tag:blogger.com,1999:blog-39821480401655400212024-02-21T05:51:28.762-08:00JTA - The Jazz Transcript AuthorityJazz TranscriptionsMatt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.comBlogger29125tag:blogger.com,1999:blog-3982148040165540021.post-47915295666429402352018-06-06T15:25:00.003-07:002021-10-05T23:11:56.285-07:00Dennis Sandole updates<span style="font-size: medium;"><i>If you haven't seen it already, check out my <a href="http://jazztranscriptauthority.blogspot.com/2014/08/two-compositions-by-dennis-sandole.html" target="">previous post</a> on Dennis Sandole for the relevant background. Thanks to the good folks at the <a href="http://nashvillejazz.org/" target="_blank">Nashville Jazz Workshop</a>, I've been able to access Lord's Jazz Discography "Jazz CD" (version 16.0) to follow up on a couple loose ends that were left hanging.</i><br />
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Lord's gives 35 entries under "Dennis Sandole", as well as 1 for <i>Dennis Sandoli</i> and 2 for <i>Danny Sandoli</i>. It's pretty clear from context that they are variant spellings, and not different people.</span></div>
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<b><u><span style="font-size: medium;">Early Dennis Sandole Sessions/Compositions</span></u></b></div>
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Lord's discography lists 21 airshots and recording sessions with the Tommy Dorsey band between and 10 Feb 1943 and 1 May 1944.</span></div>
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There are 4 sessions listed with Boyd Raeburn (15 May thru 30 June 1944)</span></div>
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and 4 with Charlie Barnet (23 Mar thru 20 May 1946).</span></div>
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Sandole's mysterious Fantasy album "Compositions and Arrangements For Guitar" [Fantasy F 3251, 1958] is not listed, and I still have no further information about that one.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">Charlie Ventura co-wrote "High on an Open Mic" with Sandole, and recorded it seven times between 1947 and 1977. (Begins at 21:12 in the video below.)</span></div><div><span style="font-size: medium;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/FW19rZs9pkc" width="320" youtube-src-id="FW19rZs9pkc"></iframe></div><span style="font-size: medium;"><div><span style="font-size: medium;"><br /></span></div>This band features Fats Navarro on trumpet, Chubby Jackson on bass, and Buddy Rich on drums. Ventura plays tenor with Allen Eager. Ralph Burns on piano, and Al Valenti on guitar.</span></div>
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<b><u><span style="font-size: medium;">Variants</span></u></b></div>
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<span style="font-size: medium;"><i>Danny Sandoli</i> is credited on two additional airshots with the Tommy Dorsey band, one from 11 Oct 1943 and one from an unknown date, but released on a <a href="https://www.discogs.com/Tommy-Dorsey-And-His-Orchestra-Well-Get-It-Then-Ill-Be-Happy/release/7763854" target="_blank">V Disc</a>, so clearly sometime during WWII. (The Lord's reference numbers are [D5935-16] and [D5932-16] respectively.)</span></div>
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[[Note: Discogs user gurunet <a href="https://www.discogs.com/Tommy-Dorsey-well-git-it-/release/11318836">posted an entry</a> for the first, but it doesn't appear to match the info provided by Lord's. Maybe someone can help clarify this.]]</span></div>
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<span style="font-size: medium;"><i>Dennis Sandoli</i> is credited on a 16 July 1942 studio date with Ray McKinley, which resulted in 8 cuts, spread across several releases. (Lord's ref [M4725-16].) Four of these were compiled by YouTube user Ralf Siebert:</span></div>
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Consistent with the style of the day, Sandole's playing is more "felt" than "heard".</span></div>
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"Sandoli" was a fairly common misspelling of Dennis' last name, and can be found in print numerous times throughout the 50's. Here's an example from the Wilmington News Journal, <a href="https://www.newspapers.com/image/161758289/" target="_blank">2 Feb 1956 (p 31)</a>:</span></div>
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The variation <i>Denny Sandole</i> can be found in print occasionally, as in this ad from the Philadelphia Inquirer, <a href="https://www.newspapers.com/image/174447325/" target="_blank">13 Sep 1948 (p 19)</a>:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6AjQ44nYlurDbcKf87EGsxomyeDb39UmaGe-y-BTCJKQ3QIV7TvxVgOJN2QNL1aBYrSHChG9bIBoA-dqEDPldoTCibZUZuBg8IdF9XhQ-Cyg5Jlq7KhYS9OXrQdXQz8f1ypo2IqNdzZck/s1600/Screen+Shot+2018-01-27+at+10.20.40+AM.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="207" data-original-width="914" height="72" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6AjQ44nYlurDbcKf87EGsxomyeDb39UmaGe-y-BTCJKQ3QIV7TvxVgOJN2QNL1aBYrSHChG9bIBoA-dqEDPldoTCibZUZuBg8IdF9XhQ-Cyg5Jlq7KhYS9OXrQdXQz8f1ypo2IqNdzZck/s320/Screen+Shot+2018-01-27+at+10.20.40+AM.png" width="320" /></span></a></div>
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Lastly, I came across <i>Dionisio Sandole</i>, which appeared in the Baltimore Sun on <a href="https://www.newspapers.com/image/217592089/" target="_blank">26 Feb 1955 (p 3)</a>:</span></div>
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I include all this with the hope of aiding future researchers in finding out more about this important figure from jazz history.</span></div>
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Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0tag:blogger.com,1999:blog-3982148040165540021.post-15253786308810912902016-12-23T10:30:00.000-08:002016-12-23T15:26:23.147-08:00Electric Miles - Splash<div class="separator" style="clear: both; text-align: center;">
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Well, after five years I'm finally making good.<br />
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"Splash" was recorded on November 12 1968 in Columbia's Studio B, with Miles's then-touring band: Wayne Shorter, Dave Holland, Chick Corea, and Tony Williams; Herbie Hancock was added to the session as a second pianist.<br />
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An edited version of "Splash" was included on <i><a href="http://www.plosin.com/milesahead/Disco.aspx?id=Circle-LP" target="_blank">Circle in the Round</a></i>, a compilation of various materials that was released during Davis' hiatus in the late 1970's. (<i><a href="http://www.plosin.com/milesahead/Disco.aspx?id=Babies-LP" target="_blank">Water Babies</a></i> and <i><a href="http://www.plosin.com/milesahead/Disco.aspx?id=Directions-LP" target="_blank">Directions</a> </i>are similar collections.) But the full take was unreleased until 2002's <i>Complete In A Silent Way Sessions</i>.<br />
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To hear the edited version of "Splash", scan to 1:03:20 in the video above. It begins at Letter D in my transcription.<br />
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It's something of a myth among jazz musicians that Miles Davis didn't actually <i>write</i> any music, that all of the tunes attributed to him were actually written by other people. But this is to take a few cases (Solar, Four, perhaps Blue in Green) and draw a false conclusion (some, therefore all). Miles was an accomplished and thoughtful writer, evidenced even in the late 40's with "Donna Lee". His work in the late 60's is groundbreaking in the way it embeds open modal improvisation within a larger composed scheme. Other tunes that do this: Frelon Brun, Shh/Peaceful, and the Ghetto Walk, all from 1968.<br />
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Paul Tingen describes "Splash" as "almost a cross between 'Two Faced' and 'Dual Mr. Anthony Tillmon Williams Process,' [both recorded the previous day - ME] employing both the stop-start device of the former and echoes of the twist rhythm in the latter." (2001, p. 53)<br />
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Download <a href="http://www.mediafire.com/file/odrpwux12ftsi4y/Splash.pdf" target="_blank">Splash</a> (Concert pitch).<br />
<a href="http://www.mediafire.com/file/9ifao0i83xn2fs9/Splash_Eb.pdf" target="_blank">Eb version</a><br />
<a href="http://www.mediafire.com/file/2j1qcwdx2pzj3e3/Splash_Bb.pdf" target="_blank">Bb version</a><br />
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<br />Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0tag:blogger.com,1999:blog-3982148040165540021.post-84416537610679099692016-09-21T08:16:00.003-07:002016-09-23T10:47:00.287-07:00Paul Bley - All The Things You Are [Live]<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi54V5y6cpRaukdA3rDKplLLqa1lEDiAROq6CEX3w_vT0eQPfQiUrS81TPhZJxXduFK1SZQimLZ7zkiWGe545IDZ_vbI_3Jgqm7WBaO8iAO6rmI9nJDqxxIkGiw8J8PIyI69F7M3kLzcYm_/s1600/PAUL_BLEY+index+photo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi54V5y6cpRaukdA3rDKplLLqa1lEDiAROq6CEX3w_vT0eQPfQiUrS81TPhZJxXduFK1SZQimLZ7zkiWGe545IDZ_vbI_3Jgqm7WBaO8iAO6rmI9nJDqxxIkGiw8J8PIyI69F7M3kLzcYm_/s320/PAUL_BLEY+index+photo.jpg" width="320" /></a>Paul Bley was one of my earliest influences as a pianist. After buying my first Real Book I was intrigued by the tunes without barlines. They all seemed to be written by Carla Bley. I wanted to hear how these tunes sounded, so I went searching for recordings of them, and I came across a Paul Bley record at Wazoo in Ann Arbor. (This was probably in 1999.) It was a double-LP on Arista called "Copenhagen and Haarlem", which came out in 1975 but was a reissue of two dates recorded a decade earlier. Some of Carla's tunes appeared on the record, so I bought it, and my life began to change.<br />
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Based on his recordings, I transcribed his versions of Annette Peacock's "Cartoon" and "Touching", and learned to play Carla Bley's "Vashkar", "Syndrome", and "Jesus Maria", as well as Paul's solo on "When Will The Blues Leave" (Footloose! 1962). He had and continues to have a huge influence on my playing.<br />
