More Paul Desmond from the Time Out album. I’d like to finish all the transcriptions on this album someday soon, they are all so beautiful!
My usual caveat with the chord changes on this chart – it’s especially complex, and chords are not my strong suit, so fair warning on the accuracy! I cobbled together what I could from a lead sheet and my ear, neither of which I trust a great deal…
The trickiest part of this solo is the rhythm. It’s very syncopated. The bank half of the track is a long blow: Two full choruses of the form followed by twenty four bars of a single chord ‘breakdown’, then three more choruses of the form to finish out the track.
One interesting thing that I noticed is that there are a bunch of places where Maceo plays two notes with one using an alternate fingering. This by itself is not unusual – lots of people use this technique (including Maceo). The thing that’s interesting to me about this is that in this solo, it sounds like he’s using the alternate fingering on the first note of the grouping, and not the second note, which is what he (and other players) would more commonly do. Maybe he was just in a certain mood when he recorded this.
For convenience, the PDF is for the entire track, but the video below is for the second solo in the track, starting at the top of page 3.
I saw a request for this solo on one of the SOTW forums, so I gave it a listen. I don’t know why I had never transcribed it before – it’s such a fun song!
This was a bit of a rush job for me. It’s a long song, with two very distinct sections, so I’m posting them one at a time as I complete them. With any luck I’ll have part 2 done next week. On a good day, I get about an hour to practice after work is done and the kids are in bed. So I transcribed about two choruses a night on Monday-Tuesday, practiced and recorded it Wednesday, and edited the video and blog post for publication tonight. Whew!
In retrospect I would have liked to have practiced the solo for another hour before posting, but I believe the transcription is pretty accurate, even if my playing isn’t 😉
More Kenny Garrett! I love his playing on this album, even though the solos are so short. I’ll have to double-check the chords on this one. I pulled them from a lead sheet, but Kenny seems to be consistently playing major 3rds against the C minor. Even a major 7th and sharp 4. I wish I had a better ear for chords!
Tenor Sax! I’ve done a ton of killer Tenor transcriptions, but the problem is, 99% are filled with altissimo passages that I can’t pull off. Tenor is the horn that I have the fewest number of hours on (by a huge margin), and my altissimo chops just aren’t there. But this solo doesn’t have any (which is actually surprising for Alexey since he has monster high chops).
Alexey is a local Seattle guy, but he’s a world-class sax player. I’ve played alongside him in Doctorfunk for over ten years and it’s a real treat hearing him solo night after night. This solo is a typical example of his playing – very technical, but clean and fluid. Great harmonic ideas – nothing too outside, but nice use of chord extensions and intervals to provide color.
Since this CD is hard to find, I’m providing a YouTube link as well.
Paul Desmond – So smooth, so dry. So many metaphors have been used to compare his sound to various foods or alcoholic beverages. He is so unique and special, and this is one of his best known solos.
His playing is deceptively simple on this tune, which defies the level of complexity introduced by the 5/4 time signature. It lays so well you would think it’s in 4/4.
Funny story – As I was editing the solo for upload it dawned on me that the solos are just over the vamp. I’ve played this song so many times over the years and every rhythm section I’ve played it with plays the form over the solos – bridge and all!