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Head and 1st Solo
2nd Solo, Head, and Vamp
Here’s a transcription of Love For Sale from Dexter Gordon’s Go! album. It starts off with a 2+3 clave in the drums that’s reminiscent of the beginning of Soy Califa from Dexter’s A Swingin’ Affair album. That feel continues through the “A” sections of the melody and changes to a swing feel in the bridge. When the rhythm section comes back in after Dexter’s solo break, it’s swing all the way.
Toward the end of the 1st solo (m. 197), there’s a tremolo that alternates between G and Bb. That is played by using the fingering below the asterisk and using the tongue to change the voicing of the note as you play it. I think of it as alternating between the syllables “ah” and “ee”. Another way to think of it might be to think of repeating the syllable “yah”. Dexter uses this device frequently as does Cannonball Adderley.
After the piano solo, Dexter comes back for a 2nd solo. Following that, there’s a return to the last “A” section of the melody and a return to the Latin feel from the beginning. After stating the melody, Dexter plays over a vamp and the recording fades out.
I’ll be back soon with Part 5 of this series, the beautiful ballad, “Where Are You?”
Here is Dexter Gordon’s solo on You Stepped Out of a Dream from his 1962 album, A Swingin’ Affair.
You Stepped Out of a Dream – Dexter Gordon Solo by eddierich
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.