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Yet with all this early influence, I'm a little embarrassed to admit that it was just last year that I learned Bley had recorded briefly with Sonny Rollins. In my years of listening to him and trying to play like him, I had never heard his solo on "All The Things You Are" (<i>Sonny Meets Hawk</i>). Thanks to Kevin Sun for <a href="http://www.thekevinsun.com/2015/02/paul-bley-on-all-things-you-are.html" target="_blank">sharing his transcription of this remarkable solo</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsb6Is8MSG0FEr9YPJI45q5sg45BbbKrX4XL1x89WVs7Ubpp5MJG4lp7qlZJg0U74mPpsU8ytegjFWjHY4V6NJ3vdS9_L4QFDVnLMX1Q-QcwkuEZG1JdIfLU2ig7x3TvcpZnb7WSedIITo/s1600/R-7598857-1444851536-1781.jpeg.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsb6Is8MSG0FEr9YPJI45q5sg45BbbKrX4XL1x89WVs7Ubpp5MJG4lp7qlZJg0U74mPpsU8ytegjFWjHY4V6NJ3vdS9_L4QFDVnLMX1Q-QcwkuEZG1JdIfLU2ig7x3TvcpZnb7WSedIITo/s320/R-7598857-1444851536-1781.jpeg.jpg" width="320" /></a>A little bit later, I found <i>Together At Newport</i>, a quasi-legitimate European release that documents a live performance with the same quintet (with Henry Grimes playing bass instead of Bob Cranshaw). The live set contains a version of "All The Things You Are" with a solo by Paul Bley that is at least as mind-bending as the studio version. In between my other obligations, I finished the right hand in March, and after quite a bit of close listening I was able to figure out most of Bley's left hand. There are a few anomalies which bear mentioning.<br />
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<li>The recording fidelity is poor, and Bley in this period had a tendency to "feather" single notes in the left hand. Needless to say, the left hand took more than a little bit of extrapolation and should be played delicately, rather than as usual "comping".</li>
<li>Bley is able to sustain a few pitches at once, in a way that is easiest to explain as left-hand intervention or through use of the sostenuto pedal.</li>
<li>To complicate everything most beautifully, Grimes' walking lines are equally angular, so that even when Bley <i>is</i> playing "in the chord"... it becomes masked.</li>
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Bley is not improvising with George Russellian "upper extensions" to the chords (although they might be analyzed as such); he seems to completely break free from the chord progression, following his own pan-tonic muse, superimposing two or three tonal areas before always returning home. Recall George Russell's River Boat diagram of tonality; we could place this style of Paul Bley somewhere in between John Coltrane's jet and Ornette Coleman's rocket to space: he expertly follows the form, but rather than following or expanding on the changes, he dances around them, only occasionally (and fleetingly) keeping to the parent scale for more than a few measures.<br />
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Rest in Peace, Paul. You've made the world a more confusing and wonderful place.<br />
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<a href="http://www.mediafire.com/download/cjq08n7b534dh3u/Bley_-_All_The_Things.pdf" target="_blank">Download PDF</a> (Concert pitch) UPDATED 9/23</div>
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So, in keeping with the ethos this blog has had from the very beginning... not to present objective descriptions of "what was played", but interpret what was done in the most rational way, and leaving the work open to peer review ... look this over yourselves and leave your comments below.<br />
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I can make Bb and Eb versions if there's any interest, just leave a comment.Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com5tag:blogger.com,1999:blog-3982148040165540021.post-36651047140945128542016-03-16T14:06:00.002-07:002016-09-23T10:48:03.556-07:00Bill Evans - All About RosieI transcribed this solo in 2012, and have been tweaking it ever since. It's pretty close but I'd welcome any feedback you have. I couldn't find any other transcriptions of this amazing solo, so have at it!<br />
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The solo begins at 6:24 in the video below:<br />
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Discogs: <a href="https://www.discogs.com/Gunther-Schuller-George-Russell-Modern-Jazz-Concert/release/5280839">https://www.discogs.com/Gunther-Schuller-George-Russell-Modern-Jazz-Concert/release/5280839</a></div>
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Full Solo:</div>
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<a href="http://www.mediafire.com/download/hojei9b53b5ps3b/Evans_-_All_About_Rosie_C.pdf" target="_blank">Bill Evans - All About Rosie (C)</a></div>
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<a href="http://www.mediafire.com/download/v4n8yht1pppsn2s/All_About_Rosie_-_Bb.pdf" target="_blank">Bill Evans - All About Rosie (Bb)</a></div>
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<a href="http://www.mediafire.com/download/qfbo1ejqlj9vwu8/All_About_Rosie_-_Eb.pdf" target="_blank">Bill Evans - All About Rosie (Eb)</a></div>
Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0tag:blogger.com,1999:blog-3982148040165540021.post-72819339346184004502014-09-29T21:53:00.000-07:002014-09-29T21:53:24.106-07:00Warne Marsh, John LewisI've posted a few tunes from <a href="http://jazztranscriptauthority.blogspot.com/2013/04/lennie-tristano-wally-cirillo-claude.html" target="_blank">Tristano and his students</a> in the past. Here's one that was written by Warne Marsh, <i>Dixie's Dilemma. </i>A contrafact on Jerome Kern's classic <i>All The Things You Are</i>, the tune's title has a colorful and vulgar story behind it that I won't summarize here. As with most of the Tristano school's compositions, this one is beautiful, clever, and difficult.<br />
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It's all the more remarkable considering that both Marsh and fellow saxophonist Ted Brown play this composition on tenor saxophone, a real workout of the horn's altissimo range.<br />
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I've also decided to take a crack at <i>Milestones</i>, a composition written by either Miles Davis or John Lewis, depending on which source you believe. While original credit for the composition went to Charlie Parker, almost every contemporary source disagrees with this. But whether the actual author was Miles Davis or John Lewis remains a matter of some dispute, even among prominent writers. Feather (1949, p. 18), Yanow (2000, p. 76), Koch (1988, p. 103) and Tingen (2001, p. 29) credit Davis, while Giddins (1998, p. 340), Priestly (2005, p. 59), and Szwed (2002, p. 60) credit Lewis. Giddins includes elaborate anecdotal information about the recording session, and asserts that the tune was written "as a gift" from Lewis to Davis. So until I hear a compelling contradiction to this story, I'll go with Lewis as the author of <i>Milestones</i>.<br />
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As always, your input is welcome. Post a comment!Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0tag:blogger.com,1999:blog-3982148040165540021.post-37418415536851753722014-08-31T07:41:00.004-07:002021-10-05T23:16:43.638-07:00Two Compositions by Dennis Sandole<span style="font-size: medium;">(Hey everyone. On August 12th, we hit 20,000 views. Thanks for helping this blog grow!)<br />
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Dennis Sandole is a prodigiously influential figure in jazz history who is generally unknown; many jazz encyclopedias don't have entries for him. <span face="'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif">Best known as having been a teacher of John Coltrane (beginning in 1946), Sandole was a skilled guitarist, innovative composer and deep musical thinker.</span></span><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/3YnV6EsP-Jw" width="320" youtube-src-id="3YnV6EsP-Jw"></iframe></div><div class="separator" style="clear: both; text-align: center;">(Listen while you read)</div><br /><div>
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<tr><td class="tr-caption" style="text-align: center;">Dennis Sandole</td></tr>
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I don't have any new information to add to the life story of Dennis Sandole, so I'll just recap what you can find with a quick Google search. Sandole was born in Philadelphia in 1913. Self-taught as a guitarist, he worked as a staff musician at MGM Studios in Hollywood for several years beginning in the 1930's. In the 1940's he returned to Philadelphia where he taught at the Granoff School of Music, founded by Isadore Granoff. During that period he appeared on recordings by the Tommy Dorsey and Charlie Barnet bands. He also performed with the Ray McKinley and Boyd Raeburn bands. (For more info, <a href="https://jazztranscriptauthority.blogspot.com/2018/06/dennis-sandole-updates.html">see my 2018 post</a>.)<br />
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<tr><td class="tr-caption" style="text-align: center;">The Brothers Sandole, <i>Modern Music from Philadelphia</i><br />
Fantasy 3-209</td></tr>
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In 1955, Dennis and his brother Adolph gathered an ensemble of top New York and Philadelphia musicians to record their compositions. Featured on the recording are Art Farmer, George Barrow, Teo Macero, Milt Hinton, and others. The recordings were released by Fantasy records, a major jazz label who also had released recordings of Dave Brubeck, Cal Tjader, and Vince Guaraldi. The Sandole recordings came out as a 10" record called "Modern Music from Philadelphia" (which was reissued on CD by Fantasy Records in 2001 as "<a href="http://www.concordmusicgroup.com/albums/The-Brothers-Sandole-Guests/" target="_blank">The Sandole Brothers & Guests</a>").<br />
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Sandole's only other recording as a leader looks to be a record called "Compositions and Arrangements for Guitar" (1958), also released by Fantasy, but this item appears to be fantastically obscure. </span><span style="font-size: medium;"><span>All Music Guide makes mention of it, and</span><span> Mike Callahan lists the album in an exhaustive </span><a href="http://www.bsnpubs.com/fantasy/fantasy/02fantasy3200.html" target="_blank">Fantasy Album Discography</a><span>. Callahan also helpfully notes that the album was "Originally issued in monaural only", suggesting that the album had actually been recorded and released. </span><a href="https://www.worldcat.org/search?q=%22dennis+sandole%22&&dblist=638&fq=#x0%253Amusic-%2C%2528x0%253Amusic%2Bx4%253Acd%2529%2C%2528x0%253Amusic%2Bx4%253Adigital%2529%2C%2528x0%253Amusic%2Bx4%253Alp%2529format" target="_blank">WorldCat</a><span> doesn't list it, and the </span><a href="http://www.loc.gov/search/?q=dennis+sandole&all=true&st=list" target="_blank">Library of Congress</a><span> doesn't have it. I haven't checked Lord's Discography yet. (<a href="https://jazztranscriptauthority.blogspot.com/2018/06/dennis-sandole-updates.html">Update</a>: I checked Lord's discography. It's not there.)</span></span></div><div><span style="font-size: medium;">
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In any case, after the Fantasy releases, Sandole continued to be active as a teacher, but I cannot find any recordings on which he appears, either as a leader or as a sideman. In fact, no other recordings of Sandole were made commercially available until 1999, when <a href="http://jazztimes.com/articles/11305-dennis-sandole-project-dennis-sandole" target="_blank">Cadence released a compilation</a> of Sandole's various projects, including some extremely rare <a href="https://www.youtube.com/watch?v=5pua2QFqFeE" target="_blank">quartet recordings </a>from 1958 with pianist Al Del Governatore, bassist Wendell Marshall, and drummer Frank Young. The fidelity is poor, but the compositions are stunning, and I think earn Sandole a spot alongside Charlie Parker, George Russell, Thelonious Monk, and Lennie Tristano as a major figure in post-war jazz composition.</span></div><div><span style="font-size: medium;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vsg7IU2Bk1Q" width="320" youtube-src-id="vsg7IU2Bk1Q"></iframe></div><br /><span style="font-size: medium;"><br />
Sandole is featured as a soloist in his composition "<a href="https://www.youtube.com/watch?v=vsg7IU2Bk1Q">Dark Bayou</a>", recorded by <a href="http://www.discogs.com/Charlie-Barnet-And-His-Orchestra-Drop-Me-Off-In-Harlem/release/4880617" target="_blank">Charlie Barnet's Orchestra</a> in 1946.</span><span style="font-size: medium;"><span> </span><span>(His solo begins at 1:30.)</span><span> He co-wrote the breezy "</span><a href="https://archive.org/details/78_high-on-an-open-mike_charlie-ventura-and-his-orchestra-charlie-ventura-dennis-sando_gbia0131665b" target="_blank">High On An Open Mike</a><span>" with fellow Philadelphian </span><a href="http://www.worldcat.org/title/ha/oclc/28096749" target="_blank">Charlie Ventura</a><span>, who recorded the tune with his orchestra in 1949 and performed it live. And in the 1960's, his compositions were featured on albums by </span><a href="http://www.discogs.com/Art-Farmer-The-Many-Faces-Of-Art-Farmer/release/5830176" target="_blank">Art Farmer</a><span> and </span><a href="http://www.discogs.com/James-Moody-James-Moodys-Moods/release/2479815" target="_blank">James Moody</a><span>. </span><span>Sandole's students included John Coltrane, Pat Martino, Jim Hall, James Moody, Benny Golson, Michael Brecker, Stanley Clarke, and Matthew Shipp. He wrote at least two books, one of which, </span><a href="http://www.amazon.com/Guitar-Lore-Dennis-Sandole/dp/1598060872/ref=sr_1_1?s=books&ie=UTF8&qid=1407790441&sr=1-1" target="_blank">Guitar Lore</a><span>, has been published. Sandole died in September 2000.</span></span></div><div><span style="font-size: medium;">
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Here are two of Sandole's compositions:<br />
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<span style="font-size: medium;"><i>Wayward Plaint</i> was recorded by James Moody in 1964, and <a href="https://soundcloud.com/michaelgrossmanmusic" target="_blank">Michael Grossman</a> recorded it in 1997. I'm not aware of any other recordings of the tune.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOqnkmIIBsTuttj6klkJgrNwczXMnLZYWwcwdf0cfLGJe2rO4xb1Dv0euxVUcDxhcWi7NGgha-L1uPh3FOllQakn60nEA3u8UjGR1tCWkefOvZGhpBZ6sYRoQwVvcF_DxW19JRMDaQOs_A/s1600/Monody.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOqnkmIIBsTuttj6klkJgrNwczXMnLZYWwcwdf0cfLGJe2rO4xb1Dv0euxVUcDxhcWi7NGgha-L1uPh3FOllQakn60nEA3u8UjGR1tCWkefOvZGhpBZ6sYRoQwVvcF_DxW19JRMDaQOs_A/s1600/Monody.jpg" width="247" /></span></a></div>
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To my knowledge, the only recording of <i>Monody</i> is on the above-mentioned Dennis Sandole Project CD, put out by Cadence in 1999. It's beautiful and strange, as you'll find out if you play it.<br />
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Additional reading:</u></span></div>
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- <a href="http://destination-out.com/?p=2264" target="_blank">Matthew Shipp's recollections</a> about his studies with Sandole.<br />
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- A <a href="https://www.academia.edu/1506464/_The_Unique_Jazz_Pedagogy_of_Dennis_Sandole_--2012" target="_blank">powerpoint presentation</a> called "The Unique Jazz Pedagogy of Dennis Sandole" by <a href="https://bimm.academia.edu/ScottMcGill" target="_blank">Thomas Scott McGill</a>, which includes scanned images of Sandole's lesson assignments.<br />
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- A blog post by a trumpeter <a href="http://outsidepants.blogspot.com/2011/02/reflections-on-studying-with-dennis.html" target="_blank">Bart Miltenberger</a> who studied with Sandole.</span></div>Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com1tag:blogger.com,1999:blog-3982148040165540021.post-10756096157547804242014-08-24T20:21:00.004-07:002014-08-25T06:26:09.150-07:00Rhodes part on "It's About That Time"Ahoy hoy! Earlier this summer, I received the following comment:<br />
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A close listen to the recording suggests two things: 1) there is some sort of core voice leading going on that is more or less the same throughout, and 2) Herbie Hancock and Chick Corea are each adding their own alterations to these core voices, and change these each time. So, without digging into the rich alterations used by Corea and Hancock, I think this is a close approximation to what they were working with:</div>
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(To download MIDI file <a href="http://www.mediafire.com/download/160joom0tb55on1/IASW.mid" target="_blank">click here</a>.)</div>
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To hear the passage I listened to for this, begin at 4:57 of <a href="https://www.youtube.com/watch?v=xFqDUWt1v9k" target="_blank">this video</a>.<br />
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I'm not especially happy with the 4th chord, but I think the others are pretty close. I'm very interested to hear what other people think. Post a comment!Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com1tag:blogger.com,1999:blog-3982148040165540021.post-54781169921506363832014-07-29T19:56:00.000-07:002014-08-13T11:10:56.878-07:00George Russell - Part TwoI'm not keen on explaining myself to "The Internet", but I feel that a <a href="http://jazztranscriptauthority.blogspot.com/2013/05/george-russell-part-one.html" target="_blank">14-month delay</a> deserves a bit of background, especially when it bears directly on the subject at hand.<br />
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When I planned on doing a two-part feature on George Russell's compositions, I had already transcribed both "Lydiot" and "Ezz-Thetic". I had consulted various recordings of the latter, eventually settling on what I took to be the "definitive" version: the version on Russell's <i><a href="http://www.discogs.com/George-Russell-The-Jazz-Workshop/release/2934510" target="_blank">Jazz Workshop</a></i> (rec'd in 1956). I also referred to his recording from a few years later entitled <i><a href="http://www.discogs.com/George-Russell-Sextet-Ezz-thetics/release/533005" target="_blank">Ezz-Thetics</a></i> (1961).<br />
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<span style="font-size: x-small;">Russell's <i>Jazz Workshop</i> (1956)</span></div>
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But as I continued my research, I realized that there were many recordings of "Ezz-Thetic", and almost all of them were different in some key ways. I'll return to this point as we go along. Let's first get to the tune.</div>
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In a post from <a href="http://jazztranscriptauthority.blogspot.com/2013/04/lennie-tristano-wally-cirillo-claude.html" target="_blank">April 2013</a>, I mentioned that Max Roach characterized modern jazz in New York as having an "uptown" and "downtown" school. The uptown school was defined by the crowd that included Charlie Parker and Dizzy Gillespie, and the downtown school was defined by Lennie Tristano and his various students (especially Lee Konitz and Warne Marsh). Of course, these schools were not homogenous and isolated; collaborations and sharing of ideas was commonplace. But they had their definite identities that can be heard in the music. (think about the difference between Miles Davis' "Donna Lee" and Lennie Tristano's "Wow"!)</div>
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George Russell's "Ezz-Thetic" was written in 1948, but it has a strikingly idiosyncratic sound, even compared to both the uptown and downtown schools. Tristano, Monk, and others experimented with dissonance, but not like this. Russell's melody stretches the harmonic structure of Cole Porter's "Love For Sale" to its limits, nearly tearing it to pieces:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8FotgAAUtArOy5y70vSqPRD9jldO67HN2tGMeuZ3Y9UwpM8HKqgMOs22dUAg545FZnVyhFVOGSWrgBJXu-7MmMeJdAd12y-dqmDp7N3Kpwu8NOHRq63BndoXjLO3_vh-zG-rWIN35CTZP/s1600/Ezz-Thetic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8FotgAAUtArOy5y70vSqPRD9jldO67HN2tGMeuZ3Y9UwpM8HKqgMOs22dUAg545FZnVyhFVOGSWrgBJXu-7MmMeJdAd12y-dqmDp7N3Kpwu8NOHRq63BndoXjLO3_vh-zG-rWIN35CTZP/s1600/Ezz-Thetic.jpg" height="320" width="244" /></a></div>
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(A lot of information that was available to the band on the recording date that is missing here. But this lead sheet should be enough to get you started.)<br />
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The composition is easily Russell's most well-known, having been recorded in 1951 for Prestige by a group led by <a href="http://www.discogs.com/Lee-Konitz-Featuring-Miles-Davis-The-New-Sounds/release/3996004" target="_blank">Lee Konitz </a>which <a href="http://www.plosin.com/milesahead/Sessions.aspx?s=510308" target="_blank">included Miles Davis</a>. (By the way, this recording is a great example of how the uptown and downtown schools worked together: Konitz, pianist Sal Mosca, bassist Arnold Fishkin and guitarist Billy Bauer were all Tristano-ites, and were working with Davis and Max Roach.) Russell himself recorded "Ezz-Thetic" at least three times, and versions also exist by Grant Green and Max Roach. In addition, the <a href="http://www.discogs.com/New-York-Contemporary-5-Vol-1/release/2945633" target="_blank">New York Contemporary Five</a> (led by Archie Shepp) used the introductory statement of "Ezz-Thetic" as a sign-off to end their shows. Russell even wrote an arrangement for Charlie Parker and strings, but this was never recorded.<br />
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<span style="font-size: x-small;">Russell's <i>Ezz-Thetics </i>(1961)</span></div>
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Transcribing "Ezz-Thetic" was challenging, not just because of the angularity of the melody, but because in each recording, there are slight differences made to the melody's notes and rhythms. For example, compare bars 5-6 of the version on Russell's <i>Jazz Workshop</i> and <i>Ezz-Thetics</i> recordings:<br />
