Saturday, May 15, 2010
Friday, May 14, 2010
Wednesday, May 12, 2010
Tuesday, May 11, 2010
Monday, May 10, 2010
By Barbara Gardener, Downbeat Magazine, Oct. 12, 1961
THEY COULD HAVE called him Cliff; he was the rugged individualist of his day. He could have been known as plain Brown; most people remember him as an unsophisticated, straightforward man. Yet they called him Brownie, an affectionate name one might give to a treasured pet.
by HOLLIE WEST, Downbeat Magazine, July 1980
Of the untold gifted trumpeters who died young and tragically, Clifford Brown is probably the one whose death seems most absurd. He did not singlemindedly destroy himself in the manner of Beiderbecke, Berigan, Berman and Navarro. Nor did he daily fatally with the tempestuous emotions of another person as Lee Morgan did. And he did not endure a long and painful illness like Joe Smith and Booker Little. Brown's death. in an automobile crash in June, 1956, came in a flash. Not yet at the peak of his performing power, he was struck down at age 25 without warning. in the flower of his brief and brilliant career. People mourned him rot only because of his lustrous achievement but also for his youth and promise.
Sunday, May 9, 2010
Kenny Dorham's trumpet solo on the chord changes to "Blue Bossa", from the Joe Henderson recording Page One.
Saturday, May 8, 2010
Chet Baker's trumpet solo on the changes to "You'd Be So Nice To Come Home To", from the Jim Hall recording Concierto, transcribed by Michael Petterson.
Friday, May 7, 2010
Why Transcribe?Depending on who you talk to, solo transcriptions are either an extremely effective tool or a total waste of time for persons trying to learn to improvise. It's always been my opinion that the latter is the opinion of those people who either tried to transcribe and failed to do so effectively or those who developed the skills sharpened through solo transcription by exercising in other ways. To that end, I put forth the following things to remember to help you ensure that transcriptions speed your development as a jazz improvisor:
- Transcriptions are a tool for developing aural skills.
Much of the skill set honed through solo transcription comprises the musician's ability to convert tonal relationships (melodic modules) from concept into practice (physically realizing the notes by playing them on an instrument). This style of learning is the same way you learned how to form words as a child.
Imitation is the sincerest form of flattery.
- Transcriptions are a tool for developing vocabulary.
A phrase in a solo, like a sentence in a conversation, is made up of small pieces which can be pieced together in a variety of ways to produce similar but unique ideas. Transcriptions are a way to learn phrases, but more importantly they help you learn the building blocks from which to construct your own ideas.
Jazz is a language. Learn the words before you try to express your ideas.
- Transcriptions are a tool for developing technique.
How many times have you complained to yourself and others that you can't stand working out of the same old method books? Transcriptions (your own and those done by others like you) offer a wealth of new material to challenge you technically. Make sure to use traditional practice techniques when trying to absorb new material in this manner-work slowly if necessary, articulate carefully, and break difficult passages out for special attention.
The metronome is your friend.