Відео

Damn, you still sell my solo's transcription? Can you feel shame? Mention my name please

Awesome

C'est génial à lire

heeheheheeeee

Superbe solo de Scott Hamilton! Je pense que les mesures 3 à 5 ne correspondent pas exactement à ce qu'il joue, du moins le rythme, les notes sont bonnes par contre..

Wonderful transcription! Just listened to your piece If it was’nt for Scott. Great composition and playing!

please tell me do you have a backing track?

Your tone kinda sucks…no growl to it.

Dommage qu'il ne soit pas venu jouer en invité...😊

This is pure madness to play, I won`t even try :-)

Wow! 👏

Song sounds like something Patrick Bateman would listen to. Michael Brecker sounds 🔥 tho and I love the unhinged lick in the beginning

Grazie 🙏🏼

Grazie 🙏🏼

Nothing to say

based

When the bard rolls a nat 20 animal handling

Beautiful transcription! Scott's playing is just so clean and swinging!

You are doing an absolute fantastic job. I am learning to improvise on Tenor sax and your transcriptions are super useful. I live Scott Hamilton’s style of playing. Very melodic, yet sophisticated. This is one of my favorite tunes. Unfortunately I am nowhere near in my skills to be able to transcribe anything, let alone fast solos, and I’d like to ask you to consider transcribing his sax solos in this song Deep Purple: ua-cam.com/video/GSIxUycG9zQ/v-deo.htmlsi=pHDIWePeWBxsdHUz People can learn a lot from this song

👏👏👏

What do red notes indicate?

Great Sachmo transcription. Not too hard to play, not too easy.

ONE OF (and he's got MANY) his best solos. It is so hard core burnin' I can barely contain myself! Ahhhhggggg!!!!

❤ scotty

But how to improvise over it?

Thanks Buddy!

Thats great 👍 bro keep up the good work 👏

Nice and slow you can hear his lines really hugging the The harmony line ....not a single note wasted ...superb improv.!!!!!

How can I get my hands on the dots for this piece.

May I have the PDF please. Thank you.

Blow Gerald, blow!👏

my name is Lance Parker professional saxophone player from Pittsburgh Pennsylvania I studied with the great Sonny Stitt for 5 years used to travel on the road with him whenever I wasn't playing had a day off I'd go meet him Cleveland Cincinnati ubuffalo Rochester Columbus Ohio and we would play with famous people Kenny Clark Jimmy Smith Abraham laborielslide HamptonGroove HolmesKenny BurrellJackie byardDon Patterson in many manystarted Sonny Stitt gave me his 1978 Selmer Mark 7 tenor saxophone which I still have to thisday I also have his 1938 buscher Biggby alto saxophoneand also a mouthpiece he gave me the blown to Gene Ammonsan old brillhartthe Jean used to playsuneast it was a monster not only did he have a great tone he could play all the patterns and everything just like Charlie Parker I became the professional saxophone player that I am today starting with him I used to practice for 5 hours a day during the daytime he would take me to the hotel conference room where we would sit for hours you need show me improvisational patterns and various things that only he knew and passed it on to me that's why I consider myself a decent player today is because of him I studied off of Jerome Levine classical saxophone at Carnegie MellonUniversity in Pittsburgh PA for and a half years part-time then I studied that the conservatory music in Cincinnati for 6 monthsI'm 66 years old and I still play hereused to do a lot of playing around town for 5 days a week at a pawn shop in the daytime played music at night greatlife Sunny made me the player I am todayexcuse any misspellings I am voice textingthis is Lance Parker Pittsburgh PA

Berg for me

Hello, I went on your website to purchase the transcription and audio but it wasn't there :'(

Berg Larsen for me...more core in the sound.

Please send me Stella. I would ask if you can transpose it Eb. I think this would work well for the bari. Thanks.

Una pasada! Maravilloso.Gracias!! 🎉😂

Thank you so much for putting this out there this is brilliant!!

:40 2:12

Bob Berg was my favourite jazz saxophonist; I miss him a lot. Nice playing Serge!

