This is actually an alternate take of the Jobim standard Corcovado done by Julian “Cannonball” Adderley from the album Cannonball’s Bossa Nova. It has got to be one of my favorite albums of all time, and Cannonball shows why. He has a very effortless way of playing, especially when attacking a difficult passage. Please do listen to the recording to hear this. While I may have notated all the notes, Cannonball does a great deal of “ghosting” notes throughout the section, gliding from phrase to phrase. Challenge yourself not only to perform the notes with accuracy, but also the the style in which Cannonball presents them.
I’ve always loved this solo and when I had to pick a tune to memorize and perform in my improvisation class back in 2006, I jumped on the opportunity to learn this one. Dexter has this uber hip, uber cool way of playing that is so attractive to me. In one line he can play something totally inside the groove and in the next he’s laying his lines so far back the band finishes the tunes before he does. Continue reading →
This is a great tenor battle between Joshua Redman and James Carter on the classic Monk tune “Straight, No Chaser.” This first transcription is only Joshua’s first four choruses. I’m planning on completing most (if not all) of the rest of this video over a series of 4-5 parts since it is quite lengthy.
Redman and Carter clearly have different approaches to the instrument and I find it very interesting to see how one kind of leads the other. In an aesthetic sense, I definitely prefer Redman’s style over Carter’s, but the two are so different and both players are clearly talented that I think it’s useless to talk about who “won” the battle. Though, if you read the youtube comments you’ll see there are fierce defenders in both camps. I think both players offer plenty to learn from. More to come in following posts. Happy shedding!
This a really amazing solo that will probably keep you busy for a long time if, like me, you decide to study it in depth. It is 17 choruses long and you can find it in David Hazeltine’s CD Autumn in Manhattan. This C7 blues solo is played at a very fast tempo. My recommendation is that you start playing it at about half the original speed and then gradually increase it as you begin to technically master the solo.
Gerry takes a “riff” like approach through out most of the solo and swings pretty damn hard. The start of the second bridge is probably my favorite part; the way he stretches out the time during those first two measures contrasts so nicely with the rest of the bouncy swing feel. Not many people can make the bari sing like Gerry can, definitely check him out if you haven’t before!
*I can’t seem to find my original Finale file for this transcription. I’m in the process of creating a new one so that I can provide Eb, Concert pitch and bass clef versions of the solo; hopefully in the next few days.
This Bennie Wallace solo from the album Bennie Wallace Plays Monk is quite a unique approach to the blues form. Quite honestly I don’t even know where to begin analyzing this solo in terms of harmonic language; this solo is far different from anything other I’ve looked at. Bennie is clearly influenced by Monk in his use of harmony, interval jumps and even phrasing. In a few spots he is definitely basing his lines (or at least parts of his phrases) around certain intervals – typically starting low on the horn and jumping up by 6ths, 7ths, 8ths or 9ths. A lot of the solo is “out” with respect to the chord changes which has a great tension building effect. Bennie eases the tension a few times by hinting at a resolution to the 3rd of the I7 chord (see mm 83, 107-108, 217).
Starting around mm 145 the bass drops out making it a drum/sax duet. This section builds to a frenzy with more frequent octave leaps (mm 151, 158, 163, 165, 173 etc…) and more 16th note lines and flurries of notes up until the bass comes back in at mm 205. Bennie counterbalances the frantic nature of the duet section by holding out a nice long G for three beats in mm 205 which brings the tension back down and leads to the end of Bennie’s solo.
I really wish I could provide the full solo for you to listen to because it is insanely awesome. Please check out Bennie’s website and pick up this track on Amazon or iTunes. Definitely worth it to get some different ideas on the blues.
Today’s post is a short and sweet Ben Webster solo over Duke Ellington’s rhythm changes tune “Cottontail.” Ben uses a fair amount of repetition to develop his ideas through the solo. In mm. 1-4 he repeats the rhythm while stepping down chromatically each repetition. Each bridge has an idea that he repeats throughout each chord change (mm. 17-23 and 49-56).
Measures 33-40 act almost like an interlude between choruses even though the form doesn’t change. This is also a great example repetition. Each time he repeats the motiv he moves up higher in the register which, along with the diminished sound, creates a ton of tension and a very nice peak to the solo.
This was a slightly challenging solo to transcribe because it is such an old recording and some parts of the solo are very hard to hear because they get covered up by the brass hits. I think the transcription is pretty accurate, but I might be off in some of those spots.
I’ve always been more of a straight ahead/bebop kind of player and since my main gig is with a pop band I’ve been looking towards some more pop oriented influences to help myself feel more comfortable soloing in that style. The real lesson in this transcription is in the inflections, articulation and use of grace notes; I think that is really what makes this style come alive so to speak. I tried my best to notate some of the more distinct articulations and grace notes, but you really are going to have to spend a lot of time just listening and following along with the transcription to pick up on these things.
Today’s transcription comes from a video that Bob Reynolds posted to Youtube demonstrating playing in 7/4 time on the tune “Out of Nowhere.” I chose this solo to transcribe, because quite frankly I’m pretty terrible at playing in odd-meter and I wanted to have a good example to practice along with; an etude of sorts. This solo comes pretty close to that while still retaining a genuine/musical feel that I think etudes tend to lack (especially jazz etudes). Besides, there are some really killer phrases that go across the entire range of the horn that I really wanted to learn.
In today’s post we take a look at Coleman Hawkins’ famous 1939 solo on the tune Body and Soul. Some consider this to be the definitive version and I certainly consider it a must study transcription (for saxophonists at least).