I wasn’t sure what I was going to post this week. Then, as I was sitting in the barber’s chair this morning getting a haircut, I heard this old Ray Charles song on the radio. That was pretty unusual, because it’s not a “Ray Charles” kind of barbershop (are there any?)
Regardless, I heard the track and knew instantly this would be my project for the day. I’ve heard the track a hundred times at least, and I love the solo by David “Fathead” Newman. I should have known it was him, but I’m embarrassed to say that I had to look it up to find out.
The solo itself is pretty short, and technically easy to play. The hard part is getting Fathead’s sound and style. It’s kind of a major blues, but without the traditional blues changes. The only tricky part might be the ninth bar where he’s playing the trills from high D. Most people I know play this by adding one of the right hand side keys. On my horn, the E (topmost) side key in the right hand gives the best effect – like a minor third trill.
I’ve been a huge fan of the piano player Michel Camilo since I heard his (US) debut album in the 80s. I’ve followed him ever since, even though he didn’t usually play with horn players. When he did, it was typically someone very technically proficient, like Paquito D’Rivera.
So when this big band album came out a few years back, I got really in to it. I loved the tenor solo on the title track. There’s so much to love about it – the tone is so smooth and pure. The technique is so clean and flawless. The altissimo is so clear and controlled. The solo builds beautifully and is filled with so many great ideas, and is so well executed.
I didn’t know who Ralph Bowen was, but I wanted to find out. Check this guy out, he’s a monster player!
No video for this one this week. I’ve been playing through it slowly, and can pull everything off in isolation, down tempo – but I’m a long way from putting it all together at full speed. Maybe that will be a project for me over the holidays if I get some time off of work. It’s going to be a real stretch!
Continuing on the Bob Seger theme…this is one of his most famous songs, with an iconic Alto sax intro.
Alto Reed tells the story about how that intro came about here. Here’s a written account from Wikipedia:
Tom Weschler allegedly helped inspire Reed to create the opening melody. During recording, Weschler told Reed: “Alto, think about it like this: You’re in New York City, on the Bowery. It’s 3 a.m. You’re under a streetlamp. There’s a light mist coming down. You’re all by yourself. Show me what that sounds like.” With that, Reed played the opening melody to “Turn the Page”.
There’s no real improvised solo on this song. The parts he came up with are simple and clean. They’re not busy or flashy – very musical, and in service of the melody. Too many players try to draw attention to themselves, and they end up detracting from the song. Not here!
The saxophone is pretty low in the mix in spots, making it hard to hear at times. As I usually do, I transcribed on piano and then played on saxophone. Sometimes when I do that, I’ll make adjustments based on how it sounds when I play it on sax vs. piano. In this case, the concert A at the bottom of the triplet figure sounded like a concert B to me when I was on the piano. But on sax, the A definitely felt better. So that’s what I have here.
I’ve been listening to a lot of Bob Seger lately. Although I grew up surrounded by his music in the 70s and 80s, it was always just part of the scenery, and not a big musical influence on me. But he’s one of my wife’s favorite artists, so I got into him more deeply through osmosis later in life. I was fortunate enough to see him on tour 5-10 years ago. Alto Reed (yes, that’s his name!) was playing with him then, just as he has been for decades.
A friend of mine had the good fortune to open for some of their recent dates and was telling me a bit about the tour recently. It made me pull out some of those old records again. So much good stuff! There aren’t a ton of sax solos, but the stuff that’s there is iconic, so I’m going to try to get through some of it here.
The first track I had to tackle was “Old Time Rock and Roll”. It was made famous by the movie “Risky Business” (which I was too young to see when it first came out) – featuring a relatively unknown actor named Tom Cruise, dancing in his underwear.
It’s a hard-driving rock/blues track. The solo is only eight-bars, but it’s a perfectly-crafted rock solo. Five licks in total, with a nice use of space. He stays in the upper register, which makes sense since it cuts through the mix better. The hardest part is the high Ab, but other than that it’s relatively easy to play. You have to get past the fact that it’s in the key of Ab (concert Gb/F#). It’s one of those keys that saxophone players have nightmares about. But if you play in rock bands, it’s all too common. Alto Reed handles it deftly, as easily as if it were A!