This daring blend of rock and jazz shocked the mouldy jazz critics, but was later on rated among the finest in Miles' outputs of his career. The title track was originally written by Joe Zawinul, but Miles cut down the rather complex chord changes in order to make it more "rock"; still, the rubato piece sounds more like a ballad.
The sparse harmonies ring over the continuous E pedal that is played on a bowed bass. The first piece has only one chord D7sus4 that is interpreted somewhat freely. The continuous bass figure has only two notes. The structure is wide open for lengthy solos. The latter is more abstract harmonically and is composed of three sections that alternate in the course of solos. Fast blues. Ken Stubbs Alto Transcription by Jaime Timms no preview text This post contains the Album) attachment types: -youtube.
I ran into this piece while listening to Bobby Hutcherson's album "Now! There are a handful of recorded versions of this piece, which differ a good deal from each other. The four versions I've heard appear on the following albums: Bobby Hutcherson's "Now! On Hutcherson's "Now! In fact, the bass obbligato resembles the opening bass figure of "Pharaoh's Dance" as performed on Miles' "Bitches Brew". My transcription is a mix of the recorded versions, and not necessarily correct in any way.
The lyrics go as follows: "Hello to the wind, glad you blew my way. Hello lonely friend, have you come to stay? Cool breeze flow soft and slow.
Hello to the morn, good to see you born. Sun to warm my face from its home in space. Moon is fading from sight, and bird to wake and then take flight, and rays of sun begin to show, and then I know. Just how little I know, and what I am learning of. Hello to the sky, good to see you clear.
Join the wind and I, glad to have you here. Hello to the night, hope your day was fine. Mine was very bright, your should be like mine. Sun has faded from my sight, and here's the moon to greet the night. Children scamper home at fright, and then I know. I need your help with the transcription. If anyone has a chart for this piece I would love to take a look at it.
Violin solo? Decoy by Miles Davis This is the title number from Miles Davis' Decoy albumwhich is rated as a flop of his latter career. The tune has a characteristic steady funk-rock groove with synthetic sounds and chromatic lines. The harmony is pretty loose here, including a good deal of chromatic movement and dissonance. The piece has a rough and dynamic urban pulse. The slap bass is putting diminished 5ths in hard use.
Not so sure about it. Does anybody have another leadsheet of this tune? Thus I'd like to encourage all you to come in on the discussion. This is a great forum for discussion and sharing our work. While I have been busy the past few years with my music, I would look forward to contributing again. It may be a bit redundant, Ville, but I very much admire your formidable contribution. Moreover, I believe that your transcriptions are a tremendous service to the entire world jazz community.
Best, Ed Byrne. Marcus played the tune on an unaccompanied bass guitar on his "The Sun Don't Lie". The melody is rather freely interpreted. The changes at letter B are based on an enlightened guess, so all corrections are welcome. I'm uncertain of the changes - especially at letter C. Any suggestions? The tune also appears on a bunch of live recordings e. It is a cut-time ballad with a funky section at the end.
All comments and corrections are welcome. The tune is characterized by Spanish-flavored Phrygian mode. Trumpet and soprano sax play melody by turns; the horn at rest plays fills behind the melody. On recording, the last 4 bars of letter C are played twice on D. In spite of the "Xmasy" feel of the song, it is actually a rather serious story about a Jewish man, who's fleeing from the Nazi persecution with his little radio. Over 40 years later Sting rewrote the original lyrics written by Bertolt Brechtand performed the song on his " Nothing Like the Sun" album.
Even though the song isn't originally a jazz tune, some jazz groups e. Marcin Wasilewski Trio have made beautiful interpretations of it. Season's Greetings to All! Nardis, Bill Evans Solo "Nardis. Each section is from different recording, which are combined as a whole by Teo Macero.
The transcription lacks the final section that's composed of prerecorded wind ensemble passage and overdubbed trumpet solo. I have no idea where the rubato wind ensemble passage comes from.
I guess, it's from Teo's personal archives. Does anyone have a chart for this final section? According to the original lead sheets the tune has no tempo marking, nor do they have bar lines that would illustrate a spesific time signature.
The lack of defined rhythm and strict chord changes leaves plenty of room for the rhythm section to explore different textures more freely. This also leaves plenty of room for the soloist to explore the melody more freely.
The original lead sheets differ slightly both in melodic and harmonic rhythm. I've added some sample voicings to the chart that also exist in Wayne's manuscript. It's apparent that the piece evolved and changed on any given concert depending on the the mood of the group. Happy New Year everyone!
