Category Archives: Vibes

Joe Locke, The Lost Lenore

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Download the PDF: concert pitch, Bb, Eb, Bass Clef

“The Lost Lenore“, written by Joe Locke and performed by The Joe Locke/Geoffrey Keezer Group featuring: Joe Locke (vibes), Geoffrey Keezer (piano), Mike Pope (bass), and Terreon Gully (drums).  From the album Signing released April 2012 by Motéma Music.

 

This is a really, really cool tune, and I’m really excited to have the opportunity to transcribe a solo that also has video, which we can include in full on the site.  So cool of Joe to let us share this with all of you, and congratulations to him on the release of his new album (click the image to navigate to his online store).

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Matt Moran, This Too Shall Pass

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Matt Moran, photo courtesy of downtownmusic.net

Download the PDF: Concert, Bb, Eb, Bass Clef

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This Too Shall Pass, music written by John Hollenbeck and performed by: The Claudia Quintet (Chris Speed; clarinet, Matt Moran; vibraphone, Ted Reichman; accordion, Drew Gress; acoustic bass, John Hollenbeck; drums).  From the album ‘For‘, released 2007 by Cuneiform Records.

This track grooves so hard I can’t possibly sit still while I listen.  It’s the way Hollenbeck employs distinctly different snare drum timbres and perfectly compliments the utterly simple descending bassline, and then Moran’s vibes solo floats effortlessly over the top and constantly subverts the swung 4/4 feel with 12/8 and straight 4/4 references.  This tune is incredibly special because it is a hard-grooving lament in memory of Matt Moran’s late father, Tom; have you ever heard of a hard-grooving lament?  No, me neither.

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Milt Jackson, Groovin’ High

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Photo by William P. Gottlieb

Download the transcription: Concert, Bb, Eb, Bass Clef

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Ahh, BeBop. Will I ever be able to play you?

I transcribed this solo a few years ago when I was really trying to work on my bebop language in my solos. It’s been an interesting up and down road since then trying to perfect, or even just function in this very specific jazz art. Milt’s solo on Groovin’ High, one of the most iconic bebop tunes in bebop’s golden age, is a perfect example of the techniques a bebop player uses to sound like…well…to sound like Bird (Charlie Parker to you beginners out there).

Milt Jackson is one of the only really well-known jazz vibes players. There are others I have listened to, namely Joe Locke and Steve Nelson, but they’re both modern players who don’t really have that pure bebop thing happening. They’re both incredible players, and I am sure can play like that, but they’ve got other shit happening. The point in transcribing Milt was to dig in to someone who lived that language his whole life.

This however, is the first time I have revisited the solo, really practiced it (and checked for note errors, there were plenty), and did the analysis. I found some techniques similar to the Tom Harrell solo I transcribed for this site a few weeks ago. Pianistic arpeggios, Chromatic Approach Tones, Guide Tones on big beats (1 & 3), etc.

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