tag:blogger.com,1999:blog-50899263763009139922024-03-14T12:56:22.939-07:00Peter Spitzer Music BlogReviews, Jazz Theory, Gig Stories, AnecdotesPeter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.comBlogger211125tag:blogger.com,1999:blog-5089926376300913992.post-28806277428652642822024-01-21T16:20:00.000-08:002024-01-21T21:56:05.240-08:00Tadd Dameron and “Cream Oil Charlie”<p>I’ve been checking some of Tadd Dameron’s compositions. The definitive biography <i><a href="https://amzn.to/3UauiD4" target="_blank">Dameronia</a></i> lists “Cream Oil Charlie” as one of them, composed by Tadd in 1946.</p><p>If you’re old enough to have been around in the 1950s or 1960s, you’ll remember the “Wildroot Cream-Oil” jingle. Here it is, as sung by Nat Cole:</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/_R4n9m5CyeU" width="320" youtube-src-id="_R4n9m5CyeU"></iframe></div><br /><p>So Dameron wrote this? Really? That was quite a surprise to me. TV viewers in the 1950s and 1960s were bombarded with this jingle. Reading this attribution reminded of when I learned that “Down by the Station (Early in the Morning)” was composed and copyrighted by Slim Gaillard.</p><p>But upon reading more carefully, it turns out that Tadd did not write the famous jingle. The piece that Tadd copyrighted as “Cream Oil Charlie” was a bebop melody played over "Perdido" changes. He wrote it for Woody Herman in 1946, when <a href="https://en.wikipedia.org/wiki/Wildroot_Cream-Oil" target="_blank">Wildroot Cream-Oil</a> was a sponsor of Woody’s radio show. Tadd’s tune was never actually used, because Woody changed sponsors. It was later recorded by Babs Gonzales in 1947, with the title “Dob Bla Bli.” Here are two versions - the Babs recording, and a recent one from Paul Combs, the author of <i><a href="https://amzn.to/3UauiD4" target="_blank">Dameronia</a></i>:</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/O-Y48NGCwao" width="320" youtube-src-id="O-Y48NGCwao"></iframe></div><br /><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/2kekunHNJX0" width="320" youtube-src-id="2kekunHNJX0"></iframe></div><br /><p><br /></p><p>Bars 3-4 of "Do Bla Bli" include the same bop lick as bars 7-8 of Dizzy Gillespie's "Woody'n You." The <a href="https://en.wikipedia.org/wiki/Woody_%27n%27_You" target="_blank">Dizzy tune</a> was written in 1942; it was either a tribute to Woody Herman, or was commissioned by Woody. Tadd and Dizzy were good friends; it’s probably not a coincidence that Tadd wrote that quote into the song. BTW, a similar lick shows up in Dizzy’s “Groovin’ High.”</p><p>According to Combs' book, there are copyright deposits at the Library of Congress for both "Cream Oil Charlie" and "Do Bla Bli"; they apparently differ in the bridge. Gonzales' recording does not use either of the copyrighted bridges, but rather leaves the “I Got Rhythm” bridge open for improvisation (as in some other bop tunes.) </p><p>On the level of extreme trivia, I noticed that the label on the Gonzales record spells the first syllable "Dob," while Combs in his book spells it "Do." I'm guessing that Combs spells it that way because that's how it appears in the copyright.</p><p>I don’t know who actually could take credit for the famous Wildroot jingle (if "credit" is the right word), but that melody didn’t take much work. It’s the same melody as “I’ve Been Working on the Railroad,” which is also the melody of <a href="https://en.wikipedia.org/wiki/The_Eyes_of_Texas" target="_blank">The Eyes of Texas are Upon You</a>.</p><p>The Wikipedia entry for <a href="https://en.wikipedia.org/wiki/I've_Been_Working_on_the_Railroad" target="_blank">I’ve Been Working on the Railroad</a> has some notes about the origins of the song. It can be traced back to at least 1894. The main melody resembles a melody in Franz Suppe’s “Poet and Peasant Overture” (1846). The part that goes, “Someone’s in the kitchen with Dinah” is also very close melodically to “Goodnight Ladies” (1847).</p><p>As for Slim Gaillard's <a href="https://en.wikipedia.org/wiki/Down_by_the_Station" target="_blank">Down by the Station</a>, the melody is pretty much the same as “Alouette,” as well as “Itsy Bitsy Spider.” According to both Wikipedia and <a href="https://classictrainsongs.com/down_by_station/down_by_the_station.htm" target="_blank">this writeup</a>, the lyrics appeared in a children's magazine in 1931. Slim did, however, register the copyright. Here’s Slim’s 1947 recording. It's cute. I guess the intro is original; not sure if that part was in the copyright.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/HJdqSouk-Ug" width="320" youtube-src-id="HJdqSouk-Ug"></iframe></div><p><br /></p><p><br /></p>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-65605515062638189752023-12-31T15:38:00.000-08:002024-01-16T09:08:33.776-08:00Tunes published in 1928 will be entering public domain in 2024<p> <span style="caret-color: rgb(34, 34, 34); color: #222222; font-family: inherit;">As of January 1, 2024, U.S. copyright will expire for works published in 1928, including the following songs:</span></p><div style="text-align: left;"><span style="caret-color: rgb(34, 34, 34); color: #222222;">Back in Your Own Backyard (Jolson, Rose, Dreyer)</span></div><div style="text-align: left;"><span style="caret-color: rgb(34, 34, 34); color: #222222;">Basin Street Blues (Williams)<br /></span><span style="caret-color: rgb(34, 34, 34); color: #222222;">The Big Rock Candy Mountain (trad., copyright 1928 by McClintock)<br /></span>Crazy Rhythm (Caesar, Meyer, Kahn)</div><div style="text-align: left;">Hooray for Captain Spaulding (Kalmar) (Groucho Marx theme song)</div><div style="text-align: left;">How Long, How Long Blues (Carr)</div><div style="text-align: left;">I Can't Give You Anything But Love, Baby (Fields, McHugh)</div><div style="text-align: left;">I Must Have that Man (Fields, McHugh) </div><div style="text-align: left;">I Wanna Be Loved By You (Stothart, Ruby, Kalmar) </div><div style="text-align: left;">I'll Get By (As Long as I Have You) (Ahlert, Turk)</div><div style="text-align: left;">If I Had You (Campbell, Connelly, Shapiro)</div><div style="text-align: left;">It's Tight Like That (Whittaker, Dorsey)</div><div style="text-align: left;">Let's Do It, Let's Fall in Love (Porter)</div><div style="text-align: left;">Love Me or Leave Me (Kahn, Donaldson)</div><div style="text-align: left;">Lover, Come Back to Me (Romberg, Hammerstein)</div><div style="text-align: left;">Mack the Knife (Weill, Brecht) (music and original German lyrics are PD in 2024, English translations are still under copyright)</div><div style="text-align: left;">Makin' Whoopee (Kahn, Donaldson)</div><div style="text-align: left;">The Mooche (Ellington, Mills)</div><div style="text-align: left;">Pirate Jenny (Weill, Brecht)</div><div style="text-align: left;">Softly, As in a Morning Sunrise (Romberg, Hammerstein)</div><div style="text-align: left;">Sweet Lorraine (Burwell, Parish)</div><div style="text-align: left;">Sweet Sue, Just You (Young, Harris)</div><div style="text-align: left;">West End Blues (Oliver, Williams)</div><div style="text-align: left;">What Keeps Mankind Alive? (Weill, Brecht)</div><div style="text-align: left;">When You're Smiling (Shay, Fisher, Goodwin)</div><div style="text-align: left;">You Took Advantage of Me (Rodgers, Hart)</div><div style="text-align: left;"><br /></div><div style="text-align: left;">This list includes mostly jazz-oriented and jazz-adjacent songs, and was selected from lists found on Wikipedia and on <a href="https://www.jazzstandards.com/compositions/index-01-b.htm">Jazzstandards.com</a>. Some dates were uncertain; in those cases I went by the copyright dates on images of the original sheet music. Please let me know of any errors.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Further detail on most of these songs is available on Wikipedia.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Note that for the Kurt Weill songs from “Threepenny Opera,” English translations were made after 1928, and those lyrics are still under copyright. The music and original German lyrics are PD in 2024.</div><div style="text-align: left;"><br /></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">In classical music, notable pieces entering public domain are Bartok's String Quartet #4, Gershwin's <i>An American in Paris</i>, Ravel's <i>Bolero</i>, and Villa Lobos' <i>Chôros No. 11</i>, <i>Chôros #12</i>, and <i>Quinteto (em forma de chôros)</i>.</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">For more popular, jazz, and classical pieces entering the public domain, see the Wikipedia article <a href="https://en.wikipedia.org/wiki/1928_in_music" target="_blank">1928 in Music</a>.</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><div><span style="font-family: inherit;">United States copyright law is quite restrictive as compared to many other countries. According to the provisions of the Copyright Act of 1976 and the Copyright Term Extension Act of 1998 (aka "Mickey Mouse Protection Act"), works published or registered before 1978 remain under copyright for 95 years.</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;">With the passage of the 1998 law, the cutoff date for works entering the public domain became 1922, with any works published in 1923 or later remaining under copyright. Beginning in 2019, however, the clock began running again, with each new year bringing one more year of songs and other works into the public domain. Over the next 20 years or so, most "Golden Age" jazz standards will lose copyright protection.<br /><br />Many other countries have shorter terms of copyright; one common formula is the life of the author plus fifty years (see <a href="https://en.wikipedia.org/wiki/List_of_countries%27_copyright_lengths" style="color: #667fdd; text-decoration: none;" target="_blank">this table</a>). For example, in Canada you can record pieces written by Wes Montgomery (d. 1968) John Coltrane (d. 1967), Igor Stravinsky (d. 1971), Louis Armstrong (d. 1971). Lee Morgan (d. 1972), or Kenny Dorham (d. 1972).</span></div><div><br /></div><div>1n 1924, Mickey Mouse will be entering the public domain. Below is an excerpt from last year's post on copyright expiration, regarding the Mickey question:</div></div><blockquote><div style="caret-color: rgb(34, 34, 34); color: #222222;"><br /></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">However, if you are thinking of utilizing Mickey's image in 2024, you should consider that copyright will only expire on images from cartoons released in 1928, such as <a href="https://www.youtube.com/watch?v=_tCuvlnC4ks" target="_blank">Steamboat Willie</a>. In those early images, Micky had a somewhat different visage, with a longer, rat-like nose. He did not not yet have his white gloves or red shorts; they came later. If you want to use the white gloves or red shorts, you will have to wait a few more years.</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Here's an <a href="https://americanhistory.si.edu/blog/mickey-mouse-turns-90" target="_blank">interesting article</a> on the subject, with an image of Mickey as submitted for copyright in 1929. It looks to me as though Mickey's nose had been altered a little by then, closer to its current look. He has his white gloves, too. The image is in black and white, so I don’t know about the red shorts. </span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">By the way, Minnie Mouse also appears in the 1928 cartoons, though I don't think she is credited by name.</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">In addition to copyrighting Mickey, The Walt Disney Company has also registered him as a trademark. US trademarks can be renewed every 10 years, potentially going on forever. Disney has a strong case for Mickey as a trademark, but less so for many of their other characters, who will be falling out of copyright in the next few years. Here is an <a href="https://digitalcommons.law.wne.edu/cgi/viewcontent.cgi?article=1830&context=lawreview" target="_blank">article from the Western New England Law Review</a> that covers in depth the legal standing of Mickey and other Disney characters.</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"></span></div></blockquote><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">More links:</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><br /></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><a href="https://www.nytimes.com/2022/12/27/business/mickey-mouse-disney-public-domain.html?unlocked_article_code=WBK19yWTRsh7SiHjKQKq-Qv02S8SfrVG1Gs3u8xkcUcGU9MoX64xK9UoY9zkDLWCVrIVzDIty15Xrbr5TCpDsQRNdwSnNheG-Pwmt1aLCWTHoPcicnEtTPgyQheJtrM3XrZhK7MZaBs3X0huA-s10B-ArGmOagInlCWbfR5S_iSgPLlkVqV-fYhgkhNhvaN2rynlmaHT4mJbX2xTMjQL3mLWqeaDxRFtUP8lzClhXNkzNDplgSqX2lPc3qkcGmrw_KrBf2Acv95fm-3vCXf-jzHtLLGkdrVXUBmA8J3gZc34CXvYSe0c_m35dAg3tXxM7SNYy5OAESuUSFmvV5E7ro25oOni2gTGUrQriw&smid=em-share" style="font-family: inherit;" target="_blank">2022 NYT article on Mickey copyright</a></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><br /></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><a href="https://en.wikipedia.org/wiki/Copyright_law_of_the_United_States" style="color: #667fdd; text-decoration: none;" target="_blank">Copyright Law of the United States</a><span> (Wikipedia)</span></span></div><div><span style="font-family: inherit;"><span><br /></span></span></div>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-45082645556234179102023-12-29T09:59:00.000-08:002024-01-02T18:29:35.139-08:00A Complete History of Rico Reeds - dissertation by Neal Postma<p><span style="font-family: inherit;"> Every now and then I run across some really interesting information on the "Sax on the Web” forum. A recent thread led me to to a dissertation by Neal Postma, <a href="https://scholarcommons.sc.edu/etd/4744/" target="_blank">A Complete History of Rico Reeds</a>.</span></p><p><span style="font-family: inherit;">The paper certainly lives up to its title. The story begins in 1928, and the dissertation follows the development of the company up to its purchase by J. D'Addario & Co. in 2004. Chapters cover the inception of the company, leadership and reed designers, reeds, accessories (including Gregory and Gale mouthpieces), cane cultivation, marketing strategies, and the acquisition by D'Addario. </span></p><p><span style="font-family: inherit;">It's a great read (pun intended). Here are a few nuggets of information that came up:</span></p><p><span style="font-family: inherit;">1) Rico "Orange Box" reeds (formerly brown box, and before that branded as Roy J. Maier) are exactly the same reed as La Voz. There is no quality difference, and no difference in the cut. It's been this way since La Voz was introduced in 1948, and it's still that way:</span></p><div class="page" title="Page 49"><div class="layoutArea"><div class="column"><p><span style="font-family: inherit;"></span></p><blockquote><span style="font-family: inherit;"><span>The La Voz Corporation was set up as a means to appear not to have a complete monopoly on the reed market. They also tried to lure customers that were not happy with Rico reeds. The company produced a reed with the name La Voz, but it was the same exact reed as a Rico Orange Box.<span style="vertical-align: 4pt;"> </span>Rico color sorted the cane for La Voz reeds, but they did not playtest it. The only other difference between these two reeds was the strength grading. Roy J. Maier (and Rico Orange box) used strengths 1, 1.5, 2, 2.5, 3, 3.5, 4, 4.5, and 5, a total of nine strengths. La Voz strengths are soft, medium-soft, medium, medium-hard, and hard, a total of five. The reed’s design is the same…The company first introduced this reed in 1948 after only ten years of production of reeds under the Roy J. Maier branding. It was not widely known at the time that Rico even made La Voz reeds, much less that they were the same exact reeds as the Roy J. Maier cuts.<span style="vertical-align: 4pt;"> </span>In addition to wanting a different reed on the market, Rico introduced this reed under a different company name that went as far as to have a separate PO Box so as to avoid the appearance of having a monopoly on the American reed market. Marketing practices led the public to believe that the La Voz Corporation was an entirely different manufacturer.</span> </span></blockquote><span style="font-family: inherit; font-size: 12pt;"></span><p></p></div></div></div><p><span style="font-family: inherit;">Neal Postma got this information from from Jess Gonzales, Materials Manager at D'Addario, in 2017. Although D'Addario may have replaced and upgraded their reedmaking machinery since then, the same information about Rico vs. La Voz reeds was cited in a <a href="https://www.podbean.com/media/share/pb-cp5xy-124c9e8?utm_campaign=w_share_ep&utm_medium=dlink&utm_source=w_share" target="_blank">2022 podcast</a> by Wally Wallace, quoting Andrea Harrell, the present D'Addario Woodwinds Product Manager, in a recent conversation (Wallace's reed discussion starts at about 15:05).</span></p><p><span style="font-family: inherit;">The Rico Co. presented La Voz as a superior reed to Rico, but that was strictly a marketing ploy - and apparently still is.</span></p><p><span style="font-family: inherit;">2) Rico Royal (now just called "Royal") is just a regular Rico reed that has had the bark partially filed off, in a "French cut." </span></p><p><span style="font-family: inherit;">3) In past years, the same basic Rico reed has been branded as "Roy J. Maier," "Conn Diamond Cut," and a number of other names. "Plasticover" is the same reed with a partial plastic coating.</span></p><p><span style="font-family: inherit;">However, Mitchell Lurie reeds (another Rico product) are a different design. "Select Jazz" reeds are a different design also, and they are made with better cane. </span></p><p><span style="font-family: inherit;">4) Although this info did not come from the dissertation, Wally Wallace also quotes Andrea Harrell saying that D'Addario sources its cane in both France and Argentina, but intermingles the stock. Thus, a purchaser would not know which was the source of the cane. Perhaps for most purchasers, it doesn't matter.</span></p><p><span style="font-family: inherit;">5) Strength is measured with a machine that tests for flex ("resistance"). I recalled reading somewhere that some manufacturer supposedly used a machine that assigned strength by putting a light behind the reed to check the density. Apparently this was incorrect. </span></p><p><span style="font-family: inherit;">Googling this question, I came across <a href="http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=368726&t=368579" target="_blank">this post</a> on the Clarinet BBoard:</span></p><p><span style="background-color: white; font-family: inherit;"></span></p><blockquote><span style="background-color: white; font-family: inherit;">About 15 years ago, one of the Van Dorens was in Montreal and gave a reed presentation. He explained that there is no difference in *thickness* between a 2 1/2 strength reed and a 5 strength reed (a fact one can confirm by measuring the reed on a micrometer like a Perfectareed). He explained that the phenomenon that determines a reed's strength is the cane's density. He described the density gauge Vandoren uses. If you look at the butt of a Vandoren or Rico reed you will see a horizontal band of "teeth marks". These are marks left by a spring gauge that presses into the butt of the reed, measuring the cane's density. The resulting density measurement determines the number strength the reed is assigned.</span></blockquote><p></p><p><span style="font-family: inherit;">The point about all reeds of a given design having the same thickness is correct, but the last part of this post seems to be incorrect, or at least unclear. The spring gauge may hold the butt end of the reed, leaving a mark, but the reed is checked for flex the same way as Rico/D'Addario has for many decades, as shown in <a href="https://www.dansr.com/resources/how-its-made-the-vandoren-reed-making-process" target="_blank">this video</a> from Vandoren (animation shows a flex test at 2:14). “Density” may not be exactly the right word to use here, although density does relate to flex.</span></p><p><span style="font-family: inherit;">This is probably a good place to quote the (maybe apocryphal) story about the time that clarinetist Stanley Drucker visited the Vandoren factory, and asked Bernard Vandoren if he could be introduced to "the guy who puts the one good reed in every box."</span></p><p><span style="font-family: inherit;">6) Beginning on p.80 of the dissertation, Postma describes recent scientific studies of cane playability. One 1998 study in Australia seems to have influenced management at D'Addario:</span></p><div class="page" title="Page 91"><div class="layoutArea"><div class="column"><p><span style="font-family: inherit; font-size: 12pt;"></span></p></div></div></div><blockquote><div class="page" title="Page 91"><div class="layoutArea"><div class="column"><p><span style="font-family: inherit;"><span>All of the characteristics correlated to strong performance had something in common: they were all related to the vascular bundles in the inner cortex. In short, the performance of a reed is determined by a high percentage of fiber and a low percentage xylem and phloem. Xylem is a tissue found in plants that water and dissolved minerals will travel through to disperse it throughout the plant.</span><span style="vertical-align: 4pt;"> </span><span>Phloem is a similar tissue found in plants that food and nutrients travel through as they are dispersed throughout the plant.</span></span></p></div></div></div><div class="page" title="Page 91"><div class="layoutArea"><div class="column"><p><span style="font-family: inherit;"><span>While Rico did not commission this study, it was reviewed by Bill Carpenter and those who were running the plantations at the time. This is a relatively new study, and cane cultivation practices are still being developed. </span><span>Rico/D’Addario </span><span>holds propriety over techniques used on their plantations to increase the fiber percentage and lower xylem and phloem percentages in their reeds, and they do not wish to disclose any trade secrets.</span></span></p></div></div></div></blockquote><div class="page" title="Page 91"><div class="layoutArea"><div class="column"><p><span style="font-family: inherit;"></span></p><p><span style="font-family: inherit;">The clear implication here is that D'Addario may be able to improve cane quality as time goes on. </span></p><p><span style="font-family: inherit;"><span>For a clearer look at reed anatomy, including vascular bundles, xylem, and phloem, check out </span><a href="https://peterspitzer.blogspot.com/2013/03/a-close-up-view-of-reeds.html" target="_blank">this previous post.</a></span></p></div></div></div><p><span style="font-family: inherit;">Here's a <a href="https://www.saxontheweb.net/threads/what-is-the-difference-between-rico-orange-box-and-la-voz.391949/" target="_blank">discussion on SOTW</a> discussing the Rico Orange Box vs. La Voz question. There's certainly a lot of disbelief and denial!</span></p><p><span style="font-family: inherit;">Here's a <a href="https://www.youtube.com/watch?v=MwOUEsdpuI0" target="_blank">video from Rico/D'Addario</a> on how reeds are made, including a shot of the strength grading device.</span></p><p><span style="font-family: inherit;">One more - a <a href="https://www.youtube.com/watch?v=0_wJJAIw-zQ&t=14s" target="_blank">video from Marca Reeds</a> showing their manufacturing process. No English subtitles, but you can see that it's a smaller operation, and less automated.</span></p><p><span style="font-family: inherit;"><br /></span></p><p><br /></p><p></p>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-43873168303328732212023-10-30T11:05:00.001-07:002023-10-30T11:05:26.623-07:00Song from the Old Country - Don Pullen, Béla Kéler, and Brahms<p>Here's the latest installment of tune-detective-I-can't-resist-this-stuff.</p><p>One of the members of my jazz combo class suggested that we try playing "Song from the Old Country," a tune written by Don Pullen and played by the Don Pullen-George Adams Quartet. It's a cool piece, with what comes across to me as a Cuban flavor (after the slow intro):</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/7GEW90ZZUfk" width="320" youtube-src-id="7GEW90ZZUfk"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p>I wondered what "the old country" in the title referred to, exactly. Usually the term is used to mean the European country of one's ancestors, if one is European-American. For this song, it didn't seem to fit. Was Pullen somehow referencing Cuba or Africa? The answer came to me when, out of the blue, I noticed a strong correspondence between the theme of the song and the second theme of Brahms' Hungarian Dance #5 (0:37 in this recording):</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/3X9LvC9WkkQ" width="320" youtube-src-id="3X9LvC9WkkQ"></iframe></div><br /><p>The harmony is the same, the melody somewhat parallel, and there's a rhythm break in the 7th measure. Pullen gave us a clue in the title.</p><p>Digging a little further, it seems that Brahms did not actually write this theme himself. Wikipedia notes,</p><p style="caret-color: rgb(32, 33, 34); color: #202122; font-size: 14px; margin: 0.5em 0px;"><span style="font-family: inherit;"></span></p><blockquote><p style="caret-color: rgb(32, 33, 34); color: #202122; margin: 0.5em 0px;"><span style="font-family: inherit; font-size: x-small;">In 1850 Brahms met the Hungarian violinist <a href="https://en.wikipedia.org/wiki/Ede_Rem%C3%A9nyi" style="background: none; color: #795cb2; overflow-wrap: break-word; text-decoration: none;" title="Ede Reményi">Ede Reményi</a> and accompanied him in a number of recitals over the next few years. This was his introduction to "gypsy-style" music such as the <i><a class="mw-redirect" href="https://en.wikipedia.org/wiki/Csardas" style="background: none; color: #795cb2; overflow-wrap: break-word; text-decoration: none;" title="Csardas">csardas</a></i>, which was later to prove the foundation of his most lucrative and popular compositions, the two sets of <i>Hungarian Dances</i> (published 1869 and 1880).<sup class="reference" id="cite_ref-FOOTNOTESwafford199956,_62_3-0" style="line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Hungarian_Dances_(Brahms)#cite_note-FOOTNOTESwafford199956,_62-3" style="background: none; color: #795cb2; overflow-wrap: break-word; text-decoration: none;">[3]</a></sup><sup class="reference" id="cite_ref-FOOTNOTEMusgrave199945_4-0" style="line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Hungarian_Dances_(Brahms)#cite_note-FOOTNOTEMusgrave199945-4" style="background: none; color: #795cb2; overflow-wrap: break-word; text-decoration: none;">[4]</a></sup></span></p><p style="caret-color: rgb(32, 33, 34); color: #202122; margin: 0.5em 0px;"><span style="font-family: inherit; font-size: x-small;">Only numbers 11, 14 and 16 are entirely original compositions.<sup class="noprint Inline-Template Template-Fact" style="line-height: 1; white-space: nowrap;">[<i><a href="https://en.wikipedia.org/wiki/Wikipedia:Citation_needed" style="background: none; color: #795cb2; overflow-wrap: break-word; text-decoration: none;" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (October 2020)">citation needed</span></a></i>]</sup> The better-known Hungarian Dances include Nos. 1 and 5, the latter of which was based on the <a href="https://en.wikipedia.org/wiki/Cs%C3%A1rd%C3%A1s" style="background: none; color: #795cb2; overflow-wrap: break-word; text-decoration: none;" title="Csárdás">csárdás</a> "<span title="Hungarian-language text"><span lang="hu">Bártfai emlék</span></span>" (Memories of <a href="https://en.wikipedia.org/wiki/Bardejov" style="background: none; color: #795cb2; overflow-wrap: break-word; text-decoration: none;" title="Bardejov">Bártfa</a>) by Hungarian composer <a href="https://en.wikipedia.org/wiki/B%C3%A9la_K%C3%A9ler" style="background: none; color: #795cb2; overflow-wrap: break-word; text-decoration: none;" title="Béla Kéler">Béla Kéler</a>, which Brahms mistakenly thought was a traditional folksong.