I used to play this tune a lot in a duo with a vibraphone player, maybe about 10-12 years ago. It was always one of my faves but I haven't played it in a long time.Fun tune to play on. Like any music, so many possible ways to improvise on.
The lydian #5 sound is cool. Gives it a nice edge compared to lydian sound. Since the harmony stays for 4 bars most of the time, you can do some cool reharms with your lines.
Good place to start is just transcribe Joe Henderson's solo and check it out and start using some of his pet bags in your playing on other tunes and be creative.
I don't know if I have a favorite bag because it depends a lot on who I am playing with and how I am hearing on any given day.what are some of your personal favorites gene?
Can you go a bit more into that progression? I'm not super familiar with coltrane cycles, but it's something I'm starting to get into. Care to go a little more in depth? Thanks for the helps guys. Much appreciated.I don't know if I have a favorite bag because it depends a lot on who I am playing with and how I am hearing on any given day.
But here is one: I sometimes use a variation on the Giant Steps cycle. A cool simple one is: G-7 E7 AMaj7 Ab7 DbMaj7 C7 FMaj7
I might use this over the static Fmaj7#11 starting on bar 5. It really generates a cool sound if you minimize the intervals and use a lot of chromatic approaches to the above sequence. Hope you enjoy it.
Yes. Joe and many sax players are tough to transcribe because for me, the rhythm is so in the cracks of what I can write down on paper.Joe Henderson always was as well - I just found McCoy easier to lift from on that particular track
It is a progression based on splitting 1 octave into 3 equal parts. Notice I say 1 octave. This becomes very important when you start splitting octaves with other intervals equally.Can you go a bit more into that progression? I'm not super familiar with coltrane cycles, but it's something I'm starting to get into.
I think it's because one way to look at a maj7#11 chord is with 2 triads, so Fmaj#11 could be an F triad and a G triad. So when the chords descend in whole steps a lot of what you would play over one will work over the next.Been a favorite of mine for a long time and I work out on this often.
I don't know if it's because of the way I approach this tune, but it seems that when improvising through the A secion, when a chord changes, I very seldom have to alter an idea that I'm working with, very much or at all in many cases.
I guess what I'm tryting to say is that I find it pretty easy to avoid that "new chord - new idea" syndrome...that "being lead around by the changes" thing, despite that fact that's it's decidedly very modal sounding.