Giant of Jazz Collection Published by Studio 224

CONTENTS
2 Foreword
3 Relationship of Chords to Scales
6 Transcribing Solos from Records
8 Biographical Sketch
10 Cannonball Adderley Genealogy Chart
11 A Musical Portrait of Cannonball
14 A Selected List of Original Tunes by Cannonball Adderley
15 A Selected Bibliography
19 A Selected Discography
21 Transcribed Solos with Analysis and Model Analysis Sheet
24 The Weaver , Sextet in New-York, Riverside RLP 9404
34 The Way You Look Tonight , Cannonball Enroute ,Emarcy 20616
41 What Is This Thing Called Love ,Quintet at the Lighthouse , Riverside RLP 344
47 Green Dolphin Street , 1958 Miles , Columbia 20AP 1401
54 Limehouse Blues ,Quintet in chicago With J.Coltrane , Mercury SR 60134
59 Corcovado , Bossa nova Rio Sextet , Riverside RM 455
65 Milestones , Milestones With Miles Davis , CBS 85553
72 Straight, No Chaser Milestones With Miles Davis , CBS 85553
78 Marabi , Country Preacher , Capitol 80441
81 The Sidewalks of New York , Phenix , Fantasy F 79004
92 The Language of Cannonball
93 Raw Materials (II V7; Melodic)
95 II V7 Patterns
109 Major Patterns
110 Dorian Patterns
111 Blues and Pentatonic Patterns
114 Lydian Dominant Patterns
115 Diminished Patterns
116 Whole Tone Patterns
117 Turnbacks

Foreword

In recent years, with proliferation of transcribed solos and the growing awareness of their value as teaching tools, it has become apparent to many jazz educators that simply memorizing a solo and playing it is not maximizing the potential of the technique as a learning experience. By the inclusion of in depth analysis, selected discography and bibliography, biographical data, a list of innovations, a genealogy, etc., as well as actual transcriptions of important solos, these books represent an attempt to place the study of recorded solos in a more meaningful context.

In many respects the jazz improvisor is a composer and as such might profit from being exposed to the same regimen and disciplines as a composer per Se. One such discipline has to do with learning to write or play by imitating various models. Virtually every composer has gone through the stage of writing pieces in the style of Bach, Bartok, Stravinsky, Ellington and others. In imitating a particular composer the neophyte must learn and assimilate the harmonic, melodic, and rhythmic language of that composer. He must be able to project in a reasonably accurate fashion what that composer will do, given a particular set of musical options. This type of learning experience becomes doubly important when the composer under scrutiny is one of the giants who in one area or another is responsible for transforming the aesthetic. For instance, in any given period a handful of innovators is responsible for introducing new concepts into the music or simply reinterpreting or reshaping the extant language consistent with imperatives of that time.

It seems to this writer that the jazz player might profitably adapt an approach similar to that of the budding composer in learning his craft. With that end in mind this series of style studies has been designed to provide a modus operandi for studying, analyzing, imitating and assimilating the idiosyncratic and general facets of the styles of various jazz giants throughout the history of the music.

Although a model styles and analysis work sheet is provided, the reader may want to modify it or design another one which fits his or her specific needs. In any event, the aspiring jazz player is encouraged to completely dissect the improvisations as well as the tunes on which they are based. (This is absolutely mandatory in the case of bebop tunes whose patterns, melodic lines and harmonic structures comprise a substantial portion of the vocabulary of every contemporary jazz musician).