<sup class="reference" id="cite_ref-5" style="line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Hungarian_Dances_(Brahms)#cite_note-5" style="background: none; color: #795cb2; overflow-wrap: break-word; text-decoration: none;">[5]</a></sup></span></p></blockquote><p style="caret-color: rgb(32, 33, 34); color: #202122; font-family: sans-serif; font-size: 14px; margin: 0.5em 0px;">The borrowed theme starts at 2:04 -</p><p style="caret-color: rgb(32, 33, 34); color: #202122; font-family: sans-serif; font-size: 14px; margin: 0.5em 0px;"><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/tmHmlqU_FKA" width="320" youtube-src-id="tmHmlqU_FKA"></iframe></div><br /><p style="caret-color: rgb(32, 33, 34); color: #202122; font-family: sans-serif; font-size: 14px; margin: 0.5em 0px;"><br /></p><p style="caret-color: rgb(32, 33, 34); color: #202122; font-family: sans-serif; font-size: 14px; margin: 0.5em 0px;">Anyway, that explains the title of the Pullen tune. The class has had quite a bit of fun with it; the changes are very natural, and easy to jam on. </p><p><br /></p>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-60474908540822374742023-09-04T17:27:00.005-07:002023-09-05T10:14:26.433-07:00Bonanza, My Favorite Martian, Rossini, and Prokofiev<p>Here's a twofer installment of "Tune Detective!"</p><p>My sister Laura was visiting this weekend, and at one point the conversation drifted to TV shows from our childhood. My wife brought up "Bonanza." Remembering the theme song, I first thought of how it evoked thundering horses' hooves, which led me straight to the extremely similar single-note, repeated-rhythm motif in Rossini's "William Tell Overture." I am quite certain that this resemblance is no accident.</p><p>The "Bonanza" theme was written by David Rose, who wrote music for movies and television from 1938 until his death in 1990. Here is <a href="https://www.imdb.com/name/nm0741328/?ref_=fn_al_nm_2" target="_blank">his IMDB page</a>.</p><p>Of course, the "William Tell" theme had already long been used in "Lone Ranger" radio and TV shows.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/mjdRgBAY278" width="320" youtube-src-id="mjdRgBAY278"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/c7O91GDWGPU" width="320" youtube-src-id="c7O91GDWGPU"></iframe></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/fDEZ5fZevkY" width="320" youtube-src-id="fDEZ5fZevkY"></iframe></div><br /><p><br /></p><p>My sister then mentioned a conversation she had years ago with George Greeley, a somewhat distant relative of ours by marriage, when she lived in Los Angeles. Laura had been introduced to George by our cousin. George had a long career in the Hollywood music business as pianist, composer, conductor, and musical director; his <a href="https://www.imdb.com/name/nm0337557/?ref_=fn_al_nm_1" target="_blank">IMDB resumé</a> begins in 1949. His musical career began as an arranger for several prominent pre-WW II big bands. </p><p>Among many other credits, George wrote the theme song for "My Favorite Martian," a TV show that my sister had been a fan of, as a kid. George mentioned to her that in writing the theme, he had been influenced by Prokofiev. When Laura told me that, and played me the "Martian" theme on Youtube, it was pretty clear that George had taken a cue from Prokofiev's "Peter and the Wolf."</p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/7piG2V17cH8" width="320" youtube-src-id="7piG2V17cH8"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/eIi_q4bNZMM" width="320" youtube-src-id="eIi_q4bNZMM"></iframe></div><br /><p><br /></p><p>I hadn't known much about George Greeley, but looking at his IMDB bio, he had an incredibly active and productive career: Arranger for Tommy Dorsey, Glen Gray, Abe Lyman, and other big bands; conductor for a World War II Air Force band; then arranger for Hollywood radio shows; staff pianist and orchestrator for Columbia Pictures, where he "would fill out the sketches provided by composers that included Max Steiner...Leonard Bernstein, and Dmitri Tiomkin;" pianist on "hundreds of motion pictures;" his work in movies as composer, conductor, and musical director; and later as concert pianist. His <a href="https://www.imdb.com/name/nm0337557/bio/?ref_=nm_ov_bio_sm" target="_blank">complete IMDB bio is here</a>. I'm honored to be even distantly related, though there is absolutely no genetic connection, and I never met George.</p><p><br /></p>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-3014356342081467722023-06-21T15:48:00.010-07:002023-09-09T07:51:04.835-07:00Billie's Bounce - What are the right notes?<p style="text-align: left;"><b><span style="font-family: inherit; font-size: medium;">Comparing versions of “Billie’s Bounce”</span></b></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: inherit;">Charlie Parker’s blues “Billie’s Bounce” is a staple in the jazz repertoire. Most jazz musicians know it well, and it has been recorded by dozens of legendary players. It appears in many fake books. Comparing recorded versions by Parker and others, and comparing with various print versions, there are disagreements on a number of details. How should this tune really go?</span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px; text-align: left;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: inherit;">I became interested in this project after reading an <a href="https://mtosmt.org/issues/mto.18.24.2/mto.18.24.2.martin.php" target="_blank">article</a> by Henry Martin in <i>Music Theory Online</i>, discussing Parker’s compositional techniques. The article included an image of a lead sheet in Parker’s hand titled “Bill’s Bounce” from the 1945 copyright submission, deposited at the Library of Congress. This chart was significantly different from the way I had been playing this tune for many years, and also did not match the most widely-known print versions - those in the <a href="https://amzn.to/3PoiDOq" target="_blank">Real Book Vol. 2</a> and <a href="https://amzn.to/3XjJjll" target="_blank">Charlie Parker Omnibook</a>.</span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px; text-align: left;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: inherit;">To clarify Parker’s intentions, one primary reference has to be the <a href="https://www.youtube.com/watch?v=S4mRaEzwTYo" target="_blank">Savoy master</a>, which was the last of five takes recorded on November 26, 1945. This would have been the only available reference for most earlier musicians, until the other four studio takes were released by Savoy in 1956. </span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px; text-align: left;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: inherit;">The Library of Congress lead sheet in Parker’s hand is significant, but perhaps not definitive. It does not completely match Parker’s recordings. It would not have been known to most musicians of the last 70 or so years (although it would have been available, had anyone cared to ask).</span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px; text-align: left;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: inherit;">Other significant references are the other four Savoy takes recorded that day, and also three live Parker recordings from 1946, 1950, and 1951. The live recordings have poor sound quality, and different transcribers may hear them differently. Indeed, even the Savoy studio recordings are heard differently by various transcribers.</span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px; text-align: left;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: inherit;">Less significant, but definitely interesting, are various print sources. Each represents a (sometimes anonymous) transcriber’s hearing of the tune. Fake books have been a major influence in disseminating “common knowledge” versions.</span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px; text-align: left;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: inherit;">My thanks to Henry Martin for his comments and suggestions, and to Carlos Ribas, for spectrum analysis of some notes in the recordings.</span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: inherit;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: inherit;">My proposal for a "correct" melody is at the end of this post.</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 14px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 17px;"><b></b><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 14px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 17px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span style="font-size: medium;">Points of difference</span></b><span style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal;"><b> </b></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 11px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><b></b><br /></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Points of disagreement between various recorded and print sources are shown below, on a re-charted copy of Parker’s Library of Congress manuscript. Title, chords, and other features, including octave changes in m.6 and m.11, are copied exactly from the original manuscript.</span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<ol>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">m.1 beat 2+, G or G#</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">m.1 beat 4, D or Eb</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">m.3 beat 4, eighth note D on 4+, or not</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">m.4 beat 2, turn or not</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">m.5 beat 2+ and beat 3, Obvious typo in manuscript for these two notes. Note on beat 2+ is either A or Ab. Note on beat 3 is Bb in all sources.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">m.8 beat 2+, E or F</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">m.9 beat 3, turn or not</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">m.9 beat 4+, F or G</span></li>
</ol><div><span style="font-family: Helvetica Neue;"><span style="font-size: 11px;"><br /></span></span></div><div><span style="font-family: Helvetica Neue;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgok2NxnK1H9Ab5SMZQ6kEKrUhf4MGCjnYBT0Tevq0wa8cxu9T9f7Hm524JeaT34pcuTzX50x1-ikce_GgjzaP58kUTrhsdFIbHLnU0VArLYMPOVohyzHS6YJS656F3lItnm0ts5kwMdEQVk68lT7zyLV2k4-GmMZbwAAeoaE5xTY75eovOYkK1lG_M20w/s699/Bill's%20Bounce%20marked%20up%20v.3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="699" data-original-width="540" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgok2NxnK1H9Ab5SMZQ6kEKrUhf4MGCjnYBT0Tevq0wa8cxu9T9f7Hm524JeaT34pcuTzX50x1-ikce_GgjzaP58kUTrhsdFIbHLnU0VArLYMPOVohyzHS6YJS656F3lItnm0ts5kwMdEQVk68lT7zyLV2k4-GmMZbwAAeoaE5xTY75eovOYkK1lG_M20w/w494-h640/Bill's%20Bounce%20marked%20up%20v.3.jpg" width="494" /></a></div><div><b style="font-size: 14px;"><br /></b></div><div><b><span style="font-size: medium;">Recordings</span></b></div><div class="separator" style="clear: both; text-align: center;"><br /></div></span></div>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">As I hear them, except where otherwise indicated. I should note that when trumpet and alto are both playing, it can sometimes be unclear whether the most audible note is Parker’s or the trumpet’s.</span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span style="font-family: inherit;">Savoy take 5 (master), Nov. 26, 1945</span></b></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span style="font-family: inherit;"><br /></span></b></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><a href="https://www.youtube.com/watch?v=S4mRaEzwTYo" target="_blank"><span style="font-family: inherit;">Youtube link</span></a></p>
<ol>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">G on the first three heads. Last head uncertain, possibly G#. Mark Voelpel, transcriber for the “Best of Charlie Parker,” heard G# on the last head. Henry Martin heard G on all 4 heads.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Eb on all 4 heads</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">eighth note D on 4+ in all takes, but ghosted so much as to sometimes be almost inaudible.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">turn</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">A on 2+, but possibly Ab in first head</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">F</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">no turn</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">F (Voelpel heard F#. No other transcriber or print version agrees with this.)</span></li>
</ol>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><b>Savoy takes 1-4, Nov. 26, 1945</b> </span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Carlos Ribas used spectrum analysis on two spots to determine pitch, as noted below. All 5 takes have the same notes, except as indicated below. Quite a few clams from Miles. </span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Youtube links: <a href="https://www.youtube.com/watch?v=fmgyg0Kg34A" target="_blank">Take 1</a> <a href="https://www.youtube.com/watch?v=Bw-IaOgovP8" target="_blank">Take 2</a> <a href="https://www.youtube.com/watch?v=SafCuefVyx0" target="_blank">Take 3</a> <a href="https://www.youtube.com/watch?v=bL0es5mUoDM" target="_blank">Take 4</a></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<ol>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">I heard G on all of these takes. Carlos electronically measured G# on first head of take 1 (Voelpel agreed, in a blog comment). Carlos measured G on the beginning of the Parker solo on take 3, where Parker quotes the head. </span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Usually Eb. Also clear Eb on take 3 Parker solo, where he quotes the head. Possible D in first head of take 1.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">eighth note D on 4+ in all takes, but ghosted. Clearer on take 2, head #2.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">turn in all takes</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">A on 2+</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">F</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">no turn</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">F </span></li>
</ol>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><b><span style="font-family: inherit;">Finale Club, Los Angeles, 1946</span></b></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: inherit;"><b></b><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Sound quality is poor. At start of his solo, Parker quotes the first chorus of his 1945 recorded solo on the take 5 master.</span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><a href="https://www.youtube.com/watch?v=wDP_vi7sqZU" target="_blank"><span style="font-family: inherit;">Youtube link</span></a></p>
<ol>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">G (possibly G# on third head)</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Eb (possibly D on third head)</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">first head no eighth note D on 4+, other 3 heads ghosted (uncertain)</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">turn</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">A on 2+, but possibly Ab on third head</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">F</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">no turn</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">F</span></li>
</ol>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: inherit;"><b>Pershing Hotel Ballroom, Chicago, Nov. 5, 1950</b><b></b></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: inherit;"><b></b><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Sound quality is poor. Splices in tape eliminate beginning of solo and beginning of out-head. Band is local musicians; Parker does not play harmony part, but rather plays entire melody.</span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<ol>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">G</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">D</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">no eighth note D on 4+. Poor sound, but I don’t hear the note, ghosted or not.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">no turn</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">hard to hear, perhaps Ab on 2+</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">F</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">turn on last 3 heads</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">F</span></li>
</ol>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: inherit;"><br /><b></b></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span style="font-family: inherit;">Hotel Diplomat, NYC, Jan. 19, 1951</span></b></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><a href="https://www.youtube.com/watch?v=vRJdk1QYxpU" target="_blank"><span style="font-family: inherit;">Youtube link</span></a></p>
<ol>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">In m.1 of second head Carlos measured G. I hear G both times.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Eb</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">I hear no eighth note D on 4+, but uncertain; almost inaudible</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">no turn</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">A on 2+, on both heads</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">F</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">turn</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">F</span></li>
</ol>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span style="font-family: inherit;">Clark Terry and His Section Eights, 1947 V-disc</span></b></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: inherit;"><b></b><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Henry Martin suggested that this may have been the first recording with the fifth note played G#, and possibly the source of this commonly-played “mistake.” This version adds a turn on m.8 beat 2. Parker is not on this recording.</span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><a href="https://www.youtube.com/watch?v=rajq5Ruo0bQ" target="_blank"><span style="font-family: inherit;">Youtube link</span></a></p>
<ol>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">G#</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">D</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">no eighth note D on 4+</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">turn</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Ab on 2+</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">F</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">turn</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">G</span></li>
</ol>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 11px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><b></b><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 11px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><br /></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 17px;"><b><span style="font-family: inherit; font-size: medium;">Print sources</span></b><span style="font-family: "Helvetica Neue"; font-size: 14px;"><b></b></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 14px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 17px;"><b></b></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 17px;"><span><b>Library of Congress Manuscript</b><b></b></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 17px;"><span><b></b></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 17px;"><span><span>Lead sheet in Parker’s hand. If it was created </span><span style="text-decoration: underline;">after</span><span> the recording session, it either reflects Parker’s recollection of how it was recorded, or his thoughts after the session on how he wanted it to go. Copyright was registered 12/1/45, just 6 days after the session, so it is also possible that this chart was created </span><span style="text-decoration: underline;">before</span><span> the session.</span><b></b></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span><br /><b></b></span></p>
<ol>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>G</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>D</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>no eighth note D on 4+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>no turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>typo in manuscript - eighth note on 2+ should be either A or Ab, going to Bb on beat 3</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>F</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>no turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>F</span></li>
</ol>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><a href="https://amzn.to/3Xgc4PU" target="_blank"><span>Charlie Parker, Composer</span></a></b></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>Book by Henry Martin, examining all of Parker's compositions. “Billie’s Bounce” chart is modeled on Savoy master (take 5).</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span><br /></span></p>
<ol>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>G</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>D</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>eighth note D on 4+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>A on 2+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>F</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>no turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>G</span></li>
</ol>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><a href="https://amzn.to/3NFEe3N" target="_blank"><span>Charlie Parker Omnibook</span></a></b></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span><b></b><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>Transcriptions mostly by Ken Slone. However, the head seems to have been copied <span style="text-decoration: underline;">exactly</span> from Aebersold Vol. 6 “Just Bird” play-along pamphlet (1976), so probably not transcribed by Slone, who created most of the rest of this book (1978).</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span><br /></span></p>
<ol>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>G#</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>D</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>eighth note D on 4+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>A on 2+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>E</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>F</span></li></ol><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span><b></b></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><a href="https://amzn.to/3CXfcah" target="_blank"><span>The Best of Charlie Parker</span></a></b></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span><b></b><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>Transcriptions by Mark Voelpel (pub. Hal Leonard) Head is mostly based on take 5, with some consideration of other Parker recordings.</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span><br /></span></p>
<ol>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>G#</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>Eb</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>No eighth note D on 4+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>A on 2+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>F</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>no turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>F#</span></li>
</ol>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-size: x-small;"><br /></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 11px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span style="font-family: inherit; font-size: medium;">Selected Fake Books</span></b></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 11px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><b></b><br /></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 11px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><b></b><br /></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span>Library of Musicians’ Jazz</span></b></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span><b></b><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>1950s or 1960s (?) bootleg, unknown transcriber. Note items 1. and 2.</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span><br /></span></p>
<ol>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>G</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>Eb</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>No eighth note D on 4+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>A on 2+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>F</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>no turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>G</span></li>
</ol>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span>The Great Gig Book</span></b></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span><b></b><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>1980s (?) bootleg. Note items 1. and 2.</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span><br /></span></p>
<ol>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>G</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>Eb</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>No eighth note D on 4+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>A on 2+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>F</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>no turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>G</span></li></ol>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><a href="http://www.fredparcells.com/Charlie_Parker_Tune_Book.pdf" target="_blank"><span>Charlie Parker Tune Book</span></a></b></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>Collection of head transcriptions on <b><a href="http://fredparcells.com">fredparcells.com</a></b></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span><br /></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>1. G#</span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>2. Eb (in sax harmony part)</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>3. No eighth note D on 4+</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>4. no turn</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>5. Ab on 2+</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>6. F</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>7. no turn</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>8. F</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span><b></b><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span>Original “Classic” Real Book Vol. 2 </span></b></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span><b></b><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>1970s or 1980s bootleg, unknown transcriber</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span><b></b><br /></span></p>
<ol>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>G#</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>D</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>eighth note D on 4+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>A on 2+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>E</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>F</span></li></ol>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span><b></b><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span><a href="https://amzn.to/3CC8ZAc" target="_blank">Real Book Vol. 2</a> (pub. Hal Leonard)</span></b></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span><b></b><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>Typo in m.1 beat 1 - missing a natural sign. Notes match version in bootleg “classic” RB vol. 2; probably derived from there. Unknown transcriber.</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span> </span></p>
