Here’s one more Charles Neville track, this time on Tenor. I have a soft spot for this tune because an old band of mine used to play it in college. It’s super funky.
It’s a super short solo, only eight bars. The interesting thing is that he plays the entire solo in the bottom octave of the horn, which you almost never see in pop music. It doesn’t usually cut through the mix, so guys are always trying to play higher and higher to stand out. It takes a fair amount of control to play down low with control and nuance. He’s almost subtoning in spots, but the sound never cracks.
I included some of the backing lines in the transcription, but not in the video. It’s basically a two-bar phrase played over and over, sometimes repeated, sometimes not. There’s a key change at the bridge, but that’s just chorded in a section, no individual parts stand out.
The key is C# minor on the verses and solos, and Charles sticks strictly to the minor pentatonic. Always a safe choice, and it works here.
Charles Neville passed away this week, and has become my custom, I’m honoring him this week with a transcription of one of his most famous solos from the Neville Brothers hit Yellow Moon.
I love the Neville Brothers, and have been lucky enough to see them live a few times over the years. What an amazing feel, great songs, and of course, Aaron Neville’s voice is one of a kind.
I’ll be honest, I’ve not been a huge fan of Charles Neville as a saxophonist. Specifically, I always feel like he’s trying to play ‘outside’, but never quite pulling it off. Some players, like Maceo, never play outside. They don’t need to. Others, like David Sanborn, do it rarely, but when they do, it has a huge impact. And then there are players like Chris Potter for whom it is a higher art form, woven seamlessly in to the fabric of everything that they do. For me, playing outside the changes can add beautiful color, contrast, texture, and tension. But you have to do it with intention. The real payoff comes with the resolution, when you bring it all together. But it’s a fine line, and if it doesn’t feel intentional, or doesn’t resolve properly, it can cross that line and just feel like wrong notes.
In this solo, Charles is playing chromatically almost the entire time. That can also be used to great effect to build tension, which he does in this solo. I think he pulls it off well in this solo, although there are a few note choices that are questionable to me.
This track starts with a four bar solo before the vocal, and eight bar solo over the verse changes in the middle, and then another longer solo over the fade at the end – the same verse changes. I’ve included all three sections. You’ll need A LOT of air to get through the first solo. It’s basically two four bar phrases, and I could barely make it through each in one breath. There’s an interesting delay effect applied to parts of the solo, which makes the chromatic lines sound particularly dissonant. I chose not to emulate that in my performance because it can make it hard to hear what’s going on.
I’ve been listening to a handful of Neville Brothers recordings this week, and the one thing that strikes me most about Charles’ playing is his tone. He has such a bright, pure tone on Alto that I almost mistake it for soprano sometimes. That’s hard to pull off without sounding shrill on Alto. I guess that’s one of the things that makes the Neville Brothers sound so interesting – Aaron Neville’s has such a tender, lilting quality to it, Charles’ sax playing is clear and bright, yet the rhythm section is funky and dirty. Contrast works.