This is the first guitar transcription I’ve posted here, but I don’t think it will be the last. Although I work more on piano than guitar, I’ve played guitar most of my life.
Of course there are a lot of great jazz guitarists. At his best, I absolutely love Grant Green. His tone is creamy, his lines are clear and musical, and he draws strongly from the common Bebop vocabulary. I decided to transcribe this particular track because I thought the solo was a great jazz guitar study piece – very musical and mostly harmonically specific. Continue reading “If I Should Lose You – Grant Green”
I haven’t done much new transcription work lately, though I’ve been wanting to get it going again. This is a transcription that I started a long time ago but never posted.
McSplivens is a Bb blues on Dexter Gordons’ “A Swingin’ Affair” with the always-interesting Sonny Clark on piano. This transcription includes Sonny’s first three choruses (there are two more not transcribed here).
This is absolutely one of my favorite jazz tunes. This solo is jam packed with classic Wynton Kelly vocabulary. I believe the reason that this song isn’t played more is that the chart in the original Real Book 2 is un-usable — a hopelessly bad chart.
I don’t think of myself is a particularly good blues player, and I was looking for some blues vocabulary from the master. This is classic Wynton Kelley, playing on one of my all time favorite jazz albums (Hank Mobley’s Soul Station).
Actually this is a Cherokee contrafact called Parker ’51…
This with Stan Getz, Live at Storyville, in 1952. I’ve been meaning to work up some mojo for Cherokee, and it’s an interesting problem. My mid-tempo vocabulary doesn’t work on Cherokee because of the fast tempo, not to mention the difficult key centers on the bridge. I like Al Haig’s vocabulary on this solo (one chorus only), but it’s also an interesting solo to listen to because he was having difficulty getting the eighth notes out fast enough. At the end of the bridge, you can hear Getz start snapping his fingers because Haig kept getting behind (by which I mean he couldn’t seem to play his ii-V patterns quite fast enough, so he’d finish late and need a couple of bars to “regroup”). I had to “rationalize” the timing of some of this, since certain licks dragged so much. I suspect Al had been drinking…
This is a Barry Harris original from his 1962 solo piano album “Listen to Barry Harris – Solo Piano”. I highly recommend this album for study. The tune is similar to Rhythm in F, but with a different bridge. It’s also similar to Parisian Thoroughfare. This is great classic Barry Harris vocabulary, and I’m using it as a practice exercise.
This is from Tristano’s 1955 quartet album for Atlantic. It seemed like a good choice to learn about Lennie’s vocabulary. My favorite single device is the (almost) Hit the Road Jack turnaround at the end of the first B secion (bars 23-24)