brandon Wozniak, Tenor Sax; Pete Hennig, Drums), released April 2012 and recorded by Greg Schutte at Bathtub Shrine Studios in NE Minneapolis. I love listening to this entire album so definitely check it out–and if you like this solo then you’ll want to see/hear Adam Wozniak’s bass solo on the tune Third Persona, which I posted a month and a half ago. One of the really cool things about Park’s solos on this album is that they’re all different–in style and tone.
Matt Turner is a fabulous cellist and pianist based out of Appleton, WI where he teaches improvisation at Lawrence University (all three of us SKM contributors are LU alums). Matt plays with pianist Bill Carrothers, and has also played a fair amount with local Minneapoils group the Fantastic Merlins (visit his home page for the full discography–it’s extensive). From listening to this solo you might be able to tell that Matt’s musical background involves a certain level of mastery of jazz piano, as the harmonic implications of his melodic lines are very clear and intentional. This is very different territory from the totally modal Eugene Friesen solo I posted a while back, as there are some nasty changes to navigate, and huge lateral flexibility as there’s no rhythm section.
This track is off the album Sartori for a Hungry Ghost by local jazz/reggae group Parker Paisley (Park Evans, Guitar; Adam Wozniak, Bass; Brandon Wozniak, Tenor Sax; Pete Hennig, Drums), released April 2012 and recorded by Greg Schutte at Bathtub Shrine Studios in NE Minneapolis. You should definitely check out the rest of this tune, and the whole album, and know that all four of Parker Paisley’s members (not to mention engineer/drummer, Greg Schutte) are hard-hitting Minneapolis locals who play with many other amazing Mpls bands such as: the Atlantis Quartet (Brandon and Pete), the New Primitives (Park), Dark Dark Dark (Adam), the Fantastic Merlins (Pete), Dave King’s Trucking Company (Brandon), and Firebell (Park). I actually know Adam from back in highschool when we used to hang out and jam in our friend Tony’s basement, so it’s really cool to be reconnecting with him and doing what I can to promote his music.
John Scofield sounds like no other guitarist I’ve ever heard, and the guy’s got some badass chops. This solo is a testament to his seemingly endless creativity and flare for holding a listener’s attention, so we’re talking about the whole deal right here. The entirety of this album is 200% listenable from start to finish so I recommend checking it out–it’s a collaboration between Scofield and “wide open” improvisers Medeski Martin and Wood.
This is one of my favorite tunes on the album for its cleverness, lopsided time signature, and killer solos! Rob Burger absolutely tears it up and Carla Kihlstedt swoops in and picks right up where he leaves off, both of them navigating 5/4 time like it’s their respective jobs. Which it is. So there you go. This tune has a very simple chord progression and A/B form which balances out the quirky time signature–and the tuba does a very clever hemiola bassline in the B sections (mm. 17-18, 21-22, 49-54) that’s just charming as hell, and really caught me off guard ten times I listened to it. The combination of simplicity, innovative quirks and killer playing epitomizes the impression I get from this whole album, so if you like this track I STRONGLY suggest buying the whole album.
“Born Under a Bad Sign”, written by Albert King and performed by: Cream (Eric Clapton; Guitar, Jack Bruce; Bass Guitar, Ginger Baker; Drums). From the Album ‘Royal Albert Hall: London, May 2-3-5-6 2005,’ released 2005 by Reprise Records.
I had always grown up listening to Eric Clapton, but I first came to know his music through the more mellow later stuff like MTV’s “Unplugged” from the early 90s. I also listened to compilation albums that treated the beginning of his career as having started in the 70’s with “Derek and the Dominos,” but it wasn’t until fairly recently that I really even knew about what even came before that: Cream. Clapton’s sheer virtuosity and extended soloing with his late 60’s British blues-rock supergroup forced many critics of rock music to stop dismissing it as noise, and start taking the medium seriously. All 3 members of the band were dedicated musicians who saw no draw in hopping around the stage, coordinating outfits, or smashing equipment to create a spectacle. Their pure devotion to the music made for stunning results on the 4 albums they released, each one seeming to push an already high bar progressively higher. After only 2 years together, Cream played their final live concert at London’s Royal Albert Hall in November of 1968 to a packed house in mourning.
I’m FINALLY posting a cello solo, and since I’m an improvising cellist, it’s about time. There are actually quite a few fabulous cello-playing improvisers out there, and Eugene Friesen is a leader in the field. This whole album, Carnival of Souls, is full of cello techniques and tone colors that you’ve probably never heard, some of them pulled from the acoustic bass, or even guitar lexicons. As a trio member, Friesen excels at holding down the rhythmic accompaniment with arpeggiations and intricate basslines, as well as soaring, lyrical melodies when Howard Levy takes over the accompanimental role.
Peter Bernstein plays jazz guitar the way I love to hear it played. Even with the wealth and density of harmonic and rhythmic concepts he employs, its all feel. Nothing takes precedence over feel, and its uniquely his own.
Hearing the Bad Plus for the first time marked a major development in my musical development; it was my junior year of high school and the coolest thing I’d habitually listened to prior to this was along the lines of Sugar Ray. That’s an exaggeration, but not as much as I’d like to think. I started really listening to bass lines and beat placement, and just ate it all up–we’re talkin’ Bootsy Collins/Fred Thomas/Tim Drummond/etc. (James Brown), Chris Wood (MMW), Ron Carter (Miles Davis/Herbie Hancock/Freddie Hubbard/A Tribe Called Quest), Larry Grenadier (Brad Mehldau), James Jamerson…and the list goes on.
Lady Be Good, written by George/Ira Gershwin and performed by: Django Reinhardt, guitar; Michel Warlop, violin I; Stephane Grappelli, violin II; Eddie South, violin III. From the album ‘Django Reinhardt Crazy Rhythm,’ released on the Iris Records, recorded in 1937.
This is the third transcription I’ve done in a row featuring Stephane Grappelli, and after this one I’ll do something different – but this trifecta of violin solos was just too cool to pass up.