Dexter Gordon is universally revered by saxophonists for his muscular sound. He is equally effective on ballads, blues, and fast tempos.
His Blue Note LP One Flight Up includes a fine reading of the Jimmy Van Heusen ballad “Darn That Dream” on which he dexterously employs a device favored by Charlie Parker. This maneuver involves momentarily raising the key a half-step and inferring a ii-V progression in that key.
Here are two instances in which Dexter deftly employs that ploy. As anyone who has ever tried to transcribe his solos knows, one of the hallmarks of Dexter’s style is his unique approach to rhythm. While his languid phrasing is pure joy to hear, it’s a nightmare to transcribe. I have greatly simplified the rhythm in these two examples, focusing instead on the pitches Dexter chose for the brief modulation. Continue reading “Darn That Dexter!”
Have you ever had difficulty playing a tune, even though it presented no obvious technical hurdles? Perhaps the problem lies in a hidden harmonic riddle, which, when solved, will unlock your understanding of the song and make it easier to play and to remember.
At a recent gig, pianist Mark Schecter called off Dizzy Gillespie’s “Groovin’ High.” Although Storyville used to play the song, it still made me stumble. However, after deciphering its harmonic implications, playing it became simple.
Here’s how to solve a riddle like that.
Continue reading “Why Is This Tune So Hard To Memorize?”
Cannonball Adderley’s solo on “The Way You Look Tonight” is an amazing tourdeforce! He blazes through an entire chorus in 53 seconds. But, if you play this solo** at half speed, it is as melodic as a Johnny Hodges invention. Played in concert F, it is written for alto sax in D major. In this key, the bridge modulates to F major. However, the wonderful phrase shown below actually begins in G minor and ends in F major. Try playing this lick in all 12 keys. It works well over a II-V change. If you cannot figure it out on your own, email me for a free chart of the lick in all 12 keys.
** This solo is found in “The Julian Cannonball Adderley Collection” edited by Tim Price, published by Hal Leonard.