Khan's Korner 1 - Transcriptions by Steve Khan

KHAN'S KORNER 1 is now the page on the site which will be dedicated to transcriptions, with the corresponding sound clips, along with an analysis provided by Steve. You can find solos by players such as Herbie Hancock, Wes Montgomery, Michael Brecker, Jim Hall, Kenny Burrell, Freddie Hubbard, Randy Brecker; Stanley Turrentine, George Coleman, Pat Martino, Clare Fischer, Chick Corea, John Scofield, Grant Green, Steve Grossman, Gabor Szabo, Bob Mann; George Benson, Paul Desmond, Robben Ford, and Miles Davis in addition to some of Steve's solos. The sound clips will be in mp3 formats for the best quality sound at the smallest file size. Enjoy them with our best wishes!! Over the years, I have received many, many e-mails asking me about just how one can get the best possible print-out of the transcriptions or the lead sheets. I have, in general, responded to everyone who has ever written me about this, but, it now seems like the perfect time to have a page at the site to which one can always refer, and then, hopefully, get the best possible results. So, here is your step-by-step GUIDE. I really hope that this helps! And now, as well, I can offer some personal advice on the art of TRANSCRIBING!
126. "Sophisticated Lady" It is not all that often that Robben Ford chooses to interpret a great Jazz standard, a ballad, here is his wonderful solo over this Duke Ellington classic. It was recorded as part of a 2015 concert with the Frankfurt Radio Big Band and was arranged by Ed Partyka in a most sensitive and creative way. At present it only appears within a video that was not released until 2021. You can read about how Robben was inspired to play this song by the singular interpretation from 1968 by saxophone legend Archie Shepp. Not exactly what one would expect. As usual, even playing over complex chord changes, Robben manages to find places where his blues-oriented language is a perfect fit. Robben was kind enough to send me some brief personal reflections on this experience and they are now included in analysis. Transcription and analysis, Steve Khan. Solo Soundciip: \| Melody Soundclip:
125. "Point of View" We now present a 2nd Michael Brecker solo, this time on tenor sax, from pianist/composer Hal Galper's monumental 1971 album, THE GUERILLA BAND(Mainstream). Here Hal plays Fender Rhodes for the entire album. Mike's solo is, as always, his uniquely personal blending of stylistic influences, Jazz, Rock, R&B, Soul, and Blues, from the most early days of his development. At that time, he was only 22 years old. The analysis features lots of links so that fans can purchase the songs and albums mentioned or pictured. Hal's great tune features performances from: Randy Brecker(Trumpet); Bob Mann(Guitar); Victor Gaskin(El. Bass); Steve Hass(Drums) and Don Alias(Drums). This solo transcription becomes an homage to Mike's incredible body of recorded work. Transcription, Lead Sheet and analysis, Steve Khan. Solo Soundciip: \| Melody Soundclip:
124. "Imagine My Surprise" What began as a presentation of a great Bob Mann guitar solo from the 2nd Dreams album, recorded in 1972, IMAGINE MY SURPRISE(Columbia) became a rare 2-fer as I decided to include Randy Brecker's muted trumpet solo as well. Randy's title song of the album features Randy on vocals and offers a side of him and his talents that can be overlooked, but not here. Bob's solo remains as a masterpiece of economy and precision. Performed with a Uni-Vibe pedal and a Vox Wah-Wah pedal, it offers some great sounds from the early '70s. Of course, the song features performances from: Don Grolnick(Clavinet); Michael Brecker(Tenor Sax); Barry Rogers(Trombone); Will Lee(El. Bass) and Billy Cobham(Drums). It becomes a great pleasure to feature these solos here on a tune that is a remarkable journey in and of itself. Transcription and analysis, Steve Khan. Soundclip: Bob Mann & Randy Brecker Solos Soundciip: \| Randy Brecker Jazz Poem Soundclip:
123. "Baker's Annex" After another significant absence from KHAN'S KORNER 1, I was inspired to transcribe and now share Michael Brecker's tremendous solo over Jim Beard's wonderful composition "Baker's Annex" which appeared on Jim's first album as a leader from 1991, "SONG OF THE SUN"(CTI), an album that I consider to be a classic! Jim's challenging set of chord changes, 2 per bar, span 2 16-bar choruses and eventually conclude over a brief 4-bar reprise of the wonderful Intro. First I transcribed Jim's little improvisation over the 16-bar Intro but, as I listened to the entire piece, I was just mesmerized by what Mike had played and decided to attempt to transcribe it. Many of you will recall that Mike Brecker recorded two of Jim's tunes on his own albums "DON'T TRY THIS AT HOME" and "NOW YOU SEE IT, NOW YOU DON'T." I hope that everyone enjoys this presentation, and on that note, here's wishing everyone a very HAPPY HOLIDAY and, of course, HAPPY NEW YEAR 2023!!! Solo Transcription, and analysis, Steve Khan. Solo Soundclip:
122. "Island Letter" It has been nearly 7 months since we presented anything here at KORNER 1, but now, the recent release of very special one song project, "Island Letter" recorded with the incredible vocalist Mark Kibble (Take 6), we are offering Steve Khan's solos from that recorded performance. While crafting his arrangement of this 1974 song by Shuggie Otis, there needed to be some spaces created for Steve's guitar playing and, as it turned out, those spots made themselves apparent. As the song had only 2 verses, the 1st solo appears between the two verses. Then, after a seamless modulation, the 2nd solo also appears between the repeat of verses 1 and 2. Finally, after a breathtaking vocal breakdown section, Steve solos throughout the entire Outro or Rideout. On a song like this, obviously the vocal performance is really everything, but as Mark Kibble insisted that they be co-artists, Steve had to do a little more than just be an accompanist/arranger, and so, the full performance stands as is. Steve's analysis, as always, provides insights into exactly what took place. Hoping that everyone enjoys this redux of a great old song. Solo Transcription, and analysis, Steve Khan. Soundclips: [I3] Solo Soundclip: \| [I5] Solo Soundclip: \| [G2]-[G5] Solo Soundclip:
121. "Gracinha" This is the 1st time that we are presenting a transcription drawn from one of Steve Khan's improvised performances within his 1996 book, "CONTEMPORARY CHORD KHANCEPTS"(Alfred Music). "Gracinha" appeared on CD#2, and the transcription is now part of guitarist Neff Irizarry's wonderful new book, "CONTEMPORARY LATIN JAZZ GUITAR"(Sher Music). Neff transcribed this solo, and we offer an analysis of that same solo along with a newly augmented soundclip, special for this webpage. Though this solo was played some 25 years ago, it stands as one a wonderful example demonstrating the integration of free-flowing lines and chordal passages, both existing within the same linear soundscape. As always, there is a story about the piece and the circumstances of its recording. Some 4 years after its recording, what was once "Gracinha" became the more fully realized composition "Charanga, Sí, Sí" which appeared on the 2000 album from the Caribbean Jazz Project, "NEW HORIZONS." We hope that everyone will take a moment to enjoy this presentation. Solo Transcription, and analysis, Steve Khan. Soundclip:
120. "Rainsville" We offer another unique presentation, Steve Khan's acoustic guitar solo over Don Grolnick's composition "Rainsville," which originally appeared on Don's 1995 album "MEDIANOCHE" and featured Michael Brecker's tenor sax. But this solo appears as part of a special homage to both Don and Mike. Once again, Steve's Martin MC-28 steel-string acoustic becomes the voice of the tune. As the process of putting his interpretation of this great tune developed, engineer James Farber suggested that Steve could have played a portion of Mike Brecker's original solo, and after some thought, Steve listened to James and added in a rendering of Mike's 1st 2 choruses. Mike's solo was transcribed and already offered here as the #5 entry. With 25 years now having passed since Don left us, it is hoped that our visitors will rejoice in exploring his life and work - and, of course, that extends to Michael Brecker as well. The story on just how this work came to be is really a fascinating one, and hopefully, many will take the time to read it. Lead Sheet, Solo Transcription, and analysis, Steve Khan. Soundclip:
119. "Nightwings" This marks a rather unusual presentation for this page, as it is Steve Khan's melody statement over Claus Ogerman's composition "Nightwings" which appeared on his album "CITYSCAPE" which featured tenor sax giant, Michael Brecker, mostly as a soloist. What makes this so unusual is that Steve did not play on the original recording. So, Steve wondered what the melody, as played by a mostly string orchestra, would sound like with his Martin MC-28 steel-string acoustic guitar playing it as part of the ensemble. If that worked, then the question would be, could he, using the current digital technology, blend that same guitar into a new mix that would make it sound as though it had been there the whole time. An illusion, yes, but you will have to be the judge as to whether or not it was a success. The written analysis seeks to explain just how this was all accomplished. Enjoy this wonderful piece of music. Lead Sheet Transcription, and analysis, Steve Khan. Soundclip:
118. "Bleeding Orchid" After receiving so many requests, we are offering Steve Khan's Martin MC-28 steel-string acoustic guitar solo as it appeared on a very special tribute recording of Chick Corea's rather obscure composition "Bleeding Orchid" which only appeared before on Joe Farrell's CTI album "OUTBACK" from 1971. Steve's gorgeous arrangement featured great players like: Otmaro Ruiz (Fender Rhodes), Rubén Rodríguez (Baby Bass), Bobby Allende (Conga & Bongó), Jimmy Branly (Timbal) and Rob Mounsey (Orchestrations). This very expressive and soulful solo spans 4 cycles of a 16-bar progression loosely based around the original recording and is filled with jazz & blues nuances as well as some surprising quotes. Transcription, and analysis, Steve Khan. Soundclip:
117. "House of the Rising Sun" In a rare break from the usual solo transcriptions that appear here, we present London guitarist, and sometimes vocalist, Nat Martin's bluesy solo over the classic folk/blues, depending upon how you look at it, made famous by either Dave Van Ronk, Bob Dylan, or The Animals, as part of the British invasion during the '60s. Nat's performance comes from a YouTube video presented by Masterlink Studios and bassist Stefan Redtenbacher's Funkestra. The small quartet is rounded out by: Stevie Watts(Hammond organ) and David Leisser(drums). Anyone who enjoys sophisticated blues playing with a really fantastic guitar sound will surely appreciate this one. Though only about 16-bars long, there are lots goodies jam-packed into this solo - and, as there always seems to be, there is quite a story about this one contained within the analysis. The world is still in a mess, so I don't have much to add to that that would be remotely helpful! Transcription, and analysis, Steve Khan. Soundclip:
116. "Midnight Mood" Interpreting Joe Zawinul's gorgeous and eloquent ballad, which was originally conceived of by the composer as a brisk Jazz waltz, we offer Wes Montgomery's closing chordal melody statement from his 1966 TEQUILA(Verve) album. Supported by Ron Carter, Grady Tate and a sparse but very romantic string arrangement from Claus Ogerman, the beauty of Wes' playing is on full display. Normally, I would never post a transcription that appears in my "WES MONTGOMERY Guitar Folio" but there is a very good reason for this. If you read the analysis, it will all become very clear. Hoping that everyone continues to be SAFE and HEALTHY during these very trying days, weeks, and months! Transcription, and analysis, Steve Khan. Soundclip:
115. "My Shining Hour" What better way is there to greet April than by presenting a joyously swingin' and bluesy Stanley Turrentine 4-chorus solo from his 1961 album DEARLY BELOVED(Blue Note) album, which featured: Shirley Scott (organ) and Billy Brooks (drums). The solo, played at a brisk tempo, is filled with countless little phrasing gems that would augment anyone's playing to a higher level. This oft played Harold Arlen-Johnny Mercer standard comes from the Fred Astaire film, "THE SKY'S THE LIMIT"(1943). Hopefully, reading the analysis will provide hours of stimulating and fun reading for those trying to stay safe and healthy during these most difficult days, weeks, and months. Transcription, and analysis, Steve Khan. Soundclip:
114. "Huracán Clare" Steve Khan's 2 16-bar solos appear in different parts of Jorge Estrada's wondrous tune, dedicated to Clare Fischer. The song closes the PATCHWORK(Tone Center) album, and was performed, fundamentally as a Son Montuno, powerfully and energetically delivered by Rubén Rodríguez (elec. bass), Bobby Allende (conga), Marc Quiñones (timbal, bongó, maracas and güiro) and Dennis Chambers (drums). The analysis highlights how this incredible piece of music ended-up on Steve's album. It is quite a story! Transcription, and analysis, Steve Khan. Soundclip:
113. "Too Late Now" Steve Khan's 1-chorus solo over this wonderful love song from PATCHWORK(Tone Center) was performed as an Afro-Bolero-Cha and follows a moving melody statement that is caressed by Rob Mounsey's spectacular orchestral arrangement. When the solo begins, the texture becomes completely transparent driven by sensitive and responsive rhythm section playing from everyone. The analysis, which includes the lyrics, offers insights on all levels, musical and informative storytelling as always. Though not presented as part of this transcription, the Fade is the perfect example of soulful and bluesy soloing after sliding into the Cha-cha-cha which sees the harmonic feeling of the Intro return, à la Clare Fischer, and is improvised over two 16-bar alternating areas. Transcription, and analysis, Steve Khan. Soundclip:
112. "C. & D." Welcome to 2020!!! The title for Ornette Coleman's initialized "C. & D." is derived from the works of Sigmund Freud, specifically: "Civilization and its Discontents" and this Steve Khan solo becomes the 5th to be presented in the series from PATCHWORK(Tone Center). The 3-chorus guitar solo follows right on the heels of Bob Mintzer's tenor solo, and is performed over solo changes that were, in essence, derived from Steve's sense of what Ornette's melodies seemed to indicate. Of course, you could take 100 different players and everyone would come-up with something different, or perhaps nothing at all - and just play "*time, no changes"! As you heard during some moments on both "Epistrophy" and "A Shade of Jade," the Korg DVP-1 Harmonizer makes another appearance playing the role of the psychedelic mini big band* à la Joe Zawinul. If you listen closely, you might even hear an accidental quote from Michael Brecker's "Song for Barry." Though it is not represented as part of this presentation, the timbal solo by Marc Quiñones was, for me, one of the many highlights of the album. HAPPY NEW YEAR 2020!!! Transcription, and analysis, Steve Khan. Soundclip:
111. "Bouquet" A most romantic Bobby Hutcherson ballad from his brilliant 1966 HAPPENINGS(Blue Note) album is the 4th Steve Khan solo from PATCHWORK(Tone Center). The song's performance, as a most rare bolero in 3/4, is highlighted by Rob Mounsey's gorgeous orchestral arrangement. Rob has always demonstrated that he has a great feeling for my steel-string acoustic guitar playing, and this might be our best such collaboration yet. The 2-chorus solo is marked by the usage of space and silences, all made possible by the most sensitive support from: Rubén Rodríguez(baby bass), Bobby Allende (conga), Marc Quiñones (timbal, bongó, and mini-maracas) and Dennis Chambers (drums). I especially love Dennis' work on brushes - wonderfully mixed by engineer James Farber. The analysis which offers all the theoretical details involved during this solo as well as its connections to Herbie Hancock's original solo. Wishing everyone a very HAPPY HOLIDAY season!!! Transcription, and analysis, Steve Khan. Soundclip:
110. "A Shade of Jade" The Joe Henderson classic that opened his MODE FOR JOE(Blue Note) album becomes the 3rd Steve Khan solo from PATCHWORK(Tone Center). The song's performance is highlighted by Randy Brecker's flügelhorn brilliance, giving the piece a brassy punch that is usually a part of most Latin Jazz. Steve's 3-chorus solo is marked by linear creativity and references to other Joe Henderson tunes. The playing of Rob Mounsey(keys), Rubén Rodríguez(elec. bass), Bobby Allende(conga), Marc Quiñones(timbal & campana) and Dennis Chambers(drums) is simply spectacular throughout. Included in the presentation is the Soli, a "Joe Shout" which was assembled from fragments of Joe Henderson's original solo. A great bonus! Transcription, and analysis, Steve Khan. Soundclip:
109. "Epistrophy" The swirling rhythms of Afro-Cuban 6/8, Abakwa, the Bernard Purdie Shuffle meet Steve Khan's sense of elastic swing 4/4 during this 3-chorus solo from PATCHWORK(Tone Center) over this Thelonious Monk-Kenny Clarke classic. If one listens carefully, you could hear strains from the old Eyewitness days. The rhythm section of: Rubén Rodríguez(elec. bass), Bobby Allende(conga), Marc Quiñones(timbal & campana) and Dennis Chambers(drums) makes it all feel so simple. As always, some beautiful orchestral colors are furnished by Rob Mounsey. Transcription, and analysis, Steve Khan. Soundclip:
108. "Naan Issue" A 6-chorus Steve Khan solo over his own original 24-bar blues from his 2019 recording, PATCHWORK(Tone Center). The solo changes were modeled on Wes Montgomery's "Movin' Along" and are played over a Cha-cha-cha rhythm expertly supplied by: Marc Quiñones(timbal & güiro and campana), Bobby Allende(conga) and Rubén Rodríguez(baby bass) anchored by the huge presence of the great Dennis Chambers. The Clare Fischer-inspired harmonies are performed by the superb Rob Mounsey. This begins a series of monthly presentations from the new album! Transcription, and analysis, Steve Khan. Soundclip:
107. "Careful" A wonderful Jim Hall presentation that features not only his solo over his own 16-bar blues from Gary Burton's 1963 recording, SOMETHING'S COMING(RCA), but also the lead sheet. And, as if that's not enough, we are also presenting a lead sheet to how he played this very same melody four years later, in 1967 during a live performance recorded and released as the BERLIN FESTIVAL - GUITAR WORKSHOP(Saba) Don't miss it! Lead Sheets and Solo Transcription, and analysis, Steve Khan. Soundclips - Original Melody Statement and Solo: \| Live in Berlin Melody Statement:
106. "While My Lady Sleeps" The last in a series of Michael Brecker solos that first appeared on CROSSINGS(Verve) in 1994 and now is part of the just released BGO Records(UK) reissue of PUBLIC ACCESS-HEADLINE-CROSSINGS remastered, and packaged together on 2 CDs. Performed over the Branislau Kaper-Gus Kahn obscure standard, here performed in 3/4, though it is still really an Afro-Cuban 6/8 feeling, Michael's solo is a masterpiece of melodic continuity, fire and development. All the propulsion necessary comes from this Eyewitness2 grouping that featured: Anthony Jackson(contrabass guitar), Manolo Badrena(percussion) and Dennis Chambers(drums). It seems that this particular performance has been enjoying a bit of a renaissance at Jazz radio, even after 25 years. Listeners are finding it to be as relevant today as it was ahead of its time back then. So, rejoice in all that is glorious about Michael Brecker, and enjoy this solo to the fullest with our best wishes! Transcription and analysis, Steve Khan. Soundclip:
105. "Descarga Khanalonious" Michael Brecker's monumental solo, first heard on CROSSINGS(Verve) in 1994 arrives with the just released BGO Records(UK) reissue of PUBLIC ACCESS-HEADLINE-CROSSINGS remastered, and packaged together on 2 CDs. This solo simply centered around an Eb7(9) sonority and Anthony Jackson's creative and conversational approach to tumbao features all the intricate interplay from this Eyewitness2 grouping that featured: Anthony Jackson(contrabass guitar), Manolo Badrena(percussion) and Dennis Chambers(drums) with a most special appearance by Michael Brecker(tenor sax). It is in the end a masterpiece of the unique conversational style that this group helped to create. It is hard to believe that this all took place nearly 25 years ago, but feels just as timely and vibrant today in 2018. If one needs any further evidence of the greatness of Michael Brecker, just take the time to live with this solo, his brilliance in a foreign setting is unmistakable! Transcription and analysis, Steve Khan. Soundclip:
104. "Descarga Khanalonious" This Steve Khan solo, that originally appeared on CROSSINGS(Verve) in 1994 arrives with the just released BGO Records(UK) reissue of PUBLIC ACCESS-HEADLINE-CROSSINGS remastered, and packaged together on 2 CDs. This 64-bar solo features all the superb interplay from this Eyewitness2 grouping that featured: Anthony Jackson(contrabass guitar), Manolo Badrena(percussion) and Dennis Chambers(drums), with a most special appearance by Michael Brecker(tenor sax). It is in the end a masterpiece of the superb conversational style that this group helped to create. It is hard to believe that this all took place nearly 25 years ago but feels just as timely and vibrant today in 2018. As John Kelman wrote in his recent review: "Eyewitness is often lauded for its unique (especially for its time) language and approach, deeply felt grooves and stellar playing. Still, the group's telepathic ability to engage with one another on a profound level must not be overlooked. Its intrinsic conversational ability, a definitive one." Transcription and analysis, Steve Khan. Soundclip:
103. "Think of One" To celebrate the BGO Records(UK) reissue of PUBLIC ACCESS-HEADLINE-CROSSINGS remastered, and packaged together on 2 CDs, we are presenting Steve Khan's solo, that originally appeared on CROSSINGS(Verve) in 1994. This 4-chorus solo was performed on Thelonious Monk's classic composition, and receives one of Steve's early Latin-influenced treatments driven by the interactive brilliance of Anthony Jackson(contrabass guitar), Dennis Chambers(drums) and Manolo Badrena(percussion). As Bill Milkowski put it in his liner notes: "Hearing these records again reminds one of just how radically fresh and experimental they were when they came out 25 years ago. There was no template for this sound back then. The spaciousness and misterioso vibe, the brilliant use of counterpoint between guitar and bass, the bizarro midi percussion floating in and out of the mix, all while still being grounded by an insinuating Latin undercurrent... it was unprecedented for the '90s.....and there is still nothing quite like it!" Transcription and analysis, Steve Khan. Soundclip:
102. "Power Play" 2018 begins with another wondrous Michael Brecker solo on the title track from acoustic bassist Eddie Gómez' album, POWER PLAY(Columbia) that dates back to 1988. The tune also featured co-composer LeeAnn Ledgerwood(keyboards) and, for the 1st time only on this song, drummers Steve Gadd and Al Foster playing together. Mike's solo begins with thematic units to develop and along that journey, he explores the full range of his saxophone, a remarkable four octaves. This 40 bar solo over a funk-oriented 16th-note groove with two modal m7(9sus) chords is sure to become a favorite with those who visit these pages. Transcription and analysis, Steve Khan. Soundclip:
101. "Concepticus in C" As it turns out, there is to be one last Steve Khan solo to be presented from BACKLOG(Tone Center) over saxophonist Greg Osby's brilliant composition. Steve is once again supported by the spectacular keyboard work of Rob Mounsey alongside the very funky cha-cha-cha rhythms of Marc Quiñones(timbal & güiro), Bobby Allende(conga) and Rubén Rodríguez(baby bass) alongside the most serious fatback groove of Mark Walker(drums). While negotiating the complex harmonies, Steve's solo is rooted in the blues language. One of the best tunes on the album! Transcription and analysis, Steve Khan. Soundclip:
100. "Stella by Starlight" Recently reissued on DANGEROUS(Milestone), finally we have a recorded version of Wes Montgomery soloing over this great standard. On this 1961 recording, Wes is accompanied by brothers Buddy Montgomery(vibes) and Monk Montgomery(ac. bass), and all driven by the drumming of Paul Humphrey. We're certain that you will enjoy Wes' 6-chorus solo, played in the key of Eb major rather than the more familiar key, at least to most, of Bb major. Don't miss out on this one! Transcription and analysis, Steve Khan. Soundclip:
99. "Demonette" A 2nd Michael Brecker solo from keyboardist Neil Larsen's 1979 album HIGH GEAR(Horizon), and on another Larsen original. Once again, Buzz Feiten(Guitar) joins Abraham Laboriel(El. Bass); Steve Gadd(Drums); Paulinho Da Costa(Perc.) on this double-time Samba/Fusion-oriented track. Michael's solo here is really more about being right in the center of the flow of the time feel, and swingin' really hard! To these ears, there is not one single note in this solo that ventures outside the harmonies, not one! How rare is that for a Michael Brecker solo? There is hardly any chromaticism within the solo. How rare is that? It proves one thing at the very least, if you play with aggressive and swinging time, you can play anything, and it's going to work - and, more than this, you can play completely inside, and have a monster of a solo! See if you don't feel the same way. Transcription and analysis, Steve Khan. Soundclip:
98. "Nile Crescent" In 1979, keyboardist Neil Larsen recorded the 2nd of his two albums, HIGH GEAR(Horizon), and on that album, Michael Brecker contributed two brilliant solos, one was on the Larsen penned tune, "Nile Crescent." Buzz Feiten(Guitar), a fixture with Larsen joins Abraham Laboriel(El. Bass); Steve Gadd(Drums); Paulinho Da Costa(Perc.) and Joe Farrell(Flute) on the track. Michael's 22-bar solo, over a Phrygian mood, embodies all the wonderful qualities in his playing. As it has now been some 10 years since Michael left us, it only seems fitting to pay tribute to him again, and just how glorious his body of work remains. He was so very special. Hoping that everyone enjoys this solo to the fullest. Transcription and analysis, Steve Khan. Soundclip:
97. "Emily" The sheer beauty of this Johnny Mandel and Johnny Mercer song became an experiment within the cross-rhythms of the Afro-Cuban 6/8 feeling, but this time inventively presented as a ballad. This Steve Khan solo transcription, from the recently released BACKLOG(Tone Center) album, is the seventh and final one in the series. What Rob Mounsey added with his arranging and orchestrational talents to Steve's original arrangement became one of the album's true highlights. Rubén Rodríguez(Baby Bass); Marc Quiñones(Timbal); and Bobby Allende(Conga) stay in the 6/8 zone, while Mark Walker(Drums) and Steve float above it all offering more of a 4/4 feeling against the prevailing rhythms. See if it feels like that for you. Steve's solo is truly one of his most melodic and lyrical, a tribute to both Paul Desmond and Jim Hall. Transcription and analysis, Steve Khan. Soundclip:
96. "Invisible" This great Ornette Coleman composition from his 1958 album, SOMETHING ELSE!!!!(Contemporary), placed him in a rare musical setting with a piano. In some ways, that element made it easier to decipher what might have been going on back then, and easier to separate this arrangement from the original. This Steve Khan solo transcription, from the recently released BACKLOG(Tone Center) album, becomes the sixth in the series. The performance features the beautiful sound of Bob Mintzer's tenor sax, which adds so much to the melody statement, not to mention his own spectacular solo. Steve's solo picks-up where Bob left off, and explores open linear ideas mixed with some very creative Latin elements on guitar. Once again, in the analysis, a link is provided for those interested in seeing the keyboard parts written for Rob Mounsey. In addition to his big tumbao, and great ensemble playing, Bobby Allende(Conga) contributes a tremendous solo as well. Transcription and analysis, Steve Khan. Soundclip:
95. "Rojo" This steel-string acoustic guitar feature becomes the fifth in a series of Steve Khan solo transcriptions from the recently released BACKLOG(Tone Center) CD over the 2nd Bobby Hutcherson tune that originally appeared on his 1966 album, HAPPENINGS(Blue Note). Once again, the spectacular comping of Herbie Hancock on the original version played a huge role in the construction of the keyboard arrangement. Herbie colored most of the melody notes in the [A] sections with very creative clusters, and Steve's arrangement sought to expand on this idea. No doubt what Herbie did was improvised, here it is arranged, and there is a link to the keyboard lead sheets. The performance also features a great timbal solo from Marc Quiñones, and Mark Walker's drum solo over the final montuno is truly one of the album's shining moments. Transcription and analysis, Steve Khan. Soundclip:
94. "Our Town" This rather obscure Frank Sinatra song, written by Steve's father, Sammy Cahn and Jimmy Van Heusen in 1955 for the NBC musical production of Thornton Wilder's play, the title song, becomes the fourth in the series of Steve Khan solo transcriptions from the recently released BACKLOG(Tone Center) album. The hypnotic bolero feeling is enhanced immensely by the gorgeous orchestral arrangement by the great Rob Mounsey. The transcription not only includes the body of the solo section, but offers what Steve improvised over the Fade as well. The analysis provides some fascinating family insights, as well as a deeper look inside the performance and all its aspects. Not to be missed! Transcription and analysis, Steve Khan. Soundclip:
93. "Head Start" The third in a series of Steve Khan solo transcriptions from the just released BACKLOG(Tone Center) album over Bobby Hutcherson's great tune from his classic 1966 album, HAPPENINGS(Blue Note). The performance was enriched by the presence of one of our greatest vibraphonists, Mike Mainieri. It became a complete irony that Steve's album presented 3 tunes from Hutcherson albums, and just prior to the release, sadly Bobby passed away. In one sense, these performances could have always been considered a tribute to him, but now, they take on that role more than ever. Steve's solo is full of interesting twists and turns, and the analysis tells quite a story of how this all came into being. Mark Walker's great drum solo is one of many highlights on the album. Transcription and analysis, Steve Khan. Soundclip:
92. "Latin Genetics" The second in a series of Steve Khan solo transcriptions from the just released BACKLOG(Tone Center) album. Ornette Coleman's relatively recent composition from 1987, which featured the reunion of one of his great original quartets, is given the rhythmic backdrop of a Puerto Rican plena. This festive rhythm gave rise to a brilliant solo from trumpeter Randy Brecker, and Steve's solo follows informed by Randy's, and then going off on its own path. It puts to use, for the 1st time on this album, the sounds of Steve's Zawinul-esque DVP-1 harmonized lines. The analysis is filled with interesting stories and perceptions. There was even enough space to present the wonderful soli section which is actually drawn from the re-imagined fragments of Ornette's original solo. Don't fail to take advantage of this one!!! Transcription and analysis, Steve Khan. Soundclip:
91. "Criss Cross" The first in a series of Steve Khan solo transcriptions from the just released BACKLOG(Tone Center) album. Thelonious Monk's composition opens the album, and features Steve's guitar in the most pared down setting with: Rubén Rodríguez(Baby Bass); Marc Quiñones(Timbal); Bobby Allende(Conga); and Mark Walker(Drums). This particular solo offers all the classic elements of Steve's soloing style with the angular lines, crisp chordal punctuations, much like a keyboard, and his own inventive montunos. A must for his most ardent fans. Transcription and analysis, Steve Khan. Soundclip:
90. "Greensleeves" This great Paul Desmond-Jim Hall track from 1959, appears on Desmond's album EAST OF THE SUN(Discovery). Here they are joined by bassist Percy Heath, and drummer Connie Kay as they perform an incredibly short, 2:05, version of a traditional song that has become part of our holiday traditions, even though the original lyrics deal with something far less festive. If one associates the melody with "What Child Is This?" then perhaps that's the best way to view it. Here we present two wonderfully melodic solos, though extremely brief, that serve as an insight into these two great players. Wishing everyone a very HAPPY HOLIDAY season, and a very: HAPPY NEW YEAR 2017!!! Transcription and analysis, Steve Khan. Soundclip:
89. "Red River Valley" This great Grant Green track was actually recorded in 1962, and yet, the album sat on the shelf for some 7 years, and finally, GOIN' WEST(Blue Note), was released in 1969. Here Green is accompanied by Herbie Hancock, Reggie Workman, and drummer Billy Higgins as they interpret some classic songs from the world of Country & Western music. This tune, a simple 16-bar repeating form, comes from our great "Western" traditions. Hoping that everyone takes advantage of this opportunity to investigate the charm, the swing, the bluesiness of Grant Green. Wishing everyone a very HAPPY HOLIDAY season!!! 2016!!! Transcription and analysis, Steve Khan. Soundclip:
88. "They Can't Take That Away From Me" A track that never appeared on the original Stanley Turrentine LP from 1963, NEVER LET ME GO(Blue Note), but now this great Gershwin Bros. classic appears as a bonus track on the CD reissue. Accompanied by Shirley Scott, Sam Jones, and drummer Clarence Johnston, Stanley's solo is a perfect representation of his very swingin' and soulful style. There was really no one quite like him. He is a greatly missed presence on the Jazz scene. Wishing everyone a very HAPPY THANKSGIVING, 2015!!! Transcription and analysis, Steve Khan. Soundclip:
87. "Cielito Lindo" Originally recorded on drummer Ed Thigpen's album from 1966, OUT OF THE STORM(Verve), the fantastic comping of Kenny Burrell features his intuitive musicality behind the brilliant playing of Clark Terry, with the support of both Herbie Hancock and Ron Carter. The strains of Latin music are everywhere, as this Mexican folkloric classic, usually performed in 3/4, is transformed into a cut-time 4/4 fiesta of great playing. Transcription and analysis, Steve Khan. Soundclip:
86. "The Hobgoblin Stomp" From a demo recorded in 1972, Michael Brecker is featured on a very early composition by Steve Khan, the group was then known as FUTURE SHOCK, and featured, in addition to Mike: Randy Brecker; Don Grolnick; John Miller; and Bruce Ditmas. Post-Dreams, and 2 classic recordings with Hal Galper, this is a glimpse into the style that Mike began to develop, thus creating his own unique place on the tenor saxophone. Transcription and analysis, Steve Khan. Soundclip:
85. "Creek"(Arroio) From 1972, a wonderful Chick Corea acoustic piano solo, that appeared on fellow Return to Forever member Airto's first album for CTI, FREE. This joyous song was composed by saxophonist Victor Assis Brasil, and on board for this performance were: Joe Farrell, Ron Carter, and Nelson Ayres. This solo encapsulates so much of Chick's harmonic and rhythmic concepts pre and post his stint with Miles Davis. So much to enjoy here!!! Transcription and analysis, Steve Khan. Soundclip:
84. "Sound Off" We begin 2015 by celebrating the life and work of Michael Brecker and present his 3-chorus solo over this Larry Goldings composition which appeared on Mike's 1999 album, TIME IS OF THE ESSENCE(Verve). The tune featured: Larry Goldings(organ); Pat Metheny(guitar); and Jeff "Tain" Watts(drums). One must never forget the greatness, the inventiveness, and the hard-swingin' creativity of this once-in-a-generation saxophonist. There wasn't anyone like him!!! As always, here's wishing everyone who visits these pages a very: HAPPY NEW YEAR!!! Transcription and analysis, Steve Khan. Soundclip:
83. "Cada Gota de Mar" The last of the Steve Khan solos from his 2014 album, SUBTEXT(Tone Center). The composition, co-written with singer Mariana Ingold is Steve's homage to Colombia and its Vallenato music. Performed over the cumbia rhythms supplied by Marc Quiñones(Timbal & Güira), Bobby Allende(Conga), Rubén Rodríguez(El. Bass), Dennis Chambers(Drums), joined by New York's own Gil Goldstein(accordion) they give this tribute the proper sabor. Hoping that everyone enjoys this presentation, and, don't forget to click on the Gil's image for a fun surprise!!! Wishing everyone a very HAPPY HOLIDAY season!!! Transcription and analysis, Steve Khan. Soundclip:
82. "Bird Food" This Steve Khan solo over Ornette Coleman's classic tune opens the SUBTEXT(Tone Center) recording, and features the wonderful flügelhorn work from longtime friend and colleague, Randy Brecker. The caballo rhythmic variations were performed with swingin' perfection by Rubén Rodríguez(Baby Bass); Dennis Chambers(Drums); Marc Quiñones(Timbal & Güiro) & Bobby Allende(Conga & Bongo). Transcription and analysis, Steve Khan. Soundclip:
81. "Blue Subtext" Over the very lush and romantic chordal sonorities, in the style of Clare Fischer, Steve Khan's 6-chorus solo over this Son driven, 16-bar form from SUBTEXT(Tone Center) is laced with both Jazz and blues references, and even the sudden appearance of some Wes Montgomery-esque octaves. The fantastic keyboard support was supplied by Rob Mounsey, over the percolating rhythms of: Rubén Rodríguez(El. Bass); Dennis Chambers(Drums); Marc Quiñones(Timbal & Bongo) & Bobby Allende(Conga). Transcription and analysis, Steve Khan. Soundclip:
80. "Never Let Me Go" Over this romantic ballad, performed as a bolero, this Steve Khan solo from SUBTEXT(Tone Center) may well be his finest moment on an album filled with great playing. Beautifully supported by Rubén Rodríguez' rich Baby Bass tone and Dennis Chambers' sensitive brush work on drums, the space allowed by both Marc Quiñones & Bobby Allende allows for this kind of improvisation to flourish. Steve's arrangement, realized by Rob Mounsey's gorgeous orchestration, paints yet another tribute to a mutual harmonic hero, Clare Fischer. Transcription and analysis, Steve Khan. Soundclip:
79. "Hackensack" Steve Khan's 4-chorus solo from SUBTEXT(Tone Center) over this well-known Thelonious Monk classic shows just how Steve's playing has been influenced by the piano, especially during all the chordal passages. A really tremendous solo from this popular track with fans. Marc Quiñones, Bobby Allende and Rubén Rodríguez and Dennis Chambers lay down a wicked mambo-esque groove the fuels the playing throughout. Transcription and analysis, Steve Khan. Soundclip:
78. "Bait and Switch" The first Steve Khan solo presented from SUBTEXT(Tone Center) features a 4 chorus 16-bar blues-based solo format. The formal solo section is preceded by a 32-bar "prelude" that mixes the funky cha-cha-cha rhythms of Marc Quiñones, Bobby Allende and Rubén Rodríguez with Dennis Chambers' most serious fatback groove. It's one of the great moments on the album. Transcription and analysis, Steve Khan. Soundclip:
77. "The Camera Never Lies" With the passing of the great Nelson Mandela, I was reminded of a solo that I had played on the title song from Michael Franks' 1987 album, THE CAMERA NEVER LIES(Warner Bros.). Produced by the brilliant and very creative Rob Mounsey, I was afforded the opportunity to play in my own Strat style, even though I had to do it while being plugged directly into the board. Reflecting back, I'm really pleased with the results and proud to have been associated with a song that took a political stance. Transcription and analysis, Steve Khan. Soundclip:
76. "Right Off" From 1970, a fantastic Steve Grossman soprano sax solo that appeared on Miles Davis' album, A TRIBUTE TO JACK JOHNSON(Columbia). A 3-minute plus exploration of what one can do over a static Bb7(sus) chord, when accompanied by: Herbie Hancock, John McLaughlin, Michael Henderson and Billy Cobham. If you haven't heard this before, pay special attention to it now!!! Transcription and analysis, Steve Khan. Soundclip:
75. "It's All Right With Me" The last of the Pat Martino solos, from what might have been a 2nd volume of my book, "PAT MARTINO - The Early Years," that appears on Willis Jackson's 1977 album, BAR WARS(Muse). Together with the great Charles Earland and Idris Muhammad, Pat gives you two hard-swingin' choruses over this wonderful Cole Porter standard. Transcription and analysis, Steve Khan. Soundclip:
74. "San Francisco, P.M." Truly one of his greatest honors, Steve Khan is featured on this classic Clare Fischer composition with a dazzling 1/2 chorus solo from the just released 2012 album by the Clare Fischer Latin Jazz Big Band, ¡RITMO!(Clavo). With an arrangement by Clare's beloved and devoted son, Brent Fischer, everything that one might love about Latin music exists within the framework of this tune, which was originally recorded in 1987. If this inspires you to look deeper into the music of Clare Fischer, nothing could be better than that! Transcription and analysis, Steve Khan. Soundclip:
73. "Tequila" A Wes Montgomery 1 chorus chord solo over the title track from his 1966 album, TEQUILA(Verve). A rare Pop instrumental hit for The Champs in 1958, it was given the Latin treatment as Wes was accompanied by Ron Carter, Grady Tate, and Ray Barretto. This little solo can serve as the perfect study companion for mastering Wes' style of chord soloing!!! Take a shot of Cuervo, and start practicing!!! Transcription and analysis, Steve Khan. Soundclip:
72. "What's New?" A memorable George Benson solo over one of our greatest love songs that appears on his 1968 album, GIBLET GRAVY(Verve). Supported by Herbie Hancock, Ron Carter, Billy Cobham, and Johnny Pacheco, and performed as a bolero con swing, you won't want to miss this one because it is so spectacular!!! Transcription and analysis, Steve Khan. Soundclip:
71. "Sabor a Mi" An absolutely gorgeous solo by guitarist Leonardo Amuedo over a well-known bolero performed in a Brazilian style, and appearing on singer, Laura Fygi's '94 CD, THE LADY WANTS TO KNOW(Verve/Forecast). Supported by Jurre Haanstra's stellar arrangement, this is everything that a featured solo within a vocal performance should be. Transcription and analysis, Steve Khan. Soundclip:
70. "How High The Moon" A terrific Pat Martino solo over this venerable standard that now appears on Jack McDuff's compilation CD, SILKEN SOUL(Prestige). A swingin' 2-chorus solo, that's perfect for those who are new to this great guitarist's style. Transcription and analysis, Steve Khan. Soundclip:
69. "Los Gaiteros" Though it rarely happens here, we are proud to present this Steve Khan solo over his own tune from the 2011 CD, *PARTING SHOT(Golpe de Partida)(Tone Center). Short and to the point, this melodic and thematically developed solo offers a great example of improvising something that is succinct, and leaves a listener wanting more. Wishing Steve a slightly belated but very "HAPPY BIRTHDAY*"!!! Transcription and analysis, Steve Khan. Soundclip:
68. "Steeplechase" A superb John Scofield solo over this Charlie Parker classic "Rhythm Changes" tune that appears on Sco's 2010 DVD, THE PARIS CONCERT: LIVE AT THE NEW MORNING(Inakustik). Together with bandmates Michael Eckroth, Ben Street and Bill Stewart, he explores 7-choruses that are filled with inventive, playful, tough, and very swingin' playing. Transcription and analysis, Steve Khan. Soundclip:
67. "Someday My Prince Will Come" I couldn't resist returning to add the Herbie Hancock solo over the great standard that also appears on Paul Desmond's SUMMERTIME(A&M) album from 1968. It offers such a great contrast to Desmond's solo, which we presented some months ago. Though it is not something you can indicate with written music, Herbie's touch on the acoustic piano is everything that you would want to possess on any instrument. Transcription and analysis, Steve Khan. Soundclip:
66. "Latina" Proud to present another Freddie Hubbard solo here! This tune comes from his 1968 album, HIGH BLUES PRESSURE(Atlantic), and, as always, Freddie's huge sound and his phrasing are enough to make this solo worth investigating. And, how can one resist a tune dedicated to latinas? Lead Sheet and analysis, Steve Khan. Soundclip:
65. "Along Came Betty" We begin the new year with a little gift, we bring you a great Pat Martino two-chorus solo over the Benny Golson standard that appears on Pat's 1974 album, CONSCIOUSNESS(Muse). Perhaps, if you could only study one solo by this guitarist, this could easily be the one!!! And so, as 2012 has arrived, here's wishing everyone who visits these pages a very: HAPPY NEW YEAR!!! Transcription and analysis, Steve Khan. Soundclip:
64. "Someday My Prince Will Come" After a long absence, we return to the art of melodic improvising with yet another Paul Desmond solo over the great standard that appears on Desmond's SUMMERTIME(A&M) album from 1968. Too often, players of all ages can become unaware of constructing melodies when improvising, this solo offers a reminder of just how wonderful playing simply can be. Transcription and analysis, Steve Khan. Soundclip:
63. "Little Rootie Tootie" A rare chance to compare and contrast the original Thelonious Monk piano solo recorded on THELONIOUS MONK TRIO(Prestige) from 1952, which then inspired Hall Overton's arrangement for a small orchestra, which performed the arrangement during the famous Town Hall concert in 1959. And then, some 30 years later, Joe Zawinul recorded the same piece, and put his own 'spin' on the famous Overton "soli" arrangement of Monk's solo. Reading Steve's analysis should serve as a guide for your own comparisons between the 3 interpretations. Transcription and analysis, Steve Khan. Soundclips - Monk: \| Monk Orchestra: \| Zawinul:
62. "Child of Wisdom" A brief but very pithy Michael Brecker solo over one of the more 'commercial' tunes from Dreams' 2nd album, recorded in 1972, IMAGINE MY SURPRISE(Columbia). The great, and all too brief, solo has many of Mike's important influences of display. But, if this tune had any hopes of being a 'hit' at radio? With a bar or two, Mike finished that off! Transcription and analysis, Steve Khan. Soundclip:
61. "Love Letters" Stanley Turrentine's two chorus solo over another wonderful Victor Young standard from Stanley's 1964 recording, HUSTLIN'(Blue Note). The acknowledged master of "Soul Tenor" is at his best here, and some might be surprised by his rich Jazz vocabulary. Transcription and analysis, Steve Khan. Soundclip:
60. "Satin Doll" A Wes Montgomery one chorus solo over this classic Duke Ellington song from Wes' first recording as a leader in 1959, THE WES MONTGOMERY TRIO: A DYNAMIC NEW SOUND(Riverside). This is a great look into just how the arpeggio formed such an active part of Wes' concept of solo construction and phrasing. Transcription and analysis, Steve Khan. Soundclip:
59. "My Funny Valentine" The spectacular Freddie Green style comping by Jim Hall, behind the piano solo of the great Bill Evans, over this classic standard by Rodgers & Hart, which appeared on their duo recording from 1962, UNDERCURRENT(Blue Note). It is rare that one gets a chance to view this particularly under-appreciated guitar skill, and THIS is one of great, great examples. Transcription and analysis, Steve Khan. Soundclip:
58. "Sundown" A Wes Montgomery solo over his own composition, a blues in 'A' from his 1966 recording, CALIFORNIA DREAMING(Verve). Here we present 2 choruses of Wes' single-note soloing. One passage in the 1st chorus was of special interest for me as a young student in college. Perhaps it will that for you too? Transcription and analysis, Steve Khan. Soundclip:
57. "Where is Love?" Let us just consider this a belated 80th birthday present to the great, great Clare Fischer as we are proud to offer his solo Fender Rhodes Intro to this most beautiful ballad by Lionel Bart, which first appeared in the Broadway musical, "OLIVER." The transcription is drawn from a performance that appears on Cal Tjader's 1977 live recording, HERE AND THERE(Fantasy). This is another golden opportunity to get inside the gorgeous harmonic voicing style of a true master. Don't let this moment escape you!!! Again, a belated, "HAPPY BIRTHDAY" Clare!!! Transcription and analysis, Steve Khan. Soundclip:
56. "The Breeze and I" We begin the new year with another little gift, we bring you a superb Pat Martino two-chorus solo over this standard which appears on saxophonist Willis "Gatortail" Jackson's 1977 recording, BAR WARS(Muse). Backed by organist, Charles Earland and drummer, Idris Muhammad, the track swings like crazy and, was beautifully recorded by the legendary Rudy Van Gelder. And so, as 2009 has arrived, here's wishing everyone who visits these pages a very: HAPPY NEW YEAR!!! Transcription and analysis, Steve Khan. Soundclip:
55. "I Love Paris" For this year's X-MAS gift, we bring you a fantastic 2-chorus Michael Brecker solo over this wonderful Cole Porter standard from Steve Khan's 1994 recording, CROSSINGS(Verve). This is yet another splendid opportunity to examine the work of this brilliant and innovative tenor saxophonist. Don't miss it!!! Transcription and analysis, Steve Khan. Soundclips - Solo: \| Fade:
54. "'Round Midnight" A Wes Montgomery chord solo over the [B] section of the ballad standard by Thelonious Monk from Wes' 1959 recording, THE WES MONTGOMERY TRIO: A DYNAMIC NEW SOUND(Riverside). Here is yet another opportunity to get inside of Wes' chordal approach when improvising. Don't miss it! Chord solo transcription, Intro solo transcription, and analysis, Steve Khan. Soundclips - Chord Solo: \| Intro Solo:
53. "Once I Loved" A Wes Montgomery chord solo over this classic Antonio Carlos Jobim song from Wes' 1965 recording, GOIN' OUT OF MY HEAD(Verve). If you have been hoping to get inside of Wes' chordal approach when improvising, this is your opportunity! Transcription and analysis, Steve Khan. Soundclip:
52. "Trio Blues" A wonderful John Scofield solo over his own blues in 'F' from his 2006 recording, THIS MEETS THAT(Emarcy). with triomates Steve Swallow and Bill Stewart. The 10-chorus solo is rich with points of linear interest and John's sense of the gritty, the swingin', and even the witty. Transcription and analysis, Steve Khan. Soundclip:
51. "The Big Hurt" Wes Montgomery's solo in octaves from his 1966 recording, TEQUILA(Verve). Wes and Claus Ogerman turn Toni Fisher's 1959 big hit into a surprising work of beauty. Transcription and analysis, Steve Khan. Soundclip:
50. "East of the Sun" The title track offers another very melodic Jim Hall solo from Paul Desmond's 1959 recording, EAST OF THE SUN(Discovery). Transcription and analysis, Steve Khan. Soundclip:
49. "Con Alma" The single-note portion of Wes Montgomery's solo from his 1965 recording, BUMPIN'(Verve) offers another view of the very melodic nature of his lines. This was his first recording for this label with strings, beautifully arranged by Don Sebesky. Transcription and analysis, Steve Khan. Soundclip:
48. "I'm Gettin' Sentimental Over You" Jim Hall's classic melody statement from his 1964 recording with Art Farmer, LIVE AT THE HALF-NOTE(Atlantic) offers a most wonderful view of warmth and simplicity as your best road to interpreting a standard in the most beautiful way. And so, as 2008 arrives, here's wishing everyone who visits these pages a very: HAPPY NEW YEAR!!! Melody Statement and analysis, Steve Khan. Soundclip:
47. "A Little Quiet" An obscure Pat Martino solo over alto saxophonist John Handy's 16-bar bossa nova, which appears on his 1967 live recording at the Village Gate, NEW VIEW!(Columbia). This wonderful solo bears the heavy influence of Wes Montgomery. Transcription and analysis, Steve Khan. Soundclip:
46. "Dolphin Dance" How great to have a Freddie Hubbard solo represented here! Drawn from Herbie Hancock's timeless recording, MAIDEN VOYAGE(Blue Note), from May of '65, Freddie's sound and phrasing are enough to captivate any listener or student of Jazz. Transcription and analysis, Steve Khan. Soundclip:
45. "Born to be Blue" Wes Montgomery's interpretation of this beautiful standard exemplifies just how loose one can be when presenting a melody. Appearing on his MOVIN' WES(Verve) recording, from late '64, this was the 2nd time he had recorded the song. We also present his breathtaking octave cadenza. Melody Statement and analysis, Steve Khan. Soundclips - Melody Statement: \| Cadenza:
44. "Call" An early, but very fiery and playful Michael Brecker soprano sax solo taken from the 1971 recording with pianist Hal Galper, THE GUERILLA BAND(Mainstream). The recording is about to be released on CD for the very first time this coming June, '07. Mike would kill me if he knew that I had represented his soprano sax playing! Read the analysis and find out why! Transcription and analysis, Steve Khan. Soundclip:
43. "I've Got You Under My Skin" Another very melodic Jim Hall solo taken from his 1966 recording with the great pianist Bill Evans, INTERMODULATION(Verve). A recording of truly great beauty, character and dignity. Transcription and analysis, Steve Khan. Soundclip:
42. "Sandu" A very characteristic Pat Martino solo over Clifford Brown's blues in 'F' is taken from his 1967 recording with organist Don Patterson, FOUR DIMENSIONS(Prestige). The recording is now available as: LEGENDS OF ACID JAZZ: Just Friends(Prestige). Transcription and analysis, Steve Khan. Soundclip:
41. "Stompin' at the Savoy" A very wonderful Kenny Burrell solo over this famous standard from his 1967 recording, A GENERATION AGO TODAY(Verve) which served as a tribute to Charlie Christian and Benny Goodman, and the music with which they are most associated. HAPPY NEW YEAR everyone!!! Transcription and analysis, Steve Khan. Soundclip:
40. "Twisted Blues" For this year's X-MAS gift, we humbly offer another special edition of two Wes Montgomery solos over one of his own compositions. The first solo appeared on the '61 recording, SO MUCH GUITAR(Riverside), while the 2nd solo, is a performance from '65, appearing on the CD, GOIN' OUT OF MY HEAD(Verve). It is, yet again, a wonderful opportunity to "compare and contrast" the work of this great master. Riverside solo transcription, Verve solo transcription, and analysis, Steve Khan. Soundclips - Riverside Version: \| Verve Version:
39. "Naima" A wonderfully soulful and very musical, but all too short Robben Ford solo over just two [A] sections of John Coltrane's signature ballad. The solo appears on the 2004 recording by the group Shapes, THE BIG PICTURE(Burnin' Down the House). Transcription and analysis, Steve Khan. Soundclip:
38. "Pinocchio" A fantastic Herbie Hancock solo over Wayne Shorter's enigmatic composition, and taken from the 1967 Miles Davis recording, NEFERTITI(Columbia). Transcription and analysis, Steve Khan. Soundclip:
37. "So What" A truly classic Miles Davis solo from his 1959 recording, KIND OF BLUE(Columbia). Considered by many as the greatest Jazz recording ever, we offer a look into Miles' brilliantly minimalist approach to modal playing. Transcription and analysis, Steve Khan. Soundclip:
36. "Out of Nowhere" A previously unreleased track, gives us another wonderful Jim Hall solo. It now appears on the Paul Desmond compilation, COOL IMAGINATION(Bluebird). Transcription and analysis, Steve Khan. Soundclip:
35. "Gone with the Wind" Normally, this great standard is approached as something resembling a ballad, but Wes Montgomery recorded it at a bouncy medium tempo. We are offering the one chorus, single-line portion of the solo which appeared on his recording, THE INCREDIBLE JAZZ GUITAR(Riverside). Transcription and analysis, Steve Khan. Soundclip:
34. "Emily" Again we visit the work of the melodic master, Paul Desmond for his solo over this gorgeous ballad, played in 3/4, and appearing on his recording, SUMMERTIME(A&M). Transcription and analysis, Steve Khan. Soundclip:
33. "Alone Together" Another Jim Hall solo gem, over this well-known and oft-played standard. Also from Paul Desmond's TAKE TEN(RCA). Transcription and analysis, Steve Khan. Soundclip:
32. "Oran" This Michael Brecker solo, over Chick Corea's fantastic original, is the 5th and final one in our series, which all appeared on Don Grolnick's great Latin-Jazz CD, "MEDIANOCHE"(Warner Bros.). Another one-chorus solo packed with inventive ideas! Transcription and analysis, Steve Khan. Soundclip:
31. "Scarborough Fair/Canticle " A 2nd Herbie Hancock solo from Paul Desmond's '69 recording, BRIDGE OVER TROUBLED WATER(A&M), and what could be more appropriate than soloing over a Don Sebesky arrangement in 5/4? Another in depth look at this most special musician and artist, Herbie Hancock!!! Transcription and analysis, Steve Khan. Soundclip:
30. "Gaviota" A 2nd Clare Fischer solo over the title track from Poncho Sanchez' 1980 recording, GAVIOTA(Discovery). This time, it's a tremolo-drenched Fender Rhodes exploration of gorgeous and sensual harmonic colors!!! Transcription and analysis, Steve Khan. Soundclip:
29. "St. Thomas" For this year's X-MAS gift, we humbly offer Pat Martino's solo which appeared on the Eric Kloss recording, LIFE FORCE(Prestige), where the guitar is the only chordal instrument. Very much in the Wes Montgomery vein, Pat's solo features his octave and chordal work. A must for the Jazz purists out there! Transcription and analysis, Steve Khan. Soundclip:
28. "Cape Verdean Blues" A Michael Brecker solo, over this Horace Silver classic, is the 4th in our series which appears on Don Grolnick's great Latin-Jazz CD, MEDIANOCHE(Warner Bros.). A one-chorus solo offering Mike's typically creative passages between im7 and V7(alt.)! Transcription and analysis, Steve Khan. Soundclip:
27. "Some Punk Funk" This Michael Brecker harmonizer-enhanced tenor sax solo from TIGHTROPE(Columbia) is a remarkable source for just what is possible when playing over a one-chord vamp, if one has a great imagination, a sense of humor, and lots of soul. Transcription and analysis, Steve Khan. Soundclips - Solo: \| Lead Sheet:
26. "That Old Feeling" This Jim Hall solo from Paul Desmond's '63 recording, EASY LIVING(RCA) gives Steve "that old feeling" as he sings the praises of one of his earliest heroes. Transcription and analysis, Steve Khan. Soundclip:
25. "The 59th St. Bridge Song" An incredible Herbie Hancock Fender Rhodes solo from Paul Desmond's beautiful 1969 recording, BRIDGE OVER TROUBLED WATER(A&M) which featured the compositions of Paul Simon. A simple vamp leads to 32-bars of linear and harmonic explorations. Don't miss this one!!! Transcription and analysis, Steve Khan. Soundclip:
24. "If Ever I Should Leave You" This Michael Brecker solo, over the Lerner & Loewe standard from "CAMELOT" is the 3rd in our series which appear on Don Grolnick's CD, MEDIANOCHE(Warner Bros.). The one-chorus solo is jam-packed with linear gems to thrill everyone! Transcription and analysis, Steve Khan. Soundclip:
23. "Unit 7" A Wes Montgomery solo over the Sam Jones classic, "Unit 7" from his great '65 live recording, SMOKIN' AT THE HALF NOTE(Verve). HAPPY NEW YEAR everyone!!! Transcription and analysis, Steve Khan. Soundclip:
22. "Rojo y Negro" For your X-MAS gift, we humbly offer the 2nd in a series of Michael Brecker solos from Don Grolnick's fantastic Latin-jazz recording, MEDIANOCHE(Warner Bros.). Don's composition, "Rojo y Negro" offers subtle harmonic challenges over its 14-bar form. Michael's two choruses offer moments of romantic, laid-back lyricism, bluesy nuances, as well as some jagged and abstract phrasing. Wishing you all the joys of the season!!! Transcription and analysis, Steve Khan. Soundclip: (166k)
21. "Bock to Bock" A most special edition of two Wes Montgomery solos over brother Buddy Montgomery's composition, "Bock to Bock." The first solo appeared on the '57 recording, FINGERPICKIN'(Pacific Jazz), while the 2nd solo, which is an alternate take performance from '61, appears on the CD, THE ALTERNATIVE WES MONTGOMERY(Riverside). Being able to hear and view the similarities, and the differences in Wes' approach to the same harmonic challenges within a 4 year period should be instructive for everyone. Pacific Jazz solo transcription, Lead Sheet, Riverside solo transcription, and analysis, Steve Khan. Soundclips - Pacific Jazz Version: \| Riverside Version:
20. "Mambo Inn" We feature Grant Green's vibrant solo over Machito's Latin-jazz standard, "Mambo Inn," which first appeared on his '62 recording, THE LATIN BIT(Blue Note). This often underrated giant of jazz guitar is always listed amongst Steve's personal favorites, and a most important influence as well. This solo should be clear evidence as to why! Transcription and analysis, Steve Khan. Soundclip:
19. "Once Again" This Clare Fischer Fender Rhodes solo from Poncho Sanchez' GAVIOTA(Discovery) offers us a view of how to paint gorgeous colors with harmony and lines. Happy New Year 2003!!! Transcription and analysis, Steve Khan. Soundclip:
18. "Santa Claus is Coming to Town" This Pat Martino solo from organist Don Patterson's HOLIDAY SOUL(Prestige) was never released on CD as far as we know, so consider this a real treat, not to mention Steve has analysed this solo for us. Merry Christmas! Transcription and analysis, Steve Khan. Soundclip:
17. "Star Chamber" A Steve Khan steel-string acoustic guitar solo over his own Herbie Hancock influenced tune from TIGHTROPE(Columbia) and it also offers a rare chance to hear David Sanborn playing soprano sax. Transcription and analysis, Steve Khan. Soundclips - Solo: \| Lead Sheet:
16. "Desmond Blue" Jim Hall solo, over the tune by Paul Desmond. From Desmond's CD DESMOND BLUE(RCA). Transcription and analysis, Steve Khan. Soundclip:
15. "Snowfall" Wes Montgomery solo, over the tune by Claude Thornhill. From Montgomery's GROOVE BROTHERS(Milestone). Melody statement, Solo transcription, and analysis, Steve Khan. Soundclip:
14. "Embarcadero" Jim Hall solo, over the tune by Paul Desmond. From Desmond's TAKE TEN(RCA). Transcription and analysis, Steve Khan. Soundclip:
13. "Maiden Voyage" George Coleman solo over the classic Herbie Hancock tune, from MAIDEN VOYAGE(Blue Note). Transcription and analysis, Steve Khan. Soundclip:
12. "Sierra Madre" A great Steve Khan guitar solo from Dave Valentin's CD SUNSHOWER(Concord Vista). Transcription and analysis, Steve Khan. Soundclip:
11. "Chief" Michael Brecker EWI solo over the song by Mike Stern, from JIGSAW(Atlantic). Transcription, Lead Sheet and analysis, Steve Khan. Soundclip:
10. "13"(Death March) Wes Montgomery solo over the song by Gary McFarland, from JIMMY & WES - THE DYNAMIC DUO(Verve). Transcription and analysis, Steve Khan. Soundclip:
9. "Spellbinder" Gabor Szabo solo on his original tune, the title track of Szabo's classic 1966 recording, SPELLBINDER(Impulse). Transcription and analysis, Steve Khan. Soundclip:
8. "Bossa Rocka" George Benson solo over one of his original tunes, from the GE0RGE BENSON COOKBOOK(Columbia). Melody statement, Transcription and analysis, Steve Khan. Soundclip:
7. "Once I Loved" Pat Martino solo over the song by Jobim-Gilbert-de Moraes from EL HOMBRE(Prestige). Transcription and analysis, Steve Khan. Soundclip:
6. "Poor Butterfly" Jim Hall solo over the Hubbell-Golden song from GLAD TO BE UNHAPPY(RCA/BMG). Transcription and analysis, Steve Khan. Soundclip:
5. "Rainsville" Michael Brecker solo over the song by Don Grolnick from MEDIANOCHE(Warner Bros.). Transcription and analysis, Steve Khan. Soundclip:
4. "Where is Love?" Paul Desmond solo over the song by Lionel Bart from SUMMERTIME(A&M). Transcription and analysis, Steve Khan. Soundclip:
3. "Sam Sack" Wes Montgomery solo over the song by Milt Jackson from BAGS MEETS WES(Riverside). Transcription and analysis, Steve Khan. Soundclip:
2. "Samba With Some Barbeque" Herbie Hancock solo over the song by Louis Armstrong from SUMMERTIME(A&M). Transcription and analysis, Steve Khan. Soundclip:
1. "Clafouti" Steve Khan acoustic guitar solo over the Khan/Mounsey song from YOU ARE HERE(SIAM). Transcription and analysis, Steve Khan. See also: The Khan/Mounsey Saga. Soundclip:
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