Wes montgomery transcriptions pdf4/30/2023 And, there are moments of interest as he negotiates the non-resolving sequence of ii-Vs in bars 5-8 each time: Bbm7-Eb7 Em7-A7 Ebm7-Ab7(alt.). During of the first chorus, in the 2nd bar, he employs a favorite device of his, during these years, by outlining a Bb triad over the Db7(alt.) chord to give him the 13b9 sound. During both sections in Chorus 1 or 2 there are great lines over the ii-V to Gbmaj in bars 1-4. Chorus : bars 6-7 bars 5-8 bars 1 and 5-8 again.įor all of Wes' jazz fans, there's plenty to enjoy during this solo as well. Of course, all the elements of the blues are present: Chorus : all of bars 5-8 bars 1 and 6-8. Specifically, I am speaking of in Chorus, bars 2-4 and during Chorus, bars 1-4. It really struck me because I don't recall hearing or seeing lines such as these. Of greater musical interest is the fact that Wes employs a particular kind of chromaticism to his lines which, in all honesty, seemed to disappear from his playing as the years progressed. Perhaps this was done because of all the potential leakage into the live microphones for the drums, vibes, piano, and the horn section? It's hard to say from this perspective, but it's an educated guess. And, I miss the warmth created by the usual tube amps of that period. Here, I like his tone very much even though it sounds to me as if they used a direct signal from his guitar, because his ' touch' sounds so present. It was then really interesting for me to hear the Pacific Jazz solo of Wes' on "Bock to Bock" for several reasons. I have sketched out one example of how he seemed to approach these changes during the 1st four bars, but if you purchase the recording you can learn a great deal by studying what the bass is doing! The solo changes are also like the head, but a typically clever Montgomery ii-V sequence in bars 7-8 leads us back to Dbm again. The solo changes stay very close to the changes presented during the 'head.' However, because the 1st four bars could always be loosely interpreted as Dbm7, bassist Monk Montgomery applies many variations during the course of the Pacific Jazz performance which features solos by: vibes(Buddy) tenor sax(#1: Wayman Atkinson) trumpet( Freddie Hubbard) tenor sax(#2: Alonzo Johnson) guitar(Wes), and finally, piano( Joe Bradley). One nice touch in each section is the little passage played in 3rds during bars 6-7. The 'bridge,' is stated in octaves with chordal punctuations building towards a single-note line in bars 6-7. The melodies, which present the flavor of a minor blues, are all stated in single note lines by Wes and Buddy's piano with octave and chordal punctuations. The Intro, over the descending bass line, Buddy offers some sparse fills on piano. The lead sheet you will view was derived from the Riverside version. Each section is marked by the descending bass line during the 1st 4 bars, and then a clever bluesy turnaround in bars 5-8 each time. "Bock to Bock," the tune, leads one to believe that they are about to hear a minor blues in Db with a feeling and attitude reminiscent of Peggy Lee's huge hit of " Fever." Unfortunately, my little theory about that is off by at least one year as "Fever" was not released until 1958! The form however, is the standard 32-bar A-A-B-A. And of course, lunatic that I am, I ended-up transcribing both of them and the similarities and differences now make for a fascinating study. In order to help him out, I had to listen to the tune again, and all of a sudden, I became interested in both solos. I was only reminded of the tune when a student of mine was attempting to transcribe it for a project. The truth is that, during my earliest studies of Wes' recorded work, I never really paid much attention to this tune, nor his solos. However, the 2nd solo is from an alternate take and appears on the CD titled, " THE ALTERNATIVE WES MONTGOMERY"(Riverside). Originally recorded on Wes' " FINGERPICKIN'"(Pacific Jazz) during December, 1957 with Buddy appearing on vibes and then later, recorded a 2nd time during January, 1961, on a Montgomery Brothers recording titled, " GROOVE YARD"(Riverside) where this time Buddy is featured on piano. Such is the case for Wes Montgomery's solos over brother Buddy Montgomery's composition, " Bock to Bock." The title is an obvious nod to longtime Pacific Jazz producer, Richard Bock. It's truly a special event when we present transcriptions of two different solos over the same tune.
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