Honkin', Screechin', and Wailin' by Eric 'Harry' Brisson

HONKIN’, SCREECHIN’, AND WAILIN’: An Exploration of the Saxophone in Popular Music through Transcription and Analysis

Eric J. Brisson

Supervised by Peter Mills Department of Music

Denison University Summer Scholar Project Summer 2010

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Abstract

This paper explores the wild, rollicking saxophone style first heard in 1942 in Illinois Jacquet’s “Flying Home” solo and its influences on the music that followed it through the remainder of the twentieth century. The paper divides the history of this style of playing into five periods: (I.) big band, (II.) early rhythm and blues, (III.) early rock ‘n’ roll, (IV.) 70’s and 80’s rock, and (V.) the jam band. Using transcription and analysis along with personally interviewing prominent saxophonists who perform in contemporary settings, the paper identifies four key elements of the style: pentatonic melodic character; raw, growling tonal character; intense groove and rhythmic character; and subtle speech-like inflections of pitch and timbre. The final section postulates as to the reasons for the saxophones success throughout various different musical style periods.

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PREFACE

Playing music has been a critical part of my life since I was a six-year-old just starting to take piano lessons. I picked up the recorder and the viola before being introduced to the alto saxophone in the fifth grade, playing in my elementary school’s wind ensemble. Eventually, I moved to the tenor saxophone, experimenting with other instruments such as the guitar, bass, drums, trumpet, trombone, accordion and banjo. Awed by music’s power to entertain and inspire, I have always been eager to explore how and why musicians are able to resonate with audiences – eager not only to better understand my own playing, but to understand how music interrelates with and explains the human experience. When young, I realized it didn’t take virtuosic technical prowess to impact an audience. In middle school, I would play my first improvisations using only six notes – a pentatonic-based pattern known as ‘the blues scale’ – that resonated with most listeners about as well as anything else I would ever learn. This same pattern proved to be a staple in my saxophone solos with high school rock groups and even with Denison rockabilly band Zipgun my sophomore year in college. Whether trying to resonate with hot rod aficionados at car shows or my fellow students at Denison’s own Relay for Life, I found that playing a single note loudly and passionately could draw more from an audience than any elaborate or complex melodic idea. This style of playing is seldom explored in an academic setting, perceived as often too banal or even simplistic. Upon first hearing Illinois Jacquet’s solo on “Flying Home” with the Lionel Hampton Orchestra, I felt that I had found a crossing point between the raw and wild saxophone style that I loved and the jazz I had spent so much time playing in my recent studies. This summer research project provided me an opportunity to explore this style and its growth from jazz into a new and unique style. During my time conducting research this summer, I frequently came across the ‘wailing tenor sax’ even when not actively seeking it. Granville’s July 4th Celebration featured Arnett Howard & the Creole Funk Band, whose tenor saxophonist employed many of the techniques I explored. The summer comedy blockbuster MacGruber featured a rock ‘n’ roll sax-playing protagonist. I also

Brisson 4 discovered new saxophone solos serendipitously on my car radio as I drove to pick up my groceries. A critical part of our musical culture, the renegade saxophone has been honking, screeching, and wailing for over half a century: born riotous and unruly in smoke-filled bars and concert halls in the 1940’s, domesticated and captivated in wax recordings of rock ‘n’ roll in the mid-to-late 1950’s and 1960’s, embraced both by the countercultural punk rock 1970’s and the corporate commercial pop 1980’s before rereleased into the wild with the rise of jam bands in the 1990’s. The tale of the wailing sax solo is one about the triumph of the raw power of soul and emotion over intricate complexities of the cerebral. It celebrates improvisation that connects all music listeners – not just the learned and experienced. Finally, it transcends the turbulence of the latter half of the twentieth century, dominating music in varying forms and styles. The story of screaming tenor speaks to the overall power of music to break down boundaries and connect and empower audiences.

PURPOSE AND METHOD The tenor saxophone is widely recognized for its unparalleled expressive potential, compared often to the human voice; perhaps it is this reason that it has been so versatile, embraced by such diverse genres as classical, jazz, and rock music. This paper does not attempt to chronicle the complete history of the saxophone, but it instead takes investigates the ‘wailing saxophone solo’ found in popular music, beginning with Illinois Jacquet in the early 1940’s. It then seeks out critical similarities between this early style and the style that came to dominate saxophone playing in early ‘race charts’, rock ‘n’ roll, and even pop music. The primary sources used in this exploration are the recordings of the saxophone solos themselves. Individual solos are selected for transcription and analysis to represent the larger body of ‘wailing sax’ solos at the time. Although the transcription process is particularly effective in presenting melodic and harmonic ideas for analysis, it is not always effective at capturing other essential elements of the ‘wailing tenor’ style. For example, tonal characteristics (the defining honks and screeches) as well as temporal liberties (playing inside or outside of the time) are not always captured by an exclusively transcription-based analysis. These are components, however, are critical in understanding this style of playing. Accordingly, both the transcriptions as well as the audio themselves are referenced in the analyses.

Brisson 5 Using transcription and analysis, this paper concretely identifies common characteristics among various solos, charting a path of influence through early jazz, rhythm and blues, and rock ‘n’ roll. The frame of this project, therefore, is not based on genre but rather on the style of saxophone playing; focus will be placed on the raw and wild style of saxophone demonstrated by Illinois Jacquet in his recordings with the Lionel Hampton Orchestra. The transcriptions of all solos can be found in the appendix at the back of this paper. Along with the strategies and effects of Jacquet-style improvisations, the motivation and intent behind this type of playing is explored. Since the recordings themselves share only the solos themselves and not the thoughts and ideas that helped to produce them, this paper also made use of one-on-one interviews with prominent saxophonists. Two were selected for their significant role in contemporary pop and rock settings: Jeff Coffin (Dave Matthews Band, Béla Fleck and the Flecktones) and Jerry DePizzo (OAR). These interviews help provide a window to the purpose and intent that drives the creation of solos in the music of today. The organization of the paper takes a chronological historical approach, beginning with Illinois Jacquet’s groundbreaking solo on “Flying Home” with the Lionel Hampton Orchestra in 1942 and moving forward to the present day. The paper divides the history of the wailing sax solo into five distinct periods, identified by the prevailing genre: (I.) big band, (II.) early rhythm and blues, (III.) early rock ‘n’ roll, (IV.) 70’s and 80’s rock, and (V.) the jam band. These periods serve as guidelines and help chart consistencies and variations throughout the overall development of the sound. The final section of the paper explores these commonalities and differences in attempt to paint a more comprehensive picture of the ‘wailing saxophone’ and its evolution over time. It also looks to the future of the saxophone in popular music based and postulates as to the why this style of saxophone improvisation has become so much more successful in popular settings than a more straightforward jazz style. In getting there, though, it is important to mention some background. Saxophonists Coleman Hawkins and Lester “Prez” Young certainly set much of the groundwork necessary for tenor saxophone players everywhere. Early trumpet players such as Buddy Bolden, King Oliver, and Louis Armstrong would also pioneer the bold and punchy tone as well as the stratospheric range that would be then adapted for the saxophone to create the ‘screaming’ tenor sound. These

Brisson 6 influences being significant, the real origin of tenor’s ‘wailing’ sound was on Lionel Hampton Orchestra’s 1942 recording of “Flying Home” – which is exactly where our story begins.

I. FLYING HOME: THE RISE OF SHOWMANSHIP The heart of the wailing saxophone solo lies in its spirit – one that focuses on connecting with the audience in a way that inspires them to dance. It should be no surprise, then, that one of the first recordings with a solo of this character is found on a recording with the Lionel Hampton Orchestra. Hampton made no secret of his priorities as a performer; he always made it clear that he was an entertainer first and musician second. “I loved doing those antics,” Hampton would say in his autobiography; “To me it was showmanship, and I have always been Mr. Showmanship” (Hampton 36). When performing, his band would feature ‘battles’ pitting instrumentalists against each other or make long, dramatic pauses in the middle of tunes, defining the Hampton Orchestra as one of the most theatrical musical acts of its time. Illinois Jacquet on “Flying Home” (1942, Lionel Hampton Orchestra) Lionel Hampton composed the melody for “Flying Home” during his tenure with the Benny Goodman Orchestra. Supposedly, he was nervously whistling the melody while about to board a plane with the band. After starting his own band, Hampton would record the best known version of the song, and Jacquet’s improvised solo would serve as the signature melody that would be recreated by every successive tenor saxophonist that would play in Hampton’s band. While the tune runs about three minutes on wax, it could extend well over twenty minutes when performed live – supposedly driving the crowd into an absolute frenzy. In Hamp!, Lionel Hampton’s autobiography, Hampton tells a story: Some funny things happened at the old Apollo. There was a time when a guy in the second balcony was high on too much reefer. When we were playing “Flying Home,” he got inspired. He climbed up on the rail and started shouting, “I’m flying, I’m flying.” And then he jumped. It was a miracle that no one was hurt. (79)

