Continuing on my Blues Brothers kick with another “Blue” Lou Marini solo. This is short, but its a doozy! I transcribed this back in high school. It played an integral role in the development of my upper register, which I’m now learning all over again. I almost posted this with no video, but I decided to tough it out and work it up (as best as I can right now).
The first part of the solo is very cool. The timing is amazing to me, it’s way behind the beat, but somehow keeps it together without dragging. Lou relies on the 9th and 13ths a lot for harmonic color.
The last four bars are pretty tough for me right now. High Ab has always been the hardest altissimo note to hit consistently. The best fingering I can come up with is LH:1,3 + RH: 1, middle side key, and D# key. For B and C# I overblow D and E respectively.
The hardest part I have with my surgery recovery is control. Keeping the note from getting away from me and going too high is the challenge. The numbness makes it hard to get the feedback I need. But it’s a work in progress. A month or two ago I couldn’t get above high F at all.
More Blues Brothers! This time, a solo from the legendary “Blue” Lou Marini. Lou is such a distinctive player. His sound and his approach are instantly recognizable. For someone who is so highly regarded as a Blues/R&B player, his approach is much more ‘outside’ than you would expect (harmonically)
This solo is no exception. It opens with a minor third trill from the 5 to the flat 7. He bends up from the flat 5 to create tension. I chose to write it out, because it’s very even in time, and transitions so smoothly into the next line, I struggled find any other way to notate it. How many of us have started an idea with a trill like that only to get stuck with no way out of it? Lou shows how it’s done here, developing an idea and building it into a phrase that leads into the four chord.
The four chord of the first chorus is a good example of his harmonic approach, which is built on the extensions. He’s playing a line around the 5th and 7th, so it’s firmly rooted in the chord, but the other notes are the 9th and 11th.
The feel is also very different from Tom Malone’s solos, which are very on top of the beat. Lou plays with the time quite a bit and often sits on the back end of the beat.
This is another transcription that will have to wait for a video from me. My high chops are out of commission while I’m recovering from surgery, and Lou does a lot of very tricky altissimo work right across the break, which is hard for me to pull off accurately right now.