I have been listening, of late, to this album on repeat and it's fantastic! I chose to transcribe the 'head' and solo for the young musicians of York's  Jazz Summer School (2019)

Below is a transcription of the 'head' or melody. (There are also rhythm section charts in the PDF)

Secondly, for improvising practice and learning language jazz language, here's the transcription of Kenny's solo. In my opinion, it's a perfectly formed blues solo! It really shows what you can do with a minor pentatonic and serious rhythm and groove!

Enjoy playing along with the record if you have it. If not click here to link to Blue Note, where you can stream the album, or buy it, as well as read more about Jimmy Smith. 

That's me done here, until next time, enjoy practising! 

Welcome back! Next week I have a performance coming up playing exclusively Cannonball Adderley repertoire, As a result, I've been back listen to the man himself, specifically the album mentioned in post 2, 'Julian 'Cannonball' Adderley.'  The tune I have gravitated toward this week is called 'Hurricane Connie.' This track isn't on YouTube, similar to 'rose room' though you can buy 12 classic Cannonball albums for £3.49 from iTunes,(follow the link). The 12 classic albums includes the song 'rose room,' among many others - It's thoroughly worth investing in!

The tune 'Hurricane Connie,' is based upon a song form & progression called 'rhythm changes.' This is form and chord progression was composed from a song called 'I got rhythm,' in 1930 by George Gershwin. Click the link to see a restored video of him playing from 1931. The amazing thing is that this chord progression and form (AABA) is still be still being used to play and compose over today!

A 'rhythm changes' is a very common chord progression and form (AABA), used time and time again to compose melodies over. Over time musicians have composed new 'heads' (jazz terminology for melodies) over this existing form as well as developing the harmony. If you don't understand form like AABA or chord progressions, don't worry, I'll be covering some in upcoming posts!

Back in post 2, I mentioned writing 'contrafacts,' composing a new melody over a pre-determined chord sequence. Why is the this useful to know/ relevant? Well, a couple of reasons:

1. Once you've learnt a rhythm changes chord progression & have practised soloing, you can use jazz language/ patterns, shapes etc for improvising on a number of various songs! Helping to make your improvising skills instantly adaptable to a new song.- hoorah!

2. You are able to play other 'heads,' in your solos whilst playing a different song! This is called 'quoting,' and happens frequently when some jazz musicians improvise. A master of this was Phil Woods. find out more about him on his website.

A quick warning.

You need to be slightly wary whilst quoting other heads over different rhythm changes chord progressions. This is because sometimes the chord types in the progression vary slightly. This can be enough to make some heads not sound quite right over other rhythm changes progressions.

This is the case with parts of 'Hurricane Connie,' but this is something I'll cover in more detail at a later date. My advice would be, If you can, use a combination of theory & your ears to work out/hear if it is going to sound good. If theory isn't a strong point, just use your ears! Ultimately - if it sounds bad or not quite right - don't use that particular head, pick a different one to quote instead!

Here are the parts for 'Hurricane Connie.'

Here are a few songs which are written over the rhythm changes form.

• 'I got rhythm.' - The original & basis for all rhythm changes, this is a must learn piece - pay your dues! (Composed by George Gershwin in 1930)
• 'Lester leaps in.' - (Composed by Lester Young in 1939/40)
• 'Oleo' - (Composed by Sonny Rollins in 1954 )
• 'Anthropology' - (Composed by Charlie Parker 1945)
• 'Moose the mooche.' - (Composed by Charlie Parker in 1946)
• 'Rhythm-a-ning' - (Thelonious Monk, recorded in 1957)
• 'Eternal triangle' - (Composed by Sonny Stitt in 1960)
  

The list goes on - If you know any other heads, it'd be great to know of them, so post them in the comments below!

I've included a play-along for practising improvising 'Hurricane Connie.' Again, It's only midi - but still serves it's purpose. You have 3 speeds to choose from, start slow and ensure that you're getting the correct phrasing. Ideally, buy the track and then play along with it slowed down!

Remember, getting the notes and rhythm correct is only half the job, which hopefully my parts will make easier. Remember, whilst you play along to the recording/ midi you need to get all the nuances. For example bends, vibrato, accents etc. There's no shame in replicating - it's the highest form of flattery and will continue to help you 'pay your dues.'

