4/30/2021 0 Comments Lennie Tristano Transcriptions Pdf
As part of my Masters thesis I transcribed nearly all of Tristanos solos over the chords to All Of Me.Tristano recorded this set of chords as several different names - Background Music is a melody written for the chords by the great tenor player Warne Marsh; Im No Good Without You is a line from the lyrics, Momentum is just the same thing but without a melody, and Line Up is.well, Line Up.You know how it goes.
I havent transcribed the version of Background Music from the 1964 album Continuity as I didnt feel it was representative Tristano, instead, all of these transcriptions come from the period 1949-1955. Lennie Tristano solo over Im No Good Without You, from the album Lennie Tristano Quintet Live In Birdland 1949 Lennie Tristano solo over Background Music from the album Lennie Tristano April 1951 Lennie Tristano solo over Background Music from CD1 of The Complete Atlantic Recordings of Lennie Tristano, Lee Konitz Warne Marsh Lennie Tristano solo over Background Music from CD2 of The Complete Atlantic Recordings of Lennie Tristano, Lee Konitz Warne Marsh Lennie Tristano solo over Line Up, from the album Lennie Tristano Lennie Tristano solo over Momentum from the album Manhattan Studio If you get any sort of use out of these at all, leave a comment:-). His career continued to take off in the early 1990s with a performance at the Hollywood Bowl of Gershwins Rhapsody In Blue (conducted by John Mauceri). Read more. Bring your solos to the next level with these meticulous transcriptions of some of the best artists in jazz. Weve carefully notated transcriptions of great recorded jazz piano solos. These invaluable learning tools will open new horizons in your understanding of the art of improvised piano. Try following along while listening to the recording, or learn the solos at your own pace. Lennie Tristano Transcriptions Drivers At TheHe began playing professionally at age 17 when he and childhood friend Meade Lux Lewis, both taxi drivers at the time, started to play together in various Chicago nightclubs and rent parties. Read more. Raised in Memphis, Tennessee, Donald studied trumpet and drums as a youth. It was not until he began studying at Memphis State University that he switched to piano as his primary instrument, the late start making his pianistic skill all the more incredible. His first jazz recording session in New York was with Toots Thielemans (August, 1955) for Columbia Records. That session led to his own trio sessions as well as sessions with vocalist Betty Carter for Epic Records in May and June (Meet Betty Carter and Ray Bryant). On August 5, 1955, Ray recorded with Miles Davis, and on December 2, 1955, with Sonny Rollins, both for Prestige Records. On April 3, 1956, Ray started his Ray Bryant Trio album for Epic Records, which contains his own first recording of his classic title Cubano Chant. Cal Tjader had recorded Cubano Chant earlier, on November 11, 1955, on Fantasy Records. Jon took up piano and guitar as a young teenager; he was inspired to play jazz after hearing records of Red Garland and Miles Davis. He briefly studied with Lennie Tristano then attended New England Conservatory, where his teachers included Ran Blake, Jaki Byard, and Madam Chaloff. After six months, he left to begin gigging around Boston. His recording career started in 1950 at age 22, first with Howard McGhee for Blue Note, then Sonny Stitt for Prestige. Lennie Tristano Transcriptions Plus A SurvivingThese two 1950 recordings plus a surviving radio broadcast with Charlie Parker (December 8, 1950) put him in the company of jazz greats J.J Johnson, Max Roach and Art Blakey. With a mantra to swing as much as humanly possible, Davids style is infused with influences of Art Tatum, Bud Powell, Buddy Montgomery, Barry Harris and Cedar Walton while still retaining his own fiercely individual voice. Hailing from Milwaukee, David made his professional debut on the organ when he was just thirteen years old. A native of Eau Claire, Wisconsin, Geoff took up the piano at age three and quickly showed himself to be a prodigy. As an eighteen-year-old freshman at Berklee College of Music in 1989, he was invited to join Art Blakeys Jazz Messengers, launching his talents into the spotlight. The year before, his mentor James Williams encouraged him to record his debut album, the well-received Waiting In The Wings. His career continued to take off in the early 1990s with a performance at the Hollywood Bowl of Gershwins Rhapsody In Blue (conducted by John Mauceri).
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