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Transcribed: Charlie Parker – Score of 4 Relaxin’ At Camarillo Solos


I’ve taken all of the solos I transcribed on Relaxin’ At Camarillo and put them in a score. The take is listed at the beginning of each stave. It’s pretty cool to look at these solos stacked up like this. There are a few instances where Charlie Parker played exactly the same line in the same spot in 2 different solos; a few rhythms line up like that, too. I will be taking a look at these and doing some analysis that I’ll share in the days to come. Enjoy!

Transcribed: Charlie Parker – Relaxin’ At Camarillo (Take C)

From the four takes that we have of Relaxin’ At Camarillo, Take C is the one that was chosen for release. This was actually the first of these solos I transcribed. The difference between this and the others was that I learned this one by ear and committed it to memory before writing it down. With the others, I listened to the recording and slowed it down using Transcribe!, wrote down what I heard, and checked it with my alto when I had it all written down. I thought that would be a good, practical application of the ear training I’ve been doing lately.

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Transcribed: Charlie Parker – Relaxin’ At Camarillo (Take D)

Here is the next take of Relaxin’ At Camarillo. If you look at the 8th and 9th bars of each chorus, you’ll see that they’re almost exactly the same. Also, check out the 4th bar of the second chorus. To my ears, it sounds like a mistake and the last two notes are articulated in kind of an unusual way.

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Transcribed: Charlie Parker – Relaxin’ At Camarillo (Take A)

I’m spending a lot of time with Charlie Parker right now and thought I’d share a little bit of my work. This solo can be found on “The Complete Dial Sessions” by Charlie Parker. It’s a 4-disc set and has multiple takes of several tunes. It’s neat to listen and hear the differences and similarities between takes. I did have to adjust the pitch on this recording. “Relaxin’ At Camarillo” is a blues in C and the recording was flat by over a quarter-step, so it sounded like it was in B. I will be posting transcriptions of the other takes in the next few days.

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Transcribed: Bill Evans – Oleo

I’ve decided to move on from Hank Mobley for the moment and change strategies. One of the main things I’m working on right is learning tunes. I’ve been working on a couple of rhythm changes heads over the last couple weeks and thought it would be good to transcribe a solo with those changes to tie things together.

This particular solo is taken from the 1958 album, “Everybody Digs Bill Evans.” The trio on this recording is Bill Evans with Sam Jones on bass and Philly Joe Jones on drums. This solo shows Bill Evans using several melodic fragments/shapes and moving them around. This occurs sometimes in the form of a sequence (bars 41-44, 2nd A section of the 2nd chorus), but more often this movement is done chromatically and moves in and out of the changes. It really shows that a strong melodic line can stand on its own, regardless of its relationship to the chord changes.

Rhythmically, parts of this solo were difficult to notate, particularly the 3rd chorus. There is a 3/8 figure (an eighth-note triplet followed by an eighth note) that is played and repeated over the 4/4 meter. This creates a few awkward divisions of the beat, but I think that looking at the transcription while listening to the solo will help anyone make more sense of what’s going on there. It looks more complicated than it really is.

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