Here’s another Tommy P. solo from the latest TOP album. This is one of my favorite songs on the album to listen to, the groove is so funky. I love the background vocals, and I’m pretty sure that’s Chuck Hansen dropping the low notes on Bass sax as well!
This solo is super tough for me to play. I had a really hard time with the pitch on this track. I had to adjust the tuning about 20 cents to get it to lock in, which then made it harder to play. The break on the first bar is a good example. I’m pretty sure that he’s going for the tri-tone, but the pitch on the top note is between the F and F# to my ear. I doubt he’s playing F#, so I’m guessing the F is just high.
Aside from the pitch, there’s a lot of altissimo across the break, which is always tough for me. And then he really goes for it at the end up to the double F#!
Page tow of the transcription is more of a solo over the ride out as the track fades. It’s a long fade so I didn’t bother to record that part.
I think this is the first flute transcription that I’ve posted (and actually played), so hooray! My flute playing needs a lot of work I know, but this solo is just about the level of difficulty I can handle.
Tommy P plays two solos back-to-back on this track, both tenor and flute. I’ll post the tenor one next.
Here’s the sister track to the previous post – the last track of the album. It’s the same song, another take, with the sax solo in the middle this time. They changed the name of the track for some reason.
It’s an eight-bar section, all over the F# pentatonic minor blues scale. It’s really just four licks. I love the F#-C lick (tonic to flat five – using the tritone). I also like how percussive the articulation is, you really need to spit it out!
I’ve been really getting in to the new Tower of Power album – The Soul Side of Town. Tommy P takes a million solos on it, and this is the first one, right out of the gate.
It’s only four bars, but it’s a killer! The altissimo isn’t too high, but he gets around pretty fast. The way he crossed the break in the first bar is amazingly clean. He sticks to the blues scale, and does a trill on the last note, which was unexpected but cool.
This track is very much in the style of ‘Oakland Stroke’, opening and closing the album with a (mostly) instrumental jam. Burning solos by my pal Roger Smith on the organ as well! I’ll work on the closing track next, it’s got a longer solo.
I can’t believe I’ve gone this long without posting a single sax solo from Tower of Power! My primary gig with Doctorfunk is practically a TOP tribute act. But I play Bari sax in that band because my tenor chops aren’t strong enough to pull off many sax solos in that book. That hasn’t stopped me from transcribing a ton of Lenny Pickett solos over the years, but playing them well enough to post here is another matter…
This album is really interesting – rather than playing original material, they went back and covered a bunch of classic soul tunes. This is the first track on the album – an absolutely killing version of a classic Stevie Wonder song. Tom plays an alto solo, which is also rare for a TOP album.
I’ve known and loved this album since it came out, but I hadn’t listened to it recently. I showed up for a gig a few weeks ago and this track was playing as I walked in, but I didn’t hear the beginning of the track, I just heard the alto solo. I really dug it, and actually thought it was Candy Dulfer at first. But then the vocals came back in and I recognized the song.
This is basically a 16-bar blues in concert Ab. The first eight are straight blues scale, but then at the change he throws in some nice bebop lines, leading up to a nice tasteful altissimo run. I tried switching to my short/front altissimo fingerings for the G/Ab this time. Still a little flat on G, but they worked better for the line I think. I still need to work on my altissimo over the break.