Continuing on the Clarence Clemons kick…This is a short solo from the end of “Dancing in the Dark”. It’s very laid back and mellow, pretty easy to play. As usual, beautiful tone and delivery by Clarence.
The whole solo is in the key of Db, and happens over the fade at the end of the track. Clarence sticks to a major pentatonic throughout, so everything fits beautifully as you’d expect.
More Clarence Clemons from Born to Run, this time – Jungleland. One of his most famous solos.
For me, the biggest challenge with this one is AIR and PITCH. These are long phrases, so being able to consistently support with an even tone and solid pitch requires lots of air. I clearly don’t do enough long tones at this end of the horn!
I like how restrained this solo is – it’s so melodic and simple. A lot of players would be tempted to fill the space with a ton of notes. The big man keeps it right down the middle. He soars on the high notes and doesn’t stray too far harmonically. It’s a bit repetitious, but it builds nicely.
I realize that I haven’t posted any solos from the Big Man, Clarence Clemons, yet. Sadly, he passed away in 2011. I never saw him perform live (or Bruce Springsteen for that matter), although I grew up on their music. This track was released when I was four!
I admit that I took Clarence for granted, and under-valued his contribution to the instrument. This was years ago when I was a big jazz snob. I was aware of him, but since he was playing pop/rock, I wrote him off as insignificant. Big mistake on my part!
Of course one of the great things about Bruce Springsteen’s music is that he played with a real band, one that stayed together for a long time. Although he was the front man and singer/songwriter, he wrote and arranged for the unique voices in his group – including Clarence.
Clarence Clemons has such a huge sound and presence – no one else could have contributed such iconic solos. And this is the type of solo that I can only reproduce to a point. Clarence had a special power to his sound, a growl that was always there, even when it wasn’t fully unleashed. I can’t duplicate that, and if I tried, it just wouldn’t be authentic. So I do my best and hope only to get close.
The solo on Born to Run is pretty challenging in the first few bars. The articulation is fast and clean – hard to keep up with at times. The expression that he adds with the subtle falls and bends are hard to reproduce without going overboard. It’s a master class in striking the balance between restraint and reckless abandon.