Don Fagerquist - "Just The Way You Look Tonight"

Don Fagerquist's trumpet solo on the chord changes to "Just The Way You Look Tonight", from the Dave Pell compilation CD I Had The Craziest Dream.

Don Fagerquist - "Jersey Bounce"

Don Fagerquist's trumpet solo on "Jersey Bounce", from the Les Brown recording Live at the Hollywood Palladium.

Don Fagerquist - "Iris of the Ira"

Don Fagerquist's trumpet solo on the chord changes to "Iris of the Ira", from the Marty Paich recording A Jazz Band Ball: First Set.

Don Fagerquist - "Happy Hooligan"

Don Fagerquist's trumpet solo on "Happy Hooligan", from the Les Brown recording Live at the Hollywood Palladium.

Don Fagerquist - "Blue Room"

Don Fagerquist's trumpet solo on the chord changes to "Blue Room", from the Dave Pell recording Plays Rogers and Hart.

Don Fagerquist - "Cheek to Cheek"

Don Fagerquist's trumpet solo over the chord changes to "Cheek to Cheek", from the Mel Torme recording Mel Torme Sings Fred Astaire.

Don Fagerquist - "Autumn Serenade"

Don Fagerquist's trumpet solo on the chord changes to "Autumn Serenade", from the Don Fagerquist compilation Portrait of a Great Jazz Artist.

Don Fagerquist - "Almost Like Being In Love"

Don Fagerquist's trumpet solo on the chord changes to "Almost Like Being In Love", from the Don Fagerquist compilation Portrait of a Great Jazz Artist.

Clark Terry - "Let It Snow"

Clark Terry's trumpet solo over the chord changes to "Let It Snow", from the Joe Williams recording That Holiday Feelin'.

Clark Terry - "Gal In Calico"

Clark Terry's solo on the chord changes to "Gal In Calico", from the Clark Terry/Bob Brookmeyer compilation Complete Studio Recordings.

Clark Terry - "Donna Lee"

Clark Terry's trumpet solo on the chord changes to "Donna Lee", from the Clark Terry recording Serenade to a Bus Seat.

Clark Terry - "Jive at Five"

Clark Terry's trumpet solo on the chord changes to "Jive at Five", from the Clark Terry recording Portraits.

Clark Terry - "Haig and Haig"

Clark Terry's solo on the chord changes to "Haig and Haig", from the Clark Terry/Bob Brookmeyer compilations Complete Studio Recordings.

Clark Terry - "Blues for Smedley"

Clark Terry's trumpet solo over the chord changes to "Blues for Smedley", from the Oscar Peterson recording Oscar Peterson Trio Plus One.

Clark Terry - "Blueport"

Clark Terry's trumpet solo on the chord changes to "Blueport", from the Gerry Mulligan Concert Jazz Band Recording Live at the Village Vanguard.

Clark Terry - "Brotherhood of Man"

Clark Terry's trumpet solo over the chord changes to "Brotherhood of Man", from the Oscar Peterson recording Oscar Peterson Trio Plus One.

Freddie Hubbard - "What Child Is This"

Freddie Hubbard's trumpet solo over the chord changes to "What Child Is This", from the Ray Charles recording The Spirit of Christmas.

Freddie Hubbard - "Witch Hunt"

Freddie Hubbard's trumpet solo on the chord changes to "Witch Hunt", from the Wayne Shorter recording Speak No Evil.

Freddie Hubbard - "Survival of the Fittest"

Freddie Hubbard's solo on "Survival of the Fittest", from the Herbie Hancock recording Maiden Voyage.

Freddie Hubbard - "Hammerhead"

Freddie Hubbard's trumpet solo over the chord changes to "Hammerhead", from the Art Blakey and the Jazz Messengers recording Free For All.

Freddie Hubbard - "For Regulars Only"

Freddie Hubbard's trumpet solo over the chord changes to "For Regulars Only", from the Dexter Gordon recording Doin' Allright.

Freddie Hubbard - "Dual Force"

Freddie Hubbard's trumpet solo over the chord changes to "Dual Force", from the Freddie Hubbard recording Outpost. Transcribed by Giz Bowe.

Freddie Hubbard - "Stolen Moments"

Freddie Hubbard's trumpet solo over the chord changes to "Stolen Moments", from the Oliver Nelson recording The Blues and the Abstract Truth. Transcribed by Giz Bowe.