Brisson 7 Another time, Connecticut police officers forbade the playing of it for fear that the concert hall would not be able to structurally handle the excitement its performance would create. This enthusiasm and passion would be a signature characteristic of the saxophone as played in both rhythm and blues as well as in rock ‘n’ roll in years to come. Largely contributing to the energy and enthusiasm of the piece is Jacquet’s groundbreaking solo, noted by many to be the first of its style to be recorded. In this solo, Jacquet’s playing exhibits this excitement in melodic, rhythmic, and tonal qualities that create excitement and intensity. Tonally, his sound is both bold and forceful; this timbre cuts through the orchestra, adding to the audience’s exhilaration. Another tonal device he uses is false fingerings, employed in measures 34 through 47 to produce subtle differences in tone and pitch, adding intensity to the predominantly one-note passage. While Jacquet does not use a full-throated growl during his solo, his sound does possess an overblown quality that distinguishes it as particularly intense. With regard to rhythmic style, Jacquet anticipates his entrances, frequently beginning phrases an eighth note before a downbeat. This is done most notably at the very beginning of his improvisation, where he enters off the beat with a slow, exaggerated scoop into a D, the major third. Another key rhythmic device he uses is playing deliberately behind the beat in measure 21 only to play right into the time in measure 23, adding variation and drama. Also prominent in Jacquet’s rhythmic approach an emphasis on upbeats, particularly in phrases in measures 15 and 26-27. These rhythmic syncopations are critical in improvisation’s creation of excitement. Jacquet’s sense of melody also played a large role in allowing him to connect with audiences in his “Flying Home” solo. In general, his melodic ideas were based on the major and minor pentatonic scales (with some limited use of the sharp fourth / flat five in measure 27). The first four measures use the major sixth to develop a major sounding tonality, while the second four measures move to a minor tonality introducing the minor third and dominant seventh. Jacquet then reverts to the major pentatonic in the third four measures before returning again to the minor in the final four measures before the chorus’ B section. This allows these two relatively simple scales to remain fresh and resonant to the audience, and it further creates a notion of symmetry or “call and response”. Another notable part of the solo’s melody is at the beginning of the second chorus. Here, Jacquet’s melody consists primarily of one single note for nearly sixteen measures; this melodic strategy, in combination with his rhythmic and tonal strategies, builds intensity and would be imitated in many

Brisson 8 in recordings to be made. Near the end of the solo, Jacquet arpeggiates an augmented version of the dominant chord – a harmonic idea that stands out as result of its relative complexity. Jacquet makes this still fit the style with the honking fashion in which he is able to spit out the notes. Jacquet also develops his own style of note inflection, relying heavily on scoops and bends. Through utilizing these various devices, Jacquet not only captured the excitement of an airborne homecoming that inspired the song’s melody but also successfully constructed one of the first rock ‘n’ roll saxophone solos. He would refine this style further in a recording of a jam session in the Los Angeles Philharmonic Auditorium. Illinois Jacquet on “Blues, Pt 2” (1944, Jazz at the Philharmonic) After his tenure with the Hampton band, Jacquet moved to spend a year with Cab Calloway’s band before splitting off and becoming one of the first artists to be signed on the Blue Note record label. In 1944, he would participate in the first of many “Jazz at the Philharmonic” sessions organized by jazz supporter Norman Granz. The first session, held to raise money for those arrested under questionable circumstances during the Zoot Suit Riots, took place on July 2nd, 1944 featuring other jazz greats such as Nat Cole, Les Paul, and J.J. Johnson. Jacquet’s performance at this jam session is without doubt most memorable during his improvisation on “Blues, Pt 2,” where he works the crowd into audible frenzy with his showman’s debonair. The tonal quality of Jacquet’s solo develops throughout the solo, starting out relatively tame and becoming more aggressive and overblown as the music progresses. It is not until his fourth chorus that the sound begins to sound rough. Ascending from a low C, when he reaches the upper end his horn the tone begins to fray and harmonics pop out on a few notes. This becomes even more intense in the sixth chorus, where the overblown tone is combined with pitch glissandos that rip through Jacquet’s horn. At the end of this chorus, in measure 74, he uses his brash and intense tone to imitate the piercing sound of train whistle. Perhaps it is his eighth chorus, though, that is the most memorable; at this point, Jacquet bites on his reed to play up into the stratosphere, hitting an A over an octave above the normal range of the tenor saxophone, while maintaining his screaming sound. By the time he comes back to earth, he maintains his blaring tone and develops a fullthroated growl, which pushes him to his final chorus. Here, he reenters the altissimo range of the saxophone – going even higher than before and spitting out five sharply articulated notes in this

Brisson 9 range creates a unique “chirping” effect. He ends his improvisation in the middle range of his horn continuing to demonstrate his bold and brazen tenor. Jacquet also demonstrates a keen melodic ear in this solo, which is also based almost entirely on the use of notes in the major and minor pentatonic scales. How he plays these notes, though, is the key to his success. The opening passage, for example, uses a string of eighth notes that create a steady swing with repetition of G’s, A’s, and C’s while creating a descending stepwise motion from E to D to C. In response, he creates a similar phrase that instead emphasizes the descending motion from two Eb’s to a D. In the final phrase of the first chorus, he makes use of an Ab (the flat nine over the G7 chord) in a relatively mature harmonic choice, and he ultimately ends the phrase on an A, the major sixth. The second chorus is also notable for its bold opening statement, sung as if quoting a popular melody of the time. The aggressively anticipated Bb in measure 21 also helps create excitement, and space provided in measures 24 and 25 allow his phrases to breathe, reverberate, and resonate with listeners. This same space concept would be employed at the end of the fourth chorus and throughout the particularly soulful tenth chorus. The third chorus begins with a twomeasure phrase repeated twice – a strategy repeated also in choruses F, G, and K. The chorus is wrapped up with a repetitive pattern similar to Jacquet’s opening phrase, emphasizing the downward chromatic motion from G to F# to F to E. The fourth chorus has one of the most interesting harmonic ideas in the whole solo, honking out a low C on the upbeat of one. This string of eighth notes outlines the C major chord, a C full diminished chord, and includes the augmented fifth of the C chord as well. The next phrase uses a standard major pentatonic scale before emphasizing downward stepwise motion as has been seen now twice before. The chorus builds to a high C, which is where the fifth chorus begins with a punchy major pentatonic riff before ripping up into a high Eb. The sixth chorus reprises this ripping effect more extensively, and the higher end of the horn dominates, building intensity up into the altissimo eighth chorus. Another idea that Jacquet uses to create intensity is rhythmic displacement, or putting the same melody in a different place of the measure. This creates tension and thrill.

This is seen first

in the ninth chorus of Jacquet’s improvisation, where he repeats a three beat phrase creating tension with the four beat measures (mm 106-108). This is done again more extensively in the eleventh

Brisson 10 chorus in measures 125 through 129, although the phrase used hear is instead one and a half beats. In Jacquet’s conclusion, a combination of major pentatonic and minor pentatonic ideas are employed, and the solo ends on an A, the major sixth, as he ended the first chorus. This leaves the improvisation sounding somewhat open-ended. Overall, Jacquet is able to use repetition, space, and occasional rhythmic displacement to generate excitement as melodic devices to create a strong connection with his audience. These strategies, in combination with his overblown sound, are effective in creating one of the most energetic and intense saxophone solos in the entire history of the Jazz at the Philharmonic jam sessions. Jacquet would continue as a musician performing jazz in his signature style, but it is these two recordings that memorialize him and his ability to work a crowd into sheer madness. What distinguishes Jacquet, though, from those would follow him, is that he considered himself to be a jazz musician. Many of those who would follow him, inspired by his solos, would break new ground lending the saxophone’s versatile and expressive sound to a new developing genre. One of those pioneers who heard these recordings on the radio was a tenor saxophonist born in Los Angeles, Big Jay McNeely, who would grow up to be known as the “King of the Honking Tenor Sax.”

II. THE GREAT SCHISM: BIG JAY TAKES THE STAGE While early performers of wailing tenor saxophone solos embraced the genre of jazz as their own, time would bring forward new and diverse styles of music. This schism, though gradual, would split off a new genre of rhythm and blues, which would be a critical stage in the development of most contemporary popular music. One of the first to admit to diverging from the jazz world was a saxophonist by the name of Big Jay McNeely. Although McNeely was breaking new ground by developing early rhythm and blues, his value of showmanship was very much in line with the Hampton tradition. In performances, he would wear bright lime green suits and walk around while playing – an ornamental theatricality that would lead to the rhythm and blues saxophone playing known as “walking the bar.” McNeely was even known to have once walked out of a concert to be arrested, and his band kept playing until he

Brisson 11 was bailed out of jail only to return to finish his solo before a crowd that had all but erupted in anticipation (Dawson 80). As technology would advance, he would be on the cutting edge as one of the first musical artists incorporating black lights into his shows to make his saxophone glow in the dark, strobe lights to create the impression of watching an old movie, and even smoke machines into his shows. His music was designed to entertain, and he would use whatever theatrics to advance that purpose. His adherence to Hampton’s values of showmanship and theatrics would, ironically, drive a wedge between the two musicians when they shared the stage at the 1949 Jazz & Blues Cavalcade in Los Angeles, held in large baseball stadium. Hampton, playing with his orchestra, invited McNeely to take a solo on the befamed sax screamer “Flying Home.” Not one to hold back anything, McNeely worked the crowd into a madness playing on his back sliding from base to base on the baseball diamond. Hampton, having saved the final solo for himself, was unable to top McNeely’s theatrics, and McNeely was never invited to perform with the Hampton Orchestra again. Big Jay McNeely on “Deacon’s Hop” (1949) Deacon’s Hop would be Big Jay McNeely’s first hit, the Billboard Charts in the ‘race record’ category on February 19, 1949. The song would also earn McNeely the nickname “The Deacon” which would follow him for the rest of his career. Harmonically, the song is strikingly similar to “Flying Home.” The first section features no chords, only a rhythm groove from the drums complimented by handclaps bolstering the backbeat. McNeely, in his improvisation, treats this section as purely in Bb, the only chord in the first section of “Flying Home.” The chords introduced in the song’s second section (Bb, Eb, C, and F) are also the same, so these two songs already are fundamentally similar even before analyzing McNeely’s solo style. Tone is the most critical element in McNeely’s playing style. He would master the deepthroated growl, taking the “wild man” saxophone style to the next level. In “Deacon’s Hop,” this growl is essentially omnipresent, keeping his solo sounding riotous and unruly. Also characteristic of the Deacon is a habit of overblowing notes to hit overtones in a somewhat inconsistent manner. This is particularly evident in measures 22, where Big Jay glisses from a high C to a low C; also, this effect can be heard in the final eight measures of the song. McNeely’s sound is also characterized by a heavy and wide vibrato, which further contributes to the expressive nature of his unrefined style.

