They are the result of thorough assimilation first hand of the work of George Coleman, Harold Mabern & many other greats. These harmonic & rhythmic strategies are not a fluke - they have been carefully conceived, practised & perfected. It sounds effortless and unforced because 1) the time is so good 2) everything resolves 3) the rhythms are so varied and well executed (that’s why Bird sounded so great, too!). There are also “Giant Steps” systems in place bars 48-50 (descending major 3rd key centres) & bars 121-123. In this transcription I put a general harmonic indication for the head & the first chorus, but as all great musicians do on a blues, they all approach it with a lot of flexibility.Įric has a penchant for superimposing minor 7th chords ascending in minor 3rds - e.g. That is not as glib a reply as it might seem. I asked Eric once to what extent he waited to hear what the rhythm section was playing before committing to what he would play, to which he replied “I just slam my shit all over it”. I know Eric & his methodologies well - and this is a great example of the effortless & melodic liberty-taking he and other great players have as their trademarks. ![]() A blues is always a good place to start to get insight into how a player thinks. I’ve been intending to transcribe some stuff from this great album “Second Impression” by Eric Alexander for a while.
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