The Jazz Sax & Improvisation Blog of Saxophonist Bobby Stern

John Coltrane's Tenor Solo on "I Love You" - A Transcription

12/22/2024

John Coltrane's Tenor Solo on "I Love You" - A Transcription

In the holiday spirit, I'm merrily posting a transcription of John Coltrane's tenor saxophone solo on Cole Porter's “I Love You” (in Bb tenor key only, at this point). It was recorded on August 16th 1957 for the Prestige label, during the early part of 'Trane's famed gig with Thelonious Monk's quartet at the legendary Five Spot that summer and fall.

It was also part of a session that included a ballad version of “Like Someone in Love” as well as two takes of 'Trane's Slow Blues”, which made up side-one of the LP “Lush Life” and wasn't released by Prestige until 1961.

Bassist Earl May and drummer Art Taylor round out the piano-less trio.

These sax/ bass and drums trio (known as “strolling”) recordings are some of my favorite Coltrane, as well as those recorded in Oct. 1960, which included “Satellite”, among others.

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Airegin - Six Short Etudes - First Eight of the First Ending

9/22/2023

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"Airegin" - Six Short Etudes
Based on the First Eight Measures of the First Ending

Earlier this month, Sonny Rollins - the iconic tenor "Saxophone Colossus", turned 93 years old - which is a major accomplishment in and of itself. So, as a belated birthday salute, I thought we might hone in on a section of one of Sonny's well known and oft played originals - "Airegin" - the title which is, of course, the name of the West African nation Nigeria delleps sdrawkcab (spelled backwards).

Like several of his other originals - which include "St. Thomas", "Oleo", "Doxy" & "Paul's Pal" - "Airegin" has long ago made it to the list of must-know Jazz standards.

It was first recorded in June of 1954 on the Prestige label as part of the 10-inch EP "Miles Davis with Sonny Rollins". In this post, we'll focus on an eight-bar section of "Airegin" - namely measures 9 thru 17 - which make up the first half of the first ending of the tune.

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'Tis the Season - A "Sleigh Ride" at 250 BPM

12/17/2022

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'Tis the Season
A "Sleigh Ride" at 250 BPM

'Tis once again "The Season" of hopefully fun and enjoyable times for you and yours. It´s also the season of non-stop holiday shopping music; which - thankfully, for the most part - comes but once a year.

Most of these holiday songs have been around for a while for the simple reason that they're popular and familiar to most of us - with the added and possibly unconscious realization that after New Year's Day, we likely won't be hearing them for another year.

One of those tunes was actually composed as a light orchestral piece during the heatwave of July, 1948 and makes no reference to the December holiday season.

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"Coming on the Hudson" - A Johnny Griffin Tenor Saxophone Solo Transcription

9/28/2022

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"Coming on the Hudson" - A Johnny Griffin Tenor Saxophone Solo Transcription

This month's post features a transcription / analysis of Johnny Griffin's tenor saxophone solo on Thelonious Monk's "Coming on the Hudson", recorded live at the legendary Five Spot Cafe in NYC on August 7, 1958. It was released as one of the tracks on the album "Thelonious in Action!". In addition to Monk and Griffin, the quartet was rounded out by bassist Ahmed Abdul Malik and the great Roy Haynes, on drums.

I've been wanting to do a transcription of Griffin's tenor solo on "Coming on the Hudson" for a long time. The tune - which is perhaps one of Monk's most "Monkish" - seemed somewhat challenging to grasp, as far as its form, rhythms and resolutions were concerned. At the same time, it ebbs and flows steadily - kind of like the Hudson River itself - whirlpools and all!

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Get an Angle on "The Eternal Triangle" Bridge

2/24/2022

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Take it to the Bridge...
Getting an Angle on "The Eternal Triangle"

Ok, folks! Are you ready to take it to the bridge? Brooklyn? GW? Golden Gate? London Bridge?

Nope. I'm talking about the "The Eternal Triangle" bridge - from the classic Dizzy Gillespie album "Sonny Side Up" - featuring both Theodore "Sonny" Rollins and Edward "Sonny" Stitt (the tune's composer). Two Samurai swordsmen battling it out on the bridge (the whole tune actually) with tenor saxophones as their musical swords of choice. And then, of course - there's Dizzy! Not to be forsaken!