<ol>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>G#</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>D</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>eighth note D on 4+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>A on 2+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>E</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>F</span></li>
</ol>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span><br /><b></b></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><a href="https://amzn.to/3qWb8UP" target="_blank"><span>The Bird Book, aka Charlie Parker Real Book</span></a></b></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span><b></b><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>Transcriptions by Masaya Yamaguchi. This chart appears to be from the same digital file as the Hal Leonard Vol. 2 Real Book (same font, identical spacing, etc.), except that this file has been edited in two spots: In bar 1, to add a natural sign that was missing in the RB, and in bar 9, where the last note has been changed from F to G.</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span><br /></span></p>
<ol>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>G#</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>D</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>eighth note D on 4+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>A on 2+</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>E</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>turn</span></li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span>G</span></li>
</ol>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 14px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 17px;"><br /><b></b></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span style="font-family: inherit; font-size: medium;">Conclusions and comments</span></b></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 11px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><b></b><br /></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Regarding each point of difference:</span></p>
<ol>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Most of Parker’s recordings have a G here. Parker and/or Miles seem to have played the fifth note as G# in some of the Savoy takes. The manuscript says G. Perhaps there was some experimentation in the studio, and they tried it both ways. Alternatively, perhaps there were intonation issues. Martin hears all 3 live recordings as G, every time.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">The manuscript shows D, but Parker seems to have generally played Eb. In Savoy take 3, where he begins his solo quoting the head, he also clearly plays Eb. Several print sources, probably modeled on the Savoy master, show Eb. In many Parker blues solos, he plays the flat 7 note (Eb in this case) in bars 1 or 4, before a chord change to Bb7, thus making the F chord sound more like V7 of Bb. The Eb works nicely in voice-leading as the alto line continues to D (the third of Bb7) in the harmony part, below the trumpet line.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">There does seem to usually be an eighth note D on 4+, but it is ghosted.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Parker plays a turn here in all recordings except the Pershing Hotel and Hotel Diplomat (in those recordings, he adds a turn in bar 10). It’s the sort of embellishment that one might sometimes choose to play, or not. </span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">The manuscript clearly shows wrong notes here, although it may be pertinent that it seems to show a half step. Parker seems to have played it as A to Bb nearly always.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">In the recordings, Parker plays F every time. The only sources showing E are the bootleg Real Book, the Hal Leonard Real Book, and the Bird Book, which may derive from each other (in that order), to some extent.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Most sources show no turn here, though the Omnibook does, and there seems to be a turn in the Pershing Hotel recording, as well as in the Hotel Diplomat performance. As mentioned in 4. above, this is an embellishment that one could just call optional.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">This note is played F in all Parker recordings, though it is often hard to hear clearly. The manuscript shows F. G sounds fine here, and is the root of the Gm7 chord. Many charts show G, but that seems not to be what Parker intended. Voelpel heard F#.</span></li>
</ol>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span style="font-family: inherit;">Performers who play the fifth note G#</span></b></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: inherit;"><br /><b></b></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">The 1947 Clark Terry recording may have been the first recording that used a G# for the fifth note. Martin speculates that this could have been the starting point for this “error.”</span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: inherit;"><b></b><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Clark Terry<span class="Apple-tab-span" style="white-space: pre;"> <span> <span> <span> </span></span></span></span><a href="https://www.youtube.com/watch?v=rajq5Ruo0bQ" target="_blank">Clark Terry and His Section Eights, 1947</a><span class="Apple-tab-span" style="white-space: pre;"> </span></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Shelley Manne<span class="Apple-tab-span" style="white-space: pre;"> <span> <span> <span> </span></span></span></span><a href="https://www.youtube.com/watch?v=xHEpcYF64zA" target="_blank">The Three and the Two, 1954</a> </span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">John Coltrane and Red Garland<span class="Apple-tab-span" style="white-space: pre;"> <span> </span></span><a href="https://www.youtube.com/watch?v=Y5XAkEbrH_o" target="_blank">Dig It, 1957</a></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Stan Getz and JJ Johnson<span class="Apple-tab-span" style="white-space: pre;"> <span> </span></span><a href="https://www.youtube.com/watch?v=hIHbV9m0Vvs" target="_blank">Opera House, 1957</a></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Lee Konitz<span class="Apple-tab-span" style="white-space: pre;"> <span> <span> <span> </span></span></span></span><a href="https://www.youtube.com/watch?v=jPqMafN2yP8" target="_blank">Very Cool, 1957</a></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Dexter Gordon <span class="Apple-tab-span" style="white-space: pre;"> <span> <span> <span> </span></span></span></span><a href="https://www.youtube.com/watch?v=1Sy_cy6rQl8" target="_blank">Bouncin’ with Dex, 1975</a></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Jim Hall<span class="Apple-tab-span" style="white-space: pre;"> <span> <span> <span> <span> <span> </span></span></span></span></span></span><a href="https://www.youtube.com/watch?v=r6gx3PuIGrQ" target="_blank">Live in Tokyo, 1976</a></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Ella Fitzgerald and Tommy Flanagan<span> </span><a href="https://www.youtube.com/watch?v=zAn90sk9W8E" target="_blank">Montreux ’77</a></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Oscar Peterson<span class="Apple-tab-span" style="white-space: pre;"> <span> <span> <span> </span></span></span></span><a href="https://www.youtube.com/watch?v=pYKiWMPed0Q" target="_blank">Encore at the Blue Note, 1990</a></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Dizzy Gillespie<span class="Apple-tab-span" style="white-space: pre;"> <span> </span></span><a href="https://www.youtube.com/watch?v=HVYsh-zfdwE" target="_blank">To Bird With Love, 1992</a></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Phil Woods<span class="Apple-tab-span" style="white-space: pre;"> <span> <span> <span> </span></span></span></span><a href="https://www.youtube.com/watch?v=BBCO3wqHuGU" target="_blank">Just Friends, 1994</a></span></p><div><span style="font-family: inherit;"><br /></span></div>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: inherit;"><b></b><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span style="font-family: inherit;">Errors or improvements?</span></b></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 15px;"><span style="font-family: inherit;"><b></b><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Performers have altered Parker’s notes at least since Clark Terry’s 1947 recording, and probably earlier. These common alterations do generally make musical sense, and it’s easy to see why some of these “mistakes” caught on. </span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<ol>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Playing G# here evokes the time-honored blues motive b3 to 3, and would match the notes in m.4, beat 1.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">D here matches the 1 to 6 motive heard repeatedly in the first 4 bars and the last 2 bars. Eb here makes sense as voice-leading into the IV chord.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">An additional eighth note D again repeats the 1 to 6 motive</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Turns are a standard bop decoration, and completely plausible here.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Ab here is a chord tone. Also, the Ab to Bb is repeated two beats later.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">E here still works as an enclosure note.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Again, turns are a standard bop decoration.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">G is the root of the II chord here. F is less predictable, but apparently what Parker played. F# here (per Mark Voelpel) would match the Gm#7 chord that the melody outlines in this measure.</span></li>
</ol>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span style="font-family: inherit;">The fifth note - intonation issues?</span></b></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">In take 1 of the Savoy session, Carlos Ribas’ spectrum analysis of the fifth note of the take 1 first head measured G#. To all other indications, Parker intended a G here. It is at least possible that the G# was due to intonation issues. Concert G often plays sharp on both trumpet and alto saxophone, perhaps sharp enough to register as a G#. Of course, this is just speculation.</span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<ul>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><b></b>Parker played a Conn 6M alto around this time. I own a 1929 Conn (slightly earlier vintage), and it does play fourth-space E (concert G) rather sharp. But it's not certain what make of alto Parker played on the Savoy (or other) recordings.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><b></b>John Worley, a respected Bay Area trumpet pro, tells me that this note can be sharp on trumpet as well. Thus, maybe Parker and Miles were both playing this note sharp.</span></li>
<li style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><b></b>In a <a href="https://www.jazzstudiesonline.org/files/jso/resources/pdf/JazzReviewVolTwoNoTwoFeb59.pdf" target="_blank">1959 article</a> for <i>The Jazz Review</i>, Sadik Hakim, who played piano on other songs at this session, wrote, “After three tries at <i>Billie’s Bounce</i>…Bird left to get a better horn and reed.”</span></li>
</ul>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span style="font-family: inherit;">Criteria for a better chart</span></b></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 15px;"><span style="font-family: inherit;"><b></b><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Most charts have probably been intended to reflect the Savoy master (take 5 from the November 6, 1945 session), since that has been the most generally available recording. The four additional studio takes were released by Savoy in 1956. The live recordings seem to have surfaced relatively recently. Beginning perhaps with Clark Terry’s 1947 recording, common practice, as well as various fake books, has introduced some features that were not as Parker intended. </span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: inherit;"><b></b><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">A good chart should represent the intentions of the composer as closely as possible. In the case of “Billie’s Bounce,” I feel that this would be reflected in the way he had settled on playing it in the Hotel Diplomat recording from January 15, 1951, five years after the initial recording. The Hotel Diplomat recording actually is fairly close to the Library of Congress manuscript. The only differences are in m.1, beat 4, in the last note of m.3, and in putting a turn in a different spot. </span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">A chart based on the Hotel Diplomat recording is shown below, melody only. Chords and harmony parts are omitted.</span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 15px;"><span style="font-family: inherit;"><b></b><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 15px;"><span style="font-family: inherit;"><b></b><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><span style="font-family: inherit;">The chords</span></b></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">I have not attempted to define the “correct” chords. I feel that Parker would have been comfortable with his rhythm section playing just about any standard bop variation of blues. The manuscript has some standard harmonic features, and an unusual G7 in m.9 (another typo?). On the five Savoy takes, Dizzy Gillespie (on piano) plays a different variation, including Am7 Abm7 in m.8, going to Gm7 in m.9. And in Parker’s blues solos, he is always very free in outlining alternate blues progressions, regardless of what the piano and bass are playing. </span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyIGTwnCjR6rYeK8mmLP93VLDhL3JVWSel4VdOh1491gX5ld1ywPDAyzbcIPIcBgkOQtrmxYw4SH6GGPiSr6bEOuICzA4HeMjP2s4Q9SeaP_uE-7wKZOedf8_mnDsHMpqMxUKlr0wq77SGbuvNtiMGddm0m0sQEI5A7UpDC7oGCpJDrpflZPVHF85VJ1k/s575/Billie's%20Bounce%20Hotel%20Diplomat.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="350" data-original-width="575" height="377" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyIGTwnCjR6rYeK8mmLP93VLDhL3JVWSel4VdOh1491gX5ld1ywPDAyzbcIPIcBgkOQtrmxYw4SH6GGPiSr6bEOuICzA4HeMjP2s4Q9SeaP_uE-7wKZOedf8_mnDsHMpqMxUKlr0wq77SGbuvNtiMGddm0m0sQEI5A7UpDC7oGCpJDrpflZPVHF85VJ1k/w618-h377/Billie's%20Bounce%20Hotel%20Diplomat.jpg" width="618" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-77737882299200198232023-03-25T14:13:00.008-07:002023-03-26T23:17:52.893-07:00Charlie Parker's "Bill's Bounce" manuscript<p>There are only a few surviving examples of Charlie Parker's musical handwriting. Four of them are reproduced in an <a href="https://mtosmt.org/issues/mto.18.24.2/mto.18.24.2.martin.php" target="_blank">article by Henry Martin</a> in the journal "Music Theory Online." One of these examples is a lead sheet submitted to the Library of Congress for the copyright of "Bill's Bounce," a blues tune now known more generally as "Billie's Bounce." </p><p>Here is the original image of the lead sheet as it appears in Martin's article. It's a photostat - a bit more legible in the article, if you click the link above, but still difficult to read.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjosi4uOV0QJ-nou5cUt3dnmsCCSWzh2kBpG97pAtAE5q0yN7yeR0D_sa9xRk-QjZO7ne7HOujMrI_xJiii4muiUh-tq8Iwzr_1JhYb3-KySwPlrxmBLlY2dTBJSwtyAPu9GdXE0eH6Yed1ABWPa7JuY5VeTKe-21eR0Bqi5WcVq018IdNEqSOTv6KS" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="387" data-original-width="500" src="https://blogger.googleusercontent.com/img/a/AVvXsEjosi4uOV0QJ-nou5cUt3dnmsCCSWzh2kBpG97pAtAE5q0yN7yeR0D_sa9xRk-QjZO7ne7HOujMrI_xJiii4muiUh-tq8Iwzr_1JhYb3-KySwPlrxmBLlY2dTBJSwtyAPu9GdXE0eH6Yed1ABWPa7JuY5VeTKe-21eR0Bqi5WcVq018IdNEqSOTv6KS=s16000" /></a></div><br /><br /><p></p><p></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;"><br /></span></p><p style="text-align: left;"><span style="text-align: left;">In the chart below, I have transcribed the photostat of Parker's sheet as exactly as possible, including some </span><span style="text-align: left;">of Parker's notational idiosyncracies and possible errors:</span></p><div class="separator" style="clear: both; text-align: center;"><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><img alt="" data-original-height="699" data-original-width="540" src="https://blogger.googleusercontent.com/img/a/AVvXsEglp5osu6LdQy8afBaLPUgdNDS5NbIoRtXgPwJuE8mXB_W-6SGxv55hu1yI680uKlfhy6j1E_utpwYZDABA4XpDB-lTLGTYKWZfRekuOrfaBPxRVgF7y9sw6DyLjCHpT0LqC4SsZTMpEO7c3qnWGQ6LrRCtHj0SSXmtEVDC8ecY9vhu259g_jJehvoC=s16000" /></div><div style="text-align: left;"><div style="text-align: left;">Here's a link to <a href="https://www.youtube.com/watch?v=S4mRaEzwTYo" target="_blank">the original recording</a>.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">In the photostat of his manuscript, Parker drew some rather elegant treble clefs. To me, the style of the notation indicates quite a bit of music-writing experience. For a lead sheet that was probably dashed off quickly, his manuscript is reasonably professional and legible. </div></div></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">The typed title in the photostat seems to have been pasted on after the chart was created. Was there another title under it? We may never know. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"> The bass line is written in two; the line shows Parker's attention to voice leading. His bass players would probably have played a 4/4 walking line rather than the 2-beat style shown.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Published versions of this tune do not match the manuscript. The most widely-known version is in the <a href="https://amzn.to/3LNyTa0" target="_blank">Charlie Parker Omnibook</a>; a more accurate version (relative to the recording) is in <a href="https://amzn.to/3LN0rwd" target="_blank">The Best of Charlie Parker</a>.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium;"><b>About the melody</b></span></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">• I'm pretty sure I hear an Eb (not D) on beat 4 of measure 1 in the recording. This and other discrepancies may have been "in the studio" revisions.</div><div class="separator" style="clear: both; text-align: left;">• In the recording, Parker adds a turn on beat 2 of measure 4. </div><div class="separator" style="clear: both; text-align: left;">• At the end of measure 3, every fakebook chart that I have ever seen shows two eighth notes (F, D) on beat 4. It almost sounds that way in the recording, but upon listening I think the D is not actually played, just implied, and Parker’s chart matches the recording.</div><div class="separator" style="clear: both; text-align: left;">• In measure 5 the Bb and C should have been written Ab and Bb; that's how it is played on the recording, and it sounds right that way. This is probably a written error.</div><div class="separator" style="clear: both; text-align: left;">• At the end of measure 5, Parker writes a G# when it would have been more proper, and clearer, to write an Ab. I can’t see any reason for this. Was it somehow more natural to him to think G#? The reason wouldn’t have been because G# concert transposes better when going from concert to alto key - G# would transpose to E#, and most musicians don't want to think or read an E#. </div><div class="separator" style="clear: both; text-align: left;">• From the beginning of the song to the middle of measure 6, the melody should probably have been written an octave lower, to be consistently in the same octave all the way through, as played in the recording. Perhaps Parker wrote it as he did to avoid cluttering the vertical spacing.</div><div class="separator" style="clear: both; text-align: left;">• The melody line in bar 9 outlines a Gm#7, anticipating the next measure. Outlining the upcoming change in solos is a common practice for Parker. I should note that this piece of the melody seems to be an example of a particular family of II V licks (see <a href="https://peterspitzer.blogspot.com/2020/07/the-groovin-high-family-of-ii-vs.html" target="_blank">this post</a>). It's interesting that Sonny Rollins' "Tenor Madness" uses the same lick, in the same spot in a 12-bar blues.</div><div class="separator" style="clear: both; text-align: left;">• The recording does not use the staccato/tenuto markings in measure 10.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium;"><b>About the chord symbols</b></span></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">It's hard to hear in the recording, but it's doubtful that the piano was meticulously following the chords on this sheet. However, the chord symbols do tell us something about Parker's concept for bebop blues. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">The following harmonic features on this sheet often show up in Bird’s solo lines over blues changes. His blues solo lines as a rule never follow a single, repetitive set of changes from one chorus to the next, and do not necessarily match what the piano may be playing.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">• Passing diminished chords in measures 2 and 6. He often uses this device in blues solos.</div><div class="separator" style="clear: both; text-align: left;">• Triads are indicated in a few places for the I and IV chords (he probably did not mean this to be taken literally), but measure 4 indicates F7 to Faug. This reflects the traditional practice of adding the b7 note and/or other tensions in bar 4, to make the I chord sound more like a V of IV. Again, this is a device often used in solos.</div><div class="separator" style="clear: both; text-align: left;">• The Fm6 in measure 5 might seem odd, but taken with the indicated bass note, it becomes Bb9.</div><div class="separator" style="clear: both; text-align: left;">• The G7 in measure 9 seems a bit unusual. Could it be a simple mistake, that should have read Gm7? See comment on bars 9-10 of the melody, above.</div><div class="separator" style="clear: both; text-align: left;">• No turnaround in the last 2 bars (the recording does this also). Many current published versions mistakenly assume a turnaround here.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">So, what is the definitive, "correct" version of "Billie's Bounce" (or "Bill's," or "Billy's")? If you play the melody as it appears in the original manuscript, most musicians will say it's wrong. Even if you play as in the recording, it will not be what most musicians expect. Your best bet is probably to play the version that's in the <a href="https://amzn.to/3LNyTa0" target="_blank">Charlie Parker Omnibook</a>, though it matches neither the original manuscript, nor the original recording. Common practice has kind of sanctified that one.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">For more on this tune, and an analysis of Parker's solo on his original recording, see <a href="https://peterspitzer.blogspot.com/2011/07/an-analysis-of-charlie-parkers-billies.html" target="_blank">this post</a>. Check the comment at the bottom of the post, from Mark Voelpel, author of <a href="https://amzn.to/3LN0rwd" target="_blank">The Best of Charlie Parker</a>.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">The article by Henry Martin in "Music Theory Online" that occasioned this post is <a href="https://mtosmt.org/issues/mto.18.24.2/mto.18.24.2.martin.php" target="_blank">here</a>.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Martin has recently published <a href="https://amzn.to/40FOtc5" target="_blank">Charlie Parker, Composer</a> (Oxford University Press), a discussion and analysis of all of Charlie Parker's composed melodies. It's great read if you are into Parker scholarship.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhXW954uKOqXF7AgyR21FdGinGb3SXPMRyBNTGNsHdlBUvLVoWCvl0ACvY-IdxHZrzcYX-HSzkKJ0m0vxKVZP6MKcFhavH0nlxDs0Mg7uV_RcKhKDKAVfptj49pu0e9m_tAnOnsVrbehronhZxG8L78EZVVlpCaZzQeoKWNPQg4dojtnCJ1rBzcvXM9" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhJCsbOrlQ0qiNTjzYt6iSuv3tbVvb7w9DwR1QjJCae8zITuQcKPft4-34kAmeHHqJK9t1RHsdK2MJ7gI2VTRDeTcRECLCaGT0SGaEdeBueeNNCMi_i_Jo3q16iErZBHpGp1Z9DBLP-hwwdhObQw479dGn1qrwyqebKDivkOiYF9WFRcMVUYZCDaI7W" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><br /></a></div></div>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-76442734652488227962022-12-26T09:48:00.005-08:002022-12-27T14:25:25.949-08:00Tunes published in 1927 will be entering public domain in 2023<p><span style="caret-color: rgb(34, 34, 34); color: #222222; font-family: inherit;">As of January 1, 2023, U.S. copyright will expire for works published in 1927, including the following songs: </span></p><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Ain't She Sweet (Yellen, Ager)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Back in Your Own Backyard (Jolson, Rose, Dreyer)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">The Best Things in Life are Free (De Sylva, Brown, Henderson)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Black and Tan Fantasy (Ellington)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Blue Skies (Berlin)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Can't Help Lovin' Dat Man (Hammerstein, Kern)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Creole Love Call (Ellington)</span><span style="font-family: inherit;"> </span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Funny Face (Gershwin, Gershwin)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Hallelujah (Robin, Gray, Youmans)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">He Loves and She Loves (Gershwin, Gershwin)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">High Hat (Gershwin, Gershwin)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">How Long Has This Been Going On? (Gershwin, Gershwin)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">I'm Looking Over a Four Leaf Clover (Mort Dixon, Harry Woods)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">In a Mist (Beiderbecke)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Me and My Shadow (Dreyer, Rose, Jolson)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Mississippi Mud (Cavanaugh, Barris)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">My Blue Heaven (Whiting, Donaldson)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">My Heart Stood Still (Rodgers, Hart)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Ol' Man River (Hammerstein, Kern)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Russian Lullaby (Berlin)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">'S Wonderful (Gershwin, Gershwin)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Strike Up the Band (Gershwin, Gershwin)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Struttin' With some Barbecue (Armstrong, Armstrong)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Thou Swell (Gershwin, Gershwin)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Why Do I Love You? (Hammerstein, Kern)</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;">The next few years will be bringing increasing numbers of standards by Gershwin, Rodgers, and others into the public domain.