Bilbo

I have used this example many times when trying to explain to Jazz novices what Jazz is and what it is not. When a musician is soloing, s/he is generally thought to be using theory and a knowledge of harmony to create spontaneous improvisations directly out of their imaginations. Whilst this may occasionally happen, it is more often the case that the player is using what s/he hears to inform her/his developing ideas. In this performance of the Tony Williams tune 'Sister Cheryl' from Wynton Marsalis's first LP as a leader, saxophonist Branford Marsalis, then aged 22, plays a wonderful solo of around one minute that provides us with a perfect example of what makes a great Jazz solo. The important thing to remember is that, as pianist Herbie Hancock approaches the end of his piano solo, Branford has no idea what he is going to play. Then, at the 3.50 mark, Herbie plays a four note chordal phrase that gives Branford the idea he was waiting for with which he opens his solo at 3.56. Remember, Branford is listening to what Herbie is doing and then formulating a response in real time. Branford repeats Herbie's phrase once and then reframes it as the chords change beneath him. He then changes the phrase slightly (4.02) and Herbie responds to the change by playing a slightly different phrase underneath him (4.04). Branford uses Herbie's response to echo a further response (4.05) which he then repeats and moves around the harmony. His phrases from here are essentially theme, variation and recapitulation but the thing is that each phrase informs that next (4.11 to 4.20 is beautifully done - notice how he reuses the same phrases again at 4.36 and, once more, at 4.52). Listen to the solo in isolation and then again within the full performance and you will get a real sense of what it going on and why there is nothing random about this solo. It is a dialogue that starts between Herbie and Branford and which Branford then uses to build his own argument. Exquisite.

Tab is for lightweights. 😎

A very hard set of charts that night, dm. Not a II V I in sight!

Last Sunday's effort.

Jazz East at The Alex in Felixstowe. A band called Q3 which normally features Tiago Coimbra on bass. Tiago has played with Spontaneous and Hiromi’s Explosion Trio. He has studied with Oscar Stagnaro, Anthony Vitti, Bruce Gertz, Matthew Garrison, Abraham Laboriel, Walter Beasley, Ed Tomassi and Kenwood Dennard and works with various bands including the Gavin Harrison and 05Ric Band, soul singer Myles Sanko and Resolution 88. I got one rehearsal in with the band and the gig was fairly together so I got a buzz out of that. it was mostly original material and almost all altered chords - literally no II-V-Is or cycles of fifths to be seen. I just held on for the ride. Got some positive feedback from three bass players in the audience so that was nice too. I asked not to solo as I think the material was too hard for me and I would have screwed it up but they 'forced' me to do one on Michael Brecker's 'Midnight Voyage'. Nobody laughed. I hate it when they laugh.

Unbelievably, having spent three weeks on transcribing Jeff Berlin's parts on 'Beelezebub', I managed to nail the whole of his bass parts to 'Sahara of Snow Pts 1 & 2' from the LP 'One Of A Kind' in one sitting. Much easier due to lots of repetition and an absence of mad time signature changes bar to bar. This one if a bit more fun. Sahara Of Snow Pt 1 and 2 - Jeff Berlin.pdf

It makes sense to start with the Blues. Bb7/// //// //// //// Eb7/// //// Bb7/// //// Cm7/// F7/// Bb7/// //// Use the relevant mixolydian scale over the 7 chords and a Dorian over the Cm and you are off. Play what you hear, DON'T just wiggle your fingers.

Do you read dots? There are transcription by several of the above in my Bilbo's Transcription Archive thread but they won't be much good to you if you can't read. Are you aware of the Jamey Aebersold play-along series? They are a common route in for people.

Me neither. Its more of a study piece than a reader.

That is a massive question, my friend. You start by playing one note, then another of your choice and then add a third and keep going. It really is as simple and as unbelievably complex as that. What Jazz have you been listening to? That may help us point you in the right direction.

Bloody hellfire! This was the toughest thing I have ever done. Jeff Berlin on 'Beelzebub' by Bruford from the 'Feels Good To Me' album. Beelzebub - Jeff Berlin Bass Part.pdf

I am struggling to get it down to 3. I spent a lot of time with Yes, Bruford and Weather Report but what about Rush, Brand X, ELO (early on) and a massive Wynton Marsalis period. I think it is easier for me to do it in three genres: Prog, Fusion and Jazz.

This Beelzebub thing is driving me nuts. I realised that, because I was speeding the track up and slowing it down so much to try and capture the detail, I had unwittingly recorded a long passage in 5/4 alternating with 4/4 on a 5455,5455,5455 basis when it should have been either 9/8 alternating with 4/4 or, as I have done, 5:8, 4:8, 5:8, 5:8 which is 'wrong' but is easier to read. So I had to go back and change dozens of bars and rewrite them. Nearly there but, bloody hell!

I think some of this depends on the situation. Most of my gigs are with scratch bands rather than with well-rehearsed ensembles so I spend a lot of time playing songs I don't know with people I rarely play with so, in a nutshell, it's anyone's guess what is going to happen. Somehow, it usually comes together. I guess it's about the experience you gain from playing in this way fir decades. It always sounds better after a rehearsal, though. Always.

Not read the whole thread but I wanted to add my fourpenn'th. I don't like the genre and it does absolutely nothing for me but I understand it's appeal to young people. It's the same as Punk; accessible to ordinary people who want to create without having to do 10,000 hours of practicing, without spending thousands on gear and lessions and without having to have a good singing voice. I don't like the stuff anymore than I like/d Punk but I can see why it is popular. I am not the target demographic so I wouldn't expect to like it. I can respect it - there are good practitioners and there are bad; bit like Jazz really.

Here you go. Me playing my Wal with some dep guy on guitar. The lovely part of the story is that the last time I played with the drummer on this gig, a guy called Gary Wilcox, was in Cardiff 25 years previously and I had been playing the same bass on that gig.

I have been fighting this fcuker for nearly 4 decades. 😀

Intonation? What's that?

I am working on a transcription of Jeff Berlin's bass part for the track 'Beelzebub' off Bruford's 'Feels Good To Me' album. Should be with you by 2023. It goes from 3:4 to 9:8 to 4:4 back to 9:8 then bars of 5:4 and, 4:4 alternating irregularly. Its playable but unreadable. And there are four single bars of 11:8. A first for me.

34 years around my neck in March

I have had plenty of experiwenc. Some of my greatest experiwencs have been when I have had a bass in my hands.

That was probably me.

I do one covers gig as much as a social thing as a professional one. I like the people. The pad is very basic charts with chords and no detail. I invariably don't know half the songs and may never even have heard the original version so I busk it. To date, nobody has died or complained. I did one gig once where I knew none of the tunes and hadn't played with the drummer or singer before. As we were walking to the stage, I was listening to the first tune on Spotify. The 'new' players looked at the guitarist who said 'it will be fine'. We knocked it out of the park and had one of the best gigs I can remember. Most pop songs are based on limited song forms that an educated player can find their way around without too much difficulty. It's a bit reckless if you don't know what you are doing but, if you do, it's fine.

Key synth. Its the way his sound integrates into the ensemble sound. It's perfect.