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Ex. 1</div>
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with Grant Green's recording (<i><a href="http://www.discogs.com/Grant-Green-Solid/release/1179757" target="_blank">Solid</a></i>, rec'd 1964):<br />
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Ex. 2</div>
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Green's recording, which features saxophonists James Spauling and Joe Henderson, is different from Russell's in a number of other ways, and deserves a lead sheet of its own. As a second example, compare the last two bars of the bridge on three versions. First, the version from Russell's <i>Jazz Workshop </i>and <i>Ezz-Thetics</i>:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQjLZUL60kwR0OHUCVw7_ItjKgfQF0aCZXrpCavR9F20xWiVCF1WRoStzMdq5NrI9kDn1eZrcFAkSZqePpMnHVy9WGzKEriMpaekVb448_R5fJOIo4sLsrkXkxRq6XiFR3TKjJRkoYfnPY/s1600/Screen+shot+2014-07-29+at+8.44.22+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQjLZUL60kwR0OHUCVw7_ItjKgfQF0aCZXrpCavR9F20xWiVCF1WRoStzMdq5NrI9kDn1eZrcFAkSZqePpMnHVy9WGzKEriMpaekVb448_R5fJOIo4sLsrkXkxRq6XiFR3TKjJRkoYfnPY/s1600/Screen+shot+2014-07-29+at+8.44.22+PM.png" height="40" width="320" /></a><br />
Ex. 3<br />
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Note the ascending 1-2-1 (semitone - whole tone - semitone) relationship in the second bar of the example, resulting in a downward major-3rd needed to return to the tonic. Next, the same two bars in Green's version:<br />
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Ex. 4</div>
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In this case, an ascending 1-2-2 (semi-whole-whole tone) relationship is heard. But this is jarringly different in Lee Konitz's version (<i>The New Sounds, </i>Prestige, rec'd 1951), in which he swaps the Eb and E(nat):</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUVCw9dH7qQnDS5d225KmKxnvCrYx_mQhToeBKULYwN_512Yvprxtt6nxf9JFFVwSMipxFWBY6fFjuQJ2fd4zxyqKS-TVHnFFtBVHaZ7Q0OqSjNn_Z0IUCHSr2rTDE6uojSqyIn4kFaQJ3/s1600/Screen+shot+2014-07-29+at+8.49.30+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUVCw9dH7qQnDS5d225KmKxnvCrYx_mQhToeBKULYwN_512Yvprxtt6nxf9JFFVwSMipxFWBY6fFjuQJ2fd4zxyqKS-TVHnFFtBVHaZ7Q0OqSjNn_Z0IUCHSr2rTDE6uojSqyIn4kFaQJ3/s1600/Screen+shot+2014-07-29+at+8.49.30+PM.png" height="49" width="320" /></a></div>
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Ex. 5</div>
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On the Prestige<i> </i>recording, the head out consists just of one playing of the tune's A section, so we don't get to hear Konitz play this version of the bridge again. But if we fast-forward by 35 years, we can find another version recorded by Konitz in which he plays the same figure. (<i><a href="http://www.discogs.com/Lee-Konitz-Quartet-Ideal-Scene/release/2831325" target="_blank">Ideal Scene</a></i>, Soul Note 1986). If we wish to pursue the matter further, we can look to Konitz's duo record with pianist Harold Danko entitled <i>Wild as Springtime</i>. On both the alternate and the master take, Konitz (in unison with Danko) plays the figure in Ex. 5.</div>
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Such examples present us with some philosophical puzzles that are beyond the scope of this blog post, but which are partly responsible for the 14-month delay in its publication! One thing is clear: It's disingenuous to say that Konitz, Green, Henderson, etc. were all playing the tune "wrongly". (Especially when you consider that Russell himself wrote the bridge as Ex. 5 for his New York Band... see <i>Live in an American Time Spiral</i>, rec'd 1982) So the whole debate just seems a little dumb: try your best to respectfully represent the tune, whether you're transcribing it or whether you're playing it.</div>
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<span style="font-size: x-small;">Lee Konitz, <i>The New Sounds</i>, </span></div>
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So that's my excuse for the delay on part 2. Oh yeah, I also moved to Nashville, got a dog, and got married.<br />
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[In researching this blog post, I came upon the doctoral dissertation of <a href="http://pktrumpet.wordpress.com/" target="_blank">Peter Kenagy</a>, which provided very useful details about Russell's <i>Jazz Workshop </i>album. Thanks for your work, Peter.]Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0tag:blogger.com,1999:blog-3982148040165540021.post-39674933072005592942013-05-31T21:32:00.001-07:002014-09-02T07:12:04.148-07:00George Russell - Part OneGeorge Russell (1925-2009) is one of the most important figures in 20th century music. As a theorist, his Lydian Chromatic Concept of Tonal Organization <span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">introduced the concept of chordmode, which synthesized horizontal (linear) and vertical (chordal) pitch organization into a single principle. A similar principle had already been known to Western theory since the Baroque period, but Russell articulated it in terms of contemporary jazz practice, at a time in American history when Baroque music theory would have been inaccessible (for obvious reasons) to many practicing jazz musicians.</span><div><br></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">The LCC</font> was first published in 1953, but only a handful of copies were made. It saw a second, more prolific printing in 1959, at a time when more and more colleges were hiring jazz musicians as faculty members. Russell's chordmode idea influenced David Baker, whose student, Jamey Aebersold, would later build a publishing franchise out of the idea.<br>
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As a result, Russell's ideas became and remain the cornerstones of contemporary jazz education, although this contribution of his is seldom recognized, and few (if any) of his compositions have entered the "standards" repertoire.<br>
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Russell was also an inspired composer and arranger. In the late 1940's he wrote large ensemble works for Benny Carter, Dizzy Gillespie, Ella Fitzgerald, Charlie Parker, and Artie Shaw. Throughout his life he wrote and directed many major works, and led various small groups in America and Europe. In 1969 he joined the faculty at Boston's New England Conservatory of Music, a position he held until 2004. He received three Guggenheim fellowships (1969, 1972 and 1980), six NEA fellowships (1969, 1976, 1979, 1980, 1981 and 1985) and a MacArthur fellowship (1989).<br>
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As a pianist, Russell had a probing, rhythmic style, highly inspired by Duke Ellington and Thelonious Monk, and somewhat reminiscent of the early Cecil Taylor.<br>
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<b>George Russell - Lydiot</b><br>
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To my knowledge, the first recording of this tune was on Russell's 1960 large ensemble recording <a href="http://www.discogs.com/George-Russell-And-His-Orchestra-Featuring-Bill-Evans-Jazz-In-The-Space-Age/master/308220" target="_blank"><i>Jazz in the Space Age</i></a><i>. </i>It was recorded again the following year on his sextet recording <a href="http://www.discogs.com/George-Russell-Sextet-Ezz-thetics/master/274260" target="_blank"><i>Ezz-thetics</i></a>. The two versions are slightly different; this transcription is from the latter source. It's a pretty typical Russell tune, a sort of Schoenbergian post-bop line.</div>
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I'm not too sure about the chords. I listened carefully to Steve Swallow's basslines and Russell's chords, and this is what I came up with. As always, feedback is welcome.</div>
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I'm working on a transcription of Russell's composition "Ezz-thetic", which I'll post next time. Stay tuned!</div>
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</div>Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com1tag:blogger.com,1999:blog-3982148040165540021.post-33354012344959227722013-05-15T19:04:00.003-07:002014-08-18T08:11:07.078-07:00Wayne Shorter - Face of the Deep<div class="separator" style="clear: both; text-align: center;">
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<b>Wayne Shorter - Face of the Deep</b></div>
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This song is transcribed from Shorter's fourth Blue Note LP, <a href="http://www.discogs.com/Wayne-Shorter-The-All-Seeing-Eye/release/382596" target="_blank"><i>The All Seeing Eye</i></a>. Recorded in one day (October 15th, 1965), the record featured his most ambitious composing and arranging to date. Shorter's record-buying audience would have gone straight to this from 1965's <a href="http://www.discogs.com/Wayne-Shorter-Speak-No-Evil/release/1198887" target="_blank"><i>Speak No Evil</i></a> (recorded in December 1964); a huge musical leap, even considering the "missing links": <a href="http://www.discogs.com/Wayne-Shorter-The-Soothsayer/release/1135398" target="_blank"><i>The Soothsayer</i></a> and <a href="http://www.discogs.com/Wayne-Shorter-Etcetera/release/1773897" target="_blank"><i>Etcetera</i></a>. I call these "missing links" because although these were recorded in March and June 1965 (respectively), they apparently weren't released until 1979 or 1980.<br />
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The material on <i>The All Seeing Eye</i> was written for septet. The group featured Shorter, trumpeter Freddie Hubbard, trombonist Grachan Moncur III, alto saxophonist/flautist James Spaulding, and a rhythm section of pianist Herbie Hancock, bassist Ron Carter and drummer Joe Chambers. (Wayne's brother Alan Shorter replaces Hubbard on the final selection, "Mephistopheles", a tune which was also recorded on the Marion Brown date which the <a href="http://jazztranscriptauthority.blogspot.com/2012/04/marion-brown-ornette-coleman.html" target="_blank">JTA previously featured</a>.)<br />
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Therefore, this transcription should be considered a "piano reduction" of whatever the actual score may have looked like.<br />
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This transcription is a collaborative effort between myself and <b><a href="http://www.michaelmalis.com/">Michael Malis</a></b>, a pianist, composer and teacher living in Detroit. Mike's a good friend of mine -- we were both students of Geri Allen at the University of Michigan. You can learn more about him by checking out <a href="http://www.michaelmalis.com/" target="_blank">his website</a>. Thanks for the collaboration, Mike! (For the record, Mike did the initial transcription. I made some edits, which Mike agreed with.)Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com1tag:blogger.com,1999:blog-3982148040165540021.post-77269093395810230532013-04-02T16:27:00.002-07:002015-09-06T19:23:51.939-07:00Lennie Tristano, Wally Cirillo & Claude ThornhillHey everyone<br />