Despite the high winds created by the tune's rapid tempo, crossing this bridge might not be as treacherous as it might initially seem.

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Joe Henderson's Tenor Solo on "You Know I Care" - A Transcription

11/25/2021

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Joe Henderson's Tenor Solo
"You Know I Care" - A Jazz Ballad Transcription

"You Know I Care", is a masterpiece of a composition by the prolific composer / pianist / arranger, Columbus Calvin "Duke" Pearson, jr and is possibly the most representative original ballad of the 1960s Blue Note period.

As the ballad feature on Joe Henderson's classic "Inner Urge" album, it was recorded on November 30, 1964 - nine days before John Coltrane recorded "A Love Supreme" - with pianist McCoy Tyner and drummer Elvin Jones (each a member of Coltrane's classic quartet and icons themselves) on both sessions.

Almost six months later, Pearson recorded his own version of "You Know I Care" as a 6-horn arrangement, but Henderson's quartet recording is the definitive version, as his tenor solo as well as the rhythm section, breathes additional life, dimension and drama into an already singular ballad composition.

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"Come Rain or Come Shine" - An All-Weather Etude

8/19/2021

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"Come Rain or Come Shine" - An All-Weather Etude

As an improviser, one of the most effective ways to learn and study any tune is to compose an Etude over its chord changes.

This can get you up close and personal with the tune's harmonic structure, as well as its harmonic and melodic resolution points.

It will also reveal where you are in terms of your own aural understanding in relation to where you might want to be (this never stops - it's a continuous process!).

One particular tune I personally wanted to delve deeper into was "Come Rain or Come Shine" - music and lyrics by Harold Arlen & Johnny Mercer. It debuted as part of the 1946 Broadway musical "St. Louis Woman", and has since been performed and / or recorded by just about everyone and anyone. It's enshrined as part of the "Great American Songbook".

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A Jug Full of Ammons - Gene Ammons' "Exactly Like You" Tenor Saxophone Transcription

7/20/2021

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A Jug Full of Ammons - Gene Ammons' "Exactly Like You"
Tenor Saxophone Solo Transcription

Tenor saxophone giant Gene Ammons, aka "Jug", was one of the seminal figures at the crossroads between the earlier tenor saxophone styles of Lester Young, Coleman Hawkins and Ben Webster - and the BeBop evolution / revolution of the mid to late 1940s, sparked by the innovative genius of Charlie Parker.

Add to that the blues influences of his native Chicago - as well as that of his celebrated pianist father, "Boogie Woogie" innovator Albert Ammons - and you've got one of the "phatest", most distinct, expressive and soulful tenor saxophone sounds ever heard.

Ammons recorded for several record labels from the late 1940s until his passing in 1974, but the bulk of his recorded output was for Bob Weinstock's Prestige Records label.

It's from one of these Prestige recordings that the subject of this post - a transcription of Jug's solo on the popular show tune "Exactly Like You" - is taken.

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'Ning's the Thing! Monk's "Rhythm-a-Ning: Self-Transcription

3/26/2021

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Toot My Own Horn Dept.
'Ning's the Thing! Thelonious Monk's "Rhythm-a-Ning" :
Another Self-Transcription

The vehicle featured in is month's forage into musical self-discovery is none other than Thelonious Monk's “Rhythm-a-Ning”.

As with the two most recent posts (“Bemsha Swing” & “Bye-Ya”), the play-along used here is from Hal Leonard Jazz Play-Along Vol. 91, “Thelonious Monk Favorites – 10 Classic Tunes”, which features the heavyweight rhythm section of (the late, great) pianist Ronnie Mathews, bassist Kiyoshi Kitagawa, as well as Monk's former drummer (the great, late), Ben Riley. You can't get closer to the real deal than this.

As you might know, “Rhythm-a-Ning” is Monk's best known “Rhythm Changes” composition - the chord progression of which is based on George Gershwin's 1930 32-bar, AABA standard “I Got Rhythm”, from which countless tunes have been derived and recorded by countless artists of countless genres.