</div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">In classical music, notable pieces entering public domain are the Gershwin Preludes, Bartok's String Quartet #3, Copland's Piano Concerto, and Shostakovitch's Symphony #2. </span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">For more popular, jazz, and classical pieces entering the public domain, see the Wikipedia page <a href="https://en.wikipedia.org/wiki/1927_in_music" target="_blank">1927 in Music</a>.</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><div><span style="font-family: inherit;">United States copyright law is quite restrictive as compared to many other countries. According to the provisions of the Copyright Act of 1976 and the Copyright Term Extension Act of 1998 (aka "Mickey Mouse Protection Act"), works published or registered before 1978 remain under copyright for 95 years.</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;">With the passage of the 1998 law, the cutoff date for works entering the public domain became 1922, with any works published in 1923 or later remaining under copyright. Beginning in 2019, however, the clock began running again, with each new year bringing one more year of songs and other works into the public domain. Over the next 20 years or so, most "Golden Age" jazz standards will lose copyright protection.<br /><br />Many other countries have shorter terms of copyright; one common formula is the life of the author plus fifty years (see <a href="https://en.wikipedia.org/wiki/List_of_countries%27_copyright_lengths" style="color: #667fdd; text-decoration: none;" target="_blank">this table</a>). For example, in Canada you can record pieces written by Wes Montgomery (d. 1968) John Coltrane (d. 1967), Igor Stravinsky (d. 1971), Louis Armstrong (d. 1971). Lee Morgan (d. 1972), or Kenny Dorham (d. 1972).</span></div></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Looking ahead, Mickey Mouse will become fair game in the US in 2024, unless Congress is somehow persuaded to change the present copyright law (again). </span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">However, if you are thinking of utilizing Mickey's image in 2024, you should consider that copyright will only expire on images from cartoons released in 1928, such as <a href="https://www.youtube.com/watch?v=_tCuvlnC4ks" target="_blank">Steamboat Willie</a>. In those early images, Micky had a somewhat different visage, with a longer, rat-like nose. He did not not yet have his white gloves or red shorts; they came later. If you want to use the white gloves or red shorts, you will have to wait a few more years.</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">Here's an <a href="https://americanhistory.si.edu/blog/mickey-mouse-turns-90" target="_blank">interesting article</a> on the subject, with an image of Mickey as submitted for copyright in 1929. It looks to me as though Mickey's nose had been altered a little by then, closer to its current look. He has his white gloves, too. The image is in black and white, so I don’t know about the red shorts. </span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">By the way, Minnie Mouse also appears in the 1928 cartoons, though I don't think she is credited by name.</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">In addition to copyrighting Mickey, The Walt Disney Company has also registered him as a trademark. US trademarks can be renewed every 10 years, potentially going on forever. Disney has a strong case for Mickey as a trademark, but less so for many of their other characters, who will be falling out of copyright in the next few years. Here is an <a href="https://digitalcommons.law.wne.edu/cgi/viewcontent.cgi?article=1830&context=lawreview" target="_blank">article from the Western New England Law Review</a> that covers in depth the legal standing of Mickey and other Disney characters.</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;">More links:</span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><br /></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><a href="https://www.nytimes.com/2022/12/27/business/mickey-mouse-disney-public-domain.html?unlocked_article_code=WBK19yWTRsh7SiHjKQKq-Qv02S8SfrVG1Gs3u8xkcUcGU9MoX64xK9UoY9zkDLWCVrIVzDIty15Xrbr5TCpDsQRNdwSnNheG-Pwmt1aLCWTHoPcicnEtTPgyQheJtrM3XrZhK7MZaBs3X0huA-s10B-ArGmOagInlCWbfR5S_iSgPLlkVqV-fYhgkhNhvaN2rynlmaHT4mJbX2xTMjQL3mLWqeaDxRFtUP8lzClhXNkzNDplgSqX2lPc3qkcGmrw_KrBf2Acv95fm-3vCXf-jzHtLLGkdrVXUBmA8J3gZc34CXvYSe0c_m35dAg3tXxM7SNYy5OAESuUSFmvV5E7ro25oOni2gTGUrQriw&smid=em-share" target="_blank">NYT article on Mickey copyright</a></span></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><br /></div><div style="caret-color: rgb(34, 34, 34); color: #222222;"><span style="font-family: inherit;"><a href="https://en.wikipedia.org/wiki/Copyright_law_of_the_United_States" style="color: #667fdd; text-decoration: none;" target="_blank">Copyright Law of the United States</a><span> (Wikipedia)</span></span></div><br class="Apple-interchange-newline" />Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com3tag:blogger.com,1999:blog-5089926376300913992.post-35856951666931522512022-12-02T22:59:00.002-08:002023-12-31T16:32:35.989-08:00The Ballad of Davee Duckett<div>(Warning: This post contains moralistic content, and may be amusing only to those with a cynical sense of humor.)</div><div><br /></div><div>Back in the 70s and 80s, I was a regular sax player in a 15-piece swing band that played at least once a week, in a wide range of venues. A few of those gigs have stuck in my mind for one reason or another. This one was around 1978 or so. It was a kind of surreal experience, in a corporate sort of way.</div><div><br /></div><div>The band had been booked for a Saturday night dinner at Syntex, a major pharmaceutical company based in Palo Alto. As I remember it, there were one or two hundred employees and spouses in the audience. Our bandleader's day job was with Syntex sales, which was undoubtedly how we ended up with the gig.</div><div><br /></div><div>Syntex's hot product that year was Neo-Mull-Soy, a new soy-based baby formula. Advertising for the product featured a cartoon duck named "Davee Duck." </div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgR8DP3Q25bokgg4q3LEUmwpOn3QTRYmairJYQ70q0nNP2J_g_iGDgCwehVLxXXV7W3tCzP3e13yzWE5ZIcVK_J8ACyL2orprXuevG3JuFuTFQo4MSSp3jm64s07rTkKZ_m9xJNu0q3X4X3IUhasgFfpqUbVSvQEwrpvrN9dmHVuX_7-YFFb3SdOq3l" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgR8DP3Q25bokgg4q3LEUmwpOn3QTRYmairJYQ70q0nNP2J_g_iGDgCwehVLxXXV7W3tCzP3e13yzWE5ZIcVK_J8ACyL2orprXuevG3JuFuTFQo4MSSp3jm64s07rTkKZ_m9xJNu0q3X4X3IUhasgFfpqUbVSvQEwrpvrN9dmHVuX_7-YFFb3SdOq3l" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgY-pxOvujP6ZAm_5BLNAFd_yPxn8ZwyTdJtIff3DDPqn_wClR6-1Kp2EAhUppsQr7wo06r9Z5BinRmCBDUTbN9ik5RsJXEi4IKmPSoiwvWNZ6NyfCTsRXwBvlYSsecsVaLW1YaEE7lk7XKl_SB-WJsGPzg-TzI3KZIIon_eaK4vK-_prR5V8GjQkSI" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="262" data-original-width="192" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgY-pxOvujP6ZAm_5BLNAFd_yPxn8ZwyTdJtIff3DDPqn_wClR6-1Kp2EAhUppsQr7wo06r9Z5BinRmCBDUTbN9ik5RsJXEi4IKmPSoiwvWNZ6NyfCTsRXwBvlYSsecsVaLW1YaEE7lk7XKl_SB-WJsGPzg-TzI3KZIIon_eaK4vK-_prR5V8GjQkSI" width="176" /></a></div><br /><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgR8DP3Q25bokgg4q3LEUmwpOn3QTRYmairJYQ70q0nNP2J_g_iGDgCwehVLxXXV7W3tCzP3e13yzWE5ZIcVK_J8ACyL2orprXuevG3JuFuTFQo4MSSp3jm64s07rTkKZ_m9xJNu0q3X4X3IUhasgFfpqUbVSvQEwrpvrN9dmHVuX_7-YFFb3SdOq3l" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgR8DP3Q25bokgg4q3LEUmwpOn3QTRYmairJYQ70q0nNP2J_g_iGDgCwehVLxXXV7W3tCzP3e13yzWE5ZIcVK_J8ACyL2orprXuevG3JuFuTFQo4MSSp3jm64s07rTkKZ_m9xJNu0q3X4X3IUhasgFfpqUbVSvQEwrpvrN9dmHVuX_7-YFFb3SdOq3l" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgR8DP3Q25bokgg4q3LEUmwpOn3QTRYmairJYQ70q0nNP2J_g_iGDgCwehVLxXXV7W3tCzP3e13yzWE5ZIcVK_J8ACyL2orprXuevG3JuFuTFQo4MSSp3jm64s07rTkKZ_m9xJNu0q3X4X3IUhasgFfpqUbVSvQEwrpvrN9dmHVuX_7-YFFb3SdOq3l" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a></div></div><div><br /></div><div>The organizers of the party had decided that the duck would would be the party's theme. They called him "Davee Duckett," and the program had a picture of Davee wearing a coonskin cap. I remember that audience members got coonskin caps, but that could be a manufactured memory.</div><div><br /></div><div>The organizers had written a Davee Duckett team-building song. When the band took a break, sheets with lyrics were passed around, and the master of ceremonies led the audience in singing this song, to the tune of Disney's "Ballad of Davy Crockett":</div><div><br /></div><div></div><blockquote><div>Let me tell you a story I knowed<br />About Davee Duckett and the way that he's growed</div><div><br />The story's short but the product stands tall<br />Because he's made us<br />The winner of them all</div><div><br />Davee, Davee Duckett!<br />Neo-Mull Soy Boy!</div></blockquote><div></div><div><br /></div><div>I think there were more verses, but this one has stuck with me for 45 years.</div><div><br /></div><div>In case you are too young to remember, here is Fess Parker singing the original song, which was the theme to Disney's "Davy Crockett" TV series. Fess played the lead role in the series. If you grew up in the US in the late 1950s, you will remember the song, and the coonskin caps that just about every little boy had.</div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="171" src="https://www.youtube.com/embed/txcRQedoEyY" width="206" youtube-src-id="txcRQedoEyY"></iframe></div><div><br /></div><div><br /></div><div><div>The original "Ballad of Davy Crockett" actually has twenty verses. The lyrics are something that the Disney Corporation would probably rather forget, as they are insulting to Native Americans. But the internet has a long memory; <a href="https://genius.com/Walt-disney-records-the-ballad-of-davy-crockett-lyrics" target="_blank">here are all 20 verses</a>.</div></div><div><br /></div><div>If you would like to know the actual history of Davy Crockett (1786-1836), here is the <a href="https://en.wikipedia.org/wiki/Davy_Crockett" target="_blank">Wikipedia entry</a>. He did fight the "Injuns" in the Creek War of 1813, but we should also note that to his credit, as a member of the US House of Representatives in 1830, Crockett did vote against Andrew Jackson's Indian Removal Act.</div><div><br /></div><div>I'd like to close this post on a cheerful note, but the Davee Duckett story doesn't have a happy ending. Contrary to the team-building song, Neo-Mull-Soy was not a "winner" for Syntex, and the product does not "stand tall." Neo-Mull-Soy was discovered to cause severe health problems in infants. <a href="https://www.cdc.gov/mmwr/preview/mmwrhtml/00044475.htm" target="_blank">Here is a CDC report</a>. </div><div><br /></div><div>In 1979 the product was removed from the market, and Syntex became the target of a $2 billion class-action lawsuit. I can't find any record of how this suit was settled, although in a separate suit against Syntex in 1985, plaintiffs were awarded $27 million. A recent writeup of the Neo-Mull-Soy debacle can be read <a href="https://cafe.com/article/the-sole-source-of-nutrients-the-syntex-scandal-and-federal-regulation-of-baby-formula/" target="_blank">here</a>. </div><div><br /></div><div>In 1984, Syntex<a href="https://trademarks.justia.com/730/64/davee-duck-73064900.html" target="_blank"> cancelled the trademark</a> for "Davee Duck." It's available, if you want it. Davee Duck rag dolls, part of the original advertising campaign, are also still <a href="https://www.worthpoint.com/worthopedia/vintage-1974-davee-duck-neo-mull-soy-3789149472" target="_blank">occasionally available</a>.</div><div> <div><br /></div></div>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-15511095037090394232022-07-04T16:53:00.002-07:002022-12-26T10:51:32.803-08:00"Chega de saudade" and "Saxofone, por que choras"<p> A few days ago I was playing through the classic choro "Saxofone, por que choras," and had a sudden flash of realization: The harmonic structure of the A section of "Saxofone" is basically the same as the A section of Jobim's "Chega de saudade." I thought this might be worth a blog post.</p><p>There are a lot of great versions of "Saxofone" on Youtube. Here are just three of them. </p><p>The 1944 original by the composer, Ratinho:</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4_l9Sl0ws6A" width="320" youtube-src-id="4_l9Sl0ws6A"></iframe></div><div><br /></div><div><br /></div><div>A modern version by Nailor Proveta:</div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/0vwiMpqwq7w" width="320" youtube-src-id="0vwiMpqwq7w"></iframe></div><div><br /></div><div><br /></div><div>A cool live version on accordion, by Dominguinhos:</div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/pYRnPLznGp4" width="320" youtube-src-id="pYRnPLznGp4"></iframe></div><br /><p><br /></p><p>Anyway, the harmonic structure of the "Saxofone" and "Chega" A sections are same in their broad outlines, though "Chega" does have some substitutions and additions. Here's the basic structure of "Saxofone." Compare it to the chords in "Chega" from any fakebook.</p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiye09MuO4EqZ49RBNE30GZjetxC-jfq5mvrT2drC_65PkqTpVQO0e4hhtBCmCVOX_boJGRXtlDoZ2cX4lg96Tc6IUoHfOM2WKZowW5WICyXVPKBuUEOgz79OaMdtvQiYjMxFx6K640TvX7oJwCMhCyhMielpQWCt6aKHtLu0U2K0fKp1tHacX0uwW4/s4209/Saofone,%20porque%20choras%3F%20structure-1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4209" data-original-width="2976" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiye09MuO4EqZ49RBNE30GZjetxC-jfq5mvrT2drC_65PkqTpVQO0e4hhtBCmCVOX_boJGRXtlDoZ2cX4lg96Tc6IUoHfOM2WKZowW5WICyXVPKBuUEOgz79OaMdtvQiYjMxFx6K640TvX7oJwCMhCyhMielpQWCt6aKHtLu0U2K0fKp1tHacX0uwW4/w453-h640/Saofone,%20porque%20choras%3F%20structure-1.png" width="453" /></a></div><div class="separator" style="clear: both; text-align: left;">Did Jobim consciously lift the chords from the Ratinho tune? It's not unlikely. He certainly used pre-existing chord changes on a <a href="http://peterspitzer.blogspot.com/2011/05/more-jobim-tunes-with-borrowed-chord.html" target="_blank">number of his other compositions</a>. Does this same chord structure appear in other choros? If any reader spots one, please let me know.</div></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">In the book <a href="https://amzn.to/3OE4d9I" target="_blank">Bossa Nova: The Story of the Brazilian Music That Seduced the World</a>, Ruy Castro describes how Jobim came to write "Chega de saudade" in 1956:</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"></div><blockquote><div class="separator" style="clear: both; text-align: left;">Jobim had written it almost on a whim - a short time before, at the home of Dona Nilza, his mother, he watched the maid sweeping the living room and softly singing a <i>chorinho</i>. He was impressed with the way the girl managed to sing such a complicated song, in 3 parts [note: Ruy Castro meant "3 sections"], when the large part of what one heard on the radio fit into a single musical phrase. He decided then and there that he would also write a <i>chorinho</i> like that.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Weeks later, at his family's place in Poco Fundo, near Petropolis, he got the idea for "Chega de saudade," and when he reviewed what he had written, he realized he had created a kind of <i>samba-canção</i> in three parts, but with a <i>chorinho</i> flavor...</div></blockquote><p><br /></p><p>Some comments: </p><p>In referring to 3 "parts," or sections, Ruy Castro is referencing the fact that most choros are composed with a form AABBACCA, or something similar. Each section generally has a key change. "Chega" is in the form ABC, where the A section is 32 bars, the B section is 16 bars, and the C section is the last 22 bars. </p><p>Although I am no expert, I don't hear this piece as a samba-canção. That genre is a slow or medium tempo samba with a sentimental theme. Even the earliest recordings of "Chega" don't have that tempo or feeling.</p><p>"Chega de saudade" is often regarded as the first bossa nova. I think of bossa as defined largely by a moderate samba rhythm, employing some North American jazz-style harmony, and played with the guitar style (and vocal style) developed by Joao Gilberto. "Chega" has the essential ingredients: </p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p>• It was composed by Jobim, using elements of American music such as melodic references to the old standard tune "Bye Bye Blues" in the A and C sections, and to "When You Wish Upon a Star" in the B section. Harmonically, the entirety of the B section of "Chega" is lifted from "When You Wish...". The C section has some bop-like turnaround material in mm. 51-52, and melodic material in mm. 53-57. The song uses a number of II V sequences (although, granted, II V's are not unique to jazz, and it's also true that jazz had influenced choro for decades previously).</p><p>• The first recordings of "Chega" featured Joao Gilberto on guitar; his style was an essential component of bossa. The first recording, by Elizeth Cardoso (on an independent label), did not achieve great popularity. The second recording, by Joao Gilberto (on Odeon, a major label) became a hit. Gilberto's understated vocal style was another defining component of bossa.</p></blockquote><p> </p><p>Here are some versions of "Chega" that are worth checking out.</p><p>The first 1958 recording, by Elizeth Cardoso:</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/rZ13bQvvHEY" width="320" youtube-src-id="rZ13bQvvHEY"></iframe></div><div><br /></div><div><p>The subsequent 1958 hit recording by Joao Gilberto:</p></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/k2WctARV8Dc" width="320" youtube-src-id="k2WctARV8Dc"></iframe></div><div><br /></div><div><br /></div>The 1963 recording by Jobim on his first U.S. album, <a href="https://en.wikipedia.org/wiki/The_Composer_of_Desafinado_Plays" target="_blank">The Composer of Desafinado Plays</a>:<div><br /></div><div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/oK4N-jUFYjo" width="320" youtube-src-id="oK4N-jUFYjo"></iframe></div><p><br /></p><p>The 1995 recording by Joe Henderson and Herbie Hancock, on Joe's album <a href="https://en.wikipedia.org/wiki/Double_Rainbow:_The_Music_of_Antonio_Carlos_Jobim" target="_blank">Double Rainbow</a>:</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/GCOn8SZ5Hm0" width="320" youtube-src-id="GCOn8SZ5Hm0"></iframe></div><div><br /></div><div><br /></div><p>About the title: Jon Hendricks wrote English-language lyrics in the 1960s, and gave it the title "No More Blues." It's a pretty good choice for the title. "No More Blues" is a rough translation of "Chega de saudade," and also reminds me of "Bye Bye Blues." Perhaps Hendricks noticed the melodic similarity. I don't so much care for the English lyrics, though.</p><p>Vinicius de Moraes wrote the original Portuguese lyrics shortly after Jobim finished writing the song. According to Ruy Castro,</p><p></p><blockquote>Years later, Vinicius said that one of the most difficult set of lyrics he had written had been those of "Chega de saudade," due to the arduousness of trying to fit the words into a melodic structure with so many comings and goings.</blockquote><p></p><p>This song would obviously be challenging to sing. Mar Vilaseca does a great job on this track, and the band is terrific:</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YgzUkNmOixI" width="320" youtube-src-id="YgzUkNmOixI"></iframe></div><p><br /></p></div>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-33464956899519133942022-04-23T17:24:00.021-07:002022-04-24T18:30:51.321-07:00John Coltrane's versions of "Body and Soul"<p><span style="font-family: inherit;">Recently I spent several lessons with a sax student analyzing transcriptions of John Coltrane’s version of the Johnny Green tune “Body and Soul,” as played on the “Coltrane’s Sound” album. We looked at the transcription in the <a href="https://amzn.to/35Wm0b4" target="_blank">John Coltrane Omnibook</a>, as well as the transcription by Andrew White. This project led me to check out other extant recordings of Coltrane performing “Body and Soul.” (Thanks, Luke!)</span></p><p><span style="font-family: inherit;">There are at least five different recordings on Youtube of Coltrane playing “Body and Soul." The tracks were all recorded between 1960 and 1965. They reflect an evolution from his relatively conventional chords-based "Coltrane changes" period to his later free-jazz/abstract/spiritual approach. They are:<br /><br />1) The studio recording released on the album "Coltrane's Sound,” 10/24/60<br />2) An alternate take from the same recording session<br />3) Jazz Gallery, 6/10/60 (four months before the studio recordings)<br />4) Live at Birdland, 6/2/62<br />5) Live in Seattle, 9/30/65</span></p><p><span style="font-family: inherit;">Below are discussions of each recording. Be sure to listen to each track first - the music itself is what's important.</span></p><p><br /><b style="font-family: inherit;">"Coltrane's Sound"</b></p><p><br /></p><div style="text-align: center;"><span style="font-family: inherit;"> <iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/jUUNYtSkseI" width="320" youtube-src-id="jUUNYtSkseI"></iframe></span></div><p><b style="font-family: inherit;"><b></b></b></p><p style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><br /></p><p style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"></p><p><span style="font-family: inherit;">The first publicly-released version of Coltrane playing "Body and Soul" appeared on the Atlantic LP "Coltrane's Sound." The material for this album was recorded on October 24-25, 1960, but was not released until 1964. </span>This track is the one I studied with my student, and the version that we will use as a basic reference in comparing other recordings. </p><p><span style="font-family: inherit;">The musicians are Coltrane, tenor saxophone; McCoy Tyner, piano; Steve Davis, bass; and Elvin Jones, drums. With the exception of Steve Davis, this is Coltrane's "classic quartet," with whom he recorded and performed for the next five years. McCoy had been a member of the group since May 1960; Elvin had joined the band just a month before the recording session, in September 1960. </span></p><p><span>Coltrane had left Miles Davis' group in April 1960, and was just beginning to establish himself as a leader. </span>His "Giant Steps" album, recorded in 1959, had already been released, in February 1960. <span>The songs and arrangements on these two albums represented much of the repertoire for his new quartet. </span>"Body and Soul" was one of several standard tunes that had been reharmonized with "Coltrane changes."</p><div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">The arrangement on this album consists of:</span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"></p><ul><li><span style="font-family: inherit;">An 8-bar, </span>double-time-feel <span style="font-family: inherit;">vamp introduction </span>on a concert Ebm chord (reminiscent of the intro in the 1938 <a href="https://www.youtube.com/watch?v=Tny_degoo6I" target="_blank">Chu Berry version</a>). Piano starts, drums join after 4 bars.</li><li><span style="font-family: inherit;">Melody played by the saxophone, with some melodic alterations to fit the reharmonization, and fills</span></li><li><span style="font-family: inherit;">Piano solo over one chorus of the form</span></li><li><span style="font-family: inherit;">Return to the bridge and last A section of the melody by the sax, and </span></li><li><span style="font-family: inherit;">An arranged rubato ending, including a "chromatic third relation" chord sequence Db - A - F, and a gospel-like final cadence for the piano.</span></li></ul><p></p><br />The form is AABA, same as the original tune. It is played with a "double-time feel," so the original 32-bar form feels like 64 bars. (In describing bar counts, I will assume a 64-bar format.)</div><div><br /></div><div>The key is concert Db, as is standard in jazz renditions of “Body and Soul.” The A section is over an Ab pedal until the resolution to the tonic Db chord, with some whole tone scale suggestions set up by augmented chords over the pedal. <br /><br />The bridge goes up a half step to the key of D, as in the original song. Starting in bar 5 of the bridge, the arrangement uses a “Coltrane changes” sequence for 4 measures, with 2 beats per chord, beginning and ending on Dmaj7. The progression then goes to Dm7 in bar 9, as in the original. Bars 11-15 of the bridge are another “Coltrane changes” sequence, starting and ending on Cmaj7. The first 2 chords here, Cmaj7 and Eb7, are 1 measure each, the rest of the sequence 2 beats per chord. <br /><br />Here's a <a href="https://jazzomat.hfm-weimar.de/dbformat/synopsis/solo220.html" target="_blank">fairly serviceable chord chart.<br /></a><br />Here's <a href="https://leadsheets.tumblr.com/post/623439153399496704/body-and-soul-original-changes-and-those-as" target="_blank">another</a> (Coltrane changes are halfway down the page; click to enlarge). <br /></div><div><br /></div><div>This original version from the "Coltrane's Sound" LP is a polished exposition of the arrangement. The mood is dignified, and respectful to the beauty of the tune and its jazz heritage. I’ve already mentioned that the intro may reference the Chu Berry recording; I hear echoes of Billie Holiday also. <br /><br />Everything seems carefully planned. Judging by Coltrane’s later recordings of the tune, even some of the tenor fills were part of the arrangement. <br /><br />From <a href="https://amzn.to/37p2ViI" target="_blank">Lewis Porter’s Coltrane biography</a>:<br /><blockquote>His lovely ballad performances drew upon a repertory of unique ornamental features. Coltrane’s paraphrasing of a ballad melody did not vary much from one performance to another of the same piece, even in the specific locations and types of ornaments added…The paraphrase version became a distinct gestalt, ornaments and all.</blockquote>Another quote from Porter:</div><div><blockquote>Tom Dowd, Coltrane's recording engineer at Atlantic Records, remembers Coltrane's warmup routine: "John usually showed up about an hour before the session...he would stand in a corner, face the wall, play, stop, change reeds, and start again. After a while he would settle on the mouthpiece and reeds that felt most comfortable to him, and then he would start to work on the 'runs' that he wanted to use during the session. I would watch him play the same passage over and over again, changing his breathing, his fingering, and experimenting with the most minute changes in his phrasing."</blockquote><div><br /></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"></span></p><div>The transcription of the album version in the <a href="https://amzn.to/3OATz3O" target="_blank">Coltrane Omnibook</a> is nicely done, though I do have some minor disagreements about rhythm here and there, and a couple of notes are shown in the wrong octave. The transcriber is not credited. Coltrane played the tune with a double-time feel, so each measure of the original tune shows as two measures in this transcription. The transcription seems to get the reharmonized chord changes pretty much right. The link above is to the Bb edition; concert key and Eb editions are also available.<br /><br />Andrew White’s transcription of Coltrane’s solo (unavailable since Andrew passed away, as far as I know) is meticulous, as were all his transcriptions. The solo is notated in tenor key (concert Db, Eb for tenor sax). Andrew did not change the song’s original measures to fit a double-time feel, so his note values appear twice as fast (e.g., where the Coltrane Omnibook shows eighth notes, Andrew shows sixteenths). I like his rhythmic representations a little better than those in the Omnibook. <br /><br />The <a href="https://amzn.to/3K9o8KH">New Real Book Vol. 3</a> (Sher Music) has a <a href="https://leadsheets.tumblr.com/post/623439153399496704/body-and-soul-original-changes-and-those-as" target="_blank">lead sheet</a> for the Coltrane arrangement, with a somewhat different take on how to represent the chords. Double-time feel is represented the same way as in the Omnibook. </div><div><br /></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><b><br /></b></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><b>Alternate take</b></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><b><br /></b></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/MKZlj-pFHiY" width="320" youtube-src-id="MKZlj-pFHiY"></iframe></span></div><span style="font-family: inherit;"><br /> </span><p></p>This alternate take, also from the 11/24/60 recording session, was released on a 1999 CD reissue of the album. It was recorded first, before the take that was selected for the original LP. The take originally chosen for release is more polished, and more carefully played. This alternate (first) take has a 16-bar vamp intro, where the second take tightens it to 8 bars. Coltrane's presentation of the head in the second take is somewhat pared down as well. Some of the sax fills and embellishments are nearly identical in the two takes. The rubato coda is exactly the same, including the piano's gospel-like final cadence.<p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><b>Jazz Gallery 6/10/196</b>0<br /><br />This live recording is the earliest Coltrane version I've seen; it preceded the Atlantic recording session by four months. Personnel are Coltrane, tenor; McCoy Tyner, piano; Steve Davis, bass; Pete LaRoca, drums. In the Youtube track below, "Body and Soul" starts at 1:00:10.</div><div><br /><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/iRpdfJqi8lI" width="320" youtube-src-id="iRpdfJqi8lI"></iframe></span></div><span style="font-family: inherit;"><br /></span><p></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><br /></p>McCoy Tyner had just joined the band, about two weeks earlier. Elvin Jones had not joined yet. The "Body and Soul" arrangement had already been in the band's book; according to Porter, McCoy's predecessor Steve Kuhn remembers playing it with the group.<br /><br />Comparing this performance to the album version, we can hear that the arrangement had not quite jelled yet. There is no introduction, although McCoy plays a similar vamp figure for the A sections. Coltrane takes a solo chorus after playing the head. His playing is in general a lot busier, with more virtuosic display. Perhaps this was because of the energy that comes with a live club situation; perhaps it was because Coltrane was trying things out, exploring approaches to the tune. <br /><br />Still, this was one of the mellower tunes played that night - compare this 7-minute “Body and Soul” to the 30-minute over-the-top version of “Liberia” (based on “A Night in Tunisia”) that is at the beginning of this recording. “Body and Soul” and "Every Time We Say Goodbye" were the ballads providing some variety in an otherwise up-tempo, high-energy set.<br /><br />The coda as played here is pretty much the same as in the studio recordings. Even in this early version, it was already a composed, permanent feature of the arrangement.<br /><br />Regarding McCoy's role in the band, here is a quote from an interview cited by Porter:<br /><blockquote>My playing, I believe, possessed also this metronomic rhythmic accuracy [McCoy is here comparing his playing to Monk's]...because I have a good strong left hand, John knew that he could count on this rhythmic foundation, on this carpet, and that even when he threw himself into his wildest improvisation, he would always have behind him, unshakeable, the regular tempo of his pianist.</blockquote><blockquote><p></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"></p></blockquote><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><b>Live at Birdland 6/2/62</b></span></p>