Brisson 12 Like Jacquet, we see use of false fingerings to create subtle variances in timbre (mm 18-24, 32-40, 42-48, 58-64). Melodically, we also see similarities to Jacquet’s playing style. Most clear of these similarities is his extensive use of the Bb throughout his solo. He plays these Bb’s in various rhythms to generate excitement, and in combination with various scoops, glissandos, and falls. Outside of this, we see a similar use of the pentatonic major and minor scales. While Jacquet’s “Flying Home” solo stuck to the higher range of the saxophone, McNeely takes full advantage of the key of Bb by honking out the low Bb – the lowest note on the tenor saxophone. We see more use of chromaticism than in Jacquet’s work, and we also see adherence to a strict sense of time. A strong example of this is in measures 24-25, where the whole ensemble drops out leaving an exposed McNeely showing little regard for time or pitch – a state of near complete musical anarchy. Overall, Big Jay McNeely’s performances are characterized as free, unrestrained by the music’s time, pitch, or tone. In “Deacon’s Hop,” McNeely is an iconoclast, leaving no rule left unbroken. McNeely would be one of very few artists who would be both a solo saxophone player and also a frontman. With recording time at a premium and limited space on 45 records, a changing industry would lead to shorter solos interspersed in predominantly vocal recordings, redefining how the saxophone fit into popular music.

III. THE SIDEMAN: FINDING A PLACE IN EARLY ROCK ‘N’ ROLL The rise of rock ‘n’ roll and the electric guitar in many ways stole the show away from the saxophone as a popular and mainstream instrument, but it did not completely eclipse the role of the saxophone. Early rock ‘n’ roll grew directly from early rhythm and blues, and the two styles shared many characteristics; one clear difference that emerged was that most popular music during the 1950’s would feature a vocalist for majority of the song. This marked a break from the 1940’s, when select instrumentalists had marginal success. Bands occasionally had a saxophone player, and in addition to ensemble parts they would occasionally take solos between verses to add variety to songs. However, most vocalists and vocal groups did not have fulltime saxophonists, creating a need for session saxophonists. Many of these session saxophonists were prolific, having made their

Brisson 13 mark on wide body of tunes. Of all session tenor saxophonists, one of the most in demand went by the name Sam “The Man” Taylor. Sam “The Man” Taylor on “Money Honey” (The Drifters, 1953) One of the earlier of rock and roll hits, “Money Honey” was on the Billboard Rhythm and Blues Charts for 23 weeks, hitting number one on November 21, 1953. Written by Jesse Stone and performed by The Drifters, the song’s lyrics describe a man begging a woman for financial assistance. The saxophone solo, performed by Sam “The Man” Taylor, made use of the blues scale, repeating the same riff roughly three times before winding up the chromatic scale playing a series of Bb’s, similar to the second chorus of Jacquet’s legendary “Flying Home” solo. The bluesy melodicisms are successful in capturing the financial troubles the song’s lyrics reference, and the use of vibrato and chromaticism building into measure 10 creates a strong sense of motion. This motion pushes into a chain of Bb’s, reminiscent of both Jacquet’s and McNeely’s prior works. Sam “The Man” Taylor on “Shake, Rattle and Roll” (Big Joe Turner, 1954) “Shake, Rattle and Roll” is twelve bar blues-form early rock ‘n’ roll song also written by Jesse Stone. It would be remade by various musicians on multiple occasions, but the first version was recorded by artist Big Joe Turner, featuring a baritone saxophone solo by Sam “The Man” Taylor. It is likely that this saxophone was chosen for this song so that it could be played in the baritone’s key of Bb. While Taylor relied heavily on the blues scale riffs in “Money Honey”, in this song, takes a different approach, employing the major third and sixth to create the “blues in the sixth degree” sound that we heard earlier in Jacquet’s improvisations, characterized by the presence of G’s throughout the solo. His rhythms also emphasize down beats as he heavily digs into the beat, creating a different effect than that in “Money Honey.” In closing, Taylor takes full advantage of baritone saxophone’s register, punctuating his improvisation by honking out four Bb’s Rudy Pompilli on “Shake, Rattle and Roll” (Bill Haley and his Comets, 1968) Several versions of “Shake, Rattle and Roll” were performed by rock pioneers Bill Haley and his Comets. Their first recording took place only months after the Big Joe Turner’s recording. As a

Brisson 14 white group, their music was commercially successful and also helped bridge the gap between “white” and “black” music in the creation of early rock ‘n’ roll. While their first recording would not feature a saxophone solo, a later recording in 1968 would grant a solo to Comets saxophonist Rudy Pompilli. Pompilli’s approach to the solo differs from Taylors in that the entire recording is quicker, and seems to be taking another step toward what we know would be rock ‘n’ roll saxophone playing. He also makes more use of the growl, the blues scale, and even chromatic musical ideas. Sam “The Man” Taylor on “Sh-Boom” (The Chords, 1954) In 1954, R&B vocal group The Chords wrote and recorded “Sh-Boom,” which would not only reach number two on the Billboard Rhythm and Blues Charts but also number five on the Billboard Pop Charts, considered by some to be the first rock ‘n’ roll song to make the top ten on the Pop Charts rather than just the Rhythm and Blues Charts. This song also featured Sam “The Man” Taylor on the tenor saxophone in one of his most memorable recorded solos. Through his execution of sweet melodicisms, Taylor carries through on the song’s promise that “life could be a dream,” with melodies that seem to dreamily float atop the rest of the ensemble – all while maintaining his characteristic intensity. In particular, measures 11-13 utilize a simple three-and-a-half beat phrase juxtaposed on the four beat measure to create a “falling” sequence effect. Additionally, the improvisation’s use of the octave in a melodic context (measures 3-6) leaves space that assists in contributing to the song’s dream-like theme. The solo also develops strong closure, beginning with an ascending chromatic pattern and end with a descending chromatic pattern. Sam Butera on “Jump, Jive and Wail” (Louis Prima, 1957) One of the most energetic acts in the history of swing was Louis Prima and the Witnessesses, who played The Sahara nightclub in Las Vegas for most of 1950’s. Known for the group’s spontaneous humor and for borderline-absurd nature of their conduct, the group quickly became one of the biggest acts in Vegas. When Prima was called to work in Vegas, he called the New Orleans tenor saxophonist to assemble a group of musicians to perform with him, and what resulted was one of the most riotous, passionate ensembles that ever would play.

Brisson 15 Of all their standards, “Jump, Jive and Wail” has lived on to be one of their best-known works. The song uses a standard twelve bar blues form, and it fits single-chorus instrumental solos to separate choruses from new verses. Butera kicks the solo off by honking out three C’s in heightening register. From there, he uses a series of riffs inspired by the blues scale as well as a driving sense of time and his signature wail to get the crowd up jumpin’ and jivin’. Sam Butera on “Just a Gigolo” (Louis Prima, 1957) Another well-known tune of Louis Prima’s is an arrangement that Prima and Butera put together called “Just a Gigolo / I Aint Got Nobody.” Most memorable about the song is the fanatical exchanges of gibberish and saxophone licks between Butera and Prima. This recording really captures the insane level of raw energy that the two develop in their intermingling of mangled, incomprehensible vocal riffs and high-octane overblown saxophone. Boulard, a biographer of Louis Prima, says this about the arrangement: The Butera arrangement is a tour de force clearly exhibiting the saxophonist’s artistic penchant and creative imagination. Its musical influences seem to be an eclectic mix of every major musical strain of the twentieth century. In addition, the song became a top seller that year, even though it ran for nearly five minutes, far beyond the two minutes, thirty seconds barrier for hit singles. (Boulard 112) Butera’s solo also clearly demonstrates his expert pitch control which he uses to scoop, bend, fall, waver, and wobble – creating a sort maniacal anarchism reminiscent of McNeely’s “Deacon’s Hop.” He also complete departs from the ensembles sense of time in measurers 11 through 13, returning only to dig into the groove more than ever before. This creates a temporal resolution, and it gives the audience a sense of drama within the improvisation. Butera also takes full advantage of the key of Bb later in the song when accompanying Prima by honking out numerous low Bb’s. These various techniques help contribute to the crazed, swinging chaos expected from Prima and his bandmates. King Curtis on “Yakety Yak” (The Coasters, 1958) Of all popular saxophonists, one of the most successful as a solo performer during this time was a man named Curtis Ousley, although he was more famously known as King Curtis. His solo on “Yakety Yak,” with its almost exclusive use of the major pentatonic scale and sixteenth note

Brisson 16 groove, would serve as the inspiration for Yakety Sax by Boots Randolph. In contrast with the sound of Butera, Curtis’ style seems impeccably deliberate and yet just as driving and intense. Curtis’ intensity stems from his ability to dig deep into the time using exaggerated articulation. Indeed, his clipped sixteenth notes seem almost overstated – a satirical caricature of his own sound. This style, however, lends itself perfectly to “Yakety Yak,” which takes human speech as its theme; Curtis’ intense articulations give the impression of speech with its heavy-handed use of the tongue. Big Jay McNeely on “There Is Something On Your Mind” (1959) As well as being an artistic pioneer, McNeely was also shrewd in his understanding of the music business, turning down a car from record executives to avoid entering a state of indentured servitude used to control artists. Further, he understood that the music business was shifting away from instrumental music, and so he hired vocalist Little Sonny Warner to sing on another hit song for him entitled “There Is Something On Your Mind,” where he took a single chorus solo in the fashion typical of the time. Playing on a twelve bar blues form, McNeely makes extensive use of the keys major sixth, creating the open-ended sound heard in Jacquet’s blues solo at the Philharmonic in 1944. This solo also demonstrates significantly more control than McNeely did in “Deacon’s Hop” a decade earlier, with only some slight deviations from time in measure 6. The leisurely sense of time and use of a rich and flowing vibrato create a relaxed feel reminiscent of romance in the age of drive-ins and malt shops. Jackie Kelso on “Twistin’ the Night Away” (1962) Another classic song that makes use of a saxophone solo is Sam Cooke’s “Twistin’ the Night Away,” which contains a very contrived and brief call and response between background vocalists and Jackie Kelso on the tenor saxophone. The song’s Motown groove and Cooke’s smooth vocals made it widely popular, topping Billboard’s R&B Singles chart from March 24, 1962 to April 7, 1962. Melodically, Kelso uses the major pentatonic scale almost exclusively. The solo is split into seven two-bar segments, each increasing in intensity before resolving in the final four measures.