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Monk's Time Again - "Bye-Ya": A Self Transcription

2/25/2021

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Toot My Own Horn Dept.
VAYA! Monk's Time Again - "Bye-Ya": A Self-Transcription

Since I really enjoyed doing last month's post - recording a tenor solo on Thelonious Monk's “Bemsha Swing” then transcribing it and posting them both here - I thought I'd try an encore with another Monk classic - “Bye-Ya”

“Bye-Ya” was originally recorded on October 15th, 1952 and, as with the aforementioned "Bemsha Swing", was initially released as part of the album “Thelonious Monk Trio”. The title given was actually “Vaya”, which remains an expression of positive affirmation in many Spanish speaking cultures – and was anglicized into “Bye-Ya”.

Subsequent versions were recorded featuring tenor greats Johnny Griffin and long time quartet member Charlie Rouse, as well as Steve Lacey's recording on soprano saxophone, but the definitive version - for me - is the 1957 Carnegie Hall concert featuring the immortal John Coltrane. 'Trane knew this tune so well that he was able to deliver his then patented “sheets of sound” - cascades of sixteenth-notes – for almost the entirety of his solo.

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Monk's Bemsha Swing - A Self-Transcription

1/28/2021

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Toot My Own Horn Dept.
Thelonious Monk's "Bemsha Swing": A Self-Transcription

This post features a self-recorded and transcribed tenor saxophone solo on Thelonious Monk's well known classic. “Bemsha Swing”.

As I hadn't recorded myself in quite a while, I was anxious to turn this into a project. Fortunately, the results passed quality control and I can happily share them here.

The backing track used here is from “Thelonious Monk Favorites – 10 Classic Tunes” (Hal Leonard Jazz Play-Along, Vol. 91). It features the great Ronnie Mathews on piano, Kiyoshi Kitagawa on bass, and Monk's former drummer - Ben Riley. It was recorded, mixed and mastered by the legendary RVG – Rudy Van Gelder – at his studio, where so many iconic recordings where made. Don Sickler, a name associated with many such projects, produced the session. What more could one ask for in a backing track?

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Jazzitudes 3 - Ten More Solo-Styled Jazz Etudes With Attitude!

1/29/2020

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"Jazzitudes 3"- Ten More Solo Styled Jazz Etudes With Attitude!

The ten original, solo style Jazz etudes “with attitude” found in this, the 3rd volume of “Jazzitudes”, are based once more, on the chord changes of familiar, time honored Jazz & Pop standards.

Each etude is presented in C, Bb and Eb versions.

Creating etudes over a familiar set of chord changes is a practical method of “transcribing one's mind”, as well as a vehicle for employing different musical concepts in a musical manner. While not all concepts might be stylistically relevant to a given musical situation, many of the concepts found in previously published Shortbooks™ are employed successfully here within these various etudes.

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Bluesitudes - One Dozen 12-Bar Blues Etudes With Attitude

8/28/2019

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Bluesitudes! One Dozen 12-Bar Blues
Etudes With Attitude!

The 12-Bar Blues form is probably the most recognizable song form across all styles of popular and world music.

Its organic simplicity and malleability has made it accessible not only to musical artists of all genres, but to the listening public, as well.

While the earlier Shortbook™ “Blues Deep: Fifty” focused primarily on the phraseology of the original, primal Blues, as well as the construction of the so called “Blues Scale” and it's relationship to (and result of) the natural overtone series, “Bluesitudes” attempts to demonstrate, from a harmonic point of view, just a few of the modifications to the standard 12-bar Blues form which, over the years, have come into play.

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We Got Rhythm Changes!

7/26/2019

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We Got Rhythm Changes!
"Who could ask for anything more?"

Yeah... we got 'em!

"We Got Rhythm Changes!" is this months featured Shortbook™, and if there's any doubt as to its subject matter, the title itself should be clear enough.

The seminal chord changes to George Gershwin's 1930 classic "I Got Rhythm" became popular among swing era musicians of the 1930's and '40's. With creative modifications, they became iconic to the post WWII bebop era and beyond, being referred to simply as "Rhythm Changes".

Next to the 12 bar Blues, the 32 bar AABA standard American song form "Rhythm Changes" became one of the most popular (and flexible) vehicles for improvisation.

Many classic lines or "heads" were composed over "Rhythm Changes". Some of the best known are:

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For Your High-Ness: An Etude on "Someday My Prince Will Come"

9/20/2016

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For Your High-Ness:
An Etude on "Someday My Prince Will Come"

"Heah come da Prince!"

This is yet another solo style etude, which I this time fashioned from the chord changes of the popular Standard American Song, "Someday My Prince Will Come".

