Solo of Tom Harrell with Horace Silver, Walkin' as played by Miles Davis. Wynton Marsalis's Solo on Giant Steps. You are my everything Freddie Hubbard, alternate take, Hub-Tones. You don't know what love is as played by Andreas Ragger. You don't know what love is as played by Guy Baker Sting version. Ain't misbehavin' as played by Roger Kellaway. Barry Harris on Stella by Starlight. Celia Intro as played by Mc Coy Tyner. I cover the waterfront as played by Art Tatum.
I fall in love too easily Leadsheet as played by Keith Jarretts Trio. Intro of Celia as played by Bud Powell. Monk's Outro on Round Midnight, Oscar Peterson piano lesson improvised Blues in Bb. To be continued and concluded in Part 3. Austin High School Gang in a non-musical moment. Though these aspects of the decade may lurk in the background, the history of the Chicagoans has to do with their music and how it grew, and that's quite a story by itself. There were many Chicagoans in jazz, but they are usually discussed as a group, for most of Chicago's young jazzmen of the twenties who became important were part of a loosely knit single gang, the core of which was an almost fanatic, exclusive inner clique.
These men listened, practiced, worked, recorded, drank, and finally found fame together. They regarded themselves as a kind of musical family devoted to the task of nurturing in each member a valid form of personal expression, a family bound together by an overwhelming mutual desire to make music just as exciting, but not the same as, that which the men from New Orleans played.
Some were highly successful, a few gave up the quest, and others were simply not endowed with enough talent; but their average level of achievement was high and had an influence on later jazz developments.
Any man with a horn who stopped in Chicago for a while was eligible to be a "Chicagoan" if he listened to the right bands and really believed in jazz as a way of life.
There was a nomadic, one-handed trumpeter from New Orleans called Wingy Mannone and there was a well-trained clarinetist from Arkansas named Volly de Faut. A good clarinet player from Iowa whose name was Rod Cless became accepted as a "Chicagoan," as did a first-rate pianist from Missouri named Jess Stacy.
Even after the hard-core Chicagoans had moved to New York in the late twenties, they went on recruiting new members for the club, some of whom had seldom been west of New Jersey. The first wave of well-known Chicago jazzmen included drummer Earl Wiley, who worked the Mississippi riverboats and traveled to New Orleans prior toand Ben Pollack, a highly skilled drummer who landed a job with a direct-from-the-source band, the New Orleans Rhythm Kings, and in turn became an important influence on Chicagoans only slightly younger than Pollack himself.
Mezz Mezzrow, a kind of combination jazz preacher, clarinetist, and, later, marijuana dealer, was another enthusiast-musician who discovered New Orleans jazz After Hours - Dizzy Gillespie / Sonny Stitt / Sonny Rollins - Sonny Side Up (CD Chicago through performers like Tony Jackson, Freddie Keppard, and Sidney Bechet during and just after World War I. Bya year-old boy named Muggsy Spanier was permitted to sit in the shadows of the Dreamland Cafe's balcony to listen to cornetist King Oliver's New Orleans band.
When Spanier began to play creditable cornet a little later, it was Oliver's forceful, bluesy style he went after and came close to capturing. About that time, cornetist Paul Mares came up from New Orleans and put together the New Orleans Rhythm Kings, who played the same sort of music—with perhaps less drive than the Oliver band —and the new group became another model for the Chicagoans.
Other kids were finding out about the South Side dance halls and coming to listen. Those who couldn't arrange to get in free usually sat outside, catching whatever sounds drifted out the windows and doors. Bywhen Louis Armstrong was appearing with Oliver at the Lincoln Gardens, there would be fifty or more young musicians down front trying to remember every note the two cornetists played.
Among the most avid listeners were young apprentice jazzmen like drummers Dave Tough and George Wettling, who were there mostly to learn about Baby Dodds. Every college musician in the area knew about and visited the places where the New Orleans Rhythm Kings and King Oliver played, and commercial band leaders frequently dropped in looking for musical novelties to add to their books.
Some students at Chicago's Austin High School, most of whom had had some musical training, heard a few recordings by the New Orleans Rhythm Kings in and decided to form a band around that style. Their activities centered around the home of Jimmy and Dick McPartland, who wound up taking over the cornet and banjo functions in the new band.
Frank Teschemacher had played a little violin, so he eventually became the clarinetist. Other friends filled out the initial unit. Drummer Dave Tough, from the well-heeled Oak Park district, joined the gang and eventually brought a trombonist, Floyd O'Brien, into the fold.
Other teen-age players were popping up around Chicago. Pianist Joe Sullivan, who at 17 had had twelve years of classical keyboard training, began to play popular music in a nonunion gangster hangout in the bohemian sector.
Album) turned out that the club had also hired an authentic jug band from the South, and the group was for Sullivan—whose listening experience had been confined to theater pianists and records by Art Hickman or Paul Whiteman—a first contact with something resembling honest jazz.
