Category Archives: Uncategorized

How to write a ‘one bar blues’ (featuring an original blues, ‘Barbara’s New Digs’)

Throughout his career as a composer, Thelonious Monk composed a number of tunes that use the twelve-bar blues progression.  Among these are tunes based on one-bar motives or ‘riffs’ which Monk transposes and alters in various ways, which might be … Continue reading

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Sevenths reaching for the heavens (or other faraway places) (Emulate, Assimilate, Innovate part 6)

In two well-known melodies, one from the late 1950s and another from the mid-1960s, the ascending minor seventh interval is used to symbolize reaching for a not-yet-attained goal.  Leonard Bernstein and Stephen Sondheim’s ‘Somewhere’, first performed in 1957 as part … Continue reading

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The Sixth Sense: major and minor sixths in the improvising of Thelonious Monk and Ella Fitzgerald (Emulate, Assimilate, Innovate part 5)

The melody of Thelonious Monk’s blues Misterioso is based entirely on ascending major and minor sixths.  For most of the tune, Monk maintains perpetual motion by building ascending sixths off ascending and descending three-note major and minor scales.  The last … Continue reading

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Emulate, Assimilate, Innovate, part 4: Taking the fifth – melodic phrases using perfect 5ths

The ‘Cool Blues’ lick was a phrase Charlie Parker used in multiple improvised solos, including his March 1946 recording of Yardbird Suite and his May 1947 recording of Cheryl.  In February 1947 he recorded an entire composition titled ‘Cool Blues’ … Continue reading

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Broken Heart for Sale: a tune based on the changes of ‘All of Me’ and a glossary of melodic root position chord patterns – also, a history of the ‘All of Me’ chord progression

The song ‘All of Me’ by Seymour Simons and Gerald Marks is a jazz standard which has been recorded by countless artists. Two versions which show the multiple possibilities the tune contains for improvisers are the studio version by Count … Continue reading

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Wall, cardboard and paper pianos as practice tools

In 1947, the great jazz pianist and composer Bud Powell was sent to Creedmoor State Hospital, ‘one of the largest and most highly populated psychiatric facilities in New York State at the time’, writes Powell biographer Peter Pullman in Wail: … Continue reading

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‘Blue Mercy Line’: doubletiming bop language on a I-IV vamp

Blue Mercy Line is a tune I composed on a chord progression in the key of A which could be described as A7-D7 or I7-IV7.  I wrote this tune as an exercise in using the melodic language of Charlie Parker, … Continue reading

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‘You have to take a breath’: Bertha Hope’s inspired internal conversation (State of the Blues, part 9)

Recently I’ve been lucky to have connected with the great pianist and composer Bertha Hope.  She has recorded three stunning albums as a leader, ‘In Search of Hope’ (1990) , ‘Elmo’s Fire’ (1991),  and ‘Nothin’ But Love’ (1999).   Her first … Continue reading

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Afternoon River Bop: a line on the changes to Eddie ‘Cleanhead’ Vinson’s ‘Tune Up’

‘Tune Up’, by the alto saxophonist Eddie ‘Cleanhead’ Vinson, is one of a number of tunes which Miles Davis claimed to have written but which were actually composed by others.  Other tunes in this category include ‘Four’ (also by Vinson), … Continue reading

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One Time Only (in memory of Ellen Powell, with a short history of the progression to ‘There Will Never Be Another You’)

In memory of my friend, mentor and musical colleague, the great Vermont jazz bassist Ellen Powell, I wrote ‘One Time Only’, a tune based the changes of the jazz standard ‘There Will Never Be Another You’. One measure of the … Continue reading

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