Curtis Fuller, Blues March

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Download the PDF: Treble Cleff, Bass Cleff

Blues March, written by Benny Golson and performed by the Jazztet: Art Farmer, trumpet; Benny Golson, tenor sax; Curtis Fuller, trombone; McCoy Tyner, piano; Addison Farmer, bass; Lex Humphries, drums.  From Meet the Jazztet (LP), recorded 1960, re-released (CD) 1991 by Geffen Records.

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Roy Hargrove, Yardbird Suite

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Download the Transcription:  CBbEbBass Clef

Since this is my first transcription going up on this blog, I’d like to take a second and talk about why I chose this solo, and subsequently why I choose every solo I transcribe. There is always some intangible that sticks out to me about something I pick to transcribe. When I listen to a particular solo over and over again, it’s these solos that really stick with me, and that’s when I decide “you know what, I should transcribe this.” I start by playing along with the solo (usually), and then I sit down and write it out. This solo stuck out to me (this whole record, actually) because it’s a bebop record tribute to Charlie Parker, but the instrumentation is just bass (Christian McBride), Piano (Stephen Scott) and Trumpet (Roy Hargrove). The instrumentation alone had me interested, and then I heard how tight and swinging the grooves were without drums and I was blown away. This track is just a piano/trumpet duo, and the interplay between Stephen Scott and Roy Hargrove is just ridiculous. I was attracted to this particular solo for that reason.

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Chris Potter, Boogie Stop Shuffle

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Download the Transcription!

General Thoughts

This is a short and sweet little Chris Potter solo at about 3 minutes and 30 seconds.  I chose to transcribe this recording for several reasons:

  • I like the melody a lot and wanted to learn it
  • As a saxophonist, this is a challenging yet accessible solo with some great language
  • It just sounded like it would be a lot of fun to play!

This solo was recorded early in Chris’ career and while it is still clearly a ‘Chris Potter solo’ it is vastly different from the complexity in which you would find on his later works such as Lift, Follow the Red Line, or Underground.  Chris also recorded “Boogie Stop Shuffle” almost 10 years later on his album Lift and I think it will be very interesting to compare the differences between the two.

I think this solo is a really great example of using themes, motives and variations to develop a well thought out solo…one that ‘tells a story’ as it were.

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