This tune has been in my repertoire for a while, but I started to take a closer look at it recently, for reasons I'll get into.

The music for "Someday My Prince Will Come" was composed and scored by Frank Churchill back in 1937 for the first ever full length animated Disney movie, "Snow White and the Seven Dwarfs".

I don't think I've ever actually seen the whole movie myself, but I think we all grew up knowing about little Ms. White and her seven vertically challenged buddies (Sleepy, Creepy, Peepee, Goofy, Doofy, Humpty & Dumpty....I think - off the top of my head; no?!?!?).

In any case, Someday My Prince has been a staple for improvising musicians and singers and has been recorded often - the definitive version possibly being Miles Davis' 1961 recording on Columbia (featuring tenor solos by both Hank Mobley and John Coltrane) from the album of the same name.

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A 'Trane Back@sswards - The Cycle of Ascending Major Thirds

6/20/2016

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A ‘Trane Back@sswards - The Cycle of Ascending Major Thirds

"Giant Steps, Giant Steps, Giant Steps"! How we love ya! As one of John Coltrane's best known originals, it's been an obstacle course as well as a right of passage for several generations of aspiring improvisers since its recorded inception in 1959.

Despite its notoriety, "Giant Steps" is but one of 9 known Coltrane originals in which he featured, in whole or in part, the Cycle of Descending Major 3rds, aka "Coltrane Changes ("Countdown", "Satellite" and "26-2" are some of the others).

Originally, 'Trane's intended use of this cycle was as a substitution for the more mundane ii-V7 harmonic movement as well as a device, which in his own words, "...would take me out of the ordinary path".

Since the Cycle of Major 3rds uses three key centers and divides the octave into 3 equal parts, regardless of direction (eg. B-G-Eb / descending or B-Eb-G / ascending), this poses a question: What's the difference in the quality and effect of a descending cycle (Coltrane Changes, aka Giant Steps Changes), as opposed to an ascending one?

To ponder this query, let's take a few giant steps back, so that we might get a more cosmic view of the larger picture. Shall we?

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JoHen Tunes Up "Night & Day" - Joe Henderson's Reharm & Solo Transcription

2/10/2016

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JoHen Tunes Up "Night & Day"
Joe Henderson's Reharmonization and Solo Transcription

Joe Henderson w/ Horace Silver in France- July, 1964

Joe Henderson's tenor saxophone solo on his reharmonized version of Cole Porter's "Night & Day" (downloadable transcription below), was recorded for the Blue Note label at Rudy Van Gelder's studio (where else!) in Engewood Cliffs, NJ on Nov. 30th, 1964, ten days before John Coltrane recorded "A Love Supreme" in the same studio.

"Night & Day" would be the final track on the "B" side of the original vinyl LP "Inner Urge", Henderson's fourth as a leader for Blue Note; and featured then current Coltrane Quartet members McCoy Tyner and Elvin Jones on piano and drums respectively; as well as Bob Cranshaw, who was pretty much Blue Note's house bassist at the time.

The album "Inner Urge" was titled after the now classic Henderson original and the subject of an earlier post. Both the tune and the album are iconic examples of '60's compositional, harmonic and improvisational innovations.

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Back to the Future 'Trane - Transcription of John Coltrane's 1954 Solo on "In a Mellow Tone"

11/16/2015

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Back to the Future 'Trane
Transcription of John Coltrane's 1954 Solo on "In a Mellow Tone"

This transcription of the first chorus of John Coltrane's tenor solo on Duke Ellington's "In a Mellow Tone", was taken from a live (possibly radio) recording from sometime in mid 1954, when 'Trane was on the road with Johnny Hodges' septet. The band included Hodges' fellow Ellingtonians, Harold "Shorty" Baker - trumpet, and Lawrence Brown on trombone.

This version of "Mellotone" was originally released, to my knowledge, in on a "bootleg" vinyl in the 1970's on the "Enigma" label. A friend of mine had it and I promptly copied it to cassette (remember those?.....OK, maybe not).

Then as now, 'Trane's solo here blew me away for several reasons.

First of all, through this recording, we get a glimpse of a 27 year old John Coltrane, who was still a little more than a year away from the start of his historical association with trumpeter Miles Davis. In the second chorus of this solo, which is not transcribed here, we hear a portent of things to come; i.e. sixteenth note scalar runs, which he seemed to be hearing as if from a distance, but didn't quite have the concept, which we would later know as "sheets of sound", under his complete control yet.

