Roy Hargrove: Playing “Out”

strength

Say what you will about Roy Hargrove’s current lifestyle choices; the man has blown some serious trumpet in his day. Roy’s ability to effortlessly glide between playing “in” (playing notes that fit the harmony) and “out” (creating tension by playing notes that don’t fit) has always impressed me, so I recently decided to pick a few lines to analyze his various harmonic devices.

Although he released a slew of post bop material throughout the 90’s, I reached for his more groove-oriented stuff in order to cut to the core of his soulful harmonic concept. His solo over Rich Man’s Welfare off RH Factor’s “Strength” fit the bill nicely.

But First, A Few Observations

Before getting into the meat of the analysis, I want to note a few keys to Hargrove’s playing in this era that made it all work. His time is impeccable, he shapes his lines with clean, clear articulations, and his style is…well he really swings. ...read more

A Transcriber’s Evolution: Your Routine Should Grow With You

evolve

In case you didn’t already notice, this is a blog, thus I’m going to try to use an infographic to communicate an idea. Read below the graphic for more information.

As a saxophone player I’ve transcribed many, many saxophone solos. When you’re starting to learn jazz, transcription is one of the first pieces of advice you’ll receive: “Just transcribe a bunch of solos!” says random Joe jazz mentor/teacher.

But why do we transcribe?

And what is the best process? It can be tedious, but is the payoff to build your vocabulary, give your ear and notation skills a good workout, emulate the sound/style of one of your idols, to just figure out what the hell somebody is playing? Yes to all these things, but I’d argue that the value of transcription evolves as you develop as an improviser. ...read more

Roy Haynes Solo on “In Walked Bud”

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Following up my first post regarding bebop drum vocabulary, I thought it would be fun to present an incredibly tasty Roy Haynes transcription.  This particular solo is from Thelonious Monk’s 1958 live album Misterioso, and features Thelonious on piano, Johnny Griffin on tenor sax, Ahmed Abdul-Malik on bass, and the incomparable Roy Haynes on drums.

There are several reasons that make this particular drum solo so enjoyable, both as a listener and as a student honing one’s craft.

  • Of the two chorus solo, Roy devotes the entire first chorus to the melody.  “In Walked Bud” is a catchy and repetitive tune; perfect for developing rhythmic ideas around the kit.  Roy masterfully orchestrates the slight variations along the way, and provides a valuable lesson in the power of simplicity.
  • The second chorus opens up into more traditional bebop drum vocabulary.  There are plenty of wonderful ideas played here, from the thoughtful use of buzzes, stick-on-stick passages, and rimshots to create sonic variety, to the introduction of triplets and sixteenth notes as the chorus develops as a means of increasing tension.
  • Lastly, Roy maintains his usual sense of swagger.  That is to say, nothing is played in a careless, boring way.  Every musical phrase has a sense of urgency behind it!
  • ...read more