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• 10 1st Alto Sdkophone/Spprano Saxophone Parts • Sob Chord Changes • Performance Tips/Suggestions from Gordon Goodwin and Eric Marrenthal « Transcribed Sobs

JA

GORDON GOODWIN'S

BIG Series

A

s a young musician, I can remember how exciting it was to advance to each successive level because it meant I was getting to play with highly skilled musicians. That's the secret to improving your game—play with musicians who are better than you. Even though it can be a little intimidating at times, or even embarrassing a few times in my case, spending time paying your dues with accomplished players is a great way to accelerate your musical growth. Accordingly, I believe this book will provide you with a unique opportunity. I count myself as one lucky guy, to lead a band with the caliber of musicians who make up the Big Phat Band. The players in the band are uniquely skilled and are without exception, masters at playing big band jazz in a variety of styles. They fearlessly attack the most difficult material I throw at them. Not only do they routinely achieve technical mastery of these charts but they also elevate the music to a new level beyond the notes on the page. The Big Phot Band Play-Along Series gives you the opportunity to sit in with outstanding players to improve and measure your own ability to play in a big band. Make no mistake—the music in this book is challenging. The Phat Band has been playing these charts for years, and it still keeps us on our toes! But if you hang in there and keep at it, you will make huge strides toward the exhilaration and art of playing in a big band, along with becoming a stronger musician. There are some minor alterations from the original published charts. For example, I added some inner trumpet lines to the trumpet and trombone books, and solo chord changes to all the books, so the horn players can solo. There are also a few notes that vary from the recorded tracks. Books are available for alto saxophone, tenor saxophone, trumpet, trombone, and drums. The main goal of these books is to teach the art of ensemble playing. You will learn volumes of information about style, phrasing, tone, dynamics, technique, articulation, playing in time, Latin grooves, and a variety of swing styles as you play along and listen to the players in the Phat Band. Participating in this series are the lead players from the Big Phat Band. These musicians are all world-class performers, and their guidance will be invaluable as you dig into this music. 9

9

Wayne Bergeron is a one-of-a-kind lead trumpet player whose strong chops and great musicality make him one of the most in-demand musicians in Los Angeles. Bernie Dresel, one of the most musical and well-rounded drummers on the scene today, can play in any style, sightread anything, and is also an accomplished orchestral percussionist.

INTRODUCTION « Eric Marienthal, a remarkable saxophonist, can be heard on recordings with the Chick Corea Electric Band and the Rippingtons, as well as on many recordings under his own name. • Andy Martin, a superb improviser and one of the most facile trombonists in Los Angeles, sets a new standard for jazz trombone. Since improvisation is an important facet in jazz, I have included chord changes for the solo sections in the saxophone, trumpet, and trombone books. The play-along CD has the solos mixed out so that you can jump in and blow! Selected transcriptions of some of the solos recorded by various band members are included in the saxophone, trumpet, and trombone books. You can use these transcribed solos to study, practice as etudes, or simply play in the solo sections. On the drum book CD, the original horn solos have been kept intact so you can play off the soloist. In addition, a Q&A session with Bernie Dresel and myself discusses aspects 01 big-band drumming. To get the most out of the play-along CD, you can of course use headphones as you play along with the tracks, but for me the most realistic acoustical environment is to listen to the music through speakers with your ears unhindered by headphones. The key is to be able to hear yourself as well as everybody else in the band, and headphones can sometimes prevent you from hearing yourself well enough unless you take one ear off. I have a policy in the Big Phat Band: on our gigs we corn* to play. The band works hard, no one makes excuses, and ever) player goes for it every night, all the while havin' a blast. I hops you have fun working with this book and it helps you grow as ; musician. www.gordongoodwin.com Gordon Goodwin's Big Phat Band CDs—Swing/n' for the Fences, XXL,

and The Phot Pock—are available on Silver-line Records (www.silverlinerecords.com) Photography by Rex Bullington (www.Rexbullington.com) Additional photos by Tessa Viles and Linda Griffin Editor: Pete BarenBregge Production Coordinator: Sharon Marlow Art Design: Thais Yanes Engraving: Rick Pansier © 2006 WINGOOD MUSIC PRODUCTIONS, INC. All Rights Reserved including Public Performance Exclusive Worldwide Distributor: ALFRED PUBLISHING CO, INC. Any duplication, adaptation or arrangement of the compositions contained in this collection requires the written consent of the Publisher. No part of this book may be photocopied or reproduced in any way without permissioi Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.