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NOT Peanut But Uhhh... - Thelonious Monk's "Skippy"

8/27/2015

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NOT Peanut But Uhhh...
Thelonious Monk's "Skippy"

"Skippy", which was originally recorded by Thelonious Monk for Blue Note on May 30th, 1952, might be considered (no, is!) one of his most challenging compositions.

The melody alone, which is uncharacteristically dense by Monk standards, is a workout in and of itself.

Harmonically, the descending cycle of 5ths and chromatic tritone subs require considerable "'shedding" in order to confidently negotiate improvised lines through the changes.

In this post, we'll just concentrate on the head, with the rest to follow.

"Skippy" is 32 bars long with what appears to be an A1-B-A2-C song form. The tune is Monk's reharmonization and abstraction of Vincent Youmans' well known standard, "Tea for Two", which due to the melodic consistency between the sections, comes off more like an A1-A2-A3-B form.

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Spring's the Thing! - An Etude Based on Freddie Hubbard's "Up Jumped Spring"

6/23/2015

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Spring's the Thing! - An Etude Based on Freddie Hubbard's
"Up Jumped Spring"

Seasonally speaking, I realize I'm a few days late, but one tune I've always enjoyed playing is Freddie Hubbard's classic jazz waltz, "Up Jumped Spring" - so I wrote a "solo style" etude based on its changes, which I present here.

Freddie Hubbard was not only one of the music's all-time great trumpet voices, he was also an accomplished and prolific composer who contributed a number of classics to the repertoire (Little Sunflower, Birdlike, Red Clay, etc.), as well as some great lesser known gems (Lament for Booker, Blue Spirits, among others).

"Up Jumped Spring" has a form of A1-A2-B-A3. Each "A" section is 16 bars long and has a different ending. The bridge, or "B" section, is 8 bars long, which adds up to and makes this a 56 bar tune.

Can you name another tune with the same form?

One tune which immediately "springs" to mind is Kurt Weil and Ogden Nash's "Speak Low" (Shhh! It has the same AABA, 16-16-8-16 = 56 bar form, in 4/4).

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Granted! - A Joe Henderson Solo Transcription

12/2/2014

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Granted! - A Joe Henderson Solo Transcription

It's Joe Henderson time again, ladies and gents!

"Happiness is Just a Thing Called (hearing a guy named) Joe"

Joe, as you should know, was one of the music's more stylistically unique and influential tenor saxophonists and improvisers, as well as the composer of a healthy number of classic originals.

His influence and legacy live on in his many recordings, made both as leader and sideman, during a career which spanned nearly four decades.

Henderson's tenor saxophone solo on one of those original compositions, an uptempo C Minor Blues entitled "Granted" (dedicated to the renowned NYC Jazz Radio personality and promoter, Alan Grant, who recently passed away at 93), is the subject of this post and downloadable transcription.

"Granted" was recorded by Rudy Van Gelder on January 27th, 1966 (which happened to be the 25th birthday of the session's vibraphonist, Bobby Hutcherson) and was part of the session that produced Henderson's fifth and last studio album as a leader for the Blue Note label, "Mode for Joe".

At the time of the recording, Joe Henderson was a member of pianist Horace Silver's quintet, which also included a young Woody Shaw on trumpet. Henderson had joined Silver's group in June, 1964 and would remain with the pianist for just another two-plus months.

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Joe Henderson's "Black Narcissus" - The Last Eight

10/15/2014

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Joe Henderson's
"Black Narcissus" - The Last Eight

Joe Henderson's "Black Narcissus" is a delicate jazz waltz and one of the legendary tenor saxophonist / composer's better known compositions.

Originally recorded on May 29, 1969 and released as part of Henderson's album "Power to the People" (which included Herbie Hancock, Ron Carter and Jack De Johnette) on the Milestone label, Joe recorded it several times subsequently. That includes the 1974 version, recorded in Paris and featured on the album of the same name.

It has since been covered by many by other artists.

Although completely different in emotional intent, scope and style, "Black Narcissus" has striking similarities in compositional structure, as well as harmonic usage, to another one of Henderson's classics, and the subject of an earlier post; namely, "Inner Urge".