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Today the JTA just hit a milestone: 10,000 hits! That's pretty cool, considering I've done practically nothing to promote this page. I'm happy that so many people are finding it useful and interesting.<br />
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Here are a couple new charts to celebrate: two from the Tristano camp and one from Claude Thornhill's book.<br />
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Also, don't forget: The Jazz Transcript Authority is based on an open-source model, which means you can feel free to contribute your own transcriptions of tunes. Just email them to <a href="mailto:jazztranscriptauthority@gmail.com">jazztranscriptauthority@gmail.com</a>. You can also feel free to point out corrections that you feel should be made to the transcriptions which I've posted, kind of like a peer-review site. The goal is to come up with the most accurate transcription possible, and that's easier when multiple sets of ears comb through these tunes. Please post comments with your suggestions if you hear something differently than me.<br />
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<b>Billy Bauer - Marionette</b></div>
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(Update Sept. 2015: I just learned that this tune was written by guitarist Billy Bauer, not by Tristano. I apologize for the error.)<br />
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Tristano and his students/bandmates wrote so many good tunes that are hardly ever played today. Yet Tristano was, even in his day, regarded as a major figure in the modern jazz movement (<a href="http://books.google.com/books?id=HQ9wL02AiNQC&pg=PA81&dq=max+roach+uptown+downtown+tristano&hl=en&sa=X&ei=4WhbUZCXMeSsigKri4CYCQ&ved=0CDcQ6AEwAA#v=onepage&q=max%20roach%20uptown%20downtown%20tristano&f=false" target="_blank">Max Roach</a> called Tristano's group the "Downtown School", while the group around Charlie Parker and Dizzy Gillespie was the "Uptown School") I think it's because few people ever take the time to transcribe them, and whatever transcriptions exist circulate very slowly, if at all. Even the tunes included in the 2nd Real Book Vol. II ("Lennie's Pennies", "April", etc.) have failed to become standards. In any case, here's one of his more well-known sides, taken from his influential <a href="http://www.jazzdisco.org/lennie-tristano/discography/" target="_blank">May 1949</a> session.</div>
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<b>Wally Cirillo - Transeason</b></div>
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One of the many unique contrafacts to come out of the Tristano school. This one is based on "All The Things You Are", a tune which Charles Mingus was particularly fond of manipulating in various ways. I don't know much about Wally Cirillo, but I do know he was a student of Tristano's. The sole recording of this piece is from <a href="http://www.jazzdiscography.com/Leaders/CirilloWally-ldr.php" target="_blank">January 1955</a>, with Teo Macero playing tenor saxophone, Mingus playing bass, and Kenny Clarke playing drums. Oddly enough, although the melody of the tune is in Bb, the solo section modulates back to Ab, the standard instrumental key of "All The Things You Are".</div>
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<b>Claude Thornhill - Snowfall</b></div>
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While technically it's spring, we're still getting through the last of our cold weather here in Michigan and I fully expect one more massive blizzard before springtime bliss. Just play this tune, it'll get you through the remaining cold days.<b> </b>(And don't transpose it either! C'mon, shed your altered dominants and have some fun.)</div>
Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com3tag:blogger.com,1999:blog-3982148040165540021.post-58789396567548360892012-12-17T09:50:00.000-08:002012-12-17T09:50:19.579-08:00Two Tunes by Don EllisHello everyone!<br />
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Dec. 17th 2012 marks the 34th anniversary of the death of the trumpeter Don Ellis. A 1956 graduate of Boston University's music composition department, he began his career playing trumpet in the Glenn Miller (Ray McKinley, cond.), Charlie Barnett and Maynard Ferguson bands. In the late 50's he recorded with Charles Mingus and in the early 1960's joined George Russell's influential sextet. It was also at this time that Ellis began recording as a bandleader, releasing three albums between 1960 and 1962.<br />
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His first, called "How Time Passes", borrows its name from the title of an essay by <a href="http://www.music.princeton.edu/~ckk/smmt/introduction.1.html" target="_blank">Karlheinz Stockhausen</a>. The album was recorded in early October 1960 and featured a top-tier rhythm section of pianist Jaki Byard (who also doubles on alto sax), bassist Ron Carter and drummer Charlie Persip. Here are two tunes from this album:<br />
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<b>Don Ellis - Sallie</b></div>
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A very lyrical melody, which could easily have words written to it. Note the casual way in which the dissonant F and D are used in the final B major chord. The influence of George Russell is palpable throughout this album, and especially in this bar.<b> </b></div>
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My apologies for the switching between the keys of B and Cb. I
try to let the melody lead the way when I transcribe, but if I hold to that exclusively, sometimes the
melody demands a double-sharp chord symbol or something outlandish like
that. I also find that mid-tune key changes can be distracting. I have tried to make the tune as readable and intuitive as possible. If someone has suggestions to make this clearer, I'm all ears.</div>
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<b>Don Ellis - A Simplex One</b></div>
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<b> </b>A tune which betrays a heavy Thelonious Monk influence. The progression near the end borrows from the harmonic progression of John Coltrane's "Giant Steps", which had only been known for about two years when "A Simplex One" was recorded. The two melodies may be played separately or simultaneously. The second melody may be an experiment with a 12-tone row idea.</div>
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Ellis' later work is much more well-known than these early records. In 1965 he formed the Don Ellis Orchestra, which stunned the audience at the 1966 Monterey Jazz Festival. By the late 60's the band had garnered a following among younger audiences, playing at many colleges and making a famous appearance at the Fillmore West alongside the Quicksilver Messenger Service. Ellis had also become involved in recording soundtracks, contributing to the soundtrack of Roman Polanski's "Rosemary's Baby". In 1972 his Orchestra recorded the soundtrack to the hit film "The French Connection", and continued to perform widely. In 1975, Ellis suffered from a heart attack which set him back quite considerably, although he was performing again by 1976. After continuing to have heart problems, Ellis stopped playing drums with his Orchestra, and eventually stopped performing altogether. He suffered a fatal heart attack on Dec. 17th, 1978.</div>
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<b>Don Ellis 1934-1978</b></div>
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Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0tag:blogger.com,1999:blog-3982148040165540021.post-74963979320456383722012-06-09T16:03:00.000-07:002014-08-24T19:51:56.871-07:00Faruq Z. Bey<div style="text-align: center;">
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Faruq Z. Bey passed away on June 1st, 2012. I'm reposting this in his honor, and I'm working on some other transcriptions which I will post in the coming weeks.<span style="font-weight: bold;"><br /></span></div>
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<span style="font-weight: bold;">Faruq Z. Bey - After Death</span><br />
<span style="font-size: x-small;">Originally posted Oct. 20th, 2009</span><span style="font-weight: bold;"></span><br />
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A very influential figure in the history of jazz in Detroit, Bey was the involved with the Tribe collective in the 1970's. He led Griot Galaxy throughout the 1980's, a group which received fairly wide acclaim. The band sounded like a meeting of mid-70's Miles Davis and Sun Ra: brief ostinato-driven compositions giving way to intense modal/free improvisations. This particular piece was an important part of Bey's repertoire, both with Griot Galaxy and later with the Northwoods Improvisers.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWNCOunXuI8v6WlJbqpFMuJIOeuv_QBuk1N8142hVAYSfJmppLwVUpjb7B-71mq_qULhznL3ny-FmNMi_6dZm5tzjKKbDbo9ToYIDgHgqsmUq6o5x6x0rdYflxTJthbWUtb0NZWJ4woLaZ/s1600-h/AfterDeath.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWNCOunXuI8v6WlJbqpFMuJIOeuv_QBuk1N8142hVAYSfJmppLwVUpjb7B-71mq_qULhznL3ny-FmNMi_6dZm5tzjKKbDbo9ToYIDgHgqsmUq6o5x6x0rdYflxTJthbWUtb0NZWJ4woLaZ/s400/AfterDeath.jpg" id="BLOGGER_PHOTO_ID_5395145307626387730" style="cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 309px;" /></a>The song appears on:<br />
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Griot Galaxy - "Opus Krampus" [CD Reissue]<br />
Northwoods Improvisers w/ Faruq Z. Bey - "19 Moons"<br />
Northwoods Improvisers w/ Faruq Z. Bey - "Infa'a"<br />
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Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0tag:blogger.com,1999:blog-3982148040165540021.post-14106259177399451162012-04-18T10:18:00.003-07:002012-04-18T10:27:57.999-07:00Marion Brown / Ornette ColemanHey everyone -- It's been a while. Grad school is no walk in the park. But fortunately I've been keeping up with my tune transcribing, for various shows and groups. Here are a couple new ones:<br />
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<b>Marion Brown - "Capricorn Moon"</b><br />
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A nice little tune, used as a vehicle for extended modal/free solos (the album version is more than 20 minutes long). This is the opening track on <a href="http://www.discogs.com/Marion-Brown-Quartet-Marion-Brown-Quartet/release/375776" target="_blank"><i>The Marion Brown Quartet</i></a> (1966), featuring trumpeter Alan Shorter, drummer Rashied Ali, and bassists Reggie Johnson and Ronnie Boykins (from Sun Ra's band). Bennie Maupin also plays on the album, but is not on this track.</div>