CONTENTS Gordon Goodwin Biography

3

Eric Marienthal Biography

4

Transcribed Saxophone Solos

63

Alternate Soprano Saxophone Parts

69

Page #

SWINGIN' FOR THE FENCES (Swingin* for the Fences, Silverline - 85002-2)

7

Demo track

Play-Along track

Track 1 Track 2

LA ALMEJA PEQUENA (The Phat Pack, Silverline - 284404-2)

12

HUNTING WABBITS (XXL, Silverline - 281206-2)

18

WHODUNNIT? (The Phot Pack, Silverline - 284404-2)

23

COUNT BUBBA'S REVENGE (The Phot Pock, Silverline ~ 284404-2)

29

GET IN LINE (The Phat Pack, Silverline - 284404-2)

34

Track 3 Track 4 Track 5 Track 6 Track 7 ...Track 8 Track 9 Track 10 Track 11 Track 12

HORN OF PUENTE (XXL, Silverline - 281206-2)

39 '.

Track 13

THE JAZZ POLICE (XXL, Silverline - 281206-2)

46 ,

Track 15

HIGH MAINTENANCE (XXL, Silverline - 281206-2)

51

Track 17

CUT'N RUN (The Phot Pack, Silverline - 284404-2)

57

Track 14

Track 16

Track 18 Track 19 Track 20

Full-version CD and DVD dual disc of all of these titles are available from your favorite music store. Visit: www.silverlinerecords.com

G

ORDON GOODWIN - As a three-time Emmy winner and a multi-Grammy nominee, Gordon Goodwin could say he has fulfilled his dreams and achieved all of his goals. But that isn't the case—not by a long shot. The composer/arranger released his second album, XXL, in September 2003, receiving three Grammy nominations for Best Large Jazz Ensemble Album, Best Instrumental Composition ("Hunting Wabbits"), and Best Instrumental Arrangement with Vocals ("Comes Love" with Brian McKnight and Take 6).

Good Times Roll," and Take 6 takes the lead on Goodwin's arrangement of "It's All Right With Me." Jazz greats Eddie Daniels, Michael Brecker, and Peter Erskine are also guest soloists on the record. The bold arrangements coupled with memory-evoking yet modern music are heart-stopping. Sold-out L.A.-area performances by Gordon Goodwin's to the genius of Goodwin's musjc and have eamed the group hign crjtica| acdaim and praise. .The Bjg phat Band has established itself as one of Bjg phat Band are testimony

the Southland's most craftsman-like hard-swinging large jazz ensembles, galvanized by Goodwin's witty and insightful arrangements and compositions." —Don Heckman, Los Angeles Times.

It all began at the tender age of five, when Gordon Goodwin began composing from the music he heard in his head. Not just snippets or melody lines, but whole compositions from beginning to end. He wrote his first big The Big Phat Band's third CD, The Phot Pock, is band chart, "Hang Loose," at the age of 13. This almost scheduled for release in the spring of 2006, on Silverline preternatural talent made him stand out in the jazz world Records. and brought Goodwin to the attention of music supervisors and producers. Within the television and film industry, Goodwin's writing has garnered him three Emmy awards and six Grammy nominations. His cinematic scoring and orchestration can be heard on such films as National Treasure, The Incredibles, Bad Boys II, The Majestic, Con Air, Gone in 60 Seconds, Enemy of the State, Remember the Titans, Star Trek Nemesis, Armageddon, and the classic cult film Attack of the K/7/er Tomatoes.