Don Fagerquist - "Blue Lou"

Don Fagerquist's trumpet solo on the chord changes to "Blue Lou", from the Marty Paich recording A Jazz Band Ball: First Set.

Don Fagerquist - "The Song Is You"

Don Fagerquist's trumpet solo on "The Song Is You", from the Don Fagerquist recording Music To Fill A Void (a.k.a. "Eight by Eight").

Don Fagerquist - "Time After Time"

Don Fagerquist's trumpet solo on "Time After Time", from the Don Fagerquist recording Music To Fill A Void (a.k.a. "Eight by Eight").

Don Fagerquist - "Easy to Love"

Don Fagerquist's trumpet solo on "Easy To Love", from the Don Fagerquist recording Music To Fill A Void (a.k.a. "Eight by Eight").

Don Fagerquist - "All The Things You Are"

Don Fagerquist's trumpet solo on "All The Things You Are", from the Don Fagerquist recording Music To Fill A Void (a.k.a. "Eight by Eight").

Don Fagerquist - "Crazy Legs"

Don Fagerquist's trumpet solo on "Crazy Legs", from the Les Brown recording Live at the Hollywood Palladium.

Dizzy Gillespie and Roy Eldridge - "Sometimes I'm Happy"

Dizzy Gillespie and Roy Eldridge's solos over the chord changes to "Sometimes I'm Happy", from the Dizzy Gillespie and Roy Eldridge recording Roy & Diz. Transcribed by Rich Willey and Barbara Laronga.

Art Farmer - "Stockholm Sweetnin'"

Art Farmer's trumpet solo on the chord changes to "Stockholm Sweetnin'", from the Clifford Brown recording Clifford Brown Memorial.

Lee Morgan - "Hank's Shout"

Lee Morgan's trumpet solo on the chord changes to "Hank's Shout", from the Lee Morgan compilation The Complete Introducing Sessions (originally released on the Lee Morgan recording Introducing Lee Morgan).

Lee Morgan - "Flamingo"

Lee Morgan's trumpet solo on the chord changes to "Flamingo", from the Jimmy Smith recording The Sermon.

Lee Morgan - "The Joker"

Lee Morgan's trumpet solo on the chord changes to "The Joker", from the Lee Morgan recording Search for the New Land.

Lee Morgan - "C.T.A."

Lee Morgan's solo on the chord changes to "C.T.A", from the Lee Morgan recording Candy. Transcribed by Tim Gill.

Lee Morgan - "Mr. Kenyatta"

Lee Morgan's trumpet solo on the chord changes to "Mr. Kenyatta", from the Lee Morgan recording Search for the New Land.

Lee Morgan - "Hocus Pocus"

Lee Morgan's trumpet solo on the chord changes to "Hocus Pocus", from the Lee Morgan recording The Sidewinder.

Lee Morgan - "Most Like Lee"

Lee Morgan's trumpet solo on the chord changes to "Most Like Lee", from the Lee Morgan recording Cornbread.

Lee Morgan - "Ceora"

Lee Morgan's trumpet solo on the chord changes to "Ceora", from the Lee Morgan recording Cornbread.

Woody Shaw - "Mary Lou"

Woody Shaw's trumpet solo on the chord changes to "Mary Lou", from the Horace Silver recording The Jody Grind.

Woody Shaw - "Mexican Hip Dance"

Woody Shaw's trumpet solo on the chord changes to "Mexican Hip Dance", from the Horace Silver recording The Jody Grind.

Woody Shaw - "Dat Dere"

Woody Shaw's trumpet solo on "Dat Dere", from the Woody Shaw recording Imagination.

Lew Soloff - "Lucretia MacEvil"

Lew Soloff's trumpet solo on "Lucretia MacEvil", from the Blood, Sweat, & Tears compilation Blood, Sweat, & Tears Greatest Hits. Transcribed by Rich Willey.

Bill Chase - "Close Up Tight"

Bill Chase's trumpet solo on "Close Up Tight", from the Bill Chase recording Pure Music.

Carl Saunders - "Primero Amor"

Carl Saunders' trumpet solo on the chord changes to "Primero Amor", from the Dave Pike recording Peligroso.

Carl Saunders - "Sanduga"

Carl Saunders' trumpet solo on the chord changes to "Sanduga", from the Dave Pike recording Peligroso.

Carl Saunders - "Stella By Starlight"

Carl Saunders' trumpet solo on "Stella By Starlight", from the Carl Saunders recording Out of the Blue.