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<p style="font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/CJ1FB99f5ys" width="320" youtube-src-id="CJ1FB99f5ys"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br />The next recording we have is from two years after the studio recording - June 2, 1962. It was recorded from a radio program called "Live at Birdland." The full half-hour broadcast is <a href="https://www.youtube.com/watch?v=ZV3jFQYTNuo" target="_blank">here</a>. (Note: This is not the Coltrane album called "Live at Birdland.")</div><div><br /></div><div>The band is Coltrane’s classic quartet, with McCoy Tyner, Jimmy Garrison, and Elvin Jones. <br /><br />This version has the energy of a live club performance. The group follows the arrangement, but is freer with it. There is a 12-bar intro; the vamp is looser than in the previous recordings. Coltrane plays the head, including fills that are similar but not identical to the worked-out fills in the 1960 LP version, then takes an additional chorus. Tyner takes two choruses, and Coltrane plays the head from the bridge. <br /><br />In this sax solo, I hear Coltrane displaying virtuosity in the service of conveying emotion. He's mostly inside the harmony, with what I'd call some outside overlays. In a couple of spots he splits overtones to produce a chord, a technique not heard on the earlier versions. McCoy, as usual, lays down a solid rhythmic foundation. Elvin and McCoy constantly anticipate each other's rhythmic kicks. There is a terrific band rapport.<br /><br /><br />
<p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><b>Live in Seattle 9/30/65</b></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><b><br /></b></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><b><br /></b></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/aHkJIXB_uBY" width="320" youtube-src-id="aHkJIXB_uBY"></iframe></div><br /><p style="font-stretch: normal; line-height: normal; margin: 0px;"><br /></p>
<p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>The last recording that we have of “Body and Soul” is from September 30, 1965. It was released on the 1994 CD reissue of the album "Live in Seattle" (the LP was originally released in 1971, four years after Coltrane's passing). It is the longest version we have, at 21:25 minutes. The personnel is the quartet (Pharoah Sanders and Donald Garrett also participated in this gig, but do not appear on this track).</div><div><br /></div><div>This is a much more radical, abstract version. We can hear a conflict between structure and freedom. Coltrane is testing the traditional boundaries of music: rhythm, harmony, melody, arranged structure. He is asking a lot out of the band, himself, and the audience.</div><div><br /></div><div>Compared to the 1960 studio version, here are some differences and similarities:</div><div><br /></div><div></div><blockquote><div>The piece is still in Db; the eighth-note pulse is still swing.</div><div><br /></div><div>The introductory vamp no longer uses the arranged rhythm and voicing.</div><div><br /></div><div>The chords in the A section are "understood" - alluded to by both Coltrane and Tyner, but not necessarily stated explicitly. The "Coltrane changes" are still present in the bridge.</div><div><br /></div><div>Solos are much longer. They are about exploration. </div><div><br /></div><div><div>The underlying beat is "understood," and downbeats are not always stated explicitly. However, there is still an implicit feeling of 8-bar units.</div></div><div><br /></div><div>The AABA structure of the arrangement is mostly followed, though not always marked off as clearly as in the previous recordings. At about 14:57, in the second A of the seventh chorus, the pedal note changes from Ab to F for 8 bars. In the eighth chorus, starting at about 16:42, the bridge is eliminated (unless it's stated too abstractly for my ears). At 18:55 we hear Coltrane cue the bridge, beginning the out-head BA.</div></blockquote><blockquote> The arranged coda is almost exactly as performed in the 1960 Atlantic version. That may be the most conventional, straight-ahead moment on the album. Coltrane plays some nice split-overtone "chords" near the end.<br /><br /><div>McCoy Tyner seems to be trying to do his job of providing a chordal mooring for Coltrane.</div><div><br /></div><div>Coltrane avoids jazz clichés like II V patterns or blues licks. For most iterations of the bridge, he plays melodically over the "Coltrane changes." McCoy's solo is much more "inside” than Coltrane’s.</div><div><br /></div><div>Coltrane is exploring extended techniques on the saxophone - overtones, multiphonics, textures - that don’t have much to do with outlining chords. </div><div><br /></div><div><br /></div></blockquote><div>This period of Coltrane's music is sometimes described as "transcendent." This "Body and Soul" track, though it is much more "out" as compared to the earlier versions, is actually one of his more traditional recorded performances from this period. For example, in <a href="https://www.youtube.com/watch?v=6_jL4aq1ob8" target="_blank">Cosmos</a>, at the beginning of the Seattle album, even the concept of "beat" is challenged. </div><div><br /></div><div>It would seem that even in late 1965, "Body and Soul" was still being placed in the set as the ballad that provides a texture that is relatively comfortable (if that's the right word) to the audience. </div><div><br /></div><div>Following the Seattle gig, the group changed dramatically. In November 1965, Coltrane hired Rashied Ali as a second drummer. Presumably he was looking for a more multidimensional rhythmic tapestry. Pharoah Sanders and Donald Garrett also became regular members.<br /><br /><p style="font-stretch: normal; line-height: normal; margin: 0px;">McCoy Tyner left the band at the end of 1965. Here’s a quote cited by Porter: </p><blockquote>What John is doing now is constructive for him, but not as compatible to me as before…I didn’t see myself making any kind of contribution to that music.</blockquote>Another McCoy quote: <br /><blockquote>I felt if I was going to go any further musically, I would have to leave the group, and when John hired a second drummer, it became a physical necessity. I couldn’t hear myself. John was understanding.</blockquote>Elvin Jones left the band in January, 1966. Here is a quote from a "Downbeat" magazine article:</div><div><blockquote>At times I couldn't hear what I was doing - Matter of fact, I couldn't hear what anybody was doing. All I could hear was a lot of noise.</blockquote></div><div>Another Elvin quote, from a radio interview, regarding Coltrane's late music:</div><div><blockquote>Well, of course it's far out, because this is a tremendous mind that's involved, you know. You wouldn't expect Einstein to be playing jacks, you know?</blockquote></div><div><br /></div><div><b>Further reading</b></div><div><br /></div><div>Here’s a great writeup about <a href="https://joebrazilproject.blogspot.com/2021/04/out-of-this-world-john-coltrane-in.html" target="_blank">Coltrane and his music in late 1965</a> by Keith Raether, with reminiscences from the engineer who recorded the “Live in Seattle” album (the article is reprinted on Steve Griggs' website, <a href="https://joebrazilproject.blogspot.com/p/about.html" target="_blank">Joe Brazil Project</a>).</div><div><br /></div><div>Here's <a href="https://peterspitzer.blogspot.com/2016/01/an-incredible-jazz-concert-50-years.html" target="_blank">my account</a> of the only time I saw John Coltrane live, in January 1966, after McCoy Tyner had left, but while there were two drummers, Elvin Jones and Rashied Ali (actually three, counting percussionist Juno Lewis).
<p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>This post draws a fair amount of material from the biography <a href="https://amzn.to/3Lb8L5T" target="_blank">John Coltrane: His Life and Music</a><a href="#"><img border="0" src="https://ir-na.amazon-adsystem.com/e/ir?t=petspimusblo-20&language=en_US&l=li2&o=1&a=047208643X" /></a> by Lewis Porter, and from <a href="https://amzn.to/38eORbp" target="_blank">The John Coltrane Reference</a> by Chris DeVito, Yasuhiro Fujioka, Wolf Schmaler, and David Wild, ed. Lewis Porter. Both are excellent works of jazz scholarship. Click for the Amazon links:</div><div><br /></div><div><br /><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; text-align: center;"><span style="font-family: inherit;"><a href="https://www.amazon.com/John-Coltrane-Music-Michigan-American/dp/047208643X?crid=6PWYP8NY7HM3&keywords=John+Coltrane%3A+His+Life+and+Music&qid=1650760902&sprefix=john+coltrane+his+life+and+music%2Caps%2C135&sr=8-1&linkCode=li2&tag=petspimusblo-20&linkId=eb9fbb49965d625a2116afdced7aa8b3&language=en_US&ref_=as_li_ss_il" target="_blank"><img border="0" src="//ws-na.amazon-adsystem.com/widgets/q?_encoding=UTF8&ASIN=047208643X&Format=_SL160_&ID=AsinImage&MarketPlace=US&ServiceVersion=20070822&WS=1&tag=petspimusblo-20&language=en_US" /></a><img alt="" border="0" height="1" src="https://ir-na.amazon-adsystem.com/e/ir?t=petspimusblo-20&language=en_US&l=li2&o=1&a=047208643X" style="border: none; margin: 0px;" width="1" /><span style="text-align: left;"> </span><a href="https://www.amazon.com/John-Coltrane-Reference-Lewis-Porter/dp/0415634636?crid=3DM5Z9HRX0YUA&keywords=The+John+Coltrane+Reference&qid=1649571682&sprefix=the+john+coltrane+reference%2Caps%2C307&sr=8-1&linkCode=li2&tag=petspimusblo-20&linkId=b4b04fdd254dde9d4da04543cb79c805&language=en_US&ref_=as_li_ss_il" style="text-align: left;" target="_blank"><img border="0" src="//ws-na.amazon-adsystem.com/widgets/q?_encoding=UTF8&ASIN=0415634636&Format=_SL160_&ID=AsinImage&MarketPlace=US&ServiceVersion=20070822&WS=1&tag=petspimusblo-20&language=en_US" /></a></span></p></div><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /><span style="font-family: inherit;"></span></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-68258264695945632352022-04-03T19:12:00.009-07:002022-04-03T23:15:38.318-07:00"Body and Soul" - What was the original key?<p><span style="font-family: inherit;">Recently I spent several lessons with a student analyzing transcriptions of John Coltrane's version of "Body and Soul," as played on the "Coltrane's Sound" album.</span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">As often happens, that effort brought up some questions. One was, why do we play it in Db? Was that really the original key? </span></p>
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<p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">One of my college teachers, Eddy Flenner, who had been an arranger in the 1930s, told me that the tune was originally written in the key of C, but was often taken up a half step “to brighten it up.” This idea seemed questionable to me, as it would assume that most listeners can somehow perceive the difference in keys. I don't think that people generally have perfect pitch, even subliminally.</span></p>
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<p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">It turns out that the 1930 sheet music was indeed in the key of C (click to enlarge):</span></p><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p>
<div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAHkuzySZhUSWeB1vk1_t7wAyDTSXG-up_rkvM34TRzWlrSFWQcWe-p5PPtu3BHPwV8AZ8-FDa6BVAOI_1fe8EDCXVWM13et9RMQkuBgmCGKPTB0mOrCndaF1m1o8JHXi_RyIsyrNoPVYey-H3BjJ5_6OA60K7Zi6rkNoSrVw4rhRmDLwz181-ZoYt/s814/Body%20and%20Soul%20last%20page.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTZseAtMcE-FLPw2ZUp0Nxn1M_iupi8ORn1lupReMt98K9Xv6xQDsWvlHv9zBiSfFG2nhPliYqrbUF4yilTEVYobZAHjEPx18tsR82Z6Bil6kqZG082biTjAycOXWdHa8ojHwRnU5K3IEbYF3l_6O6XoxjVRV82jKFUxoQ1VttDdfMfdJlGMkJtyYd/s499/Body%20and%20Soul%20cover.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="369" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTZseAtMcE-FLPw2ZUp0Nxn1M_iupi8ORn1lupReMt98K9Xv6xQDsWvlHv9zBiSfFG2nhPliYqrbUF4yilTEVYobZAHjEPx18tsR82Z6Bil6kqZG082biTjAycOXWdHa8ojHwRnU5K3IEbYF3l_6O6XoxjVRV82jKFUxoQ1VttDdfMfdJlGMkJtyYd/w238-h320/Body%20and%20Soul%20cover.png" width="238" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAHkuzySZhUSWeB1vk1_t7wAyDTSXG-up_rkvM34TRzWlrSFWQcWe-p5PPtu3BHPwV8AZ8-FDa6BVAOI_1fe8EDCXVWM13et9RMQkuBgmCGKPTB0mOrCndaF1m1o8JHXi_RyIsyrNoPVYey-H3BjJ5_6OA60K7Zi6rkNoSrVw4rhRmDLwz181-ZoYt/s814/Body%20and%20Soul%20last%20page.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="814" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAHkuzySZhUSWeB1vk1_t7wAyDTSXG-up_rkvM34TRzWlrSFWQcWe-p5PPtu3BHPwV8AZ8-FDa6BVAOI_1fe8EDCXVWM13et9RMQkuBgmCGKPTB0mOrCndaF1m1o8JHXi_RyIsyrNoPVYey-H3BjJ5_6OA60K7Zi6rkNoSrVw4rhRmDLwz181-ZoYt/w237-h320/Body%20and%20Soul%20last%20page.png" width="237" /></a></div><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">"Body and Soul" was originally written for the British singer Gertrude Lawrence, but she apparently never recorded it.</span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">The website jazzhistoryonline.com lists <a href="https://jazzhistoryonline.com/body-and-soul/" target="_blank"><span>17 early versions of “Body and Soul</span>,”</a> all from the year 1930, with sound files of each recording. Five are in Db, 3 in C, 3 in Bb, 2 in Eb, 2 in F, and one each in G and Ab (I'm leaving out some modulations within the arrangement). </span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">True, different keys would have often been chosen to fit a vocalist’s range, or </span>could be the result of inaccurate recording speed or playback speed<span style="font-family: inherit;">. But with the sheet music in C, and with so many early recordings in Db, I have to consider that perhaps Eddy was right after all.</span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">In one of these 1930 versions, Louis Armstrong begins in Eb with trumpet, modulates to C for his vocal, and finishes in F#. Louis uses a different set of lyrics, as explained in the article:</span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="222" src="https://www.youtube.com/embed/YpGZBr-RYK8" width="267" youtube-src-id="YpGZBr-RYK8"></iframe></div><br /><p></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><br /></p>
<p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Some other early jazz versions:</span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><table cellpadding="0" cellspacing="0" style="border-collapse: collapse;">
<tbody>
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<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Red Allen</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;">1934</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px;">solo in C, modulates to Ab</p>
</td>
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<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 13px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Benny Goodman</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 13px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;">1935</p>
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<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 13px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px;">Db</p>
</td>
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<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Django Reinhardt</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;">1937</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px;">Eb</p>
</td>
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<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Chu Berry and Roy Eldridge</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;">1938</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px;">C (Chu), to Db (Roy), back to C</p>
</td>
</tr>
<tr>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Coleman Hawkins</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;">1939</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px;">Db</p>
</td>
</tr>
<tr>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 13px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Art Tatum</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 13px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;">1938, 1940, 1941</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 13px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px;">B</p>
</td>
</tr>
<tr>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Art Tatum</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;">1937, 1943</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px;">Db</p>
</td>
</tr>
<tr>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Art Tatum</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;">1953</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px;">C</p>
</td>
</tr>
<tr>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Billie Holiday</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;">1940</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px;">Ab</p>
</td>
</tr>
<tr>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 13px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Charlie Parker</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 13px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;">1942</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 13px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px;">Db</p>
</td>
</tr>
<tr>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Charlie Parker</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;">1943</p>
</td>
<td style="border-color: #808080 #808080 #808080 #808080; border-style: solid; border-width: 1.0px 1.0px 1.0px 1.0px; border: 1px solid rgb(128, 128, 128); height: 14px; padding: 4px; width: 147px;" valign="top">
<p style="font-family: "Helvetica Neue"; font-size: 10px; font-stretch: normal; line-height: normal; margin: 0px;">Db</p>
</td>
</tr>
</tbody>
</table><br />
<p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">On the Chu Berry/Roy Eldridge recording, guitarist Danny Barker plays an intro that strongly resembles the piano vamp intro in the <a href="https://www.youtube.com/watch?v=4azzupZwiy4" target="_blank">Coltrane’s Sound</a> recording. I could believe that Coltrane’s intro referenced Chu Berry's. I should also mention that the modulation up a half step for Roy's trumpet solo (from C to Db) would definitely have a "brighten it up" effect within the arrangement:</span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="208" src="https://www.youtube.com/embed/Lor80WUVbtw" width="250" youtube-src-id="Lor80WUVbtw"></iframe></div><br /><p></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><br /></p>
<p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">Tatum’s key of B may seem to have been a glitch in recording speed or playback speed, but that's how it sounds on three different recordings. Tatum would have had no problem with that key, or any other. In 1937 he recorded it in Db, in 1953 he recorded it in C.</span></p>
<p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: inherit;"><br /></span></p>
<p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">The key of Db for jazz versions was set in stone with Coleman Hawkins’ definitive 1939 recording, a jazz version that was also a best-seller:</span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="210" src="https://www.youtube.com/embed/zUFg6HvljDE" width="253" youtube-src-id="zUFg6HvljDE"></iframe></div><br /><p></p><p style="font-stretch: normal; line-height: normal; margin: 0px; text-align: center;"><br /></p>
<p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">In Lewis Porter’s <a href="https://amzn.to/3LDJyk7" target="_blank">John Coltrane: His Life and Music</a>, there is an interesting quote from Jimmy Heath:</span></p>
<p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"></span></p><blockquote><span style="font-family: inherit;">We were talking about the fact that the older tenor players like Hawkins and Webster played in the key of D-flat because it was the heaviest key for tenor - gets the best sound. “Body and Soul,” all those tunes were in D-flat…Trane said, “I’m going to practice in D-flat.” Being who he was, he would zoom in and practice in D-flat for the next six months.</span></blockquote><p></p>
