Vince Mendoza is a great arranger. I was at the Monterey Jazz Festival when he conducted a band of LA pros doing the Miles Davis recordings Sketches of Spain and Porgy and Bess in their entirety live with Terrence Blanchard as the soloist. It was a very beautiful and moving experience and part of one of the best nights of jazz I have ever seen or heard. Round Midnight is one of the most beautiful ballads ever written. I don't feel this arrangement is Mr Mendoza's best effort. This arrangement quickly goes out of character of the tune, rambles and stumbles into a complex overly re-harmonized exercise including the "obligatory tempo and feel changes" journey that takes us so far away from the core of the tune and just leaves us there lost in the wilderness never to return. For me a very unsatisfactory resolution. It just seems like he just threw everything from his arranging bag into this chart and the lack of space in the chart is unsettling to me. The band's playing is awesome. Ernie Watts sounds great as usual and nice to see Bob Mintzer (a great arranger in his own right) and Randy Brecker there too.
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There is a time signature mistake at bar 31 - this bar should also be in 7/8, not in 4/4. All the recordings before 1980 play it as a 4/4 bar, but for some reason, sometime in 1980 they decided to change this, with it also happening in the head! I wonder what led them to change this !!
Hey, sorry, only this little snippet. Wish I recorded the whole thing. I have a bootleg from a gig in 2014 though. I should get some more stuff uploaded!
Brecker was in another dimension on this solo. It's nearly impossible to play much less to come up with this. He's just legendary. I wish he hadn't passed so early in life.
Nice work on the transcription!! Here's a link to one of my RU-vid channel playlists, from one Brecker-head to another: ru-vid.com/group/PL4vO4UdU2EHu8Nhcui3boppsGd2P3TtpE
Hi Alexander. Amazing transcription. Very good job! Do you have an idea of what fingering Michael uses for the multiphonic altissimo C that's in there in bar no 50? Or have you been able to successfully reproduce that sound using a fingering of your own? Any help in achieving that sound would be greatly appreciated. Hoping to hear from you! Kindly, Thomas Edinger, Copenhagen
Hey Thomas, thanks for your comment. I didn't have much luck with this either unfortunately. There's an interesting resource here: www.baerenreiter.com/materialien/weiss_netti/saxophon/multiphonics.html With some experimentation of these fingerings, you might come across something that works.
Finger a hi Eb (palm key D and Eb together), add the side C key and experiment with jaw placement. I believe that's the fingering he uses as I've seen him use it in videos, plus I've had success getting that same split tone.
@@drsax2 Awesome! Thanks drsax2. I've had varying luck with getting the splittone with that fingering. Work in progress! I also add the left fourth finger on the G key and sometimes add the G#. Sometimes leaving the palm D makes it easier to hit the splittone but that makes for slightly flatter tuning, so not ideal. It's certainly about finding the right jaw position, indeed! Thanks for chiming in with that great input! :-)
