I have been enjoying listening to and playing these tunes which I transcribed from various recordings.  Glad to share with anyone who is interested.

Mondays-Devil's Acre 6-8pm with The Obsidian Trio
Wednesdays-Villon at the Proper Hotel 6-9pm with the Osmosis Trio/(Excelsior Jazz Trio)
Thursdays-  Farley Bar at Cavallo Point with the Oligarchy Blues Duo 6-9pm  (straight ahead jazz)
Saturdays-  Mystic Room 7-10pm with the Jazz Odyssey Quartet

Looking forward to playing at the Fillmore Jazz Festival this year with Joshi Marshall's group.  7/1 10:30am-12pm

More info here:
https://www.sresproductions.com/events/fillmore-entertainment/

Had a great time playing at the Sound room with a talented group of musicians up from LA in the Heart of Oakland and the concert happened to be during the same night the Warriors won another NBA Championship.  The energy was electric and except for one audience member, who had too much to drink and fell flat on his face, no one got hurt.   Hope that guy is ok!  I would like to thank everyone at the Sound Room as well Melissa Morgan, Kevin Kanner, and Sam Hirsch for inviting me to share the stage with them.  A good time was had by all and I highly recommend checking out performances at the Sound Room for future events.



https://www.facebook.com/melissamorganjazz/
https://www.facebook.com/events/178312916165417/

This is a great tune by pianist Duke Pearson that he wrote for his wife.  Check it out this version played by a great band on Lee Morgan's album Charisma.   

Here are some Transcriptions of bassists playing in 2 feel.

"The More I see you"  Roll Call-  Paul Chambers
"Old Country"  Nancy Wilson/Cannonball Adderley- Sam Jones
"I'll be Seeing you"  2horns/2 Rhythm- Wilbur Ware
"Star Dust"  Stardust-  Paul Chambers

Hope you enjoy reading and playing these transcriptions. Appreciate any feedback you may have. Let me know what you think.

More to come in the near future. 

 I am convinced transcribing (along with playing along with records) is one of the better ways to learn the nuiances and feel of Jazz at the highest level. I've done some in the past but It's always been a slow process for me and I hope get quicker as I do more. For me the point is to not copy licks but to gain insight into Jazz vocabulary, rhythmic feel, and broader concepts that one can apply to their everyday playing. I really like Clark Terry's idea about the keys to learning Jazz being Imitation, Assimilation and Innovation.  Transcribing is definitely an important tool that bridges the gap between Imitation and assimilation.  How you use the knowledge gained from the process is where innovation comes in but before you know where you're going it's important to know where the music comes from.

My first Transcription of 2018 is Wilbur Ware's bass line on the song "Soon" from Ernie Henry's 7 Standards and a Blues.  This is a great Gershwin tune that in my opinion doesn't get played often enough.

I thought it would be interesting to also include a transcription of the same song but this time played by Paul Chambers on Red Garland's album "Can't See for Looking". Both Wilbur Ware and Paul Chambers are both great bassists and I wanted to compare their different approaches to playing this tune. If you're interested in viewing them you can download the pdfs in the link below just below the you tube videos. 

Both Bassists use linear bass lines and are not afraid to start a measure by playing a note that is not the root as long as it fits in with the general architecture of the line.  Wilbur Ware sneaks in larger intervals without interfering with the linear motion of the line.  After syncopated dotted quarter notes for the intro he starts bass line with 2 feel for 8 measures and then plays quarter notes for  next 8 measures. I like this approach since it gives a nice variety for the head.  PC pretty much walks quarter notes the whole time but adds some really nice embellishments and the shape of the line is very connected.  Both players do a great job of playing notes up a half step to create dissonance/suspsension/leading tone to connect their lines.  Also, with quick two five progressions both players often just emphasize the dominant  5 chord of the measure for 4 beats while not worrying about outlining the II chord. 

I fully understand the Irony of being 6' 6'' and playing in a band named PipSqueak. Looking forward to playing at this sold out event.  Last year was a lot of fun. 

https://www.facebook.com/events/726962697498399/