GORDON GOODWIN'S

Throughout his career, Goodwin has built a larger-thanlife reputation for his composing, arranging, and musical instrumentation skills. Christina Aguilera, Quincy Jones, Mel Torme, David Foster, Toni Braxton, Ray Charles, Sarah Vaughan, Brian McKnight, and Johnny Mathis are just a few of the artists for whom he has written, recorded, and performed. In addition, he has conducted with worldrenowned symphony orchestras in Atlanta, Dallas, Utah, Seattle, Toronto, and London. Goodwin combines all of these talents as leader of L.A.'s most exciting big band jazz ensemble, Gordon Goodwin's Big Phat Band. Established in 2000, the band released its debut record, Swingin' for the Fences (Silverline Records), which made history as the first commercially available DVD audio title ever released and the first DVD audio title to receive two Grammy nominations. Building on the tremendous success of their first album, Gordon and the boys returned to the studio and raised the ante, along with the roof. XXL is an exciting blend of jazz styles that stretches the boundaries of the big band genre. Along with his usual stable of L.A.'s finest musicians, including Eric Marienthal, Wayne Bergeron, Andy Martin, Bob Summers, Brian Scanlon, Luis Conte, and Bernie Dresel, this album features both legendary and contemporary guest artists. R&B great Brian McKnight teams up with vocal group Take 6 on the '30s classic "Comes Love," legendary crooner Johnny Mathis provides a knockout performance of "Let the

Acknowledgments Keeping a big band operating is a huge endeavor, and I am indebted to the many people who contribute to the band and to th/s series of books.

• The guys in the Big Phat Band—they are an amazing gift to any composer. • To my friend and co-producer Dan Savant, who is a master at solving either business or creative issues, sometimes at the same time. « To Pete BarenBregge, my editor at Alfred, whose vision and unwavering support really made this book happen. • To my wife Lisa, who has made my passion her passion and knows firsthand the demands of running an organization like this one! » To my multitalented assistant Linda, who hits every assignment out of the park—without exception. » To Silverline Records, who believed in big band jazz when nobody else in the industry did. • To our recording engineers and mixers Tommy Vicari, Mike Aarvold, and Gary Lux, who are responsible for the sparkling and punchy sound of our records. It's more than just pushing buttons; you have to get it, and they do.

ERIC MARIENTHAL World-class saxophone artist, composer, arranger, and educator, Eric Marienthal has played on literally hundreds of records, TV shows, and films, such as "Frasier," "Cheers," "Sisters," "Charlie Brown Specials," "Entertainment Tonight," "General Hospital," "Santa Barbara," "ABC Sports," Payback, Bird on a Wire, and Gone in 60 Seconds. Eric has been recording jingles in Los Angeles for the past 20 years for companies such as Nike, McDonald's, Coca-Cola, Cadillac, Ford Motors, and many others. He has recorded ten solo CDs for GRP records, two for Polygram, and three on Peak Records. His mo recent CD is entitled Got You Covered Eric has performed concerts and presented master classes in more than 60 countries throughout the world. In additic to performing with the Chick Corea Elektric Band, Eric has an extensive discography. He has recorded and performed wii Dave Grusin, Lee Ritenour, Elton John, Barbra Streisand, Billy Joel, Johnny Mathis, Liza Minelli, David Benoit, Patti Austi Jonathan Butler, the Rippingtons, and many more.

Awards honors: 1988 - Grammy with the Chick Corea Elektric Band 1988 - Grammy nomination for Best Instrumental Jazz Performance for the album Light Years 1989 - Grammy nomination for Best Instrumental Jazz Performance for the album Eye of the Beholder 1990 - Grammy with the Chick Corea Elektric Band 1995 - Distinguished Alumnus Award for outstanding achievements in contemporary music from Berklee College Music 1997 _ Among the top alto saxophonists in Jazziz magazine's readers' poll

Books and instructional videos with Alfred Publishing: Comprehensive Jazz Studies and Exercises, written by Eric Marienthal (book) Modern Sax, written and produced by Eric Marienthal (video) Play Sax From Day One, written and produced by Eric Marienthal (video) Tricks of the Trade, written and produced by Eric Marienthal (video) Ultimate Jazz Play-Along, written by Eric Marienthal (video) The Music of Eric Marienthal: Solo Transcriptions and Master Class CD (book/CD)

SWINGIN' FOR THE FENCES PERFORMANCE NOTES On "Swingin' for the Fences, "it's all about the tir Before you even pick up your horn, listen to the band f and internalize the tempo so-that when you begin playi your time feels good from the first note. When y< entrance comes along at measure 65, make sure to listen This chart is based on the chord changes to "Sweet the bass and the drummer's hi-hat so you can lock righ Georgia Brown" and is meant to be an acrobatic display on the time and the feel. Also, make