Ina precocious West Side boy of 13 named Benny Goodman was playing clarinet remarkably well after only three years of instruction. Goodman studied alongside Buster Bailey an experienced Memphis jazzman seven years Benny's senior under Franz Schoepp, an outstanding teacher and symphony man who at one time counted Jimmy Noone among his pupils.
The McPartlands, as sons of a music teacher, had a slight advantage and led the way. Teschemaeher was also learning fast, but Freeman, without earlier musical training, lagged behind.
The Austinites, whose ages in ranged from 16 Jimmy McPartland to 21 Lanniganwere something less than men of the world at this point. A new band grew out of a series of Northwestern University fraternity jobs involving clarinetist Jimmy Hartwell, drummer Vic Moore, and saxophonist George Johnson. Pianist Voynow and cornetist Beiderbecke brought a touch of class to the group, and they called themselves the Wolverines.
They decided to stick together, made some records, and the sound of Bciderbecke's cornet became a new major Album) on the kids back in Chicago. At the same time, King Oliver's band began turning out recordings on which Louis Armstrong and clarinetist Johnny Dodds could be heard. Professionals called them the "wild West Side mob," but alert listeners could tell they were coming into a worthwhile style of their own.
Teschemacher was still playing violin a lot of the time, especially when talented guests like Benny Goodman sat in. Goodman played off and on with the "wild West Side mob" at high-school gym dances or in sessions at public park recreation areas and worked an amusement park job in the summer of with Jimmy McPartland, but he found that he could make better money with real professional bands. He joined the union the same day that Dave Tough did.
That word "correct" is the key to a philosophical dichotomy that set Goodman and some others on a course quite different from that traveled by the West Side mob, although their final musical goals were not entirely dissimilar.
Goodman, like his fellow music student Buster Bailey, was primarily a clarinetist, and jazz was his favorite mode of expression. For Teschemacher and Freeman, and to a lesser extent their comrades, becoming a jazzman was the important point, and the instrument was simply whatever chance had dropped into their hands. It was a distinction that became more subtle as the performers improved, but it was still there.
Curiously enough, Goodman's attitude toward his instrument was much closer to the outlook of the New Orleans clarinetists and several older Chicagoans who came under their direct influence than it was to the West Side gang's musical position. Simeon was born in New Orleans but began playing in Chicago. Most of these Tio-trained musicians later regarded Goodman as, at the very least, their equal.
It was a After Hours - Dizzy Gillespie / Sonny Stitt / Sonny Rollins - Sonny Side Up (CD not so readily bestowed upon Teschemacher and others in the young Chicago gang. Chicagoans like Teschemacher, Freeman, Tough, Mezzrow, and Sullivan were probably the first self-conscious students of jazz to appear. For them, the music was not merely a functional aspect of the entertainment world but a challenging art that required deep thought and study.
They tried to weed out what they regarded as trivial or tasteless the side of King Oliver that involved imitations of a baby crying or Clifford King's barnyard squeals on the clarinet and to listen instead to the musicians who were totally involved with the art of jazz Beiderbecke, Earl Hines, Armstrong. About this time Tough was also participating in poetry and jazz sessions at a Chicago bohemian hangout called the Green Mask.
Among his intellectual friends there were poets Kenneth Rexroth, Langston Hughes, and Maxwell Bodenheim, as well as an odd assortment of musicians, entertainers comic Joe Frisco was oneand artists. A few other Chicago jazzmen may have shared Tough's enthusiasm for such gathering places, but most of the Austin High gang was not concerned with much of anything outside music in those early days of discovery.
It was about when year-old pianist Jess Stacy hit town, after a long apprenticeship on Mississippi riverboats with Tony Catalano's band. Stacy had come under the New Orleans jazz spell in much the same way the Chicagoans had, except that Jess worked more from first hand experience than from recordings. He had spent the winter months in ballrooms along the river, such as the Coliseum in Davenport, where he was charmed by the playing of Bix Beiderbecke.
The list also includes solos for flute, clarinet and EWI. There are tons of books that feature transcribed solos, but why should you spend your money on something that is freely available on the Web? Unless otherwised noted, all transcriptions are in the original key: tenor and soprano solos are in Bb key, alto and baritone solos are in Eb key. Transcriptions of the same solo by different sources are provided when available. Here you can find more about the best web sites that offer free and paid solo transcriptions.
Please let me know. Home Solos Contact. Solo transcriptions This page lists solo transcriptions that are available somewhere on the Internet. For Eb instruments. MP3 file is available. The Eb version is avalaible.
The Eb and C concert key versions are avalaible. Com Transcription by Adam Roberts. The web site requires registration. Charlie Parker K. Com Web site requires registration. Version in C concert key. Includes Bb and C concert key versions. The Bb version is available. The Eb version is available. February Regrets February Regrets Tenor www.
Com Transcription by Andrew Hickman. Web site requires registration. Com Transcription by Kenyon Carter. Includes solo by Paul Desmond alto. Grover Washington Jr. Johnson, Volume 2 J. Eb and C concert key versions are available. The theme and MP3 files are available. Davis with J. Com Eb version is available. Monterose Wee-Jay J. Bb and C concert key versions are available. C concert key version. Bb version is available.