Brisson 17 The song builds to measures nine through twelve, which features Kelso slamming heavily growled high B’s, further accentuating the backbeat of the tune’s rock shuffle groove. The emphasis of the backbeat really dials in the fact that this is a dance song, and Kelso’s intensity has listener’s twisting along. Saxophonists would continue to be presented with short and deliberate solo opportunities as Kelso’s in “Twistin’ the Night Away.” Nonetheless, the saxophone would retain its power, even developing into a symbol of pure raw and intense energy as the next generation of players picked up their horns, raised on Motown and early rock ‘n’ roll. To these musicians, the saxophone would be an outlet for their wildest expressions.

IV. SAX, DRUGS, AND ROCK ‘N’ ROLL: THE 70’S AND 80’S Music would come to change in very dramatic ways in 1970’s and 1980’s as music continued to develop into even more numerous and diverse styles. The saxophone, adopted by relatively clean-cut Motown in the 1950’s and 1960’s, now took on a completely new persona, become an emblem of the rowdy and rebellious. This new renegade image would preserve the saxophone’s relevance and popularity through the tumultuous transition into the latter decades of the twentieth century. Bobby Keyes on “Brown Sugar” (The Rolling Stones, 1971) Written by songwriter pair Mick Jagger and Keith Richards, “Brown Sugar” is the opening track off the Rolling Stones’ 1971 album Sticky Fingers. The song is known for its vulgar lyrics and dirty groove, and the wailing tenor solo nearly two minutes into the song intensifies this mood. Keyes primarily uses the pitch control and the blues scale to really create a greasy mood, and he really lays on the growl in measures nine and ten to further exaggerate this effect. His loose rhythmic feel also contrasts sharply with the straight-ahead groove that the band is creating behind his solo. Characteristic of many rock saxophone players, Keyes does not make extravagant claims with regard to his abilities. “I just stick it in my face and blow,” he once said in an interview with

Brisson 18 the Austin Chronicle. The real effect added by Keyes solo is not so much one of creative melodic interest, as he primarily uses repetitive minor pentatonic patterns, but it is instead one of pure sound and soul, underscoring the wild and raw themes presented in the songs lyrics and feel. Clarence Clemons on “Born to Run” (Bruce Springsteen, 1975) Another example of a driving saxophone solo from this era can be found in “Born to Run,” a rock song written by American singer songwriter Bruce Springsteen and performed on the album of the same name, released in 1975. The song’s lyrics form a love letter to a girl named Wendy, and they also reflects the teenage desire to escape ones own hometown. Tenor saxophonist Clarence Clemons follows the line “I want to know if love is wild, girl; I want to know if love is real” and takes the rip-roaring solo out, drilling in with a repetitive eighth note pattern. Clemons’ solo is much less about harmonic or melodic ideas as it is about really driving in the rhythm of the song, which has been observed earlier with some of Jacquet’s riffs – although not to the same extent. His role in the E Street Band is much more to push the song along by really digging into his rhythmic riff. In its conclusion, the uses an escalating sequence to intensely push the solo to the final high F# Clemons also speaks on his view of the saxophone in a rock ‘n’ roll setting. In an interview with All Access Magazine, Clemons explains, The sax was always there in the beginning of rock, but then they said it wasn’t loud enough and then the guitar came in. And it was loud and aggressive and kind of pushed the saxophone back. I’d like to think that I had something to do with bringing it back to rock and roll! Clemons’ saxophone playing certainly sounds heavily influenced by the rock and roll, and we see how the sound changes in this next generation of players. Alto Reed on “Old Time Rock and Roll” (Bob Seger, 1978) “Old Time Rock ‘n’ Roll,” performed by Bob Seger and the Silver Bullet Band, provides another example of a wailing sax solo in a song from this time, and it uses similar rhythmic and melodic devices to create a soulful and inspiring effect. The songs lyrics describe a music fan reminiscing about “old time rock ‘n’ roll” that had more soul and resonated more strongly with him.

Brisson 19 Alto Reed, the saxophonist of the Silver Bullet Band, then creates a solo that is soulful and resonant by using pitch scoops and sweeps as well as sharp attacks and melodic riff sequencing. The repetition helps the song resonate with the audience. Even though we can hear a clear connection to early jazz with regard to performance strategies, we see a clear departure from the very roots of jazz with regard to direct influences. In an interview with A3 network, Reed said, The style that I play on sax is not jazz and it’s not the horn section thing. I always wanted to be a guitar player, so I listen to Clapton, Townsend, Hendrix, and Harrison. George Harrison I thought was one of the best soloists with his simplicity of how he approached all the Beatles songs and how he put his guitar into them. So that was my style. Heavily influenced by guitarists, it is no surprise that Reed’s improvisation in “Old Time Rock and Roll” makes extensive use of blues riffs and bends, both staples of the rock guitarist’s improvisation toolbox. Rhythmically, the solo digs deep into the song’s sense of time, which helps create the sense of soul that, according to the lyrics, is lack from “today’s music.” Through his rhythmic style, use of pitch control, and execution of classic blues riffs, Reed is able to create an eight bar solo that excites and inspires. Michael Brecker on “Candy” (Cameo, 1987) The 1980’s also featured many saxophone solos, one of the most notable being that performed by Michael Brecker in Cameo’s “Candy.” “Candy” held the number one spot on the Billboard R&B / Hip Hop Charts from January 31 to February 7, 1987. Although the overall feel of the song is very different from other songs we’ve explored, the devices Brecker uses to create interest are very similar. The first device used is a rhythmic displacement of the first phrase, which serves as a kernel from which the entire rest of the solo seems to develop organically. Brecker also creates another smaller motif of beginning phrases one sixteenth note behind downbeats, an effect that in itself creates excitement. Measure 9 changes strategy, as Brecker seems to intermittently stab out notes to create a more sparse approach that builds up to the improvisations of two high B’s – the “money note,” so to speak. In the final four measures, Brecker demonstrates more of his jazz background,

Brisson 20 rattling off a gaggle of sixteenth notes until rebuilding up to the high B. This strategy of ending on the highest note is deliberate and preconceived, but was also very popular in music of the time. Although the saxophone’s career in popular music had been marked by this lack of spontaneity for almost a quarter of a century, a return to this fundamental freedom was just around the corner.

V. BACK TO FUTURE: THE REBIRTH OF THE JAM The story of the wailing saxophone solo leaves us in a place very similar to where it began. Jam music became popular in the 1990’s, and the style of saxophone that it embraced is more similar to Jacquet’s 1944 Jazz at the Philharmonic improvisations than any of the other periods identified in this research. When musicians would come together to play in jam bands, each individual song could easily be performed for over ten minutes as during the earliest jam sessions. The success of jam band music achieved success largely because it emphasized live performance rather than recordings. When music began being marketed as a concrete commodity (such as on vinyl records), songs were shortened by necessity. Improvisations would be one chorus of a song – sometimes even less, sharing a chorus with vocals or fading out quickly at the end of a song. As a new style of playing began to take root in the 1990’s, the saxophone would once again loose such strict temporal limits in popular, contemporary settings. Jeff Coffin Jeff Coffin has played in a great variety of settings, both rock and jazz. Perhaps best known is his work as a member of Béla Fleck and the Flecktones, a progressive jazz-fusion group, with whom he has performed since 1998. He has performed in a variety of pop and rock settings, with groups diverse as the Dave Matthews Band, Lynyrd Skynyrd, The Wailers, and Umphrey’s McGee. When Coffin was growing up, he listened primarily to vocalists. In particular, he was attracted to soul music like Aretha Franklin and Gladys Knight and the Pips, not discovering many jazz saxophone players until studying the saxophone in college. He also drew influence from early pop saxophone players such as King Curtis and Boots Randolph. Coffin does not distinguish between playing in jazz and rock settings, and sets a single primary goal when playing: creating the same sensory experience felt by the performers. He also

Brisson 21 tries to keep himself open to new sounds to ensure that he keeps his sound relevant and resonating with his audiences. Jerry DePizzo O.A.R. (Of A Revolution) is a pop rock act best known for songs like “That Was a Crazy Game of Poker” and “Hey Girl,” and their live performance style embraces free and prolonged improvisation. This allows their saxophonist, Jerry DePizzo, a lot of freedom in his improvisations. DePizzo, like Coffin, grew up listening primarily to vocalists and got involved with music through his school band program. In fact, both Coffin and DePizzo were drawn initially to the drums and percussion but were unable to secure positions due to limited space and wound up playing the saxophone. Playing with O.A.R., he sets his primary goal as entertaining his audience – trying to get them up on their feet, dancing, and having a good time. I’d rather try to kill people with one note than with a giant cascade of notes. I’d rather belt one out and see the whole place go up in a frenzy. The most important thing to me is embouchure control and being able to manipulate the notes that are being played with scoops, screams, and growls – things that get you as close to the human voice and human expression as possible. These techniques put you in a position to convey your emotions at the time. It is through the use pitch manipulation and other devices that he is able to express his emotions and therefore entertain the group. This use of free expression for the primary purpose of entertainment seems to tie very closely to Jacquet’s “Blues” improvisation, where he lets loose and digs in while the crowd just soaks it up.