<p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">It’s true that concert Db is a fat-sounding key on tenor, especially on the lower notes. However, though Hawkins played the head to “Body and Soul” in the lower register; Coltrane favored the higher register of the tenor, and played the head an octave higher than Hawkins did.</span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">In the next post, I'll discuss John Coltrane's recordings of "Body and Soul" from 1960, 1962, and 1965.</span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;">To close, here's Billie Holiday in 1940. I'm including this just because it's so nice.</span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: inherit;"><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="229" src="https://www.youtube.com/embed/sr_vB-IgXGc" width="276" youtube-src-id="sr_vB-IgXGc"></iframe></div><br /><span style="font-family: inherit;"><br /></span><p></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><br /></p>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com2tag:blogger.com,1999:blog-5089926376300913992.post-59258223902881841842021-12-22T18:31:00.008-08:002022-12-26T16:25:50.748-08:00Tunes published in 1926 will be entering public domain in 2022<p>As of January 1, 2022, U.S. copyright will expire for works published in 1926, including the following songs: </p><div>(What Can I Say) After I Say I'm Sorry (Walter Donaldson and Abe Lyman)</div><div>Baby Face (Harry Akst)</div><div>Birth of the Blues ((Ray Henderson)</div><div>Black Bottom (Ray Henderson) - See note below</div><div>Black Bottom Stomp (Jelly Roll Morton) - See note below</div><div>Blue Room (Rodgers and Hart)</div><div>Blue Skies (Irving Berlin) - Sheet music pub. 1927, but first performed 1926</div><div>Bye Bye Blackbird (Ray Henderson)</div><div>East St. Louis Toodle-Oo (Duke Ellington and Bubber Miley)</div><div>If I Could Be With You (One Hour Tonight) (James P. Johnson)</div><div>Mountain Greenery (Rodgers and Hart)</div><div>Muskrat Ramble (Kid Ory) - See note below</div><div>Someone to Watch Over Me (George and Ira Gershwin)</div><div>When the Red, Red Robin (Comes Bob, Bob, Bobbin' Along) (Harry Woods) </div><div><br /></div><div>This year, the big ones would seem to be Birth of the Blues, Blue Room, Blue Skies, Bye Bye Blackbird, and Someone to Watch Over Me. </div><div><br /></div><div>In classical music, notable pieces entering public domain are Bartok's Piano Concerto #1, Copland's Piano Concerto, and Puccini's Turandot.</div><div><br /></div><div>For more popular, jazz, and classical pieces entering the public domain, see the Wikipedia page <a href="https://en.wikipedia.org/wiki/1926_in_music" target="_blank">1926 in Music</a>.</div><div><br /></div><div><div>United States copyright law is quite restrictive as compared to many other countries. According to the provisions of the Copyright Act of 1976 and the Copyright Term Extension Act of 1998 (aka "Mickey Mouse Protection Act"), works published or registered before 1978 remain under copyright for 95 years.</div><div><br /></div><div>With the passage of the 1998 law, the cutoff date for works entering the public domain became 1922, with any works published in 1923 or later remaining under copyright. Beginning in 2019, however, the clock began running again, with each new year bringing one more year of songs and other works into the public domain. Over the next 20 years or so, most "Golden Age" jazz standards will lose copyright protection.<br /><br />Many other countries have shorter terms of copyright; one common formula is the life of the author plus fifty years (see <a href="https://en.wikipedia.org/wiki/List_of_countries%27_copyright_lengths" target="_blank">this table</a>). For example, in Canada you can record pieces written by Wes Montgomery (d. 1968) John Coltrane (d. 1967), Igor Stravinsky (d. 1971), or Louis Armstrong (d. 1971).</div></div><div><br /></div><div>Looking ahead, Mickey Mouse will become fair game in the US in 2024, unless Congress is somehow persuaded to change the present copyright law. </div><div><br /></div><div>Notes:</div><div><br /></div><div>"Black Bottom" was actually a dance, not one particular song. There were several popular songs that included "Black Bottom" in the title. The first was "Original Black Bottom Dance," copyrighted in 1919 by Perry Bradford (it included instructions for the steps in the dance). Yet another song, recorded by Ma Rainey in 1927, "Ma Rainey's Black Bottom," provided the title for a recent stage play and film. The term "Black Bottom" referred to a <a href="https://en.wikipedia.org/wiki/Black_Bottom,_Detroit" target="_blank">neighborhood in Detroit</a>. A short, informative history of the dance can be found <a href="https://www.definitions.net/definition/black+bottom" target="_blank">here</a>.</div><div><br /></div><div>"Muskrat Ramble" has an interesting copyright history, detailed in its <a href="https://en.wikipedia.org/wiki/Muskrat_Ramble" target="_blank">Wikipedia entry</a>:</div><div><br /></div><div>• Kid Ory received no royalties until 1947, when Barney Bigard took him to the offices of the company that held the copyright. At that point, the company paid him retroactive royalties, and quarterly royalties thereafter.</div><div><br /></div><div>• In 1950, Ray Gilbert wrote lyrics to "Muskrat Ramble" without Ory's permission, and in 1951 demanded that ASCAP issue a decision entitling him to a share of royalties. In 1956 ASCAP decided in Gilbert's favor, and decreed that he was entitled to a one-third share, retroactive to 1950 - in my opinion, setting a very questionable precedent.</div><div><br /></div><div>• In 2001 Babette Ory, Kid Ory's daughter, sued Country Joe McDonald for his use of a section of <a href="https://www.youtube.com/watch?v=sLaFT7GB34s" target="_blank">Muskrat Ramble</a> in Country Joe's <a href="https://www.youtube.com/watch?v=Ml4yXWIjgGI" target="_blank">Feel Like I'm Fixin' to Die Rag</a> (at 0:20 in the Ory link, 0:39 in the Country Joe link). The court ruled against Babette and in favor of McDonald. From Wikipedia:</div><blockquote>This suit was dismissed due to the lateness of the filing. Since decades had already passed from the time McDonald composed his song in 1965, Ory based her suit on a new version of it recorded by McDonald in 1999. Judge Nora Manella, then of the United States District Court for the Central District of California, upheld McDonald's <a href="https://en.wikipedia.org/wiki/Laches_(equity)">laches</a> defense, noting that Ory and her father were aware of the original version of the song, with the same questionable section, for some three decades without bringing a suit. This ruling was upheld by the United States Court of Appeals for the Ninth Circuit in 2005, and Ory was also ordered to pay McDonald's substantial attorneys' fees.</blockquote><p> </p><div><a href="https://en.wikipedia.org/wiki/Copyright_law_of_the_United_States" target="_blank">Copyright Law of the United States</a> (Wikipedia)</div><div><br /></div>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com2tag:blogger.com,1999:blog-5089926376300913992.post-18922734072500983632021-11-20T22:50:00.009-08:002021-11-22T14:51:37.127-08:00Eubie Blake's "Memories of You" and Edward MacDowell's "To a Wild Rose"<p>There is an interesting similarity between Eubie Blake's song "Memories of You" (1930) and Edward MacDowell's piano miniature "To a Wild Rose" (1896). It's not so much in the exact notes of the melody, as it is in the rhythms, the pattern of repeated notes, the melodic curve, and the mood. I'm thinking mostly of the first 8 measures. Below are the opening bars of the two songs:<br /></p><p>"Memories of You" <br /></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-T0o_qf62AbA/YZlD1EfLxUI/AAAAAAAABQg/cuMyvbscHOk5aLTn-mSEwpZk79wfMpgzgCLcBGAsYHQ/memories%2Bof%2Byou.png" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="577" data-original-width="2000" height="116" src="https://lh3.googleusercontent.com/-T0o_qf62AbA/YZlD1EfLxUI/AAAAAAAABQg/cuMyvbscHOk5aLTn-mSEwpZk79wfMpgzgCLcBGAsYHQ/w400-h116/memories%2Bof%2Byou.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">"To a Wild Rose"</div></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-Vv6YtPMiq-Q/YZlIam88g6I/AAAAAAAABRA/mOyA78BPV2gQYHtXLkxKzRw11pwwLC3BwCLcBGAsYHQ/to%2Ba%2Bwild%2Brose%2B8%2Bbars.PNG" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img alt="" data-original-height="553" data-original-width="884" height="250" src="https://lh3.googleusercontent.com/-Vv6YtPMiq-Q/YZlIam88g6I/AAAAAAAABRA/mOyA78BPV2gQYHtXLkxKzRw11pwwLC3BwCLcBGAsYHQ/w400-h250/to%2Ba%2Bwild%2Brose%2B8%2Bbars.PNG" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Eubie would certainly have been familiar with the MacDowell composition. "To a Wild Rose" was a well-known, beloved piece of piano parlor music in the early 1900s. Eubie may or may not have been aware that he was paraphrasing, but I think the similarity is pretty clear.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Following are some versions of each tune. First, a straight reading of the "To a Wild Rose" sheet music, followed by a great Sonny Rollins interpretation:</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/qVxKM_6d_Rg" width="320" youtube-src-id="qVxKM_6d_Rg"></iframe></div><br /><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/kjtlH_oQwaU" width="320" youtube-src-id="kjtlH_oQwaU"></iframe></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Here are some versions of "Memories of You" from Eubie Blake (with a florid introduction), Benny Goodman, and Clifford Brown:</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/b5iwEksjWpc" width="320" youtube-src-id="b5iwEksjWpc"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Zlak-Jeo1Zk" width="320" youtube-src-id="Zlak-Jeo1Zk"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/lh8GRYQtx2Q" width="320" youtube-src-id="lh8GRYQtx2Q"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">"Memories of You" has been recorded by many popular and jazz artists, but "To a Wild Rose" not so often. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">However, I should not neglect to mention Elvis Presley's appropriation of the melody of “To a Wild Rose” for his tune “Am I Ready” (lyrics by Sid Tepper and Roy C. Bennett). It's one of several Elvis tunes that used borrowed melodies, with newer lyrics added. Here are some more: </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">"It's Now or Never" (melody from the 1898 Italian song "O Sole Mio," new lyrics by Wally Gold and Aaron Schroeder)</div><div class="separator" style="clear: both; text-align: left;">"Love Me Tender" (melody from the 1861 song "Aura Lea," new lyrics by Ken Darby)</div><div class="separator" style="clear: both; text-align: left;">"Can't Help Falling in Love" (melody from the 1784 French song "Plaisir d'amour," new lyrics by Hugo Peretti, Luigi Creatore, and George David Weiss).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">For some historical background on the MacDowell and Blake pieces, see the Wikipedia entries for <a href="https://en.wikipedia.org/wiki/To_a_Wild_Rose" target="_blank">To a Wild Rose</a> and <a href="https://en.wikipedia.org/wiki/Memories_of_You" target="_blank">Memories of You</a>. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">"To a Wild Rose" was composed as the first of 10 pieces in a suite, <a href="https://en.wikipedia.org/wiki/Woodland_Sketches" target="_blank">Woodland Sketches</a> (Op. 51). The Wikipedia entry for "Woodland Sketches," citing a <a href="https://archive.org/details/edwardmacdowell00port/page/118/mode/2up" target="_blank">1922 MacDowell biography</a>, states that the melody for "To a Wild Rose" was based on a song of the <a href="https://en.wikipedia.org/wiki/Brothertown_Indians" target="_blank">Brothertown Indians</a>. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">The "Woodland Sketches" article seems to suggest that MacDowell had seen the melody in a book on Native American music by Theodore Baker (1882). Baker's book is <a href="https://archive.org/details/berdiemusikdern01bakegoog/page/n5/mode/2up" target="_blank">accessible online</a>. It's in German, but the musical examples are in standard notation. I took a look at it, and must say that I could not find any musical example in that book that reminded me of "To a Wild Rose." There was one melody collected from the "Brotherton Indians," but it bore no resemblance. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Maybe MacDowell picked up the melody from another source - but it's worth noting that MacDowell was living in New Hampshire, while the Brotherton Indians were (and are) in Wisconsin. Regardless, I suppose one can hear that MacDowell could have been trying for a Native American sound in his melody.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Here's the complete sheet music for "To a Wild Rose" (public domain):</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: left;"><div style="text-align: center;"><a href="https://lh3.googleusercontent.com/-bMhCdGyfBUU/YZq3KY9ugsI/AAAAAAAABRI/bUlt1liwy9IrvCqS1NotHMRvG2uqPPGMQCLcBGAsYHQ/to%2Ba%2Bwild%2Brose%2Bp.1.PNG" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1185" data-original-width="985" height="640" src="https://lh3.googleusercontent.com/-bMhCdGyfBUU/YZq3KY9ugsI/AAAAAAAABRI/bUlt1liwy9IrvCqS1NotHMRvG2uqPPGMQCLcBGAsYHQ/w533-h640/to%2Ba%2Bwild%2Brose%2Bp.1.PNG" width="533" /></a></div><div style="text-align: center;"> </div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-Q_4YB_2pI8Q/YZq3Ujp_RQI/AAAAAAAABRM/IYxRzv1u4W8EIvxzi-eCuQToEQbhtCLtACLcBGAsYHQ/to%2Ba%2Bwild%2Brose%2Bp.2.PNG" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1186" data-original-width="985" height="640" src="https://lh3.googleusercontent.com/-Q_4YB_2pI8Q/YZq3Ujp_RQI/AAAAAAAABRM/IYxRzv1u4W8EIvxzi-eCuQToEQbhtCLtACLcBGAsYHQ/w533-h640/to%2Ba%2Bwild%2Brose%2Bp.2.PNG" width="533" /></a></div></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p style="text-align: right;"></p>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-64810117000457254802021-07-20T11:03:00.009-07:002021-07-23T10:07:45.753-07:00Aerosol dispersal in wind instruments<p>The pandemic has presented serious challenges for education. As a clarinet and saxophone teacher, I have become very much aware in the last year of the drawbacks and limitations of online music teaching. I have been trying to evaluate the relative safety of teaching in person again. I am fully vaccinated, and would expect that of any students I see in person, but that doesn't guarantee total safety.</p><p>Opinions of my fellow teachers span the full range. Although my community (Santa Clara County, California) has a high vaccination rate and relatively low incidence of infection, conditions are constantly changing.</p><p>One piece of the puzzle is to what degree we should be concerned about aerosol dispersal from wind instruments. Here are links to four studies available on the internet, with some takeaways. </p><p>I am not implying any conclusion as to the safety of in-person lessons, as there are other important considerations besides just aerosol dispersal and safe distancing.</p><p>1) <a href="https://www.sciencedaily.com/releases/2021/06/210629120841.htm"><span style="font-family: inherit;">https://www.bristol.ac.uk/news/2021/june/perform2-study.html</span></a> - University of Bristol </p><p>"<span style="font-family: inherit;"><span style="caret-color: rgb(51, 51, 51); color: #333333;">Aerosol generated by playing woodwind and brass instruments is less than that produced when vocalising (speaking and singing) and is no different than a person breathing, new research has found."</span></span></p><p><span style="font-family: inherit;"><span style="caret-color: rgb(51, 51, 51); color: #333333;">2) </span></span><span style="font-family: inherit;"><a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7492159/">https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7492159/</a></span> - University of Minnesota </p><p><span style="font-family: inherit;">"<span style="background-color: white;">Specifically, tuba produces fewer aerosols than normal breathing, while the concentrations from bassoon, piccolo, flute, bass clarinet, French horn, and clarinet stay within the range of normal breathing and speaking. Trumpet, oboe, and bass trombone tend to generate more aerosols than speaking."</span></span></p><p><span style="font-family: inherit;"><span style="background-color: white;">A second phase of this project is described in <a href="https://twin-cities.umn.edu/news-events/musical-instruments-dont-spread-aerosols-far-you-might-think" target="_blank">this article</a>, with an interesting observation:</span></span></p><p><span style="font-family: inherit;"><span><span style="background-color: white;">"</span></span><span style="caret-color: rgb(51, 51, 51); color: #333333;">In the second phase of the study, Hong’s team used probes to measure how far the aerosols travel from each instrument inside Orchestra Hall. They found that the flow was very confined, and the aerosols dispersed quickly. At only 10 centimeters (about 4 inches) away from the instrument outlet, the aerosol concentration was less than 10 percent of what it was at the source, and no instruments showed an appreciable influence of flow beyond 30 centimeters (about 1 foot).</span></span></p><span style="font-family: inherit;"><span style="caret-color: rgb(51, 51, 51); color: #333333;">Part of this, the researchers said, is due to the human thermal plume effect, which refers to the upward air flow created by a person’s temperature being higher than the air around them. The majority of the aerosols are carried upward by this draft.</span><br style="box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333;" /><span style="caret-color: rgb(51, 51, 51); color: #333333;"> </span><br style="box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333;" /><span style="caret-color: rgb(51, 51, 51); color: #333333;">“The second part of the study is to help understand where the aerosols go,” Hong explained. “They’re not necessarily spreading horizontally—they are rising vertically. So, this will help us to optimize the placement of filters and the social distancing between individuals.”</span><br style="box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333;" /><span style="caret-color: rgb(51, 51, 51); color: #333333;"> </span><br style="box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333;" /><span style="caret-color: rgb(51, 51, 51); color: #333333;">Because of the thermal plume effect, they found the most efficient placement of filters would likely be above the musicians—resulting in a 95 percent particle extraction rate. Another strategy could be to reduce the temperature inside Orchestra Hall, which would increase the temperature difference between the people and the environment, ultimately making the plume stronger and the filters more effective."</span></span><p><span style="font-family: inherit;"><span style="background-color: white;">3) </span></span><a href="https://www.medrxiv.org/content/10.1101/2021.01.25.20248984v1.full">https://www.medrxiv.org/content/10.1101/2021.01.25.20248984v1.full</a> - <span style="background-color: white; font-family: inherit;">Bavarian Symphony Orchestra (measured extent of aerosol cloud) (preliminary paper, not peer-reviewed) </span></p><p><span style="font-family: inherit;"><span style="background-color: white;">"</span><span style="background-color: white; caret-color: rgb(25, 25, 25); color: #191919;">A distance of 2 m to the front and 1.5 m to the side should be recommended for trumpet and clarinet, 3 m to the front for the cross flutes in an orchestral formation. Our findings could be applied to other orchestral instruments, so other brass instruments such as tuba, trombone or horn may be similar to the trumpet. It could be expected that an oboe and a bassoon have the same or less dispersion than a clarinet. The largest distance occurred during playing the cross flutes. For the risk assessment, the individual playing style, different instrument-specific playing techniques as well as convectional flows in the specific rooms and at least the accumulation of aerosols during playing should also be taken into account."</span></span></p><p><span style="font-family: inherit;"><span>4)</span><a href="https://www.makingmusic.org.uk/sites/makingmusic.org.uk/files/Measurement%20of%20aerosol%20from%20brass%20and%20woodwind%20instruments%20.pdf">https://www.makingmusic.org.uk/sites/makingmusic.org.uk/files/Measurement%20of%20aerosol%20from%20brass%20and%20woodwind%20instruments%20.pdf</a><span> - University of Southern Denmark</span></span></p><span style="font-family: inherit;">"The emission of aerosol measured from brass and woodwind instruments was very low, and almost at the same level as background concentrations. Other experiments have shown very little airflow and very small aerosol concentrations at short distances from brass and woodwind instruments. Based on the actual measurements and the other studies mentioned 1 meter distance playing brass and woodwind instruments seems to be safe with respect to the risk of spreading aerosol from the instruments. This assumes that musicians blow towards the back of fellow musicians.<br /><br /><br />Please note: To be clear, I'm listing these studies for the benefit those who may be interested, but I am not trying to make a case for immediately resuming in-person instruction. Other factors would influence that decision, and teachers will weigh these factors as they see fit. The papers listed above have more detailed information than the short quotes I have provided. If you are interested, please follow the links and read the articles more carefully.<br /></span><br />Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com1tag:blogger.com,1999:blog-5089926376300913992.post-75195625183149060162021-06-29T16:41:00.002-07:002021-06-29T16:49:23.624-07:00Review: Scaling New Heights: Major Scale Duets on Keyboard Classics, by Laura Spitzer<div class="separator" style="clear: both; text-align: center;"><a href="https://www.amazon.com/gp/product/B096TQ6VH1/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B096TQ6VH1&linkCode=as2&tag=petspimusblo-20&linkId=ad2e586099aa76fa5d9deba4c9e7e978" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img border="0" height="200" src="//ws-na.amazon-adsystem.com/widgets/q?_encoding=UTF8&MarketPlace=US&ASIN=B096TQ6VH1&ServiceVersion=20070822&ID=AsinImage&WS=1&Format=_SL160_&tag=petspimusblo-20" width="157" /></a></div><div style="text-align: center;"></div><div><p></p></div><span style="text-align: center;"><div style="text-align: left;"><span>Here's a new </span><span style="text-align: left;">publication that piano teachers and their students will enjoy, Laura Spitzer's </span><a href="https://www.amazon.com/gp/product/B096TQ6VH1/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B096TQ6VH1&linkCode=as2&tag=petspimusblo-20&linkId=5c596c7add17df60778d098b4df21e3f" style="text-align: left;" target="_blank">Scaling New Heights - Major Scale Duets on Keyboard Classics</a><span style="text-align: left;">. This book presents an innovative, fun approach to learning scales. It's a clever idea, and I wish I had though of it! (Full disclosure - Laura is my sister.)</span></div></span><div><div><br /></div><div>18 well-known classical pieces are arranged as duets for students and teachers to play together. The teacher ("secondo") parts consist of short arrangements of the pieces. The student ("primo") parts consist of major scales, rhythmically adapted to harmonize with the teacher's part. <div><p>The pieces are in their original keys, and have been chosen to cover all 12 major scales, moving around the circle of fifths. Each primo part presents at least two ascending and descending runs of the scale.</p><p>In case the teacher is not available to play the secondo part, or as a practice aid, recordings of all of the pieces are available online, at <a href="http://lauraspitzer.com">lauraspitzer.com</a>. There are two sets of recordings - one set with both parts being played, and another with only the teacher's secondo parts.</p><p>Here's a sample:</p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-crRMeg7Z8Xo/YNubsa9vfgI/AAAAAAAABPM/nXKKOUd3losTyRjNHsX8H9vIk_4_paM3QCLcBGAsYHQ/the-entertainer-1.jpg.webp" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1023" data-original-width="791" height="640" src="https://lh3.googleusercontent.com/-crRMeg7Z8Xo/YNubsa9vfgI/AAAAAAAABPM/nXKKOUd3losTyRjNHsX8H9vIk_4_paM3QCLcBGAsYHQ/w498-h640/the-entertainer-1.jpg.webp" width="498" /></a></div><div><br /></div>The student parts (scales) may be played with either left or right hand or both, in a higher or lower octave if student and teacher are sharing a keyboard, or in any octave if two separate keyboards are being used.</div><div><br /></div><div>Since the student parts are consistently scalar, the duets also serve as a basic exercise in rhythm reading, and in synchronizing with a duet partner.</div><div><br /></div><div>Pieces include The Entertainer (Joplin), Soldier's March (Schumann), Canon in D (Pachelbel), Humoresque (Dvorak), Gymnopedie No. 1 (Satie), and more - 18 titles, with additional alternate versions of three of the titles.<br /><p></p><p>Although this book is written for pianists, I can certainly see a way to adapt it for other instruments (like the ones I teach, clarinet and saxophone). It would be easy enough to use the online secondo recordings, and ask the student to transpose the primo parts as appropriate for Bb or Eb instruments. This could serve as a lesson in transposing from concert key, and shouldn't be particularly hard for students, since the primo parts move scalewise. For violin or flute, no transposing would be necessary!</p><p><a href="https://www.amazon.com/gp/product/B096TQ6VH1/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B096TQ6VH1&linkCode=as2&tag=petspimusblo-20&linkId=5c596c7add17df60778d098b4df21e3f" target="_blank">Scaling New Heights</a> is available on Amazon - just click the link. For more about the author, visit <a href="http://lauraspitzer.com">lauraspitzer.com</a>.</p><p><br /></p></div></div></div>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-65301885973398471272021-03-22T11:37:00.002-07:002021-03-22T15:42:20.605-07:00Review: Six Bach Cello Suites, arranged for saxophone by Trent Kynaston<p>Over the past year of social isolation, teaching via Zoom, I and some of my students have gotten a lot of enjoyment playing saxophone transcriptions of the six Bach Cello Suites. We've been using <a href="https://www.amazon.com/gp/product/3892213798/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=3892213798&linkCode=as2&tag=petspimusblo-20&linkId=a0c9607416198deb1cb05c73955afeb3" target="_blank">Six Suites for Violoncello Solo</a>, transcribed and edited by Trent Kynaston (Advance Music, 1995). The music is perfect for our present situation - Bach wrote the Suites for unaccompanied cello; the pieces are self-contained, with harmony and counterpoint embedded in the melodic lines. The music is uplifting and satisfying in its beauty and logical perfection. </p><p>As teaching material, it's very effective. In normal times, I use duets quite a bit in teaching. It's not possible to play duets on Zoom, due to lag, but the unaccompanied Bach pieces can be taught through demonstration, and don't need any accompaniment to sound complete. In Kynaston's transcriptions, the pieces mostly sit well on the saxophone, and are just challenging enough for an advanced high school player.</p><p>Saxophonists are at a bit of a disadvantage when it comes to classical repertoire. Because the instrument was invented in the 1840s, it wasn't in existence for Bach, Haydn, Mozart, or Beethoven. Even through the 1800s, it was slow to be accepted in the world of classical music. If I want to familiarize students with classical "common practice" music, I've used pieces like the Ferling etudes (originally for oboe), or Kuhlau flute duets (playable on saxophone). Kynaston's Bach transcriptions have really filled a need. I can recommend them to teachers, as well as to saxophonists who would enjoy hearing Bach "from the inside," so to speak.</p><p>The book is not entirely error-free. One note puzzled me enough that I did some internet research, looking for an original manuscript, to check that note. In his preface, Kynaston states that his edition, as well as all others since 1825, is based on a manuscript "in Bach's own hand, held in the Prussian State Library in Berlin." He states that the manuscript showed no articulation marks, and that he had added articulations that are stylistically appropriate, and effective for saxophone. He advises readers to feel free to change them, if we prefer. For the most part, I like his articulations as printed.</p><p>The question of original sources led me to <a href="http://jsbachcellosuites.com" target="_blank">jsbachcellosuites.com</a>, a great website that, among other things, displays facsimiles of the four most definitive extant manuscripts of the Cello Suites. One was copied by Anna Magdalena Bach (Johann Sebastian's second wife), another by Johann Peter Kellner. Both of these copies were created in J. S. Bach's lifetime. The other two manuscripts were created somewhat later, by persons unknown. There is no known existing manuscript by J. S. Bach himself. Kynaston was undoubtedly referring to the version by Anna Magdalena. This version has served as the basis for most (but not all) of the editions printed in the last two centuries. Kynaston was not the only editor over the years to have mistakenly assumed that Anna Magdalena's version was in J. S. Bach's hand.</p><p>Anna Magdalena's version does in fact show slurs, which may represent bowing indications, rather than slurs as wind instrument players understand them. But still, bowing decisions do result in certain phrasing. Articulation and phrasing are intertwined concepts. Unfortunately, the exact placement of her slur marks is often unclear. The slur markings in this source might not actually have been so useful for a sax edition.</p><p>Digging a little deeper, I ran across a 2016 <a href="https://ses.library.usyd.edu.au/bitstream/handle/2123/16436/szabo_z_thesis.pdf;jsessionid=A56E9008FE41C43264591D778116D2BE?sequence=2#page58" target="_blank">doctoral thesis by Zoltán Szabó</a>. It's an extensive exploration of the sources for the Cello Suites, as well as many of the editions that have been printed between 1824 and 2016. If you're interested in some state-of-the-art scholarship on this subject, it's great reading.</p><p>Szabó makes a strong case that although we have no definitive source for Bach's exact intentions, the manuscript by Kellner may be the closest that we have, as it may have been copied from an original manuscript that J. S. Bach created at a later date than the version that was copied by Anna Magdalena. Szabó discusses articulations, but does not treat that subject extensively; he considers it beyond the scope of his thesis, which already runs to 272 pages.</p><p>Even if we allow that Anna Magdalena's slur markings might be helpful in deciding on appropriate articulations, the extant sources and the various printed versions are nowhere close to agreeing. Below is a page from Szabó's thesis, comparing markings for just one measure, as shown in various sources and editions. Source A is Anna Magdalena; source B is Kellner; sources C and D are the other 18th-century manuscripts; source E is the first printed edition (perhaps based on a different, lost early manuscript).