Thanks for posting this! Mulgrew was so awesome. The passage starting around bar 37 is a great example of his brilliance - first, delay the resolution to Bb, and replace with implied Dmi-G7 in 39. MM 41 delay again with Cmi, but this time we step out of the harmony, parallel up to short phrases in D, E, F#... let the F# (Gb) tonality resolve naturally to F in MM 45. Immediately imply a bit of Whole Tone scale within the changes in 46-47, landing on the #11 of G7. But now that's a root, and he plays Db7(#9), Cmi7, B7, Bb7 in 49-50. We're playing above the changes here, letting the melodic shape determine where to go until a resolution... Next phrase in 51 is transposed from the phrase in 48, this time it's F#7(#9) in 51-52, then B7(#11) in 53-54 and now we're smoothly back into Bb and back in the harmony. This is utterly brilliant!
Thanks for posting this! Mulgrew was so awesome. The passage starting around bar 37 is a great example of his brilliance - first, delay the resolution to Bb, and replace with implied Dmi-G7 in 39. MM 41 delay again with Cmi, but this time we step out of the harmony, parallel up to short phrases in D, E, F#... let the F# (Gb) tonality resolve naturally to F in MM 45. Immediately imply a bit of Whole Tone scale within the changes in 46-47, landing on the #11 of G7. But now that's a root, and he plays Db7(#9), Cmi7, B7, Bb7 in 49-50. We're playing above the changes here, letting the melodic shape determine where to go until a resolution... Next phrase in 51 is transposed from the phrase in 48, this time it's F#7(#9) in 51-52, then B7(#11) in 53-54 and now we're smoothly back into Bb and back in the harmony.
This is utterly brilliant!
Mulgrew was the freakin man!
Amazing!
Thank YOU!
Hope he got paid by the note.