Jimmy Heath is another master with whom I hope to become more familiar.
Driving into a glorious autumn dawn on the way to church Sunday, I was listening to “Picture of Heath” and was particularly struck by the third chorus of Jimmy’s soprano solo on “All Members.”
I don’t usually go to the trouble of formally transcribing solos, since there are so many fine transcriptions available on-line. But Jimmy’s third chorus really knocked me out, and i felt compelled to examine the strategy, structure, and logic of this amazing 12-bar chorus. Continue reading “Dig Jimmy Heath!”
A question just came in from a user of New Ears Resolution as to how he could use movable DO to transpose Charlie Parker’s “Confirmation.” (His letter is posted below.)
Continue reading “Transposing Charlie Parker’s “Confirmation” Using New Ears”
Craig wrote this article for the February, 2016 issue of Saxophone Life Magazine. It appears here courtesy of SLM.
It’s definitely impressive to hear jazz musicians improvise at incredibly fast tempos. What is, however, far more inspiring is hearing how the great masters are able to create beautifully crafted, swinging melodic lines, regardless of tempo. Continue reading “RIPPING RIFFS OR MEMORABLE MELODIES?”
Some saxophone & clarinet students have difficulty with jazz articulation, because they have not learned to tongue properly. They begin each note with a constriction in the throat, which sounds as if the student were humming into the mouthpiece. The beginning of the note is fuzzy and indistinct. Continue reading “Jazz Articulation, Accents, and Proper Tonguing”
From a quick viewing of YouTube video footage, it appears that Coltrane’s fingers may move further from the keys than do Bird’s. Do you agree?
Continue reading “OVERCOMING FLAPPY FINGERS”