This is Clifford Brown’s solo on What Is This Thing Called Love (alternate take) from the recording Clifford Brown And Max Roach At Basin Street (EmArcy MG 36070).
Blues For Los Angeles can be heard on Bill Frisell – Gone, Just Like A Train (Nonesuch 1998). This is more of a simplified lead sheet than a strict transcription. I love this tune! Bill really says so much with so little (unlike this guy). It’s a 24-bar blues in E. I added a bass-clef stave in lieu of chord symbols. But just in case you wondered, it’s a 3 chord blues: I, IV, I, V, I. Enjoy!
My newest project Free-Bop Quartet features Noah Bernstein-Hanley on alto sax, Jim Prescott on upright bass, Mark Griffith on drums, and myself on guitar. I’ve spent the better part of October 2010 transcribing Monk and Ornette tunes for the band, and after a couple of rehearsals we are ready for our first gig! The concept originated with my recent obsession with the music of Ornette Coleman. Interestingly enough the path that led me to Ornette’s music was my nearly life-long obsession with the music of Pat Metheny. — I highly recommend 3 recordings that highlight PM’s association with Ornette and his music: 80/81 (1980), Rejoicing (1983), and Song X (1985) —
With Free-Bop I wanted to highlight the connection between the linear compositions of the be-bop era and many of Ornette Coleman’s “free-jazz” compositions. This first gig we are playing a host of Monk tunes, in addition to some Coleman classics. We are calling this gig: Free-Bop Quartet Presents: Ornamental Monk. Eventually we will delve into the music of Parker, and others. If anything, it a great challenge to perform these tunes (I’m getting my rear-end kicked learning this stuff!!).
Here’s a taste:
Ballroom can be heard on Bill Frisell – Gone, Just Like A Train (Nonesuch 1998). In two parts, Ballroom starts with a solo guitar movement, almost like a separate little 3/4 tune in E before the band comes in with part 2. Part 2 is in a nicely swinging medium-slow 4/4. Bill’s brief solo is really choice on this one!
This tune is found on Ornette Coleman – The Shape Of Jazz To Come (Atlantic LP 1317, SD 1317) Coleman’s composition has a beautiful and haunting melody moving around C-flat and it’s relative minor, and features a wonderful minimalist (improvised?) contrasting section bowed by bassist Charlie Haden.
As performed by Bill Frisell on the recording, Gone, Just Like a Train. I love the sound the trio gets on this recording. Trying to play this tune is a challenge, in spite of its simple structure. Frisell is a master of simple lines and gestures. On his solo he paces himself beautifully whilst propelling the tune’s intensity. This tune is in drop-D tuning.
This is a great little melody that dances around E-flat and D triads. Found on the following records: