Whether or not Harrell is making a conscious attempt to do so is beside the point. So much so, that I sat here thinking that I’d better start making an attempt to formulate my solos around that idea. There is hardly a bar that goes by where Tom doesn’t play a guide tone on either beats one or three. If there was ever a question as to why I mark guide tones on large beats (1 and 3), Tom’s solo should alleviate those concerns. No matter what instrument you play (we have PDFs in all keys), this is a solo you should learn. There are some little trumpet “issues” that happen here and there, namely some notes that don’t speak (particularly in the final chorus and the out head, you have to buy the track to hear the in/out head), but it only adds to the charm of the solo, the same way Miles would make a frack sound like it was totally on purpose (they weren’t). Tom’s sound is sweet, reminiscent of Clifford Brown’s ballad playing, but over a medium tempo bop tune. Most of all, it’s beautiful trumpet playing.
Joyspring pdf full#
The solo is full of bebop language, pianistic arpeggios (see analysis), and motif development. I seriously thought to myself, “no way he knows where he is right now,” shows you how much I know. Sure enough, after breaking up the 32-bar choruses and plugging in the changes, it’s spot on. Obviously, it’s tough to understand some phrase decisions where the soloist is playing unaccompanied, but the soloist can probably make different decisions in terms of phrasing due to the freedom of playing without a rhythm section. After listening to the solo a few times and starting to play along, I started wondering if Tom knew where he was in the form because of how different his phrasing was.
I was immediately taken by the beauty with which Tom plays, and his sense of phrasing. I’ve never listened to much Tom Harrell, but one of my students (thanks, Alex!) put this on during one of our lessons and asked if I had heard it. That being said, I just heard this track for the first time a few weeks ago and I knew I had to transcribe it.
First of all, let me just issue an official promise to our readers that my next transcription will not be a trumpet player. That’s all I’ve got to say about this solo. You also need to have JavaScript enabled in your browser.
– Saturday 2 – 50 minute shows: 6 & 8:30 pm with diner seating beginning an hour before each show time.Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Three dinner shows over 2 nights: – Friday, one show at 7:30 pm with 2 – 45 minute sets and an intermission Dinner seating begins at 6:15 pm please arrive no later than 7 pm. Nicki Parrott – studied with Ray Brown and John Clayton, now with 16 albums of her own, critical acclaim and still has time to be a mentor and music educator.Ĭhuck Redd – Chuck joined the Charlie Byrd Trio in 1980 at the age of 21, performed with the likes of Dizzy Gillespie, Barney Kessel, Mel Torme’s Quintet, The Lionel Hampton Big Band and the Clayton/Hamilton Jazz Orchestra. Mike Wofford – the band leader for Sarah Vaughn and Ella Fitzgerald, performed with John Lennon and has over 200 album credits. Holly is also the Artistic Director for the Oregon Coast Jazz Party. Holly Hofmann – known for taking flute from the middle-of-the-orchestra to the front stage spotlight in Jazz. What do you get when you put the most swingin’ flute player in Jazz, with a legendary pianist, a rising star on bass & vocals and an exceptional drummer who doubles on vibes… all on one stage? Come see! Joy Spring Weekend Holly Hofmann, Mike Wofford, Nicki Parrott and Chuck Redd
0 kommentar(er)