Well that was most certainly a very personal view you have of Sonny Rollins. This is the beauty of humanity. Our likes and tastes differ greatly from one individual to the next. I have a simple rule that I have applied over the years:”never ever criticise a player unless your own abilities are spectacular “. I humbly learn everyday from magnificent players (Parker/Stitt/ Dexter/ Hawkins/ Coltrane/ Griffin and of course Rollins. I saw Rollins 3 times live and he was breathtakingly good. Fond memories made in the company of a giant. But hey, that’s my personal take on Sonny. Everyone is entitled to their own opinions. Long live Jazz!!! 🙂

I just listened to a 10h French podcast radio show on Sonny Rollins (yes, 10x 1h, covering 1951-2001!!!). A torture, but I'm like that, I dive into an artist and I listen to everything, or almost. To have my own opinion. My opinion of Rollins is that he seems very overrated to me. As a player/improviser First of all as a player/improviser, he does not seem to me better than Johnny Griffin, Sonny Stitt, Roland Kirk, Phil Woods, Lateef, Pharoah Sanders, Hank Mobley... but enjoys a much greater notoriety... and unjustified in my opinion. Ok he plays well, but not better in my opinion than the musicians above. Listen to Eternal Triangle which puts Rollins and Stitt together. Here they are VERY evenly matched technique wise but it is Rollins who is the more famous today. There is a lot of study done on Rollins' solos and they are generally accepted to be examples of strong overall thematic construction and development. This somewhat implies that others just play randomly. I'm not entirely convinced by that argument. If you like it, its a strength, if you think its an excuse for repetition, you'd think not. As a composer At the level of the composition, he did not compose anything, everyone knows that his hit ''St Thomas'' is a Caribbean folklore already recorded by Randy Weston in 1955 under the title ''Fire Down There''. St Thomas is an example of cultural transference. It is infact originally The Lincolnshire Poacher. An old english folk tune. It was taken to the Carribean presumably on the slave ships but possibly even earlier by the pirate ships (appropriate given its title). It gets transmuted into a Carribean Folk tune and then Rollins recalls it from his childhood being sung by his mother and renames it after the Island. I had assumed St Thomas was what his mother called it, but the Ted Heath Band, a British Big Band of the 1950s had a big(ish) hit with 'The Lincolnshire Poacher' done presumably as a 'ripost' to St Thomas. His ''Tenor Madness'' is a composition by Kenny Clarke published in 1947 under the title ''Rue Chaptal''. His other compositions from the 50s... well, Oleo, Airegin etc... it can in no way be compared to the compositions of Trane, Bird, Monk or Shorter... One thing that always struck me that I've heard no one else mention is that the Alfie theme is merely a reworking of the intro to 'Singing In The Rain!' Sound and artistic vision I find this a curious aspect. Early on, in the 50s his sound was distinct enough but it became more distinctive later. It is an odd sound for tenor but its one I hear more and more players now using. I'm not quite sure how its done or if there is a physiological reason for it. I have found it to be an aquired taste. Moreover, his playing and his sound are terribly degraded after 1966 (36 years). Something happened on that bridge, he lost his mind. He seems to have been traumatized by the arrival of Ornette, Trane, Ayler... In the 60s he tried to be freer than Ayler, more calypso/blues than Ornette, and more mystical than Trane, but without succeeding because so superficial... Then in the 70s/80s he tried his hand at funk, disco... with really ridiculous and corny results... Did he want to be funkier than James Brown himself? More disco than Chic and Nile Rodgers? On ''SAIS'' from the ''Horn Culture'' album, one example among many, just picking up a random piece between 1966 and 2001....It's a shame. He plays out of tune, out of rhythm, with an absolutely disgusting sound. It is a lack of respect towards himself, the other musicians and the listener. No normally constituted musician would have agreed to let this recording be released. The problem with Rollins is that EVERYTHING IS LIKE THIS after 1966. He even said himself that he was high on marijuana when he recorded his solo album ''Soloscope'' at the Museum of Modern Art. from NYC...Also listen to the result, it's ridiculous and disrespectful towards the listeners... Ego and money Also, on the radio show, they say he was paid today's $300,000 for himself to record the Nucleus album (listen to the result!!!!), and that for his concerts, his Financial claims were unrealistic, only big festivals could afford it. He played with the Stones but didn't want to tour with them because, according to Mike Jagger himself, he wanted too much money! I am not making anything up here. In a blindfold test published in downbeat in 2006, he doesn't recognize ANY saxophonist, even taking James Carter for Don Byas! Totally mind-blowing and revealing! Conclusion In conclusion Sonny Rollins is for me the archetype of a narcissistic complacency encouraged by the fans and the milieu which has placed him on a throne since 1956 and his (very average) album ''saxophone colossus''. You have to be quite arrogant to glorify yourself as a ''saxophone colossus'' at 26 years old when BIRD had just died the previous year.

Such a nice sound! Can tell you have some influence from "Scott Hamilton's" solo.

👌👌 awesome

have you never test Rampone & Cazzani tenor sax R1 jazz or two voices? Really sound swing era. you would like them

The GOAT of all bebop solos.

Great solo, great job on the transcription!

Beautiful 😊

Really great! Many thanks 😊

Really enjoyed this. Presented in a very nice way😊