Anyhow, until next time, keep practising & listening.

All the best and catch you soon.

Thanks, Ben.

P.s. If this is helpful/useful or you have any questions/suggestions/ requests please comment below or even get in touch via my email. Again, good luck & until next time good luck!

So a week has passed since my last blog post. Thankfully I'm still infatuated with Oscar Peterson CD mentioned in blog post 1, Live at 'La Salle Pleyel,' in Paris, 1996 again featuring:

Lorne Lofsky - Guitar
Niels-Henning Ørsted Pedersen - Double Bass
Martin Drew - Drums

This time I've turned my attention to a blues called 'Kelly's Blues,' on the second CD. Oscar Peterson's wife was called Kelly, so I think it would be fair to assume it was written for her! Another interesting little fact, is Oscar Peterson had suffered a stroke in 1993 that weakened his left hand. Despite having a stroke, it didn't stop his desire to continue making music. Within a year of having the stroke, he was back touring and recording. When the recording of 'Kelly's Blues,' was made which I have transcribed, it was post Oscar's stroke but he can very much still play, as you'll see from the transcription..!

Song: 'Kelly's Blues.' (no youtube link!)
Artist: Oscar Peterson,
Album: Live at 'La Salle Pleyel.' June 25th, 1996.

Here are the PDF's for the song 'Kelly's Blues.'' There are copies for concert pitch, Bb and Eb instruments.

A quick note:

People playing instruments which aren't piano, you may need to be a little creative with how you play this piece, allow me to explain....

1.) If you play a single line instrument, you won't be able to play the harmony lines which Oscar plays alongside the head -, don't let this put you off! It will sound slightly emptier, though It's still a really great blues head to learn - It will definitely benefit your phrasing!

2.) Due to the piano being able to make huge leaps relatively easily, certainly in comparison with say a trumpet or saxophone, you may need to adjust where the notes are by changing octaves. I've done this to a point on the (No Harmony) versions, the other files are untouched, just the transcription with extra notes. Take a look and you'll see what I mean!

More phrasing practice. Don't forget phrasing is picked up by repeated listening and playing along with the recording you're learning - so get started now! I strongly suggest buying the CD or even just the track to do this!

Below is a MIDI play along for improvising, or playing it without the track!

Don't forget - whilst playing, aim to get perfectly in sync with the artist, copying articulation, dynamics & feel. Be as accurate as you can be.

I though a nice way to finish the blog post would be to have an Oscar Peterson quote - so here it is:

This week I have been listening to Wabash Blues, which was recorded on the album 'Back to Back,' a fantastic blues/ jazz album by Duke Ellington & Johnny Hodges recorded in 1959, 

On the album 'Back to Back,' the track 'Wabash Blues,' for me, is the standout track, originally composed by Isham Jones. Being a sax player, I'm drawn to Hodges on this record - he sounds fantastic, He makes the changes with some very lyrical diatonic soloing and is rhythmically interesting throughout the album. The entire band play very well on the record, but I was also very impressed with Harry 'Sweets' Edison, the trumpeter as his soloing style compliments Hodges perfectly. Hodges and Edison go really well together on this record, both playing gorgeous melodic content in their solos - something to aspire to in my eyes! Also, during the solo's there's also a consious use of space, which can sometimes can be forgotten by players 'these days,' (I know I'm guilty of this on occasions) As a result, it's very refreshing to listen to! Anyway, have a 'gander' & make your own mind up.

Just quickly, the personnel on 'Back to Back,' are:

Johnny Hodges - Alto saxophone
Harry 'Sweet's' Edison - Trumpet
Les Spann - Guitar,
Duke Ellington - Piano
Sam Jones - Bass
Jo Jones - Drums

If you like this album definitely listen to 'Side by Side.' which is a recording by Ellington & Hodges in the same year as 'Back to Back.' It was a follow up album off of back to back, featuring a wider array of jazz greats, including the above (minus Sam Jones) and:

Roy Eldridge - Trumpet
Lawrence Brown - Trombone
Ben Webster - Tenor Saxophone
Billy Strayhorn - Piano
Wendell Marshall - Bass

Worth a listen - I hope you agree!