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A few towering figures often define the New York jazz avant-garde of the 1960's: John Coltrane, Albert Ayler, Ornette Coleman, Cecil Taylor, Pharaoh Sanders... we often forget about figures like John Tchicai, Don Pullen, Alan Silva, Bill Dixon and Marion Brown, who were engaged with similar lines of inquiry: new ways of approaching improvisation, and new ways of blending it with composition. ESP-Disk' is an indispensable source for documentation of this very important musical scene.</div>
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<b>Ornette Coleman - "Street Woman" </b> </div>
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Recorded in the early 70's, released on <i><a href="http://www.discogs.com/Ornette-Coleman-Science-Fiction/release/1545635" target="_blank">Science Fiction</a> </i>(1972). This album is a hodge-podge of elements tossed together, and slow-cooked to perfection. We hear many of Ornette's frequent collaborators like Charlie Haden, Ed Blackwell, Billy Higgins, Don Cherry and Dewey Redman, as well as a few fairly uncommon collaborators. For example, trumpeter Bobby Bradford, and New York Philharmonic trumpeters <a href="http://www.discogs.com/artist/Gerard+Schwarz" target="_blank">Gerard Schwarz</a> (1973-1978) and <a href="http://www.discogs.com/artist/Carmine+Fornarotto" target="_blank">Carmine Fornarotto</a> (1962-1994). Additionally, two tracks feature the remarkable singer <a href="http://www.ashaputhli.com/" target="_blank">Asha Puthli</a>, in some of her earliest recordings (she can also be heard on Peter Ivers' <a href="http://www.discogs.com/Peter-Ivers-Take-It-Out-On-Me/release/2734833" target="_blank"><i>Take It Out On Me</i></a>, and she has numerous <a href="http://www.discogs.com/Asha-Puthli-The-Devil-Is-Loose/master/93076" target="_blank">excellent</a> <a href="http://www.discogs.com/Asha-Puthli-Asha-Puthli/master/93071" target="_blank">solo albums</a>). Poet <a href="http://www.discogs.com/artist/David+Henderson+%285%29" target="_blank">David Henderson</a> can be heard on the title track. The album's production team is to credit as well, for they help to create the strange aural space that much of the album possesses. Engineers Stan Tonkel, Russ Payne, and producer James Jordan: props. James Jordan, also produced Coleman's <i>Skies of America</i>, as well as his most recent release <i>Sound Grammar</i> (check out this blog's very first post for a transcription of <a href="http://jazztranscriptauthority.blogspot.com/2009/10/annette-peacock-miles-davis-ornette.html" target="_blank">"Jordan"</a> from this album)<br />
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Also, I haven't forgotten about "Splashdown"! In fact, it's almost done. I just need to figure out the weird keyboard/bass interlude... In the next post, I'll share a couple transcriptions of tunes by Giuseppi Logan, to me one of the oddest figures from the ESP-Disk' scene.Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com1tag:blogger.com,1999:blog-3982148040165540021.post-82967430947314638262011-11-01T22:51:00.000-07:002011-11-09T11:43:05.714-08:00More Ornette!Happy November! Time for some more charts. These two tunes come from the 20th anniversary edition of Ornette Coleman's collaborative album with Pat Metheny <i>Song X</i>: <br />
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<b>Ornette Coleman - Police People</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIH0z_OKsc0FeC2wR8uZPQYMLQyqcwNKmVFkam3ml2UibjSZZj3e9eMcfH3OLzIz2ve11BxjLLso8uHJ4n6TndP_2JKOjzW6SkZ5sSMVUNVQ1TuZakpr4v6WLsUY5etpDLiydx-gD3PyW9/s1600/PolicePeople.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIH0z_OKsc0FeC2wR8uZPQYMLQyqcwNKmVFkam3ml2UibjSZZj3e9eMcfH3OLzIz2ve11BxjLLso8uHJ4n6TndP_2JKOjzW6SkZ5sSMVUNVQ1TuZakpr4v6WLsUY5etpDLiydx-gD3PyW9/s320/PolicePeople.jpg" width="247" /></a></div>
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<b>Ornette Coleman - All Of Us</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_cU3hpEvnJIaYMtynsnkiPxtQVFCxwtJVR6KE-uYmZH_8iVOotCDrrFfDJYmSht6vyoop8wi9HzANxbNlDpDdTMKetZqSHuyZHr1k9CbyUjvaBb4D1zuZg5c9edDHMsPUKQ2G-f1M_hfo/s1600/AllOfUs.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_cU3hpEvnJIaYMtynsnkiPxtQVFCxwtJVR6KE-uYmZH_8iVOotCDrrFfDJYmSht6vyoop8wi9HzANxbNlDpDdTMKetZqSHuyZHr1k9CbyUjvaBb4D1zuZg5c9edDHMsPUKQ2G-f1M_hfo/s320/AllOfUs.jpg" width="247" /> </a><br />
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Why doncha buy it?</div>
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<a href="http://www.amazon.com/Song-X-Twentieth-Anniversary-Metheny/dp/B000A2FHCE/ref=sr_1_2?ie=UTF8&qid=1320867754&sr=8-2">http://www.amazon.com/Song-X-Twentieth-Anniversary-Metheny/dp/B000A2FHCE/ref=sr_1_2?ie=UTF8&qid=1320867754&sr=8-2</a></div>
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</div>Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0tag:blogger.com,1999:blog-3982148040165540021.post-87072559953905890122011-10-08T21:30:00.000-07:002011-10-08T21:30:59.859-07:00Hermeto PascoalWelp, it's been another couple months. This blog is still very much active, although updates have been more sporadic recently. Grad school has kept me pretty busy.<br />
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<span style="font-weight: bold;">Hermeto Pascoal - Nem Um Talvez</span> </div>
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Here's my interpretation of Hermeto Pascoal's "Nem Um Talvez". This tune was recorded on the Miles Davis album <i>Live/Evil</i>. Given the way Miles used to change songs in the studio, it's likely that Pascoal's original version was a good deal different than the version that was actually released. (If Pascoal recorded the tune himself, I'm unaware of it. It would be interesting to hear.) But this is a pretty close approximation to what was played on the record. The phrasing might be debatable but I'm pretty sure the chords and melody are right.<br />
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Anyway: here it is. Knock yourself out!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQTnr7xqHpKVwRbDa8BFwU8vZZyUA0aUta6wYmaQHfmbGGSuiHFq7zAbt7idyBNYuyV7gY-J3EgIi0P_nKPO-0Q3mXxddvdag0VZpPDDlR0Qt4hGO8Wt6_AryGjrQ91mj8p26jlqOmlzO0/s1600/NemUmTalvez.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQTnr7xqHpKVwRbDa8BFwU8vZZyUA0aUta6wYmaQHfmbGGSuiHFq7zAbt7idyBNYuyV7gY-J3EgIi0P_nKPO-0Q3mXxddvdag0VZpPDDlR0Qt4hGO8Wt6_AryGjrQ91mj8p26jlqOmlzO0/s320/NemUmTalvez.jpg" width="247" /></a></div>
<br />Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0tag:blogger.com,1999:blog-3982148040165540021.post-57787181435210107672011-07-07T12:02:00.000-07:002011-10-12T17:19:33.741-07:00Ornette Coleman & Collin Walcott [Updated 10/12/11]It just occurred to me that I have not updated this blaaaggh in a month! Here are some oldies that I've had in the can for a while, but I haven't shared them before.<br />
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<span style="font-weight: bold;">Ornette Coleman - Macho Woman<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgflqEM-Q78zuJWhF65vqKXR7aKv9AH9PvJWMSbm3SjWQHG0V48A_iiuSvNQuLFjYj_kbGa-IxBDbmeiwyJoJ9-DepTfoxczBZhyPqHLNHqxeqQBdxrU3BokeGDXQ9OPqjpYbCIHyP2gFxP/s1600/MachoWoman.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5626688942291498258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgflqEM-Q78zuJWhF65vqKXR7aKv9AH9PvJWMSbm3SjWQHG0V48A_iiuSvNQuLFjYj_kbGa-IxBDbmeiwyJoJ9-DepTfoxczBZhyPqHLNHqxeqQBdxrU3BokeGDXQ9OPqjpYbCIHyP2gFxP/s400/MachoWoman.jpg" style="cursor: hand; cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 309px;" /></a></div>
This one was recorded by Ornette's Prime Time quintet, and released in 1978 on <a href="http://www.discogs.com/Ornette-Coleman-Body-Meta/release/961665">Body Meta</a>. I will probably be sharing some more tunes from this album from time to time.<br />
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<span style="font-weight: bold;">Collin Walcott - Margueritte<br /></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglVn7r7oMJl9YRXQ1mTrUOyo1NLwBPmiHyu4duMbXihRkv4hH_0FRR-1e9O6t7w_nfNVB8UY8iT67zw1pZmgQvDScas4r2fbQRurFfnrJwFtU0fsaEZiA6vciDqbRbJaMLpOQXxl-hdv8p/s1600/Margueritte.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglVn7r7oMJl9YRXQ1mTrUOyo1NLwBPmiHyu4duMbXihRkv4hH_0FRR-1e9O6t7w_nfNVB8UY8iT67zw1pZmgQvDScas4r2fbQRurFfnrJwFtU0fsaEZiA6vciDqbRbJaMLpOQXxl-hdv8p/s320/Margueritte.jpg" width="247" /></a></div>
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<i>[Chart updated 10/12/11. Please make sure you download the new version to replace the old.]</i><br />
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This is a beautiful tune, the opening track on Walcott's first album <a href="http://www.discogs.com/Collin-Walcott-Cloud-Dance/master/238295">Cloud Dance</a>. I remember reading somewhere (maybe the liner notes??) that Margueritte was the name of Walcott's wife, but I could be just completely making that up.<br />
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A different version of this tune was recorded on Oregon's 1974 album Winter Light. I'll post that in the future.<br />
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The tune is one of two quartet tunes on the album, with Jack DeJohnette playing drums. I posted the other one at an earlier time; click the "Collin Walcott" label below to find it. The rest of the album consists of duos and trios with Dave Holland and John Abercrombie. This is a really good, very accessible 70's jazz album that I can't recommend highly enough.<br />
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I've got a pretty busy July but hopefully I'll get around to doing some serious transcribing at some point. I noticed a couple requests for "Splash", which is definitely encouraging. I'll give it a try soon.<br />
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On a side note: readers of this blog might be interested in a series I've been working on <a href="http://mattendahl.blogspot.com/">over at my other blog</a>. This is a series of the earliest recorded examples of free improvisation that I've been able to find, with the point of demonstrating the wide variety of approaches that have led to it.Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0tag:blogger.com,1999:blog-3982148040165540021.post-71559141262157279252011-07-07T09:48:00.000-07:002014-10-25T19:44:00.973-07:00The Music of Anthony Braxton[Note: In an interview, Braxton once gave a couple of examples of titles that he would never use for his compositions, like "The Sun Came Over The Mountain" and "Braxton's Blues". I originally titled this post "Bracky's Blues", because that's what I remembered him saying. I noticed the error and changed the title, but you can still see "Bracky's Blues" in the URL to this post. No disrespect was intended toward Braxton, then or now.]<br />