OVERARCHING TRENDS AND OBSERVATIONS In examining the development of the so-called “screamin’ tenor solo” over time, it seems clear that there are four primary common elements that create this sound and unify it over time, from its origins in the 1942 recording of Jacquet’s “Flying Home” solo with the Lionel Hampton Orchestra to contemporary saxophone solos: melodic character, tonal character, rhythmic character,

Brisson 22 and inflection. These elements have been seen to remain relatively constant in popular music, even though the style of popular music has evolved in immense ways. Melodic Character Melodically, the rock ‘n’ roll tenor solo draws heavily on two pentatonic patterns: the major pentatonic scale and the minor pentatonic scale. Saxophonists also make extensive use of sequences to create a sense of familiarity and repetition, as well as to further drive in rhythmic ideas. These ideas, though simple, are effective in resonating with wide audiences – those with little or no experience in technical music theory and performance in particular. Simplicity allows the music to be accessible by all listeners and likely contributed to the popularity of this style over other more complex styles. Tonal Character Perhaps the most defining characteristic of this style of tenor playing is its tone. The tenor saxophone already occupies the same frequency range occupied by the human voice; the overblown and growling style pushes that expressiveness into overdrive. Indeed, even the words “honking” and “screeching” seem reminiscent of the sounds produced by this style of saxophone playing. This overblown sound is heard in varying degrees throughout the development of the rhythm and blues tenor saxophone. The tonal character of the wail is produced primarily by a large supply of air and a strong wind column as well as use of effects known as either “growling” or “flutter-tonguing” to get the overdriven buzzsaw-esque tone. Growling is produced by humming a dissonant pitch while playing; flutter-tonguing is produced by rolling the tongue while playing. Though the effects are subtly different, both help create the raw and expressive sound that is identified with this style of playing. Rhythmic Character The rhythmic character is also a critical component of this style of playing. One part of the rhythmic style is the extensive use of syncopation to create tension, sometimes by even going wildly outside of the time, as Butera does in his improvisation in “Just a Gigolo.” Also important is when rhythms are laid right on top of beat, digging right into the groove. Sometimes these two effects can be alternated to create even more drama, tension, and contrast.

Brisson 23 Repetitive rhythmic patterns also help build intensity, particularly repetitive eighth note stabs at a particular single note, such as is found in Clemons’ solo in “Born to Run.” Attacking notes an eighth note ahead of the beat also creates tension, such as Jacquet does in his second chorus in “Flyin’ Home” and McNeely does in the B section of “Deacon’s Hop.” Inflection One of the most interesting characteristics of the rock ‘n’ roll saxophone is how subtle pitch control and attack control allow the saxophonist to really control their sound and more closely mimic the sound of the human voice and develop a broad expressive range. These inflections are a strong component in determining a saxophonist’s unique style: whether it’s greasy and loose (Sam “The Man Taylor on “Money Honey” or Bobby Keyes on “Brown Sugar”), passionate and wild (Big Jay McNeely on “Deacon’s Hop” or Sam Butera on “Just a Gigolo”), or driving and intense (King Curtis on “Yakety Yak” or Clarence Clemons on “Born to Run”). Saxophonists can inflect their notes through several different methods. Pitch control is one method of inflection. A “scoop” is used when a saxophonist loosens his or her embouchure to attack a note below pitch before bringing it up to standard pitch. On the end exists the “fall,” which drops the pitch at the end of a note; this can be down by loosening the embouchure, by fingering a descending chromatic scale, or (most commonly) a combination of both. A “smear” or “gliss” connects the pitches of two different notes and is created. Overall, using a heavy vibrato and taking general liberties with pitch create an unruly and wild sounding saxophone, while a stable sense of pitch creates a more focused and driving effect. Another method of inflection is more closely related to variations in tonal quality of the saxophone’s sound. “False fingerings” also can make subtle differences in tone. To create this effect, one uses different fingerings to produce the same pitch but using a different harmonic; the effect is similar to playing the same note on different guitar strings or different brass partials. Combining hard and soft attacks can also create a unique effect, as can be heard in King Curtis’ solo on “Yakety Yak”. It is through the employment of these various inflection techniques that allow the saxophone to serve as one of the most expressive of all instruments. Flexibility in inflection have

Brisson 24 allowed the saxophone to communicate a wide variety of emotions and maintain relevance throughout popular music’s dynamic history.

THE FUTURE OF THE “WAILING SAX” While there is a surprising amount of consistency throughout the various periods of the saxophone’s involvement in popular music, there are also a few significant changes that should be noted. Recognizing these changes allow us to speculate on how the saxophone will maintain relevancy in an ever-changing music industry. One key shift was in the length of saxophone improvisations. When these solos were first conducted, they took place in most frequently in live settings. Such settings provide soloists more freedom and enabled them to improvise for longer periods of time. However, the increasing popularity of recorded music would constrain most music, imposing strict time limits for solos. The dominance of vocal-centered music would decrease lengths of solos even more. Improvisation lengths would not increase again until the 1990’s, when several prominent saxophonists would become involved with jam bands. Digital recording technology also has liberated the solo from time constraints; unlike prior technologies such as 45-rpm vinyl records, mp3s do not have a practical limit to the quantity of audio that they can store. Another critical development lies in the context in which the saxophone is played. This has developed extensively over time, emphasizing the impressive versatility of the saxophone. Despite constant artistic evolution of musical ideas and fickle public taste in popular music, the saxophone has been able to maintain relevance, continuing to resonate with audiences everywhere across generations. The natural question is then to ask, “Why has this style of saxophone playing met such success?” in such varied settings as jazz orchestras, the rock and roll band, and fusion settings.

the core of this enduring relevance is a focus on passion and soul. Rather than an intellectual exploration of complex harmony and melody, the “wailing tenor sax” style digs deep into the human heart and soul. Even Jacquet’s improvisation in “Flying Home” already demonstrates an infectious swagger that would resonate with listeners for years to come, inspiring countless imitators.

Brisson 25 It is this connection to exuberance and the unrelenting human spirit that has rendered the honking, screeching, and wailing saxophone style timeless, resonating with Americans from before the Second World War and through the remainder of the twentieth century’s tumult. As generations grew with new technological and cultural innovations, they would maintain their basic human spirit on a fundamental level. It is here – in the heart – that they are struck by the overblown growl of a tenor saxophone, and it is here that they will continue to be struck for years to come.

Brisson 26

BIBLIOGRAPHY Boulard, Garry. Louis Prima. Urbana: University of Illinois, 2002. Print. Burns, Ken, dir. Jazz. PBS. Television. Clemons, Clarence. "Interview with Clarence Clemons." Interview. All Access Magazine. 29 May 2008. Web. 26 July 2010. <http://www.allaccessmagazine.com/vol6/issue07/clarence_clemons.html>. Coffin, Jeff. Telephone interview. 19 July 2010. Cooke, Mervyn, and David Horn, eds. The Cambridge Companion to Jazz. Cambridge: Cambridge UP, 2002. Print. Daniels, Douglas Henry. Lester Leaps In: the Life and times of Lester "Pres" Young. Boston: Beacon, 2002. Print. Dawson, Jim. Nervous Man Nervous: Big Jay McNeely and the Rise of the Honking Tenor Sax! Milford, NH: Big Nickel Publications, 1994. Print. Delannoy, Luc. Pres: the Story of Lester Young. Fayetteville: University of Arkansas, 1993. Print. DePizzo, Jerry. Telephone interview. 24 July 2010. Gelly, Dave. Being Prez: the Life and Music of Lester Young. New York: Oxford UP, 2007. Print. Goffin, Robert, Walter Schaap, and Leonard G. Feather. Jazz from the Congo to the Metropolitan. Garden City, NY: Da Capo, 1945. Print. Hampton, Lionel, and James Haskins. Hamp: an Autobiography. New York, NY: Warner, 1989. Print. Moser, Margaret. "Bobby Keyes." AustinChronicle.com. 20 Oct. 2006. Web. 26 July 2010. <http://www.austinchronicle.com/gyrobase/Issue/story?oid=oid:412257>. Peretti, Burton W. The Creation of Jazz: Music, Race, and Culture in Urban America. Urbana: University of Illinois, 1992. Print. Porter, Lewis. Lester Young. Boston, MA: Twayne, 1985. Print.

Brisson 27 Reed, Alto. "A3 Presents: Alto Reed." YouTube.com. Web. 26 July 2010. <http://www.youtube.com/watch?v=euL2YRia_P0>. Shaw, Arnold. Honkers and Shouters: the Golden Years of Rhythm and Blues. New York: Macmillan, 1978. Print. Texas Tenor: The Illinois Jacquet Story. Dir. Arthur Elgort. Prod. Bruce Ricker. Perf. Illinois Jacquet, Lionel Hampton, Dizzy Gillespie, Sonny Rollins, Clark Terry, Harry Edison, Dorothy Donegan. EFOR Films, 2004. DVD.