C concert key version is available. Solo analysis and MP3 file are available. Transcription by Wietze Meys. Bb and Eb versions are available. Includes solo by Gerry Mulligan baritone. Faster than the more famous recorded solo. Paul Gonzales Blue P. Eb version is available. Robert Watson MS B. In C concert key. Sonny Rollins St. MP3 is available. MP3 file, Bb and C concert key versions are available. C concert key and MP3 files are available.
All The Things You Are. Transcription by Curtis Swift www. Better Go. Transcription by James Mahone. Saint Louis Blues. It Could Happen To You. Come Rain Or Come Shine. Rodolfo Varani. Angel In The Night. Blues For Fela. The theme is also available. Clock Wise. Every Man Is A King. Fiesta Espanola. Friday Night at the Cadillac Club.
Giant Steps. Hand In Glove. I Thought About You. In The Shadows. Loose Ends. Never Will I Marry. No Trouble. Ojos De Rojo. Seven Steps To Heaven. The Crossing. RealAudio file is available. Transcription by Adam Roberts. Listen Here.
Little Motif. Petri Krzywacki. The Song Is You. There Is No Greater Love. It Already Happened. Brown Sugar. Colin Campbell. Eb concert key version is available. But Not For Me. A Night In Tunisia. An Englishman In New York. Cain and Abel. InRollins moved to Woodstock, New York. Sonny Rollins was among hundreds of artists whose material was destroyed in the Universal fire.
The German critic Joachim-Ernst Berendt described this tradition as sitting between the two poles of the strong sonority of Coleman Hawkins and the light flexible phrasing of Lester Album)which did so much to inspire the fleet improvisation of bebop in the s.
By his mid-teens, Rollins became heavily influenced by alto saxophonist Charlie Parker. His preferred mouthpieces are made by Otto Link and Berg Larsen.
From Wikipedia, the free encyclopedia. American jazz saxophonist and composer. Musical artist. Sonny Rollins "St. Thomas" Improvisation from St. Thomas starting immediately after the melody. Main article: Sonny Rollins discography. Retrieved May 20, Concord Music Group. September 7, Nastos September 7, Retrieved July 28, The Guardian. Retrieved July 21, All About Jazz. Retrieved January 31, The Atlantic.
July 1, Retrieved November 13, October 24, Scientific American. Chicago Reader. New York: Oxford University Press, ISBNpp. John Coltrane: His Life and Music. ISBNp. ISBN Sep 16 Lit: Literature Interpretation Theory. Archived from the original on April 13, Retrieved July 23, The Beat Goes On! From This Moment On! A Few Miles from Memphis. Soul Guru. Jaki Byard with Strings! Sister Byrdie! Bottoms Up. Sonny's Dream Birth of the New Cool. The Quest. Listen Here.
The Excitement of Trudy Pitts. Walter Foots Thomas All-Stars. Walter "Foots" Thomas. Original Moody's Mood. The George Wallington Trios. Baiyina The Clear Evidence.
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The Great Oscar Peterson on Prestige! This Is Billy Butler! Rakin' and Scrapin'. Don't Look Away Now! Rusty Bryant Returns. In the Land of the Giants. I'll Catch the Sun! The Soul Brotherhood. The Violin Summit. Django Reinhardt and the American Jazz Giants. Clarke-Boland Big Band. Maynard Ferguson Oh Happy Day. Chubby Jackson Sextet and Big Band. Benny Carter Benny Goodman and the Giants of Swing. The Big Bands Swing Classics Jazz Pioneers Oscar Peterson Plays for Lovers. Out There. The Genius of Thelonious Monk.
Red Garland Revisited! Herbie Mann in Sweden. In the Kitchen. Hank After Hours - Dizzy Gillespie / Sonny Stitt / Sonny Rollins - Sonny Side Up (CD Message. Clifford Brown Memorial Album. Steppin' Out. Milt Buckner in Europe. Carmell Jones in Europe. Early Quintets. Elmo Hope Memorial Album. Critic's Choice. Soul Talk. Norman Mailer Reads Norman Mailer. Sunshine of Your Love. Solo Piano. Reelin' with the Feelin'. Easy Walker!
Don Byas Meets Ben Webster. Steve Kuhn in Europe. Hampton Hawes in Europe. The Teddy Wilson Trio in Europe; Let's Face the Music. Sonny Terry and Brownie McGhee. Inside Dave Van Ronk. The Folk Blues. San Francisco Bay Blues. The Holy Modal Rounders Vol. The Blues Guitar and Banjo of Rev. Gary Davis. Deep are the Roots. Sleepy Man Blues. The Walter Bishop Jr. Walter Bishop, Jr. The Blues; That's Me! The Return of Tal Farlow. The Clifford Brown Quartet in Paris. Jungle Fire! The Rev. King Soul!
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