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Two tunes off of Anthony Braxton's <a href="http://www.discogs.com/Anthony-Braxton-New-York-Fall-1974/release/922828">New York, Fall 1974</a> album on Arista. Side A of the album is played by the quartet of Braxton, Kenny Wheeler, Dave Holland and Jerome Cooper. Side B contains collaborations with a proto-World Saxophone Quartet, and ex-Musica Elettronica Viva member Richard Teitelbaum. The final track features the original quartet with the addition of Leroy Jenkins on violin. All in all, a very solid, if unusual, album.<br />
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<span style="font-weight: bold;">Anthony Braxton - Composition #23C</span><br />
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<span style="font-style: italic;">UPDATE</span>: the ineffable <a href="http://garynprince.blogspot.com/">Gary Prince</a> found a typo in this transcription. So, I've updated it. Please re-download this new one!</div>
<span style="font-weight: bold;"><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgysX8oyteLLTQRXSJDE3OpQATK8d8slhEBJY9IK5aN7T_6OklQfekAhinsy1Ir60CCprm0zMQ2zbFjDYxxjh3mUJDX2u7YCI5ebEsm-ySbEfVuTvPyLhYD6VeKveCpWES_KN-HrpBVYTRn/s1600/Composition23C.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgysX8oyteLLTQRXSJDE3OpQATK8d8slhEBJY9IK5aN7T_6OklQfekAhinsy1Ir60CCprm0zMQ2zbFjDYxxjh3mUJDX2u7YCI5ebEsm-ySbEfVuTvPyLhYD6VeKveCpWES_KN-HrpBVYTRn/s400/Composition23C.jpg" id="BLOGGER_PHOTO_ID_5626686649114283986" style="cursor: hand; cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 309px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimsezF7ba-nYSdNMAsFn9-XS1F93Esy8H-g8K2wpc0w8UV3FthNmi-kAoJfSo01sSNX5WkQeGfpKxcp0vrkqqyWV9jSeQ4vY4CIOYFH5OA_VpCcwffp-o9R_fXOcQkQoYdyCRVuzXuhSsO/s1600/Composition23C.jpg"><br /></a><br />
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Braxton describes this piece as an "additive repetitive structure", to be played as written, observing all repeat signs once. The result is a form like: 1, 1-2, 1-2-3, 1-2-3-4, etc. The tune becomes "progressively revealed" until the end, when it is played straight through. For Braxton's notes on the piece, see <a href="http://www.restructures.net/CompNotes/023C.htm">restructures.net</a>.<br />
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<span style="font-weight: bold;">Anthony Braxton - Composition #23D</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNhlZ45ptEwYsT-MlEAqA825kmVUyi6rFbEebLiftT1XOjQx54vc8PDxSvds87J8KchB6P0A-vTGeUHAJIRBUQLSPsOJJ668NSt5PhVLGQHE2JQODA6QQzu7-SdWf1VQ6eWGdu9r0KMdh4/s1600/Composition23D-1.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNhlZ45ptEwYsT-MlEAqA825kmVUyi6rFbEebLiftT1XOjQx54vc8PDxSvds87J8KchB6P0A-vTGeUHAJIRBUQLSPsOJJ668NSt5PhVLGQHE2JQODA6QQzu7-SdWf1VQ6eWGdu9r0KMdh4/s320/Composition23D-1.jpg" id="BLOGGER_PHOTO_ID_5605866665789580226" style="cursor: hand; cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 247px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh45YjGbBUBrhRjEx-7dtZpeUfZuVmTwA9b_ijctDEao82sSpjKGQooEnUMJAGXStIcrQ-Xe-lbprSCYYa_Nqqg12ZOKRyiNmhl-DiLYhYVs5l6hnGYCzlNaq88xE3qWxkmuOBQsgEW_3c/s1600/Composition23D-2.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh45YjGbBUBrhRjEx-7dtZpeUfZuVmTwA9b_ijctDEao82sSpjKGQooEnUMJAGXStIcrQ-Xe-lbprSCYYa_Nqqg12ZOKRyiNmhl-DiLYhYVs5l6hnGYCzlNaq88xE3qWxkmuOBQsgEW_3c/s320/Composition23D-2.jpg" id="BLOGGER_PHOTO_ID_5605866663999568354" style="cursor: hand; cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 247px;" /></a><br />
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A more straight-ahead tune, with free solos. I'll leave it to Braxton's own notes to tell you the rest. Read on <a href="http://www.restructures.net/CompNotes/023D.htm">restructures.net</a>.</div>
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Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com2tag:blogger.com,1999:blog-3982148040165540021.post-50549317813949488932011-06-02T07:27:00.000-07:002011-06-02T07:27:01.051-07:00Keith Jarrett American QuartetThe following tunes are played as a suite on Keith Jarrett's 1976 album <a href="http://www.discogs.com/Keith-Jarrett-Shades/release/1235140">Shades</a>. So, I transcribed them together. Here they are:<br /><br /><div style="text-align: center;"><span style="font-weight: bold;">Keith Jarrett - Shades of Jazz</span><br /></div><div style="text-align: center;"><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbismTkOn9wwxjmHZcu8klx8cyPPNPd1ZIak31l28e-0Zury3HCxr8k658f1WdC2Md1B5gsIBBzV597a0WNaXOtjyYyrI7KcCa0AIbtuGSWDUuMJstM0fJ4w7E-X4xe-Iylsk6tdpAnVk9/s1600/ShadesofJazz.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 247px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbismTkOn9wwxjmHZcu8klx8cyPPNPd1ZIak31l28e-0Zury3HCxr8k658f1WdC2Md1B5gsIBBzV597a0WNaXOtjyYyrI7KcCa0AIbtuGSWDUuMJstM0fJ4w7E-X4xe-Iylsk6tdpAnVk9/s320/ShadesofJazz.jpg" alt="" id="BLOGGER_PHOTO_ID_5607066175552752786" border="0" /></a>This one is a fast free jazz swing tune.<br /><br /></div><span style="font-weight: bold;">Keith Jarrett - Southern Smiles<br /></span><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLKekpcky0ThVre9CEUmAg4b3jWRw6kVlUoLoe7ra35s1fN4LMMp0Xia7Wb4VA3rw1fXvAoI-Tm2UvzqtL6FcqvyKwc7JWa-3BI0466T7XvaCiwZ5NGkSW_upqPRZoTySMtU8ekp1nfj_w/s1600/SouthernSmiles.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 247px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLKekpcky0ThVre9CEUmAg4b3jWRw6kVlUoLoe7ra35s1fN4LMMp0Xia7Wb4VA3rw1fXvAoI-Tm2UvzqtL6FcqvyKwc7JWa-3BI0466T7XvaCiwZ5NGkSW_upqPRZoTySMtU8ekp1nfj_w/s320/SouthernSmiles.jpg" alt="" id="BLOGGER_PHOTO_ID_5607066170192807170" border="0" /></a><br />A more layed-back country-rock kind of tune.<br /></div></div>Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0tag:blogger.com,1999:blog-3982148040165540021.post-82473809233963346772011-05-01T13:44:00.001-07:002021-10-27T19:20:11.430-07:00Bittersuite in the Ozone<div style="font-weight: bold; text-align: center;">
Bob Moses - Bittersuite in the Ozone</div>
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<span style="font-weight: bold;"><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3BCMoNZ4Xhz9jkdbbIC9zEuI1fbwnf-qDnVOUIB5uGBL7IIQxjQLjvoyFyWoNlps2mT7YUNZkIPokzqbd0tziNtVFCfgsf0tpJ0jPd8hL5kRH2ks1agbprirPMLgL_iXgPO8whhkfnLLp/s1600/Bittersuite1.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5600417447453538226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3BCMoNZ4Xhz9jkdbbIC9zEuI1fbwnf-qDnVOUIB5uGBL7IIQxjQLjvoyFyWoNlps2mT7YUNZkIPokzqbd0tziNtVFCfgsf0tpJ0jPd8hL5kRH2ks1agbprirPMLgL_iXgPO8whhkfnLLp/s320/Bittersuite1.jpg" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 247px;" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAcB9PKY1uR4NX6fQfF5mkPgVd8JlYzi8JN1pER5YKwGhjnEuAXLMrnDu21HMwe68Dd8KQuG1OyktDSNNlQeF_kKs9H9IHbe-i5tdhyphenhyphenYD56jWXzvEAMYgUdvxCr2LEW53p-sILQt9TY_1n/s1600/Bittersuite2.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5600417454276367250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAcB9PKY1uR4NX6fQfF5mkPgVd8JlYzi8JN1pER5YKwGhjnEuAXLMrnDu21HMwe68Dd8KQuG1OyktDSNNlQeF_kKs9H9IHbe-i5tdhyphenhyphenYD56jWXzvEAMYgUdvxCr2LEW53p-sILQt9TY_1n/s320/Bittersuite2.jpg" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 247px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibjcmY22J96NBL8Laph4GAwW8mVOMHTMNj21StUG1QhwSDqMm-hOXYtGlNIXEBZDSKajO5ZfRN6kpQZ0Coe9CUuQXEaQq_YmN4FG0Zk165pvObVb5efDS6C116n9l9jckf_3bY09LAQ8uV/s1600/Bittersuite3.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5600417459360631986" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibjcmY22J96NBL8Laph4GAwW8mVOMHTMNj21StUG1QhwSDqMm-hOXYtGlNIXEBZDSKajO5ZfRN6kpQZ0Coe9CUuQXEaQq_YmN4FG0Zk165pvObVb5efDS6C116n9l9jckf_3bY09LAQ8uV/s320/Bittersuite3.jpg" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 247px;" /></a></div>
When I transcribe, I try to envision the chart being used on the recording session. Transcribing a tune like "Bittersuite" is particularly challenging because it is so loosely interpreted by the ensemble. "Brofilia" is especially frustrating because it clearly follows a basic blues form, but the i chords appear to be treated as vamps. In addition, there appears to be miscommunication about where beat 1 occurs during the section.<br />
<span style="font-style: italic;"><br /></span>So, this chart is not perfect. But at least it's better than the version in the Real Book. If you have suggestions on how to improve this chart, let me know.<span style="font-style: italic;"><br /></span><br />
Please be inspired by this tune to go out and <span style="font-style: italic;">work</span> for clean energy. Advocacy isn't enough, we need to do <span style="font-style: italic;">work</span> to reduce greenhouse gas emissions, and that means we all need to stop driving so much, among other things. Carpool, take the bus, ride your bike to work.<br />
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(Sorry to get political, but if you think music should be apolitical, don't forget about how much great music came out of the 60's. And why. Plus, it's International Workers' Day. Hug a union.)Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0tag:blogger.com,1999:blog-3982148040165540021.post-85149774332837130722011-04-20T16:20:00.000-07:002011-05-15T13:08:18.025-07:00Joe & MilesThese two tunes were recorded on <a href="http://www.plosin.com/milesahead/Sessions.aspx?s=690220">Feb. 20th, 1969</a> with Miles, Wayne Shorter, Herbie Hancock, Chick Corea, Joe Zawinul, John McLaughlin, Dave Holland and Joe Chambers. Both tunes never saw the light of day until the In A Silent Way Sessions box set came out.<br /><br /><div style="text-align: center;"><span style="font-weight: bold;">Miles Davis - The Ghetto Walk</span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQpvtw4seXKJKDaG1F-JUTgtOzqwREG_2PxqgAHnWsLYFLF3ls-xrqe5uiMtkjMKrzEeziSC-rn0sQDJxEI8AnB3AwKbMGdpTLoMpGkDhhDUAGPFQCSTm_uTk1DFYo_fZAyTPnRLbcDkm7/s1600/GhettoWalk2.jpg"><span style="font-weight: bold;"></span></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFAmwXwB6jXKK4xR-w8KHg1SkQhTIFRFjP9lH-hM_KjVcw2SewrgWwoZXUkKywCmaXck6xeHSi0I0HvJ8PAGHRk4a0IKevJBUF4eNhLuQmz8Npu2w3wMkremRYuUPk4tVH-GgB786W5UmV/s1600/GhettoWalk1.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 247px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFAmwXwB6jXKK4xR-w8KHg1SkQhTIFRFjP9lH-hM_KjVcw2SewrgWwoZXUkKywCmaXck6xeHSi0I0HvJ8PAGHRk4a0IKevJBUF4eNhLuQmz8Npu2w3wMkremRYuUPk4tVH-GgB786W5UmV/s320/GhettoWalk1.jpg" alt="" id="BLOGGER_PHOTO_ID_5594366662477420978" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQpvtw4seXKJKDaG1F-JUTgtOzqwREG_2PxqgAHnWsLYFLF3ls-xrqe5uiMtkjMKrzEeziSC-rn0sQDJxEI8AnB3AwKbMGdpTLoMpGkDhhDUAGPFQCSTm_uTk1DFYo_fZAyTPnRLbcDkm7/s1600/GhettoWalk2.