Carl Saunders - "Personas Gratus"

Carl Saunders' trumpet solo on "Personas Gratus", from the Carl Saunders recording Out of the Blue.

Carl Saunders - "My Funny Valentine"

Carl Saunders' trumpet solo on the chord changes to "My Funny Valentine", from the Phil Urso / Carl Saunders recording ...Salute Chet Baker.

Carl Saunders - "Blues for the Common Man"

Carl Saunders' trumpet solo on "Blues for the Common Man", from the Carl Saunders recording Eclecticism.

Carl Saunders - "I'm All For You"

Carl Saunders' trumpet solo on the chord changes to "I'm All For You", from the Carl Saunders recording Be Bop Big Band.

Carl Saunders - "Compilation"

Carl Saunders' trumpet solo on the chord changes to "Compilation", from the Carl Saunders recording Be Bop Big Band.

Carl Saunders - "Love Dance"

Carl Saunders' trumpet solo on the chord changes to "Love Dance", from the Carl Saunders recording Be Bop Big Band.

Carl Saunders - "Jumpin' Off A Clef"

Carl Saunders' trumpet solo on the chord changes to "Jumpin' Off A Clef", from the Phil Urso / Carl Saunders recording ...Salute Chet Baker.

Carl Saunders - "Cayo Coco"

Carl Saunders' trumpet solo on the chord changes to "Cayo Coco", from the Dave Pike recording Peligroso.

Chase Sanborn - "I'm Through With Love"

Chase Sanborn's solo on the chord changes to "I'm Through With Love", from the Chase Sanborn recording Cut To The Chase.

Wallace Roney - "Angel Street"

Wallace Roney's trumpet solo on "Angel Street", from the Tony Williams recording Angel Street.

Bob Summers - "The Fox Hunt"

Bob Summers' trumpet solo on the chord changes to "The Fox Hunt", from the Maynard Ferguson compilation This Is Jazz #16 (originally released as part of M.F. Horn 4 & 5: Live at Jimmy's).

The Legacy of Clifford Brown

By Barbara Gardener, Downbeat Magazine, Oct. 12, 1961

THEY COULD HAVE called him Cliff; he was the rugged individualist of his day. He could have been known as plain Brown; most people remember him as an unsophisticated, straightforward man. Yet they called him Brownie, an affectionate name one might give to a treasured pet.

Clifford Brown - Trumpeter's Training

by HOLLIE WEST, Downbeat Magazine, July 1980

Of the untold gifted trumpeters who died young and tragically, Clifford Brown is probably the one whose death seems most absurd. He did not singlemindedly destroy himself in the manner of Beiderbecke, Berigan, Berman and Navarro. Nor did he daily fatally with the tempestuous emotions of another person as Lee Morgan did. And he did not endure a long and painful illness like Joe Smith and Booker Little. Brown's death. in an automobile crash in June, 1956, came in a flash. Not yet at the peak of his performing power, he was struck down at age 25 without warning. in the flower of his brief and brilliant career. People mourned him rot only because of his lustrous achievement but also for his youth and promise.

Freddie Hubbard - "Driftin'"

Freddie Hubbard's trumpet solo over the chord changes to "Driftin'", from the Herbie Hancock recording Takin' Off.

Freddie Hubbard - "Dear John"

Freddie Hubbard's flugelhorn solo over the chord changes to "Dear John", from the Freddie Hubbard recording Bolivia.

Freddie Hubbard - "You're My Everything"

Freddie Hubbard's trumpet solo on the chord changes to "You're My Everything", from the Freddie Hubbard recording Hub Tones.

Freddie Hubbard - "Birdlike"

Freddie Hubbard's trumpet solo on "Birdlike", from the Freddie Hubbard recording Ready for Freddie.

Tom Harrell - "Bop Stew"

Tom Harrell's trumpet solo on "Bop Stew", from the Phil Woods recording Bop Stew.

Kenny Dorham - "Hankerin'"

Kenny Dorham's trumpet solo on the chord changes to "Hankerin'", from the recording Horace Silver and the Jazz Messengers. Transcribed by Giz Bowe.

Kenny Dorham - "Blue Spring Shuffle"

Kenny Dorham's trumpet solo on the chord changes to "Blue Spring Shuffle", from the Kenny Dorham recording Quiet Kenny.

Kenny Dorham - "Like Someone In Love" (1958)

Kenny Dorham's trumpet solo on "Like Someone In Love", from the John Coltrane recording Coltrane Time.

