A particularly poignant exception is the delayed resolution in measure 13. Excluding the blues passages, nearly every new chord is approached by step. 4 and 37-38) and literal blues figuration (mm. 3, 13, 35, and elsewhere) melodic sequences (mm. 2, 5, 11, 35, and elsewhere), indirect resolutions (mm. This textbook solo makes use of double chromatic voice leading (mm. The solo exudes a confidence and vitality which helps maintain a constant forward drive–particularly in his use of detached articulations, as in measures 7, 29, and elsewhere. While his alternate take of the same performance on Februreveals that his lines are not completely unpremeditated, his solo reflects a unique style, sound, phrasing, and melodic imagination. His lines reflect an uncanny coherence in terms of voice leading and motivic development. One could describe Clifford Brown’s solo as pure spontaneous logic. Clifford Brown's Solo on “The Blues Walk”Ĭlifford Brown’s solo on “The Blues Walk” transcribed by Peter Bouffardįrom Clifford Brown and Max Roach, EmArcy Records, 1955 PolyGram Inc., 814 645-2 Recorded on FebruClifford Brown - Trumpet Harold Land - Tenor Sax Richie Powell - Piano George Morrow - Bass Max Roach - Drums
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