Ville P. The chord symbols in parentheses do not exist in the original scores. The music on the album is Album) freely interpreted and based on a minimum of written instructions. Miles never played someone else's tune the way they had written it - he always changed it. So is the case with Zawinul's "Pharaoh's Dance" that was originally written in two parts. The recorded version executes Zawinul's loose plan for the piece Zawinul notated part two with directions such as "keep developing", "play whenever", "turn statement one in and out with your own free will", etc.
Much of the part one on the recording is loosely interpreted and constructed through a series of editing loops. First line is meant to be exact, in the others, I just tried to include the essential notes from both guys.
Meant to be exact, but many times Summers only plays the highest 3 notes. I've been able to find a couple of fake book versions of the chord progressions, and a print version of the original song by Vernon Duke, plus a vocal one by Ella F. Thx much for any help. Jon Snider Colorado Springs. In B flat for trumpet. Ain't That Peculiar - george benson Nice forum, I hope it's still up ;- Nice instrumental version of this Marvin Gaye tune by jazz instrumentalists.
The minor 7th add 11 chords C -7 add 11 and B-7 add 11 don't include the 5th. I'm not aware of the accuracy of the drum part in Intro, which I wrote down hastily. Once again, I'd welcome all comments concerning the chart. The chart lacks chords in places, and I turn to you guys to help me to complete the sheet. Also, the chords I've added aren't necessarily correct, so I welcome the corrections. Need help with "Tomaas" Hey all! The chord changes are still unclear and I need to ask your help to clear them up.
The funky guitar figure which suggests a E7 harmony continues in similar manner underneath the A, B and D sections. The piece consists of layers of motives, such as the rhythmic single E note figure at the beginning, which continues throughout the piece with slight variation. The piece also involves overdubbing and synthesized instruments, such as the drums and the guitar? I'm not sure if any of the chord symbols are correct.
Please help me out! Thanks John jwgurske gmail. REQ: Carnavalito - J. Zawinul I'm searching 4 someone who can help me with full scores, big band or simply piano sheeets.
There was a transcription on the Jazz Trumpet Solo website by Mark Russo already done of his solo which I am attempting to learn, but I also wanted to play the head. Nostalgia Hi everyone I actually sat last night and today and tried to figure this out.
I think I've got the head, but the intro I'm not sure of. If anyone has a definitive version of this, or can just hear if I've got it or not I'd really appreciate it. Very cool! Would anybody be so kind and upload these leadsheets?
Any help to improve the leadsheet are welcome. The letter A is mostly in stop-time for head, but walks throughout solos.
The 16th-note melody is built on a two-bar bass figure that freely outlines a G7 tonal center. The bass line continues unchanging throughout the tune, and opens up a challenging template for burning solos. Needless to say, the rhythm is an integral part of this funky piece. It's based on a 6-bar progression in A minor, which modulates to C minor in the middle to go back to A minor in the end. The basic idea expands into a few motifs that overlap with varying degree.
Note that the piece includes two guitars: 1 rhythm guitar and 2 lead guitar. It has a fairly slow and funky swing 16ths groove, which I've written in cut time with swung 8ths. Miles and Marcus drop in tasty G minor blues fills all over the place. Note that the bass is tuned a whole step lower than in standard bass tuning. Date Posted.
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El hombre que sabia John McLaughlin. Stan Callewaert. Kenny Barron - Sunshower. Tom Jobim - Waters of March. Steve Howe - Excerpt from The Ancient. Una Mas - Kenny Dorham. Request: Freddie Hubbard's Osie Mae.
Mood Indigo. Textures - Herbie Hancock in "Mister Hands" El Gato Triste - Chuck Mangione. Request: Kenny Barron's tune "Cook's bay". Zakir by John McLaughlin. Astor Piazzolla - Milonga del angel update. Enrico Pieranunzi - Canto nascosto. Egberto Gismonti - Ruth. Squatty Roo - Johnny Hodges.
The Rubber Man - Cedar Walton. Request: Raunchy Rita. High Wire - Erroll Garner Transcription. Armando's Rhumba - Chick Corea Arrangement. Wes Montgomery "Willow Weep for Me". Help needed with "Phantom of the City". Pollutants pouring from smokestacks around the world may be bad news for the atmosphere, but if you catch them before they get out there, you could reduce emissions and collect some valuable materials.
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