Below are the PDFs for 'Wabash blues.' The rhythm section parts are just outlining the harmony and rhythms which are used. All the other parts have the 'head,' as played by Johnny Hodges.

Parts below...

I've included a play-along for practicing improvising. It's only midi - but serves it's purpose!

Again, I can't reiterate enough - play along with the record. This really is essential!!! Getting the notes and rhythm correct is only half the job, which hopefully my parts will make easier. Remember, whilst you play along you need to get all the nuances. For example bends, vibrato, accents etc. These little details are what makes Johnny Hodges sound so great & unique! There's no shame in replicating - it's the highest form of flattery and will help you 'pay your dues,' to the jazz greats!

Anyhow, until next time, keep practicing & listening. For the next transcription post, I'll be jumping back to Oscar Peterson, so keep your eyes peeled.

All the best and catch you very soon.

Thanks, Ben.

P.s. If this is helpful/useful or you have any questions/suggestions/ requests please comment below or even get in touch via my email. Again, good luck & until next time good luck!

So this week, I've been listening to some early 'Cannonball' Adderley, specifically the album 'Julian 'Cannonball' Adderley.'  The tune which I have decided to transcribe is a piece called 'Rose room.' Unfortunately the link isn't to Cannonball playing, as it's not on YouTube, though the link is for Nat 'King' Cole, he's not too shabby! :) You can if desired, buy 12 classic Cannonball albums for £3.49 which includes the song 'Rose room,' among many others - It's thoroughly worth investing in!

On the album, released in 1955, was a line up of some fantastic musicians of the era, including: 

• Nat Adderley, (Cornet)
• Julian 'Cannonball' Adderley, (Alto saxophone)
• Jerome Richardson, (Tenor saxophone & flute)
• Jimmy Cleveland (tracks 1 -3) or J.J. Johnson, (tracks 4- 7) (Trombone)
• Cecil Payne, (Baritone saxophone)
• Jerome Richardson. (Piano)
• Paul Chambers, (Upright bass)
• Kenny Clarke (track 1,3,4-7 & 10) or Max Roach (track 2, 8 & 9), (Drums)

All of the music on the album, was arranged by Quincy Jones, who is still going strong today!

'Rose room,' was originally composed by Art Hickman with lyrics by Harry Williams in 1917. The chord sequence was then used again by Duke Ellington which he then composed a different tune for. The new song is known as 'In a mellow tone.' In the 'music world,' this is known as writing a 'contrafact,' this is where a musician composes another melody over a pre-exsiting chord sequence. Once you start looking for 'contrafacts,' you'll start noticing a lot of jazz tunes share chord sequences...

Song: 'Rose room.'
Artist: Julian 'Cannonball' Adderley.
Album: 'Julian 'Cannonball' Adderley' (link to 12 classic albums) Original album released in 1955.

I have included a lead sheet for 'rose room,' Unfortunately, it's not the full orchestrated Quincy Jones version, maybe later in the year I'll find time for that. Meanwhile, here are some lead sheets. There are copies for concert pitch, including bass clef, Bb and Eb instruments.

Hopefully you'll enjoy playing along with the recording (if you buy it). If not, feel free to use the Mp3 backing below to practice the head, and soloing.

The whole point of using the transcriptions & play-alongs, is to help your phrasing. One of the most important things which people wish to achieve in jazz is good phrasing. This, unfortunately, is hard to teach, It's picked up by repeated listening and playing along with whichever recording you're learning, Whilst playing, aim to get perfectly in sync with the artist, copying articulation, dynamics & feel.

If you want to be able to slow the piece down, as well as loop the piece It'd be worth you buying this program: Transcribe. It allows you to slow a recording down gradually without changing the pitch, however you can also change the pitch too if desired!

Use the transcription to help you develop your phrasing/grab lines for inspiration or even just use the chart to play on a gig! (This has been tested in gig situation and works as well as 'You look good to me.' found in post 1 of my blog.) Hopefully you'll get the same enjoyment from learning it as I have,

P.s. If this is helpful/useful or you have any questions/suggestions/ requests please comment below or even get in touch via my email. Again, good luck & until next time!

Thanks again - Ben