The World According to Keitho

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Posts Tagged ‘hard bop’

Audrey

Posted by keithosaunders on October 28, 2016

Lately I’ve been fascinated with how Bud Powell deals with the 1st, 2nd, 7th, 8th, 11th, & 12th bar of the blues. He goes out of his way to find the major 7th. It’s almost like a giant ‘fuck you’ to the blues but it works, and some levels it’s bluesier than what we’re used to hearing. It’s a personal and striking statement.

I believe that generation – Bird, Monk, Dizzy et al – thought of those bars more as major chords (or 6th chords) than dominant 7ths. The next generation – Horace, Wynton Kelly, Mobley, D Byrd – played over dominant changes, but not the be boppers. (at least to my ears) The exception would be the slow blues, which Bird was a master at. I don’t know how much the Kansas City influence v Bud’s New York upbringing plays into that.

I recently transcribed this solo — it’s amazing as all of Bud’s solos were, but this one I found to be unusually quirky and great. After all these years of listening to him I still can’t believe how effortlessly he stays in the center of the beat even with all of that double time.

 

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Prescription for aggravation: One chord a beat.

Posted by keithosaunders on March 25, 2010

I like chord changes as much as the next guy.  In fact, I probably like them more than the next guy, hard-bopster that I am.  Give me a song such as the original Milestones or All Gods Children Got Rhythm and I am right at home and in my element.  

There is one thing, however, that I have never been comfortable with — playing one chord change per beat.  Fortunately we musicians don’t encounter this potentially thorny situation that often.  The song that immediately comes to mind is Randy Weston’s Hi-Fly, whose 4th bar consists of E7+9 Eb7+9 D7+9 G7.  Up until then you have been in ii-V heaven, effortlessly churning out your hippest D minor licks.  All of a sudden – BAM – you have to think.  GOD DAMNIT. 

What to do?  Do you double up and run 16th notes?  You can do that at a medium tempo, but any faster, unless your name happens to be Sonny Rollins, things are going to get dicey.  So you try to run an eight-note line but you soon discover that negotiating those chromatic changes is about as fun as cleaning behind the refrigerator.   OK, so you think about framing the chord and cycling on down but how many times can you get away with this? 

The song that has sparked my one chord a beat rumination is Phineas Newborn Jr’s Sneakin’ Around.  It’s a medium tempo groover with an incredible melody mostly centered around, you guessed it, D minor.  Trouble ensues in the 7th and 8th bar:

G7   F#7 F7| E7 A7 D-   |

/  /    /   /         /   /      /  /

Now that’s a thorny two bars.  You’ve got chromatic dominant 7th moving down one chord a beat starting in the middle of one bar and ending in the middle of the next.  Come on! 

Sneakin' around is on this great record!

I have to admit, though, Phineas plays the hell out of it, seemingly without breaking a sweat.  You hear it time and again with the musicians of that era.  There was a caliber that existed that was off the charts.  Not only could they play the hell out of the blues and I Got Rhythm, but they could negotiate the trickiest of harmony. 

Clifford Brown had some of the most difficult songs.  Brownie Speaks is altered rhythm changes played at break-neck speed.  A jagged, boppish melody and extremely difficult changes.  Don’t you know he cuts through them like butter.  The Jazz Messenger’s albums are full of songs that are hummable and melodic, but many of them are awkward to play over.  You would never know it by listening to Lee Morgan, Bobby Timmons, and Hank Mobley.

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