Kenny Dorham - "Like Someone In Love" (1955)

Kenny Dorham's trumpet solo on "Like Someone In Love", from the Art Blakey and the Jazz Messengers recording Live at the Cafe Bohemia, Volume 2.

Kenny Dorham - "Reunion"

Kenny Dorham's trumpet solo on "Reunion", from the Benny Golson recording The Modern Touch.

Kenny Dorham - "Blue Bossa"

Kenny Dorham's trumpet solo on the chord changes to "Blue Bossa", from the Joe Henderson recording Page One.

Kenny Dorham - "Punjab"

Kenny Dorham's trumpet solo on the chord changes to "Punjab", from the Joe Henderson recording In 'n' Out.

Kenny Dorham - "Recordame"

Kenny Dorham's trumpet solo on the chord changes to "Recordame", from the Joe Henderson recording Page One.

Kenny Dorham - "Royal Roost"

Kenny Dorham's trumpet solo on "Royal Roost", from the Kenny Dorham recording 'Round About Midnight at the Cafe Bohemia.

Kenny Dorham - "Short Story"

Kenny Dorham's trumpet solo on the chord changes to "Short Story", from the Joe Henderson recording In 'n' Out.

Kenny Dorham - "Straight Ahead"

Kenny Dorham's trumpet solo on the chord changes to "Straight Ahead", from the Kenny Dorham recording Una Mas.

Kenny Dorham - "I Had The Craziest Dream"

Kenny Dorham's trumpet solo on the chord changes to "I Had The Craziest Dream", from the Kenny Dorham recording Quiet Kenny.

Clifford Brown - "You're Not The Kind"

Clifford Brown's trumpet solo on "You're Not the Kind", from the Sarah Vaughan recording Sarah Vaughan with Clifford Brown.

Clifford Brown - "Split Kick"

Clifford Brown's trumpet solo on "Split Kick", from the Art Blakey recording A Night at Birdland, Volume 1.

Clifford Brown - "A Night In Tunisia"

Clifford Brown's trumpet solo on "A Night In Tunisia", from the Clifford Brown compilation The Beginning and the End.

Clifford Brown - "Portrait of Jenny"

Clifford Brown's trumpet solo on "Portrait of Jenny", from the Clifford Brown recording Clifford Brown with Strings.

Chet Baker - "Solar"

Chet Baker's trumpet solo on the chord changes to "Solar", from the Chet Baker recording Chet Baker In New York.

Chet Baker - "You'd Be So Nice To Come Home To"

Chet Baker's trumpet solo on the changes to "You'd Be So Nice To Come Home To", from the Jim Hall recording Concierto, transcribed by Michael Petterson.

Chet Baker - "Tadd's Delight"

Chet Baker's trumpet solo on "Tadd's Delight", from the Chet Baker recording The Most Important Jazz Album of 1964/65.

Chet Baker - "Bea's Flat"

Chet Baker's trumpet solo on "Bea's Flat", from the Chet Baker recording The Chet Baker Quartet featuring Russ Freeman.

Chet Baker - "Happy Little Sunbeam"

Chet Baker's trumpet solo on "Happy Little Sunbeam", from the Chet Baker recording The Chet Baker Quartet featuring Russ Freeman.

Chet Baker - "Fine And Dandy"

Chet Baker's flugelhorn solo on "Fine And Dandy", from the Chet Baker compilation Lonely Star.

Effective Solo Transcription

Why Transcribe?

Depending on who you talk to, solo transcriptions are either an extremely effective tool or a total waste of time for persons trying to learn to improvise. It's always been my opinion that the latter is the opinion of those people who either tried to transcribe and failed to do so effectively or those who developed the skills sharpened through solo transcription by exercising in other ways. To that end, I put forth the following things to remember to help you ensure that transcriptions speed your development as a jazz improvisor:

1. Transcriptions are a tool for developing aural skills.
   Much of the skill set honed through solo transcription comprises the musician's ability to convert tonal relationships (melodic modules) from concept into practice (physically realizing the notes by playing them on an instrument). This style of learning is the same way you learned how to form words as a child.
   Imitation is the sincerest form of flattery.
2. Transcriptions are a tool for developing vocabulary.
   A phrase in a solo, like a sentence in a conversation, is made up of small pieces which can be pieced together in a variety of ways to produce similar but unique ideas. Transcriptions are a way to learn phrases, but more importantly they help you learn the building blocks from which to construct your own ideas.
   Jazz is a language. Learn the words before you try to express your ideas.
3. Transcriptions are a tool for developing technique.
   How many times have you complained to yourself and others that you can't stand working out of the same old method books? Transcriptions (your own and those done by others like you) offer a wealth of new material to challenge you technically. Make sure to use traditional practice techniques when trying to absorb new material in this manner-work slowly if necessary, articulate carefully, and break difficult passages out for special attention.
   The metronome is your friend.