Brisson 28

SELECTED DISCOGRAPHY Blackmon, Larry, and Tomi Jenkins. Word Up! Perf. Michael Brecker. Cameo. Rec. 1986. Msi Music Corp, 2006. CD. Clay, James, and David Newman. Cookin' at the Continental. Perf. Roy Hargrove, Kirk Lightsey, Christian McBride, and Winard Harper. Antilles, 1992. CD. Clay, James, and David Newman. The Sound of the Wide Open Spaces. Perf. Wynton Kelly, Sam Jones, and Art Taylor. Rec. 26 Apr. 1960. Riverside Records, 1960. CD. Cobb, Arnett. The Wild Man from Texas: A Proper Introduction to Arnett Cobb. Proper, 2004. CD. Cooke, Sam. "Twistin' the Night Away." Perf. Jackie Kelso. Rec. 18 Dec. 1961. RCA Victor, 1962. CD. Curtis, King. Live at Fillmore West. Perf. Billy Preston, Cornell Dupree, Truman Thomas, Jerry Jemmott, Bernard Purdie, and Pancho Morales. Rec. 5-7 Feb. 1971. Atco/Rhino, 2006. CD. Haley, Bill. "Shake, Rattle and Roll." By Jesse Stone. Perf. Joey Ambrosia. Rec. 7 June 1954. Bill Haley and His Comets. Decca, 1954. CD. Hampton, Lionel. The Lionel Hampton Story. Perf. Dizzy Gillespie, Illinois Jacquet, Arnett Cobb, Johnny Griffin, Wes Montgomery, Charles Mingus, and Benny Bailey. Proper Records, 2006. CD. Jackson, Willis, Charlie Singleton, Fred Jackson, Lynn Hope, Julian Dash, Buddy Tate, Plas Johnson, Al Sears, Fats Noel, Jimmy Lee Jackson, Paul Bascomb, Joe Houston, Jimmy Forrest, and David Brooks. The Big Horn: More Bounce to the Ounce. Proper Records, 2003. CD. Jacquet, Illinois, Big Jim. Wynn, Simon Pazuzza, Arnett Cobb, Morris Lane, Charles Davis, Wild Bill. Moore, Paul Williams, Jack McVea, and Weasel Parker. The Big Horn: Flying Home. Proper Records, 2003. CD. Jacquet, Illinois. The Illinois Jacquet Story. Proper Records, 2002. CD.

Brisson 29 Jagger, Mick, and Keith Richards. Sticky Fingers. Perf. Bobby Keyes, Billy Preston, Jim Price, Ian Stewart, Mick Taylor, Charlie Watts, and Bill Wyman. The Rolling Stones. Rec. 2-4 Dec. 1969. Atlantic, 2009. CD. Keyes, James, Claude Feaster, Carl Feaster, Floyd F. McRae, and James Edwards. "Sh-Boom." Perf. Sam "The Man" Taylor. The Chords. Cat Records, 1954. CD. Leiber, Jerry, and Mike Stoller. "Yakety Yak." Perf. King Curtis. Rec. 17 Mar. 1958. The Coasters. Atco, 1958. CD. McNeely, Big Jay, Frank Culley, Eddie Davis, Freddie Mitchell, Lee Allen, Leroy Rankin, Herb Hardesty, Sam Taylor, Cecil Payne, Birdie Davis, Margaret Backstrom, Streeter James Von, Earl Johnson, and Maxwell Davis. The Big Horn: Boogie's the Thing. Proper Records, 2003. CD. McNeely, Big Jay. The Chronological Big Jay McNeely: 1948-1950. Classics Records, 2001. CD. McNeely, Big Jay. The Chronological Big Jay McNeely: 1951-1952. Classics Records, 2003. CD. McNeely, Big Jay. The Chronological Big Jay McNeely: 1953-1955. Classics Records, 2006. CD. McPhatter, Clyde. "Money Honey." By Jesse Stone. Perf. Sam "The Man" Taylor. Money Honey / The Way I Feel. The Drifters. Atlantic, 1953. CD. Prima, Louis, and Keely Smith. The Wildest! Perf. Sam Butera. Rec. 19 Apr. 1956. Capitol Jazz, 2002. CD. Redman, Joshua. Joshua Redman. Perf. Kevin Hays, Christian McBride, and Gregory Hutchinson. Warner Bros, 1993. CD. Roberge, Marc. Any Time Now. Perf. Chris Culos, Richard On, Benj Gershman, and Jerry DePizzo. O.A.R. Rec. 23-24 Nov. 2001. Everfine Records, 2001. CD. Seger, Bob. Stranger in Town. Perf. Alto Reed. Bob Seger and the Silver Bullet Band. Rec. 1978. Capitol, 1978. CD. Singer, Hal, Tom Archia, John Hardee, Willie Jackson, Eddie Chamblee, Red Prysock, Earl Bostic, Joe Thomas, Harold Land, and Benny Golson. The Big Horn: Blow Your Brains Out. Proper Records, 2003. CD.

Brisson 30 Springsteen, Bruce. Born to Run. Perf. Clarence Clemons. Bruce Springsteen and the E Street Band. Columbia, 1975. CD. Turner, Big Joe. "Shake, Rattle and Roll." By Jesse Stone. Perf. Sam Taylor. Rec. 15 Feb. 1954. Atlantic, 1954. CD. Walker, Junior. "Shotgun." By Autry DeWalt. Rec. 1964. Junior Walker and the All Stars. Motown Records, 2001. CD. Young, Lester. The Complete Aladdin Recordings of Lester Young. Perf. Nat King Cole and Helen Humes. Blue Note, 1995. CD. Young, Lester. The Complete Lester Young Studio Sessions on Verve. Verve Records, 1999. CD. Young, Lester. The Lester Young Story. Proper Records, 2000. CD.

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TRANSCRIPTIONS

Ia.

Ib.

Song: “Flying Home”

Soloist: Illinois Jacquet

Recording Date: May 26, 1942

Record Label: Decca

Song: “Blues, Pt 2”

Soloist: Illinois Jacquet

Album: Jazz at the Philharmonic

Record Label: Verve

Recording Date: July 2, 1944

IIa.

IIIa.

Song: “Deacon’s Hop”

Soloist: Big Jay McNeely

Album: Big Jay McNeely and his Blue Jays

Album Artist: Big Jay McNeely’s Blue Jays

Recording Date: December 13, 1948

Record Label: Savoy MG 15045

Song: “Money Honey”

Soloist: Sam “The Man” Taylor

Album Artist: The Drifters

Record Label: Atlantic 1006

Recording Date: August 9, 1953

IIIb.

IIIc.

IIId.

Song: “Shake, Rattle and Roll”

Soloist: Sam “The Man” Taylor

Recording Date: February 15, 1954

Record Label: Atlantic 45-1026

Song: “Shake, Rattle and Roll”

Soloist: Rudy Pompilli

Recording Date: June 24, 1968

Record Label: Sonet 9945

Song: “Sh-Boom”

Soloist: Sam “The Man” Taylor

Recording Date: March 15, 1954

Record Label: Cat C1233

Brisson 32 IIIe.

IIIf.

IIIg.

IIIh.

Song: “Jump, Jive, and Wail”

Soloist: Sam Butera

Album: The Wildest!

Album Artist: Louis Prima

Recording Date: April 19-20, 1956

Record Label: Capitol

Song: “Just a Gigolo”

Soloist: Sam Butera

Album: The Wildest!

Album Artist: Louis Prima

Recording Date: April 19-20, 1956

Record Label: Capitol

Song: “There Is Something On Your Mind” Soloist: Big Jay McNeely Recording Date: 1958

Record Label: Swingin’

Song: “Yakety Yak”

Soloist: King Curtis

Artist: The Coasters

Record Label: Atco Records 6116

Recording Date: March 17, 1958

IIIh.

IVa.

IVb.

Song: “Twistin’ the Night Away”

Soloist: Jackie Kelso

Album: Twistin’ the Night Away

Album Artist: Sam Cooke

Recording Date: December 18, 1961

Record Label: RCA 0566

Song: “Brown Sugar”

Soloist: Bobby Keyes

Album: Sticky Fingers

Album Artist: The Rolling Stones

Recording Date: December 2-4, 1969

Record Label: Atlantic

Song: “Born to Run”

Soloist: Clarence Clemons

Album: Born to Run

Album Artist: Bruce Springsteen

Recording Date: 1974-1975

Record Label: Columbia

Brisson 33 IVc.

IVd.

Song: “Old Time Rock and Roll”

Soloist: Alto Reed

Album: Stranger in Town

Album Artist: Bob Seger

Recording Date: 1978

Record Label: Capitol

Song: Candy

Soloist: Michael Brecker

Album: Word Up!

Album Artist: Cameo

Recording Date: 1986

Record Label: Casablanca Records

"Flying Home" With the Lionel Hampton Orchestra Decca 18394 (May 26, 1942)

Transcribed by Eric J. Brisson

Illinois Jacquet

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& & & & (

& & & & & '

B¨ & & & & #& # & $ & $ &' $ & $ &' & & & # & & # & # & $ " ' ' & '

( !%%%%

B¨

& $ '

& #& $ '

& &

E¨

(

Lay Back

$ &'

& & & ( ' '

$ &) $ & '

(

& & & & & $ & ' $ '

& & & & & & && & & & # & - & & -& & & # & & & & ' # $ + + $ $ " ' ' ' $ & &

Back in Groove

B¨

& & & #& ) # & -& & & #& $ $ & & #& & & & $ & " # & $ ' $ &' $ ' $ &' $ ' $ &' $ ' ' ' B¨ & &' & # & & & # & # & #& "# & $ ' $ ' $

& #& & & & $ & & ! '

& $ + $ '

Chorus 2

B¨

False Fingerings (o=open, +=closed)

. & &! '

&/ '

. & &! '

B¨

. & &! '

B¨

. & &! '

&/ &! '

. & &! '

. & & & &! # "# B¨

& & & #& & &

&/ '

&/ &! '

. & &! '

" 62

. & & &!