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 247px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQpvtw4seXKJKDaG1F-JUTgtOzqwREG_2PxqgAHnWsLYFLF3ls-xrqe5uiMtkjMKrzEeziSC-rn0sQDJxEI8AnB3AwKbMGdpTLoMpGkDhhDUAGPFQCSTm_uTk1DFYo_fZAyTPnRLbcDkm7/s320/GhettoWalk2.jpg" alt="" id="BLOGGER_PHOTO_ID_5594366738403881026" border="0" /></a>Another example of Miles' extended compositions with modal solos. The recorded take is nearly a half-hour long, leaving ample solo space. (In fact, you can really hear the band settle into the solo section groove)<br /><br />Miles and Wayne restate parts of the melody in a rubato fashion. I'll leave it to you for now to figure this part out, I just wanted to get the basic form of the tune transcribed.<br /><br /><div style="text-align: center;"><span style="font-weight: bold;">Joe Zawinul - Early Minor<br /><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK5wCw7_JgzMtRIqh8DjL4BfLQOCG8RB77Svx0sSYuT_ktTVnRveBU2Y6yq8rLji4-2C9H02OBNLTRHFMV63G6gutLmHQae-fJKoM8aiTIa709STj9rs33K3In_d47O4WC4OsHrUsyzawE/s1600/Early+Minor1.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 247px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK5wCw7_JgzMtRIqh8DjL4BfLQOCG8RB77Svx0sSYuT_ktTVnRveBU2Y6yq8rLji4-2C9H02OBNLTRHFMV63G6gutLmHQae-fJKoM8aiTIa709STj9rs33K3In_d47O4WC4OsHrUsyzawE/s320/Early+Minor1.jpg" alt="" id="BLOGGER_PHOTO_ID_5594368665596059042" border="0" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZOX1O8zeUYYhzHGywS_RGWO4vUfJ96TiobKs1BAiTmFI7FSrzblu8lnMfbJVKFOEwZ_NYhV7mD-4-vzXrCw8YkjPgZ2wSNa7VQy9om5bLnfRk00bCEsEx_GM2gB8WiZixLQCFKA4xaj0N/s1600/Early+Minor2.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 247px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZOX1O8zeUYYhzHGywS_RGWO4vUfJ96TiobKs1BAiTmFI7FSrzblu8lnMfbJVKFOEwZ_NYhV7mD-4-vzXrCw8YkjPgZ2wSNa7VQy9om5bLnfRk00bCEsEx_GM2gB8WiZixLQCFKA4xaj0N/s320/Early+Minor2.jpg" alt="" id="BLOGGER_PHOTO_ID_5594368555079979954" border="0" /></a><br /><span style="font-weight: bold;"><br /></span><div style="text-align: left;">A beautiful minor ballad. The Rhodes really shimmers on this one. This tune deserves to be played far more often, hopefully this chart will encourage people.<br /></div></div>Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com2tag:blogger.com,1999:blog-3982148040165540021.post-88346908076701269272011-04-06T18:25:00.001-07:002013-06-26T12:14:43.275-07:00In A Silent Way SessionsI've been going back to the Complete In A Silent Way Sessions box lately, transcribing tunes of interest. Lots of good composing, and great playing (considering they were likely sight-reading most of these). Next up on the docket are "Splash" and "Splashdown" but we'll see how far I get in those!<br />
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Throughout the late 1960's, Miles Davis and his group was intensely exploring new compositional methods. The 2nd quintet had delved into modern, non-functional harmony (see "Circle" and "Fall") free jazz (see "Orbits", "Dolores", etc.), and rock (see "Freedom Jazz Dance" and "Eighty-One"). By the time of Filles de Kilimanjaro, Miles was writing complex linear song forms, with modal solo sections stuck in the middle.<br />
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Up until 2003 it was generally assumed that this tendency fell away in 1969 as Miles went completely modal. But the recent release of unedited session tapes tells a different story.</div>
<span style="font-weight: bold;"><br />Miles Davis - Shh, Peaceful<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLp4jiSXsr2QpDzTCr9GJ50DiEj582gJkouqc9QbaaLBbqQivStAApvW38mZQLHsYMGW8yCIKOUiPUkFBgN7Z1Vs_ELrTcvph-2_xfWD5QOHxM3EHGW-Zxl3hdkFMxPBpwzQZDm-itLUja/s1600/Shh+Peaceful.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5592655232192969010" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLp4jiSXsr2QpDzTCr9GJ50DiEj582gJkouqc9QbaaLBbqQivStAApvW38mZQLHsYMGW8yCIKOUiPUkFBgN7Z1Vs_ELrTcvph-2_xfWD5QOHxM3EHGW-Zxl3hdkFMxPBpwzQZDm-itLUja/s320/Shh+Peaceful.jpg" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 247px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYR1beL-9ck4XWBbASMHKm74vqdjHK2fQ1FPTaSl4k6eBEWukhRD3E7Ov9-4fgJXtmip1oxhorPbNeOvPrGUj03CGzFoIIU6BKJ2XesIW7Mc15xB7jKEtI_z33-9q-eLsEVjm9-7jMXiQc/s1600/Shh+Peaceful.jpg"><br /></a><span style="font-weight: bold;"><br /></span><br />
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The song form is almost completely obscured by editing on the album version. But listen to the version on the box set and you'll hear a fully-formed composition, with modal solo sections, just like "Frelon Brun".<span style="font-weight: bold;"><br /></span>For the uber-uber-nerds, here's an interesting piece of history: Miles' own lead sheet of the tune. I used it for parts of the transcription above.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYlqne4zOi-wucO1zB2sG3OrDspz8ROfHsf78jPptWVruxYQxn-uYLKpr4bbJS9PmulqMkv3lr-wLZUq_tnKhqp3BRqRAq3ErGx8bap111kuh38_LezDEdTwexkQpOS8NbB5KwqfeTpwKJ/s1600/shh.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5592654282117032418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYlqne4zOi-wucO1zB2sG3OrDspz8ROfHsf78jPptWVruxYQxn-uYLKpr4bbJS9PmulqMkv3lr-wLZUq_tnKhqp3BRqRAq3ErGx8bap111kuh38_LezDEdTwexkQpOS8NbB5KwqfeTpwKJ/s320/shh.jpg" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 262px;" /></a>The last three bars of system 5 resemble the descending chord progression that is heard on "It's About That Time", but the bassline is nowhere to be found. Maybe this sheet of music was the source material for the entire recording session, not just "Shh, Peaceful"?<br />
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In any case, this tune was recorded on <a href="http://www.plosin.com/milesahead/Sessions.aspx?s=690218"><span id="lblSession">February 18, 1969</span></a>. Peter Losin's always-useful Miles Ahead website also includes a breakdown of how the master take was edited for the LP version. Check it out! </div>
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Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com4tag:blogger.com,1999:blog-3982148040165540021.post-86126104698814224952011-03-28T10:19:00.001-07:002011-05-15T13:17:27.689-07:00More Miles!<div style="text-align: center; font-weight: bold;">Miles Davis - Dual Mr. Anthony Tillmon Williams Process<br /></div><div style="text-align: center;"><span style="font-weight: bold;"><br /></span><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjnLl9rJJ5C1M1CFVDQ_wyBrHhvr9zalOfXXEGddNMd2mqmXxBTKvSJgStV_296D1I-aGMY1PmbD6_n5PqcPkYfSxkrXusEJezBGaMmacsbuoHlku2lPWSay9QC-wgd8h09-QvSktOv_wl/s1600/DualProcess.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 247px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjnLl9rJJ5C1M1CFVDQ_wyBrHhvr9zalOfXXEGddNMd2mqmXxBTKvSJgStV_296D1I-aGMY1PmbD6_n5PqcPkYfSxkrXusEJezBGaMmacsbuoHlku2lPWSay9QC-wgd8h09-QvSktOv_wl/s320/DualProcess.jpg" alt="" id="BLOGGER_PHOTO_ID_5589182839280549730" border="0" /></a><br />This tune was recorded on November 11th, 1968. Discographer Peter Losin <a href="http://www.plosin.com/milesahead/Sessions.aspx?s=681111">suggests</a> that this tune may have been co-written by Gil Evans, which is definitely possible. It was shelved but eventually released by Columbia in 1976 on the album Water Babies.<br /><br /><div style="text-align: center;"><span style="font-weight: bold;">Marcus Miller - Tutu<br /><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgeNvZHSB_h9kT0r_xqX43qlY52crINdEBMXpWwJtUU14eNB8ED6TXPu6T8s6VF0mMq1kLHvp-PZ6e0-0etk84l5a21mgj3_ONE0elLO5PEVnU2lhaxlyjOPbkvAK8TaxSmxhRqOI1gQBl/s1600/Tutu.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 247px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgeNvZHSB_h9kT0r_xqX43qlY52crINdEBMXpWwJtUU14eNB8ED6TXPu6T8s6VF0mMq1kLHvp-PZ6e0-0etk84l5a21mgj3_ONE0elLO5PEVnU2lhaxlyjOPbkvAK8TaxSmxhRqOI1gQBl/s320/Tutu.jpg" alt="" id="BLOGGER_PHOTO_ID_5592658614476614034" border="0" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0hIa3QI3ldEdR6wrQ7XW4SdiqVK5AqQsWIEB1j9gdqqGOtmWuaxcPGAXQfUpvJmn0-QGp0dtAupr-EpK2J5rJ7s4e3DLBDAPzGfKc_yneSVJGZeqzEO1h1HSyV2dJB3EPHzvLJ4caJkRl/s1600/Tutu.jpg"><br /></a><br /><div style="text-align: left;">Recorded on <a href="http://www.plosin.com/milesahead/Sessions.aspx?s=860211">February 11th, 1986</a>. Released on the album Tutu, by Warmer Bros. I didn't bother transcribing all the synth hits at the beginning.<br /></div></div></div></div>Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0tag:blogger.com,1999:blog-3982148040165540021.post-48052077849919637522010-12-23T09:26:00.000-08:002011-05-15T13:18:33.353-07:00Idris AckamoorThis is the first track from a 2006 retrospective of Ackamoor's work. Please support Ackamoor's work by buying the compilation here:<br /><br /><a href="http://www.jazzloft.com/p-43690-music-of-idris-ackamoor.aspx">http://www.jazzloft.com/p-43690-music-of-idris-ackamoor.aspx</a><br /><br /><div style="text-align: center;"><span style="font-weight: bold;">Idris Ackamoor - The Shepherd's Tune</span><br /></div><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisQR8KObc62Z336V6vy3t4y8leO7FTSOVxdXnMTtHjhN4HVM3YEjQHwY1UR2v81FvH0KuYJOPlJSXsjlMF6YWxB1AbF2NLDoKTWMsWUXE3Y4sYEume7rvBI5e7-pv5uMI_YE_f9_BYZL7a/s1600/ShepherdsTune.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 247px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisQR8KObc62Z336V6vy3t4y8leO7FTSOVxdXnMTtHjhN4HVM3YEjQHwY1UR2v81FvH0KuYJOPlJSXsjlMF6YWxB1AbF2NLDoKTWMsWUXE3Y4sYEume7rvBI5e7-pv5uMI_YE_f9_BYZL7a/s320/ShepherdsTune.jpg" alt="" id="BLOGGER_PHOTO_ID_5553931314318828754" border="0" /></a>Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0tag:blogger.com,1999:blog-3982148040165540021.post-13655516027034007832010-12-18T12:49:00.000-08:002011-05-15T13:18:47.429-07:00Annette Peacock<div style="text-align: center;"><div style="text-align: left;">I'm on my way out the door but here's a transcription of Kid Dynamite I whipped up a while back.<br /></div><span style="font-weight: bold;"><br />Annette Peacock - Kid Dynamite</span><br /><br /><div style="text-align: left;">This tune, like many of Annette's, has been recorded numerous times by Paul Bley. A quick search on Discogs or Allmusic will give you some leads.</div></div><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmKRObCbhwuvjWNIjRMyyo6rTrnn79z1HB9EkI7z7kh3evRF8aNNDWvsMrFO0oiKfNGOhV5MRCfYxg3A7GBArJSdxHv6Lw_jQkmDUP9HEOAfHhiFNWDJmClUPaTaei6F_Shyphenhyphenuw3jOBvq4V/s1600/KidDynamite.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 154px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmKRObCbhwuvjWNIjRMyyo6rTrnn79z1HB9EkI7z7kh3evRF8aNNDWvsMrFO0oiKfNGOhV5MRCfYxg3A7GBArJSdxHv6Lw_jQkmDUP9HEOAfHhiFNWDJmClUPaTaei6F_Shyphenhyphenuw3jOBvq4V/s200/KidDynamite.jpg" alt="" id="BLOGGER_PHOTO_ID_5552127730891718434" border="0" /></a>Matt Endahlhttp://www.blogger.com/profile/10062822000994574386noreply@blogger.com0