Addressing the Elements of Style

Just as in spoken communication, emotion is conveyed more through inflection than vocabulary. In order to understand the elements of a solo which convery the most emotion, then, you must pay careful attention to the less tangible parts of the solo -- inflection, tone, and articulation. Articulation is especially important to notate in helping you deal with technically difficult passages. I've often found that I had to go back to a recording and precisely notate the articulation of particular passages in order to be able to play them at all! In simpler passages, articulation is often a subtle and individual way of making a phrase unique to the performer. Tone and inflection seldom lend themselves to traditional notation, so you need to pay special attention to these elements as you listen to the original recording and find ways to incorporate them into your learning process. In the final analysis, anything you notate will be useful in the learning process; find ways around the limitations of traditional notation to indicate items of special interest to you.

Solving Common Transcription Problems

The problems which crop up in the process of transcribing a solo are usually the result of undeveloped aural skills and practice strategies (but that's why you're doing it, right?) -- here are some of the most common problems which crop up.

Transcribing the solo is taking way too long!

Well, who ever said it would be easy? Seriously, the transcription process gets faster and faster the more you do. It's really noticeable when you're transcribing a number of solos by the same musician, because people tend to use similar vocabulary between solos. Be patient, do one or two more, and see how it pays off!

I can't figure out the rhythm in this passage.

In most cases, you can solve this by eliminating the pitches from the passage and just sing or tap out the rhythm while counting. If you can't sing the rhythm, you haven't learned the phrase. And don't forget the basic tenet of reading rhythm: when in doubt, subdivide. Finally, don't get hung up on one section of a transcription. Count out the measures in question, leave them blank, and continue with the rest of the transcription-you can take care of the pieces later.

I can't hear the notes in this passage.

There are a number of techniques for handling this type of problem. One is to get a tape machine with a half-speed control on it and slow the recording down until you can make out the line. My preferred method is to skip ahead to the next section of the phrase where I can hear the notes and work my way backwards in small jumps of 2-4 notes. Eventually the two sections of the phrase have to meet, and voila!-you've figured out the notes. Make sure to concentrate on this phrase when practicing and proofreading your work, as the difficulty you've encountered illuminates a deficiency in your aural skills that you can help correct by absorbing the passage into your vocabulary.

I don't know how to notate a rhythm in this phrase.

If the rhythm is hard to notate because it's played loosely, then notate it in a more conventional way and indicate on the transcription that the phrase is to be played loosely.

Conclusion

Transcribing isn't for everyone, but it's been my experience that most musicians who have tried it have gained insight into the way their favorite jazz musicians craft solos. If you haven't tried it, do so! If you have, and gave up due to frustration, try again with an easier solo and work your way forward.

Conte Candoli - "Just Friends"

Conte Candoli's trumpet solo on "Just Friends", from the Conte Candoli recording Candoli Live.

Conte Candoli - "Star Eyes"

Conte Candoli's trumpet solo on "Star Eyes", from the Conte Candoli recording Portrait of a Count.

Conte Candoli - "Softly, As In A Morning Sunrise"

Conte Candoli's trumpet solo on "Softly, As In A Morning Sunrise", from the Conte Candoli recording Portrait of a Count.

Conte Candoli - "Rhythm-a-ning"

Conte Candoli's trumpet solo on "Rhythm-a-ning", from the Art Pepper recording Gettin' Together.

Conte Candoli - "Jazz City Blues"

Conte Candoli's trumpet solo on "Jazz City Blues", from the Conte Candoli recording Powerhouse Trumpet.

Conte Candoli - "Groovin' Higher"

Conte Candoli's trumpet solo on "Groovin' Higher", from the Conte Candoli recording Powerhouse Trumpet.

Conte Candoli - "Pennies From Heaven"

Conte Candoli's trumpet solo on "Pennies from Heaven", from the Stan Kenton recording Sketches on Standards. Transcribed by David Hoffman.