tag:blogger.com,1999:blog-3628732254191963026.post1498772599692510626..comments2023-10-10T10:55:25.477-04:00Comments on Harder Bop: Eric Alexander • “Blues For All” transcriptionKelly Buchegerhttp://www.blogger.com/profile/14340746983405842115noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-3628732254191963026.post-10026233344828130082011-03-23T13:06:19.888-04:002011-03-23T13:06:19.888-04:00Hi Kelly
Nice to see the embedded player. I'm...Hi Kelly<br /><br />Nice to see the embedded player. I'm sure if people hear the music they sometimes become more inspired to check out the whole album, or at least next time they see the/an album by the same guy a itch to purchase. <br /><br />As for the thinking like Potter (et al), I think that you are what you listen to. I know players that are still in 1950 and half my age, others who have (as Sal Mosca once said) <i>'big ears and a cosmic pallet'</i>. The listening is up to the individual, after all one can't be forced to hear more open sounds, it's part curiosity and part musicality. However, I can heartily suggest for stimulation checking out the good old Slonimsky. It makes you practice (an look at) intervals in a very systematic way. Whether there's anyway to use them in ones own playing is individual. Of course there are other books and listening, but that would be a whole blog article - LOL.<br /><br />Enough said otherwise it sounds like I'm moralizing .... ouch! Anyway, that's just my humble opinion, I hope it makes sense.<br /><br />Best - Joejoeshhttps://www.blogger.com/profile/15282590943897598903noreply@blogger.comtag:blogger.com,1999:blog-3628732254191963026.post-35886216390980352722011-03-22T21:44:18.740-04:002011-03-22T21:44:18.740-04:00Great comments, joesh! I think Henderson is indeed...Great comments, joesh! I think Henderson is indeed a great example of a "Why didn't *I* think of that?" player who could make a lot out of simple gestures and motives. (Why didn't *I* think of him!)<br /><br />I think the musical turf that Potter et al chose to traverse is what sets them apart -- I think the technical challenges may ultimately be more or less the same whether going in Alexander's direction or in Potter's. My distinction, based on nothing but a notion: I can imagine being able to musically *think* like Alexander, but not like those other guys: they really do seem to be some other species...<br /><br />I get a little queasy about embedding the track, in part because I feel a bit evangelistic about getting folks to purchase the recordings and support the artists and whatnot. However, of course, the transcription without the track, as I lament elsewhere on this blog, doesn't come close to telling the whole story. Just to see how it feels, I've taken your suggestion and added a player with Alexander's solo, while still encouraging folks to buy the track... I've got to ponder this a bit...<br /><br />But thanks for your thoughtful comments!Kelly Buchegerhttps://www.blogger.com/profile/14340746983405842115noreply@blogger.comtag:blogger.com,1999:blog-3628732254191963026.post-19715632921756257482011-03-22T07:11:35.536-04:002011-03-22T07:11:35.536-04:00Thanks for the nice blog article, and the comments...Thanks for the nice blog article, and the comments that go with it. <br /><br />I totally agree with your comments concerning Eric Alexander, but I also see some of these things concerning Chris Potter, or Donny McCaslin as basically the same thing. After all if you check out what McCaslin and Potter play it's just a more 'daring' direction than Alexander. Larger intervals, more complex rhythmical patterns, and of course a different harmonic direction - in general. Of course <i>practice makes perfect</i>, but also <i>all work and no play makes Jack a dull boy</i>! <br /><br />I often think of Joe Henderson's amazing use of basic materiel when he was soloing. JH would often play simple arpeggios or scale patterns, yet in a way that made you think, 'why don't I think of those?', and in some way I think this is maybe what makes the difference between players (normal or outstanding). <br /><br />After all you now have dozens of - in this case - sax players who can play as well, and just like, Chris Potter and McCaslin, but they in general miss the point, except for the few misguided and immature listeners. <br /><br />Eric Alexander is in his own way a little like Joe Henderson, he plays standard material yet is able to transform simple ideas and scales just like 'that'! And your remark about the triplet figure made me immediately think of Warne Marsh, who used this type of idea all the time - moving a simple figure through the time. <br /><br />Of course I don't think that I'm going to put Eric Alexander on the same level (just yet) as Joe Henderson, Marsh and Co. However from the few CDs I have of him I must say that his playing always sounds fresh and swinging.<br /><br />Thanks again for your excellent article.<br /><br />p.s. You could always include - ex: using Divshare - a copy of your transcribed track. It would make looking at the solo more interesting AND it's not download-able either.joeshhttps://www.blogger.com/profile/15282590943897598903noreply@blogger.com