I had heard different versions of "Black Narcissus" for years before actually trying to learn it myself. At that point, I realized that this simple sounding tune necessitated some closer scrutiny; especially after hearing many improvisers trying to "ramrod" their way through the last eight measure, "B" section of the tune.

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Joe Henderson's "Inner Urge" - The Last Eight

5/1/2014

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Joe Henderson's "Inner Urge" - The Last Eight

Smokin' Joseph

I've been wanting to post something on the subject of Joe Henderson for a while now.

Joe Henderson, as quiet as it's been kept, is not only one of the greatest tenor saxophonists of the musical genre we know and love as "Jazz", but one of it's most prolific composers, as well as one of it's truly unique and creative improvisational voices.

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John Coltrane's Tenor Solo on "I Love You" - A Transcription

Airegin - Six Short Etudes - First Eight of the First Ending

'Tis the Season - A "Sleigh Ride" at 250 BPM

"Coming on the Hudson" - A Johnny Griffin Tenor Saxophone Solo Transcription

Get an Angle on "The Eternal Triangle" Bridge

Joe Henderson's Tenor Solo on "You Know I Care" - A Transcription

"Come Rain or Come Shine" - An All-Weather Etude

A Jug Full of Ammons - Gene Ammons' "Exactly Like You" Tenor Saxophone Transcription

'Ning's the Thing! Monk's "Rhythm-a-Ning: Self-Transcription

Monk's Time Again - "Bye-Ya": A Self Transcription

Monk's Bemsha Swing - A Self-Transcription

Jazzitudes 3 - Ten More Solo-Styled Jazz Etudes With Attitude!

Bluesitudes - One Dozen 12-Bar Blues Etudes With Attitude

We Got Rhythm Changes!

For Your High-Ness: An Etude on "Someday My Prince Will Come"

For Your High-Ness:
An Etude on "Someday My Prince Will Come"

A 'Trane Back@sswards - The Cycle of Ascending Major Thirds

A ‘Trane Back@sswards - The Cycle of Ascending Major Thirds

JoHen Tunes Up "Night & Day" - Joe Henderson's Reharm & Solo Transcription

JoHen Tunes Up "Night & Day"
Joe Henderson's Reharmonization and Solo Transcription

Back to the Future 'Trane - Transcription of John Coltrane's 1954 Solo on "In a Mellow Tone"

Back to the Future 'Trane
Transcription of John Coltrane's 1954 Solo on "In a Mellow Tone"

NOT Peanut But Uhhh... - Thelonious Monk's "Skippy"

NOT Peanut But Uhhh...
Thelonious Monk's "Skippy"

Spring's the Thing! - An Etude Based on Freddie Hubbard's "Up Jumped Spring"

Spring's the Thing! - An Etude Based on Freddie Hubbard's
"Up Jumped Spring"

Granted! - A Joe Henderson Solo Transcription

Granted! - A Joe Henderson Solo Transcription

Joe Henderson's "Black Narcissus" - The Last Eight

Joe Henderson's
"Black Narcissus" - The Last Eight

Joe Henderson's "Inner Urge" - The Last Eight

Joe Henderson's "Inner Urge" - The Last Eight

Categories

Archives

For Your High-Ness:An Etude on "Someday My Prince Will Come"

A ‘Trane Back@sswards - The Cycle of Ascending Major Thirds

JoHen Tunes Up "Night & Day"Joe Henderson's Reharmonization and Solo Transcription

Back to the Future 'Trane Transcription of John Coltrane's 1954 Solo on "In a Mellow Tone"

NOT Peanut But Uhhh... Thelonious Monk's "Skippy"

Spring's the Thing! - An Etude Based on Freddie Hubbard's "Up Jumped Spring"

Granted! - A Joe Henderson Solo Transcription

Joe Henderson's "Inner Urge" - The Last Eight

Categories

Archives

For Your High-Ness:
An Etude on "Someday My Prince Will Come"

JoHen Tunes Up "Night & Day"
Joe Henderson's Reharmonization and Solo Transcription

Back to the Future 'Trane
Transcription of John Coltrane's 1954 Solo on "In a Mellow Tone"

NOT Peanut But Uhhh...
Thelonious Monk's "Skippy"

Spring's the Thing! - An Etude Based on Freddie Hubbard's
"Up Jumped Spring"