&/ '

. & &! '

## ##

B¨

&/ & # & & & ' #& #&

&/ '

. & & &!

&/ & #& & & & $ ' &/ '

. & &! '

. & & % & %% & & # & & & & & & ' ' % ' $ ' +

& & & & #& & & & &

0 0 0 54 C && & & & & & & ( & # -& "# 58

&/ '

Keep Wailin'!

E¨

& & & & & & &! 3

&/ '

& & ' $ &'

0& 1& & & & & # & -& & &' ' ' $ $ $ ' + $

Honk!

fff

& & & & &#& & & & & & & & & & &#& & & & & ' ' + $ $ + $ ' $ '

& & & #& &

& & & 1& & & & #& $ ' $ ' $ $ & & $ & & ! "-# &' , '

"Blues, Pt 2"

Transcribed by Eric J. Brisson

Illinois Jacquet

from Jazz at the Philharmonic Verve 456V18 252 (July 2, 1944)

Swing Blues (q=210)

$# $ # ! # # # # # $ # # # # # % & # # # # # # !

Chorus 1

" # # 6

" # # # # "

$ # '#

# # # # # #

# # # # # '# #

$ # '#

$# # % # #

*# # # # %

% # #

( #)

+ # ,

Chorus 2

" 18

" "

# , )

Melodically

C7 # # ( )

# ' # # # '# # # #) # C7

# # '# # # # # # #) ( # # *# # #

# )

C7 # #*# # # # # *# # # # # # % %

# # & F7

'# , )

( #+ ( # # % )

Chorus 3

" %

'# # # #

# # # # ( ) &

'# # # #

# # # # # # ' # *# ( )

# *# # # #.# ' # /# /# C7 # # F7 # * # # *# # # # # # # # % "

D-7

# #

#0 *#0

C7 0 G7#0 # # # # # # *# # # # # # *# # # #

0 ( #+ # # 1

2 Chorus 4

# ' # # # *# # # # ' # # # # # # # # # " ( + # # *# *# # # # *#".# # *# # # # # C7

42 F7

Overblown

C7 # # # # # # # # # # # # 3

# # # # *# # # )

( #+ # #

" &

/# )

# '#

# # #

# /#

# #

Chorus 5

" 54

F7 !!

# # # # # # #

# )

'$# " #! ) %

# # # # # # #!

# # '# ) #!

# # ( )

# & )

# # % '# ( ) C7

# # *# # # # #!

-'# , %! - )

# # '# # + # (

# & )

#2 3# )

Chorus 6

" 66

" 70

# # # # # # # # # # #! ) % ( )

Tear In

*F7, ! G7

# # # # # # #*# # ) % ( '# )

Slower Smear

' # # # # ' -# # # # # *C7-# # #' # ' # *# # # ) # # '# # # ( % ( # ) Heavy Growl

'# # # ( )

# # # # #

C7 #

'# # # ( ) A La Train

Chorus 7

, !!

# *# # #

, !!

'# # # ( )

# *# # #

# # # ( )

C7 # # # ' # # # # *# # # # # ' # # ( #) *# # # # # # # # ( ( # # ) " # # # # ) F7

# # # ( )

" & "% #

C7 #

# *# # # #

%#$ ( )

Lay Back Bite Reed

Chorus 8

"% # F7 4

Intense Vibrato

" %

# # # ' # . # ( )

"'# 98 C7 , "

# ( )

Heavy Growl

" 94

Bite Reed

4 --

----

'& C7

---

Chorus 9

, --

# # # # # # 3

C7 # # # # ' # # # # # ' # # # # '# # % ( ) # # & # # "

102

106 G7 #

# #* # #

' # # # *# #

'# # # # #

' # # #* # #

'# # # ( ) '# # # ( )

' # --- Heavy Growl # # % % ( ' #) .# 3

4 Chorus 10

110

# '# # '# # % 3

118

114

# '# # '# # %

# --

Heavy Growl

& & %

# # ( ' #) .#

# # ' # . # ( )

# # ( ' #) .# 3

Chorus 11

122

" 126

$# F7 $ #

$# $# $# $# $# # # # # # # # # # # # ' # .# ' # .# ' # .# ' # .# ) ( % ( ' # .# ) ( % ( ' # .# # ) ) 3

$# $# $# $# $# # # # # # # # # # # ' # .# ' # .# ' # .# ' # .# ' # .#

$# $# $# ' $# # *# .# *# .# $# # # # # ' # .# ' # .# ' # .# # # ' # .# # # C7

128

" 130

" %

"'# C7 4 "

'# # ( )

# #

# '# # # # # # *#

'& % ,!

Bite Reed

# & # # #

Chorus 12

134

"'#

(

$# )

Chirps

(

'# .# # # #) # # ' # C7# # # * # ) % % ( ) " ( ) % ( )

138

F7 *$ #

142 G7

# *# # # # # #

C7 # '#! # # # * # ) ( ) 3

# #! )

$# )

(

$# )

(

$# )

# ' # # #* # # # ) #!

+ # ,

"Deacon's Hop" with Big Jay McNeely and his Blue Jays Savoy MG 15045 (December 13, 1948)

Transcribed by Eric J. Brisson

R&B Shuffle (q=130)

## $

! !% !

$ & ! $' $ $ $!($ $!($ $!($ $!($ ! # % 3

# $ )) $ * * $ "#

( -$!

$ ))

$ $$$ $ * $

Overblown

$ $ $ $ $

$ $+ $ $

$ )) * $ )) & $ $ & $ $ & $ $ $ ' ' '

+ , , , E¨7 $$ $+ ,$ $+ $ $+ $ $+ $+ & ' & ' ' & & '

)))

B¨7

+ , + , + $ $ $ $ $ & -$ $ $ -$ $ $ $ $ ' ' '

# !($ $ * * $ " # -$

$ & ! $' $ $ $!($ $!($ $!($ $!( $

Heavy Growl .$ . . . . $ / $ $ $ #$ $ $ $ * #$ ) $ ) $ $ $ $ $ $ & $ # $ /$ $ ! ) ) '

$$$ $ * $

Big Jay McNeely

+ , , $$ $+ ,$ $+ $ $+ ,$ $+ ,$ & ' & ' ' & & ' 3

F7 , ,$ $+ $ $+ ,$ $+ ,$ % ))) % )))) # % ))) ) % ' & & ' 3

Free with Pitch and Time

# $" ( $ $ $ $!($ $!($ $!($ $!($ # % )) "# ! $ $ & $ & ! ' NC

# $ )) $ * * $

3 $ & $' * $ $!($ $!($ $!($ $!($ 3

+ $+ ,$ $+ ,$ $+ ,$ $+ ,$ $ ' & * & ' ' & & $ & ' ' 3

$$$ $ * $

E¨7 + , + $ $ $ $ )) $ $ $ )) $ ,$ $ )) # $ $+ ,$ $ )) # $ $+ ,$ $+ ,$ # '&&' '&&' '&&' '&&' '&&' '&&' "# ' & & ' B¨7

$ $ $ $ -$ $ $ /$ 3

+$ ,$ $+ ,$ F70 & ' 3

, ,$ $+ $ $+ $ $ $+ $ #' & & ' & ' * "# B¨7

$ -$ $ $ $ $

Heavy Vibrato

, ,$ $+ $ $+ $ $ $+ $ ' & & ' & ' *

E¨7

F7 , $ $+ $ $ $+ $+ ,$ $+ ,$ $+ ,$ $+ ,$ $+ ,$ $ $ $ $ $ $ $ $-$ $ #' & & ' & ' * * & ' "# C7

B¨7 %"

C7 $

$ # $ )))

E¨7 " $ $ $ $ $ $ $ ' * & '

$ $ #$ $ $ $

$ $" '

$ '

$ #$ $

$ -$ $ $ /$ * & ' Lay Back

# F70 Intense Vibrato

$ #$ $ $ $

,$ 58 $+ ,$ $+ # ' & "# B¨7

A La Foghorn

$ $ -$ $ # * "#

## %

$ $

$ $ # $ -$ & '

$ $ $ ))

$ $ $ & ! ' $ $ -$!($ $!($ $!( $ $!($

$ $ & '

$ $ $ $ '

$+ ,$ $+

%% % %

%% )) % )) %

$ $

$ /$

-% )))) Slow Bend

$ & ! $' $ $ $!( $ $!($ $!($ $!($ 3

%% % %

1 %

))

$ $ $

))

! #%

))

$$$ $ * $

$ & '

))

# $ )) $ * * $ "#

" $ $ $

Heavy Growl

Overblow

$ $

,$ & ' *

$+ ,$ $+ ,$ $ $ ! $ )) ! $ $ )) & ' ' & *

E¨7

,$ $ ,$ $ $+ $ $ & ' & ' & '

$+ & ' *

,$ $+ $

B¨7

1 0

"Money Honey"

Transcribed by Eric J. Brisson

Blues Shuffle (q=120)

Sam "The Man" Taylor

With the Drifters Atlantic 1006 (August 9, 1953)

# ! $ % % %# % % % % % % %&% % %' % &% % $ ( % % % % %&% % %' % % %&% % $ ( % ' ' " ! ' ' G

Lay Back

G # % % % %&% % % % % %&% % ' ) ' "

# + % **

% #! D

* * *% #*% % #% Erratic Vibrato

% #% % + % % % ( ' ( '

G % % % ** % + % ** % % ** % # % % % % % % & % ' ' ' % ( ( ( ( ' ' ' ( ' ( ' ( '

G % !% 3 3 3 % % %+% % % % % % ' % % % % %+ % % % % %+ % % % ( ' ( ( ' ( %%, 3 3 3

"Shake, Rattle, and Roll" With Big Joe Turner Atlantic 45-1026 (February 15, 1954)

Transcribed by Eric J. Brisson

Sam "The Man" Taylor

B¨7

(% % (% (% ( ( ( %% % % % % % % % % % % % % %%% % % % % $& % $& % % ' '

Blues Shuffle (q=148)

# ! $& % % % % % % % % # " ! ' E¨7

B¨7 (% % (% (% (% % (% (% % % % % % % % % # % % $ &% % ) "# '

#% % % % % % % % % # "

E¨7

$ *% % %

B¨7

% % % % % % % %

)

% % % %

Honk!

