The excerpt above is a transcription of Herbie’s short solo on the A section, right before Wayne Shorter states two thirds of the closing melody, coming in on the bridge (B) and going into the final A and coda. The inspired introduction is another spot in this version where the piano is featured. Listen closely to the form throughout: A (9 measures), B (9 measures), A (9 measures). That’s three sections of nine measures each. Cool, unusual, and reminiscent of Nikola Tesla’s obsession with 3, 6, and 9 (numbers often seen as representing the non-physical realm). I’m guessing “Infant Eyes” is certainly a tune the genius inventor would have thoroughly enjoyed…
Shorter, Wayne. Speak no Evil. Blue Note/Decca 744042. 2021 (originally released in 1966, recorded 1964).
Jazz is indeed a language. When children learn a language, they listen, pick out their favorite words, and repeat what they hear… Over and over again! We jazz musicians can totally take example from these kids in order to improve our knowledge of – and fluency in – the language of jazz. Of course, the repeating part will involve transposing as well, and that’s where the fun really starts!
So I’ve decided to regularly transcribe some of my favorite solos, pick my favorite phrases, and share my findings with you on here. I hope you’ll enjoy them! Today, let’s start with Milt Jackson’s vibraphone solo on Anthropology.
It’s always nice to practice rhythm changes with its characteristic I-VI-II-V progression (in fact Ima7-V7alt/II-IImi7-V7(b9) in this particular case) since it’s such a common harmonic pattern in jazz.
The one phrase that really stuck out for me is played in bars 9 to 12. I like it because it has some cool non-diatonic action in bar 10. Here’s how I practiced it both in my right and left hands, using two different kinds of voicings for the accompanying hand (“positions A and B” as Mark Levine puts it in his Jazz Piano Book). The example is in Bb major, the original key. As stated before, it’s essential to take it fully around the cycle of 5ths in order to make sure to really internalize the phrase and the chords in all keys. Just be mindful of low interval limits when playing the chords in the left hand.
The use of anticipation in the second bar of Milt’s phrase is remarkable: the first four eighth notes (Ab B A F#) are all part of the half-whole scale based on F, which is the scale we would use over F7(b9). The second set of eighth notes (Bb F D Bb) is simply a descending triad outlining the upcoming Bbma7 sound in the third bar.
It’s also interesting to note that in one of the positions, the G7alt voicing can be thought of as Fmi7(b5)/G (bars 1 & 11). That means you can play a mi7(b5) chord a whole step below the root of any altered chord, and you’ve instantly got yourself a cool voicing for it!
Similarly, in the other position, the G7alt voicing resembles a Bma7(b5)/G (bars 6 & 16). So it’s also an option to play a ma7(b5) chord a major third above the root of any altered chord to get the desired altered sound.
Here’s a transcription of Maceo Parker‘s alto saxophone solo on Uptown Up, the opening track from his album Funk Overload (1998), followed by an analysis of what’s going on melodically…
Note: although Maceo’s rhythm, phrasing, and expression won’t be discussed in length in this post, they are also really hip and definitely worth spending time accurately imitating on your instrument!
Shifts between major and minor blues scales:
[bar 0 – bar 3/beat 3]: Bb major blues
[bar 3/beat 4 – bar 5/beat 2]: Bb minor blues
[bar 5/beat 3 – bar 7/beat 1]: Bb major blues
[bar 7/beat 2 – bar 8/beat 2]: Bb minor blues
[bar 8/beat 3]: Bb major blues
[bar 8/beat 4 – bar 11]: C major blues
[bar 13/beat 3 – bar 15/beat 1]: C major blues
[bar 15/beat 2 – 16/beat 2]: C minor blues
[bar 17]: Bb major blues
[bar 18]: Bb minor blues
[bar 24]: Bb major scale
Passages where major and minor blues scales are intertwined:
[bar 12 – bar 13/beat 3]
[bar 16/beat 3 – bar 16/beat 4] (ascending chromatic motion)
[bar 19 – bar 23]
Comments on “intertwined” passages:
D# E F F# G: C blues. E is characteristic of C major blues, while F and F# are characteristic of C minor blues.
D D# E F (F#): Bb blues as a melodic anticipation of the next chord/section, with D characteristic of Bb major blues, and D# (Eb) and E characteristic of Bb minor blues. In this case the F# on the 1st beat of bar 17 is a lower chromatic approach to G (scale degree 6 of the Bb major blues scale). The note F# doesn’t belong to either of the blues scales in Bb. Arguably, it could still be heard as the blue note of the reminiscing C minor blues sound. In any case, the F# is part of the ascending chromatic motion initiated on beat 3 of bar 16.
C C# D D# E F: Bb blues. C and D are characteristic of Bb major blues, while D# (Eb) and E are characteristic of Bb minor blues.
Ab G F Eb D: Bb blues. Ab and Eb belong to Bb minor blues, G and D belong to Bb major blues, and F is common to both scales.
So based on this transcription, a few patterns stand out when intertwining major and minor blues scales:
an ascending chromatic motion from scale degrees 2/#2/3 up to scale degree 5;
a descending diatonic motion (akin to the mixolydian mode) from scale degree b7.
Conclusion: Maceo sets up the tone of his improvisation by using the minor and major blues scales separately at first, and then begins intertwining them more and more as he goes along. He finally crafts a whole passage featuring extensive chromaticism from bars 19 to 23, before wrapping up with an effective and strong major blues statement (bar 24).