</p><p>All the examples are marked differently:</p><div class="separator" style="clear: both; text-align: left;"><a href="https://1.bp.blogspot.com/-kw4FEmA24GU/YFd-indrSpI/AAAAAAAABOQ/sNnbZOFYIz4Rv5J2V3B_Poi_uPViMTm7QCLcBGAsYHQ/s1557/bach%2Barticulation%2Bdiscrepancies.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1557" data-original-width="1412" height="640" src="https://1.bp.blogspot.com/-kw4FEmA24GU/YFd-indrSpI/AAAAAAAABOQ/sNnbZOFYIz4Rv5J2V3B_Poi_uPViMTm7QCLcBGAsYHQ/w584-h640/bach%2Barticulation%2Bdiscrepancies.jpg" width="584" /></a></div><div><br /></div><div><br /></div>Although the question of appropriate articulations for the Suites has been the subject of endless scholarly discussion, it seems that in the end, players have to consider different printed and recorded sources, and make their own decisions. <div><br /></div><div>The Kynaston edition can be purchased from Amazon through <a href="https://www.amazon.com/gp/product/3892213798/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=3892213798&linkCode=as2&tag=petspimusblo-20&linkId=a0c9607416198deb1cb05c73955afeb3" target="_blank">this link</a>. The Cello Suites have also been transcribed for other instruments, including guitar, mandolin, viola, violin, horn, double bass, clarinet, flute, tenor banjo, trombone, and organ.<div><br /></div><div><br /></div></div>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com1tag:blogger.com,1999:blog-5089926376300913992.post-10774037960554014392021-01-23T23:51:00.005-08:002021-01-24T13:32:11.831-08:00Medical research indicates reduced life span for saxophonists - Joke, or just really bad science?<p>I just ran across a 1999 article from the British medical journal <i>The BMJ</i>, presenting a purported study of "the impact of too much sax on the mortality of famous jazz musicians."</p><p><span style="font-family: inherit;">The article states that saxophonists can be expected to have a reduced lifespan, probably due to frequent use of circular breathing: "<span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333;">Raised pressure in the neck region can increase mortality either by reducing blood supply to the brain (cerebrovascular ischaemia) or venous stasis (thromboembolism)."</span></span></p><p><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333;"><span style="font-family: inherit;">You can <a href="https://www.bmj.com/content/319/7225/1612.full" target="_blank">read the article here</a>.</span></span></p><p><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333;"><span style="font-family: inherit;">The authors of this article appear to be idiots. As scientific method, this study fails in basic ways: </span></span></p><p><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333;"><span style="font-family: inherit;"></span></span></p><blockquote><p></p><ul style="text-align: left;"><li><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333; font-family: inherit;">Their initial assumption, that circular breathing is a common technique, is just wrong, as they could have ascertained by asking any professional sax player. </span></li><li><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333; font-family: inherit;">They ignore or dismiss other probable factors affecting longevity: environment, socioeconomic status, the state of medicine in the early 1900s, stress of a touring musician's lifestyle.</span></li><li><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333;"><span style="font-family: inherit;">Their sample (813 musicians born between 1882 and 1974) is not particularly large, and is not representative of the actual sax-playing population.</span></span></li></ul><p></p></blockquote><p><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333;"><span style="font-family: inherit;"></span></span></p><p><span style="font-family: inherit;">At first reading, I was astounded by what appeared to be incredibly bad science, from authors who had no idea what they were talking about. Upon further reflection, though, I'm pretty sure the authors were just having some fun.</span></p><p><span style="font-family: inherit;">There are a number of giveaways. For example, the caption to the article's Figure 1 states that in circular <span style="font-family: inherit;">breathing,</span></span></p><p><span style="background-color: white; caret-color: rgb(51, 51, 51); font-family: inherit; font-style: inherit; font-variant-caps: inherit;"></span></p><blockquote>Intake of breath fills the chest and stomach; cheeks and neck are inflated when air is halfway up the chest. While forcing air from cheeks and neck into the instrument, the player simultaneously breathes in through the nose to the bottom of the stomach.</blockquote><p>Note: we breathe with lungs, not stomach. </p><p></p><p><span style="caret-color: rgb(51, 51, 51); font-family: inherit;">Figure 2 indicates that not even one saxophonist in the sample reached the age of 70 (a strong indication </span><span style="caret-color: rgb(51, 51, 51); font-family: inherit;">that the authors just made up the figures, and did no actual statistical analysis at all). </span></p><p><span style="caret-color: rgb(51, 51, 51); font-family: inherit;">There were a number of tongue-in-cheek tipoffs, including the statement,</span></p><p><span style="background-color: white; caret-color: rgb(51, 51, 51);"></span></p><blockquote>Further research is, however, needed in this area: it is anticipated that attendance at a number of national and international concert venues would resolve this issue, and the researchers are currently seeking funding for this.</blockquote>Fittingly, the authors of the sax-mortality article closed with a quote from Sonny Rollins, 69 years old at the time of the article, and 90 years old now.<p></p><p><span style="background-color: white; caret-color: rgb(51, 51, 51);"></span></p><p></p><p><span style="background-color: white; caret-color: rgb(51, 51, 51);"></span></p>According to Wikipedia, <a href="https://en.wikipedia.org/wiki/The_BMJ" target="_blank">The BMJ</a> is a respected journal of medical research. However, they have a history of printing less-than-serious articles, for example, a 1974 article describing a condition known as <a href="https://en.wikipedia.org/wiki/The_BMJ#Controversies" target="_blank">cello scrotum</a>, said to afflict male cellists. Although meant as a joke, this article was apparently taken seriously by some in the medical community. 35 years later, in 2009, the author finally wrote a letter to The BMJ revealing that the article had been a hoax.<div><br />Unfortunately, the article on sax-mortality was likewise believed by quite a few people, as you can see in the <a href="https://www.bmj.com/content/319/7225/1612/rapid-responses" target="_blank">responses section in the online article</a>. It's pretty amusing, and worth a read. At least a couple of "real" medical research articles have taken this one seriously enough to cite it as a reference (<a href="https://bmj.altmetric.com/details/1756375/citations" target="_blank">click here</a>).<br /><br />I first ran across the sax-mortality article in a reprint that was posted by the NIH, without any notice that it might be a joke. That wasn't helpful. We don't need any more spurious medical information, particularly concerning saxophones.<p>Some people will believe anything. </p><p><br /></p></div>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-68703941007077397332020-12-27T17:12:00.003-08:002022-12-26T16:26:33.542-08:00Tunes published in 1925 will be entering public domain in 2021<p>As of January 1, 2021, U.S. copyright will expire for works published in 1925, including the following songs: </p><div>Always (Irving Berlin)</div><div>Remember (Irving Berlin)</div><div>Dinah (Harry Akst)</div><div>Sometimes I'm Happy (Vincent Youmans)</div><div>Squeeze Me (Fats Waller) (not to be confused with "Just Squeeze Me" by Duke Ellington)</div><div>Sweet Georgia Brown (Ben Bernie, Maceo Pinkard)</div><div>Manhattan (Rodgers and Hart - aka "I'll Take Manhattan")</div><div>Yes Sir, That's My Baby (Walter Donaldson)</div><div>Don't Bring Lulu (Billy Rose, Lew Brown, Ray Henderson)</div><div>If You Knew Susie (Buddy DeSylva)</div><div>Davenport Blues (Bix Beiderbecke)</div><div>Sweet and Lowdown (George and Ira Gershwin)</div><div>That Certain Feeling (George and Ira Gershwin)</div><div>Bye Bye Blues (Fred Hamm)</div><div>Paddlin' Madelin' Home (Harry M. Woods)</div><div><br /></div><div>This year, the big ones would seem to be Sweet Georgia Brown, Bye Bye Blues, Manhattan, the two Berlin tunes, and the two Gershwin tunes.</div><div><br />In the realm of classical music, Gershwin's "Piano Concerto in F" is losing copyright protection. Other modern classical works entering the public domain are listed on the Wikipedia page <a href="https://en.wikipedia.org/wiki/1925_in_music" target="_blank">1925 in Music</a>, including pieces by Copland, Elgar, Prokofiev, Respighi, Shostakovitch, Sibelius, Stravinsky, Villa-Lobos, and others.<br /><br />United States copyright law is quite restrictive as compared to many other countries. According to the provisions of the Copyright Act of 1976 and the Copyright Term Extension Act of 1998 (aka "Mickey Mouse Protection Act"), works published or registered before 1978 remain under copyright for 95 years.</div><div><br /></div><div>With the passage of the 1998 law, the cutoff date for works entering the public domain became 1922, with any works published in 1923 or later remaining under copyright. Beginning in 2019, however, the clock began running again, with each new year bringing one more year of songs and other works into the public domain. Over the next 20 years or so, most "Golden Age" jazz standards will lose copyright protection.<br /><br />Many other countries have shorter terms of copyright; one common formula is the life of the author plus fifty years (see <a href="https://en.wikipedia.org/wiki/List_of_countries%27_copyright_lengths" target="_blank">this table</a>). For example, in Canada you can record songs written by Wes Montgomery (d. 1968) or John Coltrane (d. 1967), without paying royalties.</div><div><br /></div><div>Last December I posted an <a href="https://peterspitzer.blogspot.com/2019/12/tunes-published-in-1924-will-be.html" target="_blank">article similar to this one</a>, listing tunes that became public domain in 2020. I'll probably do a yearly update - unless Congress messes with copyright law again, to rescue Mickey Mouse from becoming fair game in 2024.</div><div><br /></div><div>Notes:</div><div><br /></div><div>Some internet sources show the copyright date for "Bye Bye Blues" as 1930. Although this is the copyright date shown on the original sheet music, the first recording (by composer Fred Hamm) was released in 1925. According to U.S. copyright law, recordings publicly released can establish the effective copyright date, the same as printed material.</div><div><br /></div><div>Wikipedia cites 1924 as the year that Harry M. Woods wrote "Paddlin' Madelin' Home." However, this appears to be incorrect. <a href="https://secondhandsongs.com/work/143252/all">Secondhandsongs.com</a> shows specific dates in 1925 for both publication and for first live performance; the original sheet music also shows 1925.</div><div><br /></div><div>Cliff Edwards, aka "Ukelele Ike," a popular entertainer in the 1920s, was the one who made "Paddlin' Madelin' Home" into a hit. Edwards had an interesting life in show biz; his <a href="https://en.wikipedia.org/wiki/Cliff_Edwards" target="_blank">Wikipedia bio</a> is worth checking out. Among many other accomplishments, he was the voice of Jiminy Cricket in Disney's "Pinocchio," singing <a href="https://www.youtube.com/watch?v=I_5oOpjQoIA" target="_blank">When You Wish Upon a Star</a>. <br /><br /><a href="https://en.wikipedia.org/wiki/Copyright_law_of_the_United_States" target="_blank">Copyright Law of the United States</a> (Wikipedia)</div><div><br /></div><div><br /></div>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-49469258457636361762020-12-22T18:34:00.001-08:002020-12-22T22:42:17.142-08:00"Children's Games,” “Chovendo na Roseira,” and “Double Rainbow”<p><span style="font-family: inherit;">Here are a few more observations about one of my favorite Tom Jobim compositions (discussed in a </span><a href="https://peterspitzer.blogspot.com/2015/01/chovendo-na-roseira-jobim-and-debussy.html" style="font-family: inherit;" target="_blank">previous post</a><span style="font-family: inherit;">).</span></p><p><span style="font-family: inherit;"><span style="font-family: inherit;">"</span>Children's Games,<span style="font-family: inherit;">"</span> "Chovendo na Roseira," and "Double Rainbow" are alternate titles for the same Jobim song. The chronology seems to go like this:</span></p><p><span style="font-family: inherit;">March, 1970 - The song, titled "Children's Games," was first introduced as a part of the soundtrack for the 1970 film <a href="https://www.imdb.com/title/tt0065374/?ref_=fn_al_tt_1" target="_blank">The Adventurers</a>. At that point it was an instrumental piece. In composing it, Jobim adapted musical material from two Debussy pieces: "Reverie," and <span>"<span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;">Le plus que lente, valse." "Children’s Games," along with other melodies by Jobim, was arranged by Eumir Deodato for the soundtrack (apparently this is the reason that some internet sources credit the song’s first recording to Deodato). The song is played with a swing feel in Jobim's versions, but with a straight beat in some later recordings by others.</span></span></span></p><p><span style="font-family: inherit;"><span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;"><br /></span></span></span></p><p><span style="font-family: inherit;"><span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/AoUwskspLo8" width="320" youtube-src-id="AoUwskspLo8"></iframe></span></span></div><span style="font-family: inherit;"><span><br /><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;"><br /></span></span></span><p></p><p><span style="font-family: inherit;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;">July, </span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;">1970 - Jobim included it in his album "Stone Flower," again with the title "Children’s Games," and again as an instrumental.</span></span></p><p><span style="font-family: inherit;"><span style="color: #222222;"><span style="background-color: white; caret-color: rgb(34, 34, 34);">1971 - Osmir Milito recorded the same song as "Chovendo na Roseira." It now had lyrics in Portuguese, by Jobim. The new title (in English, </span></span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;">"Raining on the Rosebush") reflected the theme of the lyrics. Also in 1971, Luis Carlos Vinhas recorded it with the same title, with the same lyrics. I don't know which of these recordings came first. </span></span></p><p><span style="color: #222222;"><span style="background-color: white; caret-color: rgb(34, 34, 34); font-family: inherit;">1974 - Sergio Mendes and Brasil ‘77 recorded the song with English lyrics by Gene Lees, a fairly close translation of the Portuguese lyrics. The song was re-titled "Double Rainbow." This new English title referenced the English lyrics.</span></span></p><p><span style="color: #222222;"><span style="background-color: white; caret-color: rgb(34, 34, 34); font-family: inherit;">Also in 1974, the song was recorded by Jobim and Elis Regina as part of the "Elis and Tom" album, under the name "Chovendo na Roseira." Elis sings the lyrics in Portuguese.</span></span></p><p><span style="color: #222222;"><span style="background-color: white; caret-color: rgb(34, 34, 34); font-family: inherit;">1980 - Jobim’s album "Terra Brasilis" included the song as an instrumental, arranged by</span></span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;"> </span><a href="https://en.wikipedia.org/wiki/Claus_Ogerman" style="background-color: white; caret-color: rgb(34, 34, 34);" target="_blank">Claus Ogerman</a><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;">, </span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: inherit;">under the title "Chovendo na Roseira." </span></p><p><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: inherit;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="267" src="https://www.youtube.com/embed/iACVq9cY_C4" width="321" youtube-src-id="iACVq9cY_C4"></iframe></div><p><br /></p><p>For sound clips of various early versions of "Chovendo," see this <a href="https://brazilliance.wordpress.com/2016/11/20/song-no-95-chovendo-na-roseira-antonio-carlos-jobim-1970/" target="_blank">nice writeup</a> on the "Brazilliance" website.</p><p>For my previous post on "Chovendo," with some Youtube clips including the Debussy pieces, <a href="https://peterspitzer.blogspot.com/2015/01/chovendo-na-roseira-jobim-and-debussy.html" target="_blank">click here</a>.<span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;"> </span></p><p><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: inherit;">Over the years, the song has been recorded by many other artists, under one or another of the three titles. Joe Henderson’s album "Double Rainbow," a tribute to Jobim, oddly enough did not include this song. I wonder if Joe recorded it, but ultimately decided not to include it in the album?</span></p><p><span style="font-family: inherit;"><span style="color: #222222;"><span style="background-color: white; caret-color: rgb(34, 34, 34);">Recently I noticed in Howard Hanson’s Symphony #1 (1922) an appropriation of the same Debussy phrase from </span></span>"<span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;">Le plus que lente, valse" </span></span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;">(1910)</span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: inherit;"> that Jobim used in “Chovendo.” The theme occurs at 2:00 in the clip below:</span></p><p><span style="font-family: inherit;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;"><br /></span></span></p><p><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-M9ds1_5iQk" width="320" youtube-src-id="-M9ds1_5iQk"></iframe></span></div><span style="font-family: inherit;"><br /><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;"><br /></span></span><p></p><p><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: inherit;">Interestingly, Howard Hanson gives this phrase to the flute, while the original Debussy piece was for solo piano (Debussy also arranged the piece for strings). In the original 1970 arrangement of "Children’s Games," arranger Eumir Deodato also gives Jobim’s extremely similar phrase to the flute (on the repeat), as does Claus Ogerman in his 1980 arrangement. It’s a perfect orchestration choice for this phrase. </span></p><p><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: inherit;">A few questions are left unanswered: </span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;">Was the flute orchestration for the phrase Deodato's idea, or Jobim's? </span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222;">Did Deodato or Jobim know the Hanson piece as well as the Debussy? </span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: inherit;">Or was the flute orchestration in Jobim’s piece just a coincidence? And did Hanson realize he was quoting Debussy?</span></p><p><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: inherit;"><br /></span></p>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com1tag:blogger.com,1999:blog-5089926376300913992.post-37245472363786512652020-11-29T15:14:00.002-08:002020-11-29T15:49:50.085-08:00Andrew White, 1942 - 2020<p>Andrew White passed away on Nov. 11, at the age of 78. The obit in the <a href="https://www.nytimes.com/2020/11/20/arts/music/andrew-white-dead.html" target="_blank">New York Times</a> described him as<span style="font-family: inherit;"> "<span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333;">a profusely talented and proudly eccentric musician and scholar...</span><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333;">saxophonist, multi-instrumentalist, composer, author, business owner, teacher." Andrew had some <a href="https://peterspitzer.blogspot.com/search?q=andrew+white" target="_blank">humorous but accurate self-descriptions</a> as well. In his unique way, he was a towering figure in the jazz world. </span></span></p><p><span style="font-family: inherit;"><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333;">Here's a video of Andrew visiting St. John's Catholic Prep School in Maryland:</span></span></p><p><span style="font-family: inherit;"><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333;"><br /></span></span></p><p><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: inherit;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/tSlyelbtyv8" width="320" youtube-src-id="tSlyelbtyv8"></iframe></span></div><p><span style="font-family: inherit;"><br /></span></p><span style="font-family: inherit;"><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333;">And of course, Giant Steps:</span></span><p></p><p><span style="font-family: inherit;"><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333;"><br /></span></span></p><p><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: inherit;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/g7tg-Jtsf1o" width="320" youtube-src-id="g7tg-Jtsf1o"></iframe></span></div><span style="font-family: inherit;"><br /></span><p></p><p><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333; font-family: inherit;">According to the <a href="https://www.washingtonpost.com/local/obituaries/andrew-white-musician-and-music-scholar-dies-at-78/2020/11/16/d7403844-25c2-11eb-952e-0c475972cfc0_story.html" target="_blank">Washington Post</a> obit, Andrew had no immediate survivors; his wife </span><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333;">Jocelyne </span><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333; font-family: inherit;">passed away in 2011. I hope whoever inherits his business will continue to make Andrew's massive catalog of John Coltrane transcriptions available, as well as Andrew's recordings and writings, including his amusingly readable autobiography, "Everybody Loves the Sugar."</span></p><p><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333; font-family: inherit;">Thanks for everything, Andrew!</span></p><p><span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333; font-family: inherit;"><br /></span></p>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com2tag:blogger.com,1999:blog-5089926376300913992.post-13464767624946765352020-09-15T10:27:00.006-07:002021-01-01T16:10:59.528-08:00Teaching music lessons via Zoom<p>I've been teaching individual saxophone and clarinet lessons since the 1970s. Before the pandemic, I was not particularly interested in teaching online. Seeing students in person is better in so many ways: a more real personal rapport, real-world acoustics, the ability to watch embouchure and fingers more closely. Online lessons can't address those things as well, and online playing does not allow for playing duets, or accompanying in real time. And who wants to stare at a screen for an entire teaching day?</p><p>The only actual advantage I could see was that with online lessons, both teacher and student could work together from just about any two locations in the world that have internet access - and I didn't need that; I've almost always had a full schedule with local students (I still do - I'm not currently taking new students).</p><p>The pandemic changed my views. Like many music teachers, I've switched to Zoom lessons, and I'm thankful that in spite of its imperfections, we have a way to continue to teach. I'd much rather be teaching in person, but realistically, I know that it will be many more months before it's safe to do so.</p><p>I've been teaching online for about six months now. Following are a few thoughts about what works and what doesn't in Zoom lessons.</p><p>First, a few technical items. This is all pretty much common knowledge among teachers these days:</p><p></p><blockquote><p>• Duets and live accompaniment won't work, due to lag time (latency). As a substitute, students can use recorded accompaniments, played on their side of the meeting. For working on jazz improv, there are plenty of "backing tracks" on Youtube.</p><p>• Zoom sound quality is often very poor. Sometimes this is due to inadequate internet speed. Home "high speed" internet service usually has good download speed and poorer upload speed. This works if you are streaming movies, but internet meetings require good upload speed as well. Sometimes a neighborhood has spotty quality. I've found this often to be true even for students living in upscale neighborhoods.</p><p>• Zoom sound is optimized for speech. Music quality suffers because the software senses music as background noise, and suppresses it, causing the music to cut out. This problem can be alleviated by changing some Zoom settings. The important ones seem to be these: Turn on "Enable original sound," disable "Suppress persistent background noise" and disable "Suppress intermittent background noise." These settings adjustments will eliminate much of the troublesome Zoom sound processing. You should be able to Google for instructions on how to do these things. Not all of these adjustments are available on mobile devices. Note: I am no technical expert.</p><p>• Wi-fi works better if you are close to the modem. A wired connection to the modem is even better.</p><p>• For bad connections, sometimes logging out and then rejoining the meeting can help.</p><p>• It doesn't matter if you have a good camera. Crisp video doesn't really matter for music lessons. A good mic is nice, but the built-in mics in iPads and computers are usually adequate. I just use an iPad Pro with the built-in camera and mic, with some external (wired) speakers, and it's fine for me. Bluetooth speakers are no good; they just add to the lag.</p></blockquote><p></p><blockquote><p>• Personally, I don't like using headphones or earbuds. When I'm playing, I'd rather hear myself acoustically. Headphones are just too physically restrictive over a 6- or 7-hour teaching day. And it puts me just a little further into a virtual world, not a good thing IMO. </p><p></p></blockquote><p><br /></p><p>Again, I'm no technical expert. But as a constant user, I can attest that Zoom still has some work to do to make their platform music-friendly. In addition, Zoom's instructional videos and website explanations need some simplification and editing for clarity, to be useful to everyday users like me. Zoom, if you're listening...</p><p><br /></p><p>Technical and equipment issues aside, here are some things I've learned about online teaching:</p><p></p><blockquote><p>• One teaching technique that works quite well is demonstration and imitation. It develops the student's musical hearing and memory, and requires extra listening focus. </p><p>• Sometimes I give students an assignment to record themselves playing one of their pieces as well as they can, and send it to me. This encourages the student to be self-critical and to set their standard of perfection a little higher.</p><p>• If it seems helpful, sometimes I'll record a demo and email it to them, so that they can refer to it during the week before the next lesson.</p><p>• With in-person lessons, I was able to teach timing by playing along with the student. Since this is not possible with online lessons, I often demonstrate the passage on my side with a metronome while they read the music and follow along, then have them copy me, playing with a metronome. A longer piece can be broken into 2-bar or 4-bar segments, and each segment worked on separately. There are plenty of free iPhone metronome apps available. </p><p>• If we are working on improv using a "backing track," I'll typically take one to three choruses on my side of the meeting, demonstrating some point (e.g., leave space, or rework the melody, or use certain chord tones), then the student will take a turn, playing to an accompaniment track on their side of the meeting. Trading fours is not possible in an online format.