"Shake, Rattle, and Roll" With Bill Haley and his Comets Sonet Records 9945 (June 24, 1968)

Transcribed by Eric J. Brisson

Rock Shuffle (q=168)

! + % % % "!

Heavy Growl

% % % %

D7 &% % % &% % % "

% !%

)

#% % % % % % %

% $ %* # % % &% % % # % ,% # % % + + $ %' % %

&% ,%&%!*% %!*% % % # % % --) "

% % !& % + %

Rudy Pompilli

% %% % # % % % + $ # % ,% % % % % % % % ) ' 3

"Sh-Boom" with The Chords Cat C1233 (March 15, 1954) Sam "The Man" Taylor

Transcribed by Eric J. Brisson

Rock Shuffle (q=128)

" !

% G

&3 #%!

& %!

Climbing and Growling

#% 3

& %!

#% 3

& %!

% #%

Straight 8ths

% % % % %D ) % % % ) % % ) % #% % #% % % % % % % ' ( % % % ' % ( E-

A-

E-

#% % % % #% % % % % ' % % " ( (

& #%!

Floating

%G % % %"

E% %" % ( ' (

E-

A-

% % % % % % $

A-

% %" % ( ' (

% % % ( ' (

A-

% %" (

%% % % ' (

% % % %%%%% %

% ) % % #% % *% #% % % % ' ' % % % #% % % % #% % % ' $ + % " ( ( (

"Jump, Jive, and Wail" with Louis Prima The Wildest, Capitol Records (April 19, 1956)

Sam Butera

Transcribed by Eric J. Brisson

Jump Blues (q=198)

! "! #

% & $

%$ %$ $ ( %$ % $

$ ! ( %$ " '

($ $ ) "

$+ ! %$ " '

)

! ($

)

% $ '

% % % $ $ $ $ $ $ ( $ %$ $ # $ $ '

( $+ ! %$ " '

% ! $'

%$ C7$ ( %$ " ( $+ %$ ' ' '

$ $ ($ $ $ $ $

$ '

Heavy Growl

$ ( $ $ $ $ $" '

)

( %$ # '

$ $ ($ $

($ $ $ ($ % $ -$ $ $ $ $

"Just a Gigolo" with Louis Prima The Wildest, Capitol Records (April 19, 1956)

Sam Butera

Transcribed by Eric J. Brisson

!$ !

Blues Shuffle (q=124) B¨

% %

$ !$

% % &

G7 $ !$ !$ !$ !$ !$ !$ $ $ ! $ $ 3

$ !# $ $ ! $ $ ( #$ $ ! $ $( ! $ $ ( ( # %( & %( "# E¨

B¨

!# $ % % & '

!# $ $ $ ! $ $ ((( ! # $ $ $ ! $ $ $ ' ' & % &

G7 Out of Time *$ $ $) $ $ $ $ $ $ $ $ $ $ $ $ (( $ $ $ $#$ $ $ $ $ $ $ +$ $ & ' & ,+ $ $ % 3

Dig In! E¨

+$ $ $ $ $ #

straight 8ths

F7 + $ $ $ $ $ $ !# $ ! $ ! $ ! $ ! $ ! $ ! # $ $ $ $ $ & ' 3

"There Is Something On Your Mind" with Little Sonny Warner Swingin' Records (1958) Transcribed by Eric J. Brisson

Big Jay McNeely

A Stroll's Pace (q=68)

! "!

$ " $" '

(

& $!

Relaxed

& $!

& %$!

' # $ $ $ $ $ $ $" 3

# ! - $* $

& %$!

& $!

& $ )()

Rich Vibrato

,$ $" $ $ 3

& $ )()

!& $ $ $ %$ $"

# $ $ $

$ $ $

& $

+$ $ +$ + 3 + %$ ,$ $ # $- $ ( "

& %$!

$ $ # *

(

$ $ $ 3

$$$ 3

"Yakety Yak"

Transcribed by Eric J. Brisson

% %!% %!% % """ $ $ $ $ $ $ $ $ " $ $ ! # Straight Eighths (q=122)

with The Coasters Atco Records 45-6116 (March 17, 1958)

King Curtis

( %( %( $% $% $% $% % ($ $%$% $ ' $%($$%($ $ $ & "$ & # ) # & " *$& $# # $$$$$ ' )

,$,% $ %$ $% $% " $ $ $ ($ ",$ $ ,$ $% ($ , $ , % , , % ( """ " $ $ $ $ $ $ $ $ ) ) + ! " $ $ $ ($ $ $ $ $ $ "

D % ($ $% , % # $% ($ $% ($ $ $ % $ $ $ ( """ $ $ $% ($ $ $% $% $% % ( $ $ $ " " $# ) + $ $ $ $ # ) #" # & "& ! & A

, , $ $ " $ $ $ $% ( $% ( % ( % $% $% * $ $ $ $ $ * $ $ $ $ $ ,$ """ " $ $$$ $ & # ) . ) ) # !

"Twistin' the Night Away" with Sam Cooke Twistin' the Night Away, RCA Records 0566 (Decmeber 18, 1961) Jackie Kelso

Transcribed by Eric J. Brisson

Motown Shuffle (q=160)

B ) #### ! & & & &( & & & $ % & & # ' " & & $ !

( &( &( & & & & & & & $ % & $ '

G#-

Growl on Attack

E & #### & & & & & & & & & & " #% ' ' % $

B #### " #$

Intense Growl

& &!

* & )& & & )& #& &* & & * & & & &#& & % ' ' %

Lightly

Growl G#- Intense +

F# & & & & & & & & # ## & & , & ' % % , , " # #% ' & & & & &!

, & +

"Brown Sugar" with The Rolling Stones Sticky Fingers, Atlantic Records (December 2, 1969) Bobby Keyes

Transcribed by Eric J. Brisson

Straight Rock (q=120)

! "# ! $

& & & % ' Greasily

DB¨ & &!(& &C & &!(& & &" & & & & & & & & & & ! ! ! ! ! ) D-

& & & & & & D-& #& ! & &&& &&) # ) " 3

& &# & * &' & & & % &' % $

Out of Time

D-

& & & & & ,&" '

D-

B¨

Dig In!

C & & & & & & D-& & & & & & & & ) -.

+& & & & & & & & & +& & & & *& & ,&

& & & !& !& ' "# %

D- Heavy Growl "

B¨

& & C & & & & & D-& & & * & & & ! ! % '

B¨

"Born to Run" Transcribed by Eric J. Brisson

with Bruce Springsteen and the E Street Band Born to Run, Columbia Records (1974)

Clarence Clemons

F# B C# $% $% $ $ $ $% $% $ $ $ $% $% $ $ $ $% $% $ $ $% $% $ $ $ $% $% $ $ $ $ ! $" ! $"$ $ $$ ! ! ! &

Straight Ahead Rock (q=148)

#### #! " #!

B C# $" ! $" $ $ $ $ $ ! '$ $ $ $ $ $ $$ $ $ $ $ $ $ $ $ $ #### # & $ $ $ $ $ & $$$ $ " # F#

D#-

(

#### # " #

"Old Time Rock and Roll" Transcribed by Eric J. Brisson

with Bob Seger and the Silver Bullet Band Stranger in Town, Capitol Records (1978)

Alto Reed

Straight Ahead Rock (q=122) A¨ " "

Clean and Direct

E¨!

)) ") ) &

$" $" $ $ ! !

D¨ $ $ $ $ $ $ ) $ $ $! $! $ $ $ $ $ ) $ $ $ $ $ ! ! ! !$ $ ! $ ) $ ) ! $ * ") ) !

A¨ " $% $% ! $ "! $"!' $ $ $ ) $ $ $ , ! ) $ $" $ & &

"Candy" with Cameo Word Up!, Casablanca Records (1986) Michael Brecker

Transcribed by Eric J. Brisson

80's Pop Funk (q=110) &&&& & & & & & & #### ! & & & & & & & & & && && & & & & & & & & & & & & & $ % $ % % $ % " !

Clear and Cutting

& & & && & # & & & & ## # && &&& && & && &&& &&& && &&& &&&&&&&& !&"& '&&&& % %&& % % % % $ & " *& *& + +& *& &&! & & & # # # & ( & & & & & & & ) % " # %( ) %) ) ) %( ) )

Sparse

&, Peircing

&& &&&&& &&& % -)

& & & & "& & & & & & & & &&& &&&& && & & #### && & && &&& & & &&& &"&&& & ! ) $ & % " & &