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Here, it's a nice touch. I believe that they did this for the simple LP that it "felt right" to them. To me this makes perfect sense because one does not have to stay married to exact presentation of anything contained in the melody.
For a long, long time this was part of the "jazz tradition," but in time things loosened LP and became far less rigid. Where the statement of the melody is concerned, this section is the most perplexing because Wes plays nothing near what the written melody looks like. It almost sounds as though he made up his "own" melody. They alternate for the 8 bar section.
What could be more simple? Before we discuss the solo itself, I should address just how the Wes and his brothers decided to construct their own "solo changes" for the letter [ A ] sections and not make themselves 'prisoners' of how they chose to treat the melodic harmony. I suppose to some this descending harmony might be a bit reminiscent of a portion of the changes to " On Green Dolphin St.
As he so often does, Wes begins with his own small thematic device, this time repeated quarter notes. A phrase which he answers himself in bar 2 while leaving a long breath and lots of space. Bar 7 is treated the same way, just one half-step down. In both bars, you can see how, in part, he outlines either an Ebm triad, or a Dm triad. And, what he plays in bar 6, he then thematically echoes in bar 7.
You can certainly view this in both [ A ] and [ A2 ], LP. When Wes arrives at letter [ B ], and Monk begins to walk on bass, he again states a "call and response" type of phrase. Very lyrical, very melodic. Then, suddenly, he's off on a series of 8th-note triplets which only taper off as the section ends. What is remarkable about this bar passage is that he never plays any chromatic notes.
It's all strictly diatonic. There are no alterations thrown in as C7 resolves to Fmaj7, nor when Ab7 resolves to Dbmaj7. This, I would say, is highly unusual for someone of Wes' harmonic sophistication. However, it does not, for a moment, diminish the melodic beauty of his improvisation, nor the difficulty in executing such passages. He had obviously done lots of practicing and homework!!! As he arrives at [ A3 ], Wes leans a little harder on the Lydian sound by placing an emphasis on the C-natural.
Again, the Lydian sound of Album) 4 was introduced in this arrangement in letter [ I ] by Wes' guitar voicing. So, it is not as if this modal sound appears out of nowhere! Wes is also never too far from his blues sensibilities, and you can hear this as bar 4 travels into bar 5, and even during the last bar of the solo. Where transcribing this solo was concerned the only " trouble spot " for me came in bar 7 of [ A3 ] because the phrasing just became uncharacteristically blurred.
So, to make certain that I was close to being "correct," I contacted my friend and colleague, Ethan Gutzeit, who possesses the technology to really isolate the pitches. It's an interesting little passage because I'm not certain that Wes really fully intended to play it in exactly this manner. I say this because of the presence of the Bbs in that bar. I don't believe that they are there as "blue notes" because in those same bars in the prior [ A ] sections, you do not see a Bb, and for that matter, you do not even see B-natural.
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