</p><p>• After each lesson I send a follow-up email with any points to remember from the day's lesson, and next week's assignment. I find I need 15 minutes between each lesson to send the email, do a little stretching, and to get ready for the next lesson. No more back-to-back students, like I often had with in-person lessons. This means a loss of income, of course, but it's necessary for me. </p><p>• Before my teaching day starts, I make a list of the day's students, then look at their follow-up emails from last week, note what their assignments were, and consider what we should focus on in each student's upcoming lesson.</p><p>• At lessons, I have always mixed playing with theory and ear training. With online lessons, if the connection is just too awful for playing (as sometimes happens), we'll concentrate on theory or ear training.</p></blockquote><p> </p><p>With school back in session, most of my students are already spending half the day in front of a computer screen. It's unfortunate that their sax or clarinet lesson adds another 30-60 minutes to that, but I think they all welcome it. At least they are engaged in the real-world physical activity of playing an instrument, and the creative activity of making music. With virtual lessons, I make an extra effort to keep the lessons fun and low-pressure.</p><p>I am looking forward to the day that we can return to in-person lessons. I think just about everyone agrees that real-world human contact provides a superior educational experience. There seem to be some studies underway into whether or not instrumental music is risky in terms of spreading the virus, but no conclusive results so far. From what I can see on the internet, clarinet and sax may not involve much risk of aerosol dispersal. But I'm in a higher-risk age group, and I won't be going back to in-person instruction until it's safe.</p><p>School music programs are making the best of a difficult situation. School band, orchestra, and choir are just not possible at this point. If the risk with wind instruments turns out to be low, outdoor marching band will be the first to return. Assignments in school right now often seem to be for students to learn their individual parts and send in a recording. Recordings can be mixed to produce an ensemble performance. Theory and music history can still be taught effectively. I'm sure it will take a while for school music to return to normal, not least because of the potential risk to teachers.</p><p>The positive side of all this is that virtual lessons are available as a way to keep music education going, and I'm thankful for that. One other bright spot: Before the pandemic, I would typically catch a cold about every 6-8 weeks. With social isolation and no physical lessons, I haven't had a cold since March. But I'd happily trade that for a return to normal.</p>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com1tag:blogger.com,1999:blog-5089926376300913992.post-21560448164629031132020-09-11T11:54:00.001-07:002020-09-11T12:06:28.111-07:00Blog Audience<p>According to stats that Blogger provides, this music blog last week hit a milestone of 500,000 pageviews for its 9-year lifetime. That's not a lot by some standards, but considering the specialized content here, not too surprising. On this occasion, I took the time to check this number against the more reliable stats from Google Analytics, and learned some interesting things:</p><p>• Analytics says this site has had 156K pageviews, lifetime, not 500K. Since Blogger is owned by Google, I wonder why Blogger does not use a more realistic metric. Blogger stats include visits by bots, and are therefore inflated by a percentage that is difficult to determine. In August 2020, Blogger stats for this site averaged around 150 pageviews per day. Google Analytics for August averaged 47 pageviews per day. That's quite a difference.</p><p>• The audience, lifetime, has been 46% female, 54% male. Age groups are 28% 18-24, 34% 25-34, 16% 35-44, 13% 45-54, 6% 55-64, 6% 65+. This skews a lot younger than I would have expected! (Total is more than 100% due to rounding.)</p><p>• Geographical stats: USA 43%, UK 7%, France 4%, Canada 4%, Germany 4%, Australia 3%, Spain 2%, Brazil 2%, Japan 2%.</p><p>• The most-visited pages are pretty much in agreement with the "Popular Posts" that are listed in the sidebar.</p><p>The metrics supplied by Google Analytics are largely intended to be helpful to people trying to monetize their site through Google advertising. I'm not interested in cluttering this blog with advertising - although I did sign up for the "Amazon Associates" program that gives me a small return for products purchased via links on these pages.</p><p>Thanks to my readers - I hope you have found some of the posts here interesting, useful, and/or educational! </p>Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0tag:blogger.com,1999:blog-5089926376300913992.post-17672821888410380962020-08-20T19:47:00.001-07:002020-12-29T19:01:02.592-08:00The Bridge to “Ipanema”<div dir="ltr" style="text-align: left;" trbidi="on">
There's been some buzz lately around a video from YouTuber Adam Neely in which Adam discusses Jobim's "Girl From Ipanema" ("Garota de Ipanema"), including his explanation of Jobim's harmony on the bridge. Several musician friends have sent me the link, and there have been two threads on saxontheweb.com discussing the video (<a href="https://forum.saxontheweb.net/showthread.php?375616-Dumb-Theory-Question-Re-Chords-and-their-Function" target="_blank">here</a> and <a href="https://forum.saxontheweb.net/showthread.php?376016-The-Girl-From-Ipanema-is-a-far-weirder-song-than-you-thought" target="_blank">here</a>). Last time I looked, this video had 1,226,782 views.<br />
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I've enjoyed other YouTube videos from Neely, but this one has some questionable information, IMHO. I'm going to take the bait and write up my comments. Here's his "Ipanema" video, if you haven't seen it yet:<br />
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What is the proper key for this song?</h3>
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The first issue that jumps out at me is the question of the proper key for "Ipanema." All of the published sheet music versions, and all of the fakebooks that I have seen, show the song in F. Adam tells us that this key is a "relic of American cultural hegemony, codified by decisions made at the Berklee College of Music in the 1970s." Strong words! He is referring to the Real Book (1974), which shows the tune in F.<br />
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Neely states that in Brazil, F is not regarded as the hip key for this song, and that for a Brazilian audience, you had better play it in Db, because "Db is thought of as the more authentic, Brazilian key." Why, you might ask? Because Db was the key used on the "Getz/Gilberto" album, the recording that made the song a worldwide hit in 1964.<br />
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I’m certain that Jobim always intended for this tune to be in F. There are several original Jobim manuscripts that you can view at <a href="http://jobim.org/">jobim.org</a>, all of them in F. Whenever Jobim performed it, it was in F, as nearly as I can tell from his live videos, except when he played it with Joao Gilberto. I played with Brazilian bands in the SF Bay Area for years, and the key for "Ipanema" was always F; no one ever suggested otherwise. My musician friends tell me the same thing. I have never heard that any other key is regarded as more authentic. But perhaps Neely has experience I don't have, or different sources of information.<br />
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The simple explanation for recordings in other keys is that those keys were chosen to accommodate the singer's best range. That's done all the time. I think it was in Db on the album because Joao Gilberto preferred that key. On some later recordings, Joao plays it in D.<br />
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Here is a 1962 live version with Jobim, Gilberto, and Vinicius de Moraes. They play it in F:<br />
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This reminds me of a story. Years ago, I was on a big-band gig for a corporate event. Eddy Arnold, the country singer, was at the event for some reason, and was scheduled to sing "September Song," accompanied by our pianist, Reed Struppa. Before the gig, when we were setting up, Eddy asked Reed to find the key where he would be most comfortable. They rehearsed a little, and came up with some little-used, awkward key. After the gig, Reed told me, "When they do that, I tell them OK, then when the time comes I just play it in the nearest easy key, C or F or whatever. They never notice the difference."<br />
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Harmony of the A section</h3>
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Anyway, back to Ipanema. Adam gives us some basic bossa nova history, and points out that the A section of Ipanema uses essentially the same harmony as the A section of "Take the A Train" (that is, I for 2 bars, V of V for 2, then II V I, with a bII tritone sub for the V in "Ipanema"). Here I agree with him. Incidentally, this harmony was not original with Billy Strayhorn, who wrote "A Train" in 1939. Strayhorn borrowed it from Jimmy McHugh's 1930 tune "Exactly Like You." Neely notes that this progression also appears in the A section of Jobim's "So Danco Samba." I'd add that Jobim's "Desafinado" follows this progression too, for the first 6 bars, before veering off into creative territory.<br />
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Here’s a video of Jobim playing “Ipanema” in Sao Paolo in 1994 at an “All Star Tribute.” It's a fairly good band: Jobim, Herbie Hancock, Joe Henderson, Ron Carter, Shirley Horn, Gal Costa, Jon Hendricks, Gonzalo Rubalcaba, Oscar Castro-Neves, Paolo Jobim, Harvey Mason, Alex Acuna. They play it in F. At 55:39 Jobim sings the "A Train" melody over the Ipanema A section, a sort of inside joke.<br />
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The bridge</h3>
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Neely points out some countermelody lines in the bridge (13:27 in his video) that Jobim clearly intended to be part of the song. Adam criticizes the Real Book compilers for not including these countermelodies. I agree that it would have made for a better chart, but let’s not be too judgmental; the Real Book was a great product for 1974. By the way, the current Hal Leonard legal version of the RB doesn't include the countermelodies either.<br />
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When Adam gets into explaining the harmony of the bridge to Ipanema, he gets into questionable territory, as I see it. Here is the bridge:<br />
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At first glance the chords do not seem to follow the "rules" of standard jazz harmony. But it makes sense to me this way:<br />
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<blockquote class="tr_bq">
Gbmaj7: New key, up a half step from the A section (think of it as F#maj7). </blockquote>
<blockquote class="tr_bq">
B7: IVb7 in F#, a blues-type IV chord. Introduces the blue note A natural, the b3 in F#. </blockquote>
<blockquote class="tr_bq">
F#m7: It's really A6 with F# in the bass, the I of a new key. </blockquote>
<blockquote class="tr_bq">
D7: IVb7 in A, blues IV chord again. Introduces blue note C natural, b3 in A. </blockquote>
<blockquote class="tr_bq">
Gm7: It's really Bb6 with G in the bass, the I of a new key. </blockquote>
<blockquote class="tr_bq">
Eb7: Again, it's IVb7, a blues IV chord. Introduces the note Db, b3 in Bb. </blockquote>
<blockquote class="tr_bq">
The last 4 bars are a turnaround back into F, to set up the last A section.</blockquote>
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The bass notes on the F#m7 (bridge bar 5-6) and D7 (bar 7-8) have an interesting effect and a certain logic. F# has continuity with the first tonality in the bridge. D7, besides being IVb7 in A, is V of the Gm7 that follows. These features do not interfere with the key centers Gb - A - Bb as described above.<br />
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As Neely remarks, there is a virtual "cottage industry" of YouTube videos and articles that try to explain the bridge. If you want to get into it, do a YouTube search for "Ipanema bridge analysis." Don't say I didn't warn you.<br />
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Neely's take on the bridge starts at 10:12 on his video. He hears the Gb as a IV in Db, B7 as a bVIIdom in Db, F#m7 as a II in E, D7 as a bVIIdom in E; Gm7 as a II in F, Eb7 as a bVIIdom in F.<br />
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It's an interesting take. With some effort, I can hear it as he describes. I can't say he is exactly "wrong," but his explanation doesn't really work for me.<br />
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I don't want to get too deep in the weeds here, but:<br />
<blockquote class="tr_bq">
1) I don't hear the bridge as starting in the key of Db (that would make Gbmaj7 the IV, with a Lydian tonality). I hear it in Gb, starting on the I. Jobim very often used major 7th melody notes over tonic major 7 chords, as he does in the A section of this song, and that's what we have here. </blockquote>
<blockquote class="tr_bq">
2) I'm not the only one who hears it that way; some other YouTubers in this "cottage industry" agree with me, as do some of the commenters in the saxontheweb threads on this subject. </blockquote>
<blockquote class="tr_bq">
3) <a href="https://en.wikipedia.org/wiki/Occam's_razor" target="_blank">Occam's Razor</a> favors my explanation.</blockquote>
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Neely goes on to say that he hears the countermelody as a blues lick. I don't. It's true that you can shoehorn the notes of the countermelody lick into a blues scale that would seem to fit Neely's conception of the key centers, but I just don't hear it.<br />
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Of course, reasonable people can disagree.<br />
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Here's yet another take on the bridge, more scales-based, from my friend Larry Lewicki:<br />
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<div>
<blockquote class="tr_bq">
FWIW, I don’t analyze the bridge the same way as Peter. I just see scales with shared pitches. I almost picture Jobim doing his scales F# major, F# melodic minor, F# dorian ... just changing one pitch. </blockquote>
<blockquote class="tr_bq">
F#Δ - F# major<br />
<br />
B7#11 - F# melodic minor (an essential element of blues - the IV7) (shares 6 notes with F# major) </blockquote>
<blockquote class="tr_bq">
F#-7 - F# dorian (shares 6 notes with F# melodic minor) </blockquote>
<blockquote class="tr_bq">
D7#11 - A melodic minor - shares 5 notes with F# dorian (check Tenderly bars 5-6, 21-22)—- D7 is the dominant of G minor </blockquote>
<blockquote class="tr_bq">
G-7 - G dorian<br />
<br />
Eb7#11 - Ab melodic minor - shares 5 notes with G dorian (Tenderly cadence)—- tritone sub of Eb7 is A7 - Am7 is very close - that’s the beginning of the final 2 bars - Bebop iii VI7 ii V7 cadence in F. </blockquote>
<blockquote class="tr_bq">
I don’t see the F#-7 as a inversion for an AΔ.... because of the dorian mode D#</blockquote>
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Any of these analyses - Neely's, mine, Larry's, and the various YouTubers' - can serve as the conceptual basis for a perfectly good solo, depending on how the player's melodic sense operates. In that respect, they are all just fine. However, if I'm trying to figure out what Jobim may have been thinking, I kind of like my approach.<br />
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<h3>
Harmonic ambiguity as a defining feature of bossa nova</h3>
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<br /></div>
Adam states that the harmonic ambiguity he perceives in "Ipanema" is typical of bossa nova. I think that as a generalization, that's somewhat of an overstatement. Mostly, the classic bossas can be explained fairly neatly in standard jazz terms.<br />
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Jobim was a particularly creative composer, a generation younger than the "Great American Songbook" composers, building on their work. And even in Jobim's songs, especially in the earlier ones that made him famous, most of the harmony is pretty straightforward.<br />
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<h3 style="text-align: left;">
</h3>
<h3 style="text-align: left;">
Does "Ipanema" have an introductory verse?</h3>
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Quite a few Great American Songbook standards had an introductory section called a "verse." At 30:28 in his video, Adam points out the introductory verse in the live 1962 Jobim/Gilberto/Vinicius recording. I hadn't known about that. Desafinado has a verse too, that Jobim used in performance. He even had English lyrics for it. But the "Ipanema" verse was news to me. Thanks to Adam for pointing it out!<br />
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It does seem that this verse was not exactly intended to be part of the composition, though, but rather was created for a particular occasion.<br />
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I asked my friend Guto for a translation, and here it is, with his comments:<br />
<blockquote class="tr_bq">
That intro is indeed very interesting. It seems it was a one off for that album, almost like an insider joke the trio Tom, Joao, Vinicius was telling to the live audience before the song starts. They go: </blockquote>
<blockquote class="tr_bq">
<b><i>João</i>:</b> Tom, e se você fizesse agora uma canção?<span class="Apple-tab-span" style="white-space: pre;"> </span></blockquote>
<blockquote class="tr_bq">
<i>Tom, how about you now make a song?</i></blockquote>
<blockquote class="tr_bq">
Que possa nos dizer, contar o que é o amor<span class="Apple-tab-span" style="white-space: pre;"> </span> </blockquote>
<blockquote class="tr_bq">
<i>One that says, tells us what love is</i> </blockquote>
<blockquote class="tr_bq">
<b><i>Tom</i>:</b> Olha Joãozinho, eu nao saberia<span class="Apple-tab-span" style="white-space: pre;"> </span></blockquote>
<blockquote class="tr_bq">
<i>Look dear João (or little Joao, in an affective way), I wouldn’t know how</i></blockquote>
<blockquote class="tr_bq">
Sem Vinícius pra fazer a poesia<span class="Apple-tab-span" style="white-space: pre;"> </span> </blockquote>
<blockquote class="tr_bq">
<i>Without Vinicius to make the poetry</i> </blockquote>
<blockquote class="tr_bq">
<b><i>Vinícius</i>:</b> Para essa canção se realizar<span class="Apple-tab-span" style="white-space: pre;"> </span> </blockquote>
<blockquote class="tr_bq">
<i>For this song to come together</i> </blockquote>
<blockquote class="tr_bq">
<i></i>Quem dera o João para cantar<span class="Apple-tab-span" style="white-space: pre;"> </span></blockquote>
<blockquote class="tr_bq">
<i>I wish João would sing</i></blockquote>
<blockquote class="tr_bq">
<b><i>João</i>:</b> A, mas quem sou eu, eu sou mais vocês<span class="Apple-tab-span" style="white-space: pre;"> </span> </blockquote>
<blockquote class="tr_bq">
<i>Oh, but who am I, I’m more you both (in the sense of I trust you’d do a better job)</i> </blockquote>
<blockquote class="tr_bq">
<i></i><span style="font-family: inherit;">Melhor se nós cantássemos os três</span><span class="Apple-tab-span" style="font-family: "helvetica"; font-size: 12px; white-space: pre;"> </span></blockquote>
<blockquote class="tr_bq">
<span style="font-family: inherit;"><i>We’d better sing the three of us</i></span></blockquote>
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Guto also noticed some musical jokes in the verse:<br />
<br />
<blockquote class="tr_bq">
... the second line Tom sings, “sem Vinicius pra fazer a poesia,” sounds the same as this section from Desafinado:</blockquote>
<blockquote class="tr_bq">
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-SRtm4ypqsXo/XztyFW0gr-I/AAAAAAAABLY/cjvguee8Idg3NGEZS2wkgKA0GhHf2vAkwCLcBGAsYHQ/s1600/desafphrase.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="252" data-original-width="1264" height="78" src="https://1.bp.blogspot.com/-SRtm4ypqsXo/XztyFW0gr-I/AAAAAAAABLY/cjvguee8Idg3NGEZS2wkgKA0GhHf2vAkwCLcBGAsYHQ/s400/desafphrase.png" width="400" /></a></div>
</blockquote>
<br />
<blockquote class="tr_bq">
and the last phrase from Joao, “melhor se nos cantassemos os tres,” sounds like the ending phrase of One Note Samba. </blockquote>
<blockquote class="tr_bq">
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-10fXPhOLzdQ/XztyPx2GdcI/AAAAAAAABLc/JSStstSrmTYsJoG_P9VPvXxXjyi-27xIQCLcBGAsYHQ/s1600/onenotephrase.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="212" data-original-width="1000" height="68" src="https://1.bp.blogspot.com/-10fXPhOLzdQ/XztyPx2GdcI/AAAAAAAABLc/JSStstSrmTYsJoG_P9VPvXxXjyi-27xIQCLcBGAsYHQ/s320/onenotephrase.png" width="320" /></a></div>
</blockquote>
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Besides the 1962 live recording, the only other place I've heard this verse is in this great video with Jobim and Gilberto, I think from 1992. Joao sings the verse himself, and they play the tune in D:<br />
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<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/DSJ5xZci9mI/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/DSJ5xZci9mI?feature=player_embedded" width="320"></iframe></div>
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<h3>
Pery Ribeiro’s 1962 version</h3>
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Beginning at 23:12 in his video, Adam discusses a 1962 version by singer Pery Ribeiro that may predate even the 1962 Jobim/Gilberto/Vinicius recording. Because it is probably the earliest recorded version of the song that we have, Neely finds importance in 1) the key it's played in, and 2) the harmony used for the bridge.<br />
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This version is in G, leading him to say that "The original is in the key of G." But there's no evidence that Ribeiro's was the "original" version. This is an unwarranted assumption. More likely, the key was chosen to accommodate Ribeiro's voice.<br />
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About the harmony in Ribeiro's version - Neely presents this arrangement as a sort of "missing link" between a hypothetical Tin Pan Alley harmonization and the "bossa nova" final version. But it's quite likely that the harmony used in this recording was the work of Ribeiro's arranger; it was not necessarily an early Jobim version of the song.<br />
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Neely seems to be saying that the "final" version of the bridge harmony was actually the work of Joao Gilberto, editing and simplifying Jobim's "original" harmony as used in the Ribeiro recording. But there are two unwarranted assumptions here: 1) that the Ribeiro harmony was Jobim's, and 2) that it was Gilberto who created the "final" version.<br />
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I really did enjoy Neely’s video, in spite of a few disagreements. Hopefully some of those million-plus views will get some younger musicians interested in Jobim and bossa.<br />
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To close, if you'll forgive me, here is an old musician's joke, that an old musician told me during a band break:<br />
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<blockquote class="tr_bq">
A jazz group has a gig at a bar in Chicago. The bass player lives across the border in Indiana. He has a history of showing up late for gigs. When it's time for the downbeat at 9:00, the bass player still hasn't shown up. At the first break at 9:45, still no bass player. The band leader is getting increasingly angry. Finally, at 10:30 the bartender goes up to the band leader and says, "Your bass player is on the phone. He's stuck on the bridge to Indiana." </blockquote>
<blockquote class="tr_bq">
The bandleader says, "Man...<i>there is no bridge to Indiana.</i>"</blockquote>
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Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com1tag:blogger.com,1999:blog-5089926376300913992.post-374142434141113562020-07-22T17:03:00.000-07:002020-07-22T22:31:43.430-07:00Lewis Porter's Deep Dive into "A Love Supreme"Here's a terrific article: <a href="https://www.wbgo.org/post/deep-dive-john-coltranes-love-supreme-his-biographer-lewis-porter-pt-1" target="_blank">A Deep Dive Into John Coltrane's "A Love Supreme" by His Biographer, Lewis Porter (Pt. 1)</a>, on the WBGO website. Porter gives some historical background to the recording, describing Coltrane's desire to record a full-album work, a "spiritual manifesto, his most personal statement," and how it was initially almost rejected by his record company, Impulse!, as not commercial enough.<br />
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Using Coltrane's written notes (his score is reproduced in the article) and considering outtakes from the recording sessions, Porter describes the planned structure and development of Coltrane's four-movement suite.<br />
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Porter covers more interesting musical details than I could summarize here, but one thing I'll note is the original intended instrumentation: tenor saxophone, "one other horn," piano, drum set, 2 basses, 2 congas, and "timbali" (Coltrane may have meant "timpani" - which Elvin Jones does play at one point in the recording). For the "other horn," Coltrane brought in Archie Shepp, but the part Archie recorded was ultimately not used. Likewise, Art Davis participated as a second bassist, but according to Wikipedia, his part was also not used in the final production.<br />
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The only time I ever heard Coltrane play live was 1966, about two years after "A Love Supreme" was recorded. It was a life-changing experience; here's a post with <a href="https://peterspitzer.blogspot.com/2016/01/an-incredible-jazz-concert-50-years.html" target="_blank">my recollections</a>. The instrumentation that night was expanded, in a way similar to Coltrane's original "A Love Supreme" concept<span style="font-family: inherit;">: <span style="background-color: white; color: #222222;">Elvin Jones and Rashied Ali, drums; Juno Lewis, percussion; Coltrane and Pharoah Sanders, tenors; Alice Coltrane, piano; Jimmy Garrison, bass; and Donald Garrett, bass and bass clarinet.</span></span><br />
<span style="font-family: inherit;"><span style="background-color: white; color: #222222;"><br /></span></span>
<span style="font-family: inherit;"><span style="background-color: white; color: #222222;">Here's a quote from Coltrane's score, that describes the way he intended to end the album:<span style="font-family: inherit;"> </span></span></span><br />
<blockquote class="tr_bq">
<span style="color: #3d3d3d; letter-spacing: 0.07999999821186066px; word-spacing: 0.4000000059604645px;"><span style="font-family: inherit;">"To Ending - Make ending - Attempt to reach transcendent level with orchestra - rising harmonies to a level of blissful stability at end."</span></span></blockquote>
I'm looking forward to Part 2 of Porter's Deep Dive.<br />
<br />Peter Spitzerhttp://www.blogger.com/profile/09732697738104648204noreply@blogger.com0