Oceana - Ben Monder

Ben Monder Quartet Cornelia's Cafe 23 november 2003

Ted Poor: drums
Kermit Driscoll: bass
Theo Bleckmann: voice

Wingspan (Vincent Herring solo) Transcription

Wingspan is a tune by pianist Mulgrew Miller.  This recording comes off of Vincent Herring's Album, "Ends and Means" (2005).

John Swana - EVI Major Man (Transcription)

 This is a transcription of John Swana's fun little sequence, EVI Major Man. I originally stumbled upon the track on John's myspace. He plays EVI (electronic valve instrument) on it and plays some of the most intelligent harmonic lines I have ever heard. Also, this tune brings major chords to a whole new level of hip. After getting into contact with John about the sequence and his recording, he sent me a newer version of the tune entitled, Major Man, which consists of a melody as well as a modulation of the sequence itself, starting up a minor third from the original version then back down a minor third.  The melody follows suit in beginning and end. This whole conception reminds me of Coltrane's major third root movement ideology in tunes such as Giant Steps, 26-2, Countdown and Satellite.  I'm not trying to say there is a direct correlation between the two tunes in terms of harmony, just noting the innovative approach by the two in terms of harmonic patterns. Although, there is a lot of major third root movement going on in Major Man.



1st version
http://www.myspace.com/johnswana


2nd Version
http://galttamedia.bandcamp.com/track/major-man

Analysis:

Harmony:

The sequence consists of all major chords. The re-ocurring roots are Eb, G and B, hence the major 3rd root movement. These 3 bar phrases are separated by 2 bars of roots that are a downward moving whole step apart. The connection is a minor third up between the last bar of the 3 bar phrase and first bar of the 2 bar phrase and a half step down between the last bar of the 2 bar phrase and beginning of the next 3 bar phrase. Let's call the 3 bar phrase A and the 2 bar phrase B.

[A A'A" - B B' - A"A A' - B"B''' - A'A"A - B'''' B''''']

[Eb G B - D C - B Eb G - Bb Ab - G B Eb - Gb E]

The thing that gets me is we only cover 9 key centers. But why?

Time:

The form is 15 bars and the time signatures create what seems to be a palindrome. If you look at the first 7 bars, we have 4/4, 3/4, 4/4, 4/4, 4/4, 3/4, 4/4. So already within the form, we get a mirror. Fun. The last seven bars is the same exact thing and right in the middle, in the 8th bar, is one more bar of 4/4 dividing the two in a perfect half. I guess you could also look at it like there are four three bar phrases which looks like 4/4, 3/4, 4/4 and in between each of those is a bar of 4/4 except in between the last bar and the first.

Red Rodney - The Red Arrow (1957)

1. Star Eyes
2. You Better Go Now
3. Stella By Starlight
4. Red Arrow
5. Box 2000
6. Ubas


After watching a recent interview with Chris Potter playing his horn somewhere in the southwest desert as well as answering the occasional question about life and jazz, I needed to take a listen to Red Rodney as Chris pointed out that he was one of his main influences.  I thought I had found most of the bop/early hard bop trumpet players such as Clifford Brown, Kenny Dorham, Donald Byrd, Blue Mitchell,  Booker Little, Lee Morgan, Freddie etc. But somehow I was never exposed to Red until now.  His harmonic content and mastery of the bop language is the likes of the forefathers of the modern jazz of the time, Dizzy Gillespie, Bud Powell and of course, Charlie Parker, but he never seems to mimic and is always looking for new places to venture.  His phrasing and feel seems strikingly similar to that of Clifford Brown as well as that raspy big sound that conveys so much strength.  But again, doing it in his own unique way.

Present on the date is Washington D.C. native and Chicago Jazz icon, Ira Sullivan, who picks up the trumpet on "The Red Arrow" and Tenor on the rest of the tracks.  The stellar rhythm section consists of Tommy Flanagan on piano, Oscar Pettiford on bass, and either Philly Joe Jones or Elvin Jones on drums.

The maturity of the group is noted on every track as everyone is floating around the age of 30 at this point.  It's so great to find gems like this from a transitioning time in jazz.  I encourage any Jazz fans to check this out and appreciate the expertise and musicality of these Bop masters.




Chris' interview:

http://www.youtube.com/watch?v=VJIL6K2cJFc