He is able to play melodically, both within the mode and also by flirting with playing outside the changes. ASHLEY KAHNĬannonball jumps right out of the gate with a perfect alto sound and complete command. You can see what Fresu means: There’s a moment around 1:45 into the tune (00:15 into the solo) when Miles plays five straight, stuttering D’s in a row, tying together one phrase with the next across a huge pause, defining a straight horizontal line: so simple and so rhythmically hip. Miles keeps it simple, like it’s a new melody. Today, the solo serves as a primer on improvisation for first-year music students, revealing “how creative they can be, how much emotion they can get to, even at the beginning,” says Paolo Fresu, one of Europe’s premier trumpet and flugelhorn players and an educator at Università di Bologna. Again, and with one exception-Miles on “So What,” which “won” the poll by a country mile-this isn’t a countdown but simply an alphabetized list of great solos any student of this music needs to hear, fleshed out with commentary from artists and writers. Some jazz-school staples made the cut, but just as many are missing, in favor of solos from recordings you might need to dust off. “I’m looking for the choruses that you have worn out on vinyl and cassette and painstakingly transcribed, the lines you’ve been humming for years.” (Musicians were also asked to refrain from voting for any recording they appear on.) The tallied results, from over 100 ballots, are fascinatingly diverse. “And note that I said your favorites,” I wrote in my pitch email. I asked JT contributors and top musicians to give me a list of between five and 10 improvised jazz solos they consider to be their favorites. That’s pretty much what this undertaking is about, as opposed to a countdown or a compendium of jazz’s received wisdom. It isn’t a canonical solo, by any means, but it’s on my short list of recommendations. And during those impeccable choruses, Robinson plays along the dividing line between roots music and bebop to thrilling effect: He’s got the comfort-food phrasing plus the deeper sense of harmony that allows him to unspool a narrative, with a cool, dry hollowbody tone that makes his showier licks stand out in sharper relief than if he were plugged into an overdriven Marshall. As you might deduce from the album’s title, the music is an exercise in smartening up simple forms and grooves. Solar - head and two choruses of blowing transcribed by Tim Tim's ParlourĪn old favorite I've linked to before, from Pat Metheny's Question and Answer, one of my favorite albums.I don’t know how many times I’ve listened to Freddy Robinson’s perfectly designed guitar solo on “Good Time Boogie,” off John Mayall’s 1972 LP Jazz Blues Fusion, but it feels like a million. You should also visit Jacob Roved's site, to see an alternate version of just the intro of this tune, along with some other good things. I guess it falls on me to put up something from Out of the Afternoon (just to remind you how lucky you are, that's an album I picked up used in 1987, and never saw again in a record store until it was reissued I think in the early 00's.) Aside from his personal stuff, there are a few more drumming tidbits lurking on Bowman's site, so I'd recommend paying him a visit. Reflections - solo transcribed by Bryan Bowmanįrom Haynes' We Three. Bonus Elvin transcription- If by Larry Young! Visit Saleh's teaching site.ĭownload the pdf. Matrix - head and four choruses blowing transcribed by Peter Salehįrom Chick Corea's Now He Sings, Now He Sobs, this is pretty much the greatest thing ever. Read the piece and download the pdf via Mediafire. Tuneblog has moved since this was posted, so be sure visit him at his current address. Here's a bonus solo drum intro from it.ĭown Home - solo transcribed by Dan DiPieroĭiPiero's Tuneblog gives us this from the classic Haynes' album, Just Us, along with some analysis and background information. His site has a nice downloads section I'll be taking a closer look at. Adler has transcribed the head and drum solo, helpfully providing us with the melody of the tune so you can see how the drumming interacts with it. Meanwhile, enjoy these other Roy transcriptions from around the web:Įvidence - head and solo transcribed by Brian Adlerįrom the live album Monk in Action, a record I've never owned, strangely, though I'm very close to it's companion, Misterioso. I'm a little surprised to find I've only put up two things of his, his solo on Morpheus, from Miles Davis and Horns, and his intro to H&H, from Pat Metheny's Question and Answer - we'll have to do something about that soon. I thought I'd follow up my Elvin Jones transcription round-up with one of the other great jazz masters, Roy Haynes.
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