Confirmation: Sonny Stitt Solo

Some years back, I offered a transcription of alto saxophonist Richie Cole soloing on the Charlie Parker original “Confirmation.” In this post I’m revisiting the tune, this time featuring Sonny Stitt holding forth on five moderately fast choruses on the 1966 Atlantic album Stitt Plays Bird.*

Stitt was compared to Parker early on, but he clearly had his own voice—perhaps not quite as sophisticated harmonically as Bird’s, but distinct, technically clean, and masterful. He was a redoubtable exponent of bebop, creative, deft, and downright fierce at even the fastest tempos but also accessible and certainly a great study. On slower tunes he seemed to instinctively carve out large passages of double-time, and even here at a more upbeat tempo, his love of sixteenth-note runs is on display, notably in a couple of the bridge sections (measures 49–51 and 145–148).

Some parts of this transcription are approximations rhythmically, and while I’ve incorporated a few slurs where I felt they’d be helpful, I haven’t attempted to duplicate Stitt’s articulation. So as always, get a true feel for the tune by listening to the recording, available, at least at the time of this post, on YouTube (see footnote).

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*  Remastered edition of “Confirmation” published by Rhino Atlantic on YouTube, November 28, 2019, https://youtu.be/ZFQG2sMAAM4?list=OLAK5uy_lcjTYSk7YLONbfUqDgz3YQj300mB1wZs4.

July 4, 2020 by
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Ornithology: A Charlie Parker Alto Sax Solo Transcription

OrnithologyThe beboppers of the 1940s and 1950s advanced the use of contrafacts,* and the godfather of bebop, alto saxophonist Charlie Parker, used them liberally. After the many tunes he wrote over the chord changes to “I Got Rhythm,” the contrafact he probably recorded most was the tune “Ornithology,” which utilizes the changes to the old standard, “How High the Moon.”

I have no idea exactly how many recordings exist of Bird holding forth on “Ornithology.” I only know that there are lots. The tune was clearly a favorite vehicle for Parker, and the transcription shown here captures his first 32 bars of an extended flight. I hope to transcribe the rest of it in time, but the process keeps getting interrupted by other priorities, so for now at least, I thought I’d share this much of Bird’s solo with you. It’s plenty ’nuff to whet your chops on.

Charlie Parker not only had a phenomenal technique, but an equally amazing melodic concept. Both are on display here. Just click on the image and enjoy soaring with Bird.

If you enjoyed this post, visit my Jazz Theory, Technique & Solo Transcriptions for many more transcriptions, licks and technical exercises, and educational articles on jazz.

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* Contrafacts are new melodies set to the harmonies of preexisting tunes.

January 31, 2013 by
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I Would Be a Sinner: Rich Lataille Alto Sax Solo Transcription

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A couple years ago, while listening to WBLV (a wonderful West Michigan jazz radio station), I heard a tune by the band Roomful of Blues that put a smile on my face and set my insides to dancing. The title was “I Would Be a Sinner” from the CD Raisin’ a Ruckus, published in 2008 by Alligator Records. Predictably, I suppose, considering the name of the band, the tune was an F blues, and the alto sax solo by Rich Lataille was just perfect. I don’t know how else to describe it, and I’m not going to try too hard other than to say that Rich’s tone is beautiful, his technique is surgically clean, and his approach is passionate and smack on the money.

Here are all three choruses, transcribed for the alto sax. (Click on the images to enlarge them.) It probably needs no saying, but I’ll say it anyway: You’d do

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well to pick up the CD, or at least download the tune on MP3. I’ve notated some of the important slurs and articulations, but I’ve by no means tried to capture all of them, and you’ll want to hear them. You’ll also want to check out the interplay between the alto and the bari sax in the second chorus, with the addition of other instruments in the third chorus. The counterpoint hearkens back to Dixieland bands in spirit, though the style is obviously different.

And that’s all I need say, other than that this is a great tune, and I hope you’ll enjoy playing it and listening to it as much as I do!

October 25, 2011 by
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Saxopedia: Introducing a New Saxophone Website

A few days ago I received a note from Italian saxophonist Gianfranco Balena informing me of his new website, Saxopedia. Having checked it out, I’m taking a moment to recommend that you do the same if you’re a saxophonist–or, for that matter, if you’re a jazz instrumentalist of any denomination.

Saxopedia is clearly a labor of love on the part of Mr. Balena, and it looks to be a site that will be regularly updated. Of particular interest is the index of jazz solos. Featuring links to over 1,000 free solo transcriptions that cover a huge array of well-known saxophonists, this is as exhaustive a compendium of solos for memorization and study as you’ll ever find. It’s a terrific resource, and you owe yourself a visit. Once you’ve been there, I’m betting you’ll return for more. I will, that’s certain.

July 3, 2011 by
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