Leroy has been performing all around the world with the Preservation Hall Jazz Band and Harry Connick, and was born and bred in New Orleans. Leroy is probably best know for his work with Harry Connick, Jr, but he was also a member of the band that became the famous Dirty Dozen Brass Band. Since most people don’t know who Leroy Jones is (which is a damn same), I’ll just give you a short synopsis. Mainly, it was just a treat to hear this man play traditional New Orleans music all evening. Among other things, I had the absolute pleasure of getting to hear Leroy Jones at Preservation Hall, and since the Jack Brass Band (band I was on tour with) had played there the night before, I got to meet Leroy and talk to him a little. If you read my blog post on my trip to New Orleans, you know that I had an exciting time while I was there. It’s their individual sounds, sometimes brittle, other times hypnotic, that make you go “No doubt about it, that’s Lee Morgan.” Continue reading → How can you tell when it’s Miles? It’s that sound. It might sound weird, but I truly believe that. Your sound is the #1 most important thing in your playing. Before all the licks, and all the “finger flapping” as Ambrose so humbly (he’s clearly full of it) calls it, you hear the sound. It’s always the first thing you hear, the sound of the instrument. Right when you think he’s lost you in a solo, he reels you back in with a sweet, warm melody, or just a straight up funky blues lick. Ambrose is the perfect mix of math and emotion. It took me months before I could remember his name “uhh…it’s this long name and starts with A, but he’s ridiculous!” but I’m sure I’ll never forget it. So I did!ĭownload the PDF: Bb, Concert, Alto, Bass, ClefĪmbrose. This semester my trumpet teacher Adam Rossmiller came across this solo of Blue Mitchell’s and told me to check it out and transcribe it. At school I try to transcribe as many solos as I can. ![]() I’m a young musician trying to study this music and hopefully begin to understand it a little bit more with everyday that goes by. With such ease and flow their language of be-bop, and blues just feeds the ears of our generation with so much substance that I feel we sometimes miss out on. ![]() With transcribing the jazz language I’ve always been fascinated with the process of figuring out what the great players of the 50’s and the 60’s played. Transcribed by Lukas Skrove, Spring 2012. Players on album: Blue Mitchell (trumpet), Joe Henderson (tenor saxophone), Herbie Hancock (piano), Gene Taylor (bass), Roy Brooks (drum set). You also need to have JavaScript enabled in your browser.īlue Mitchell’s Solo on “Bluesville” from the album Step Lightly (1963). These lines have their roots in soul and gospel – the kinds of phrases that make you want to jump out of your seat and shout “AMEN!”.Īudio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Writing out phrases such as bars 5, 21-22, 36 and 44 actually doesn’t do the solo justice, and they shouldn’t be taken too literally (as with most solos, I’d say). ![]() What I’ve noticed from my own playing is that I often play far too much in trying to find my way through the changes, so this is definitely a lesson to take home. What struck me immediately as I was writing out this solo was the sparsity of notes and delicacy of the phrases at the beginning, followed by sudden outbursts of expressive lines (like bars 21 and 31/34). I’ve finally got around to finishing it and digitizing it in MuseScore. Or was it “Starmaker”? I started writing out Roy’s solo in “I’m Not So Sure” some time ago already, and then shelved it. I still haven’t decided which is my favourite track on Roy Hargrove’s ‘Earfood’ – either “Strasbourg St. Get the latest Flash Player or Watch this video on YouTube. ![]() The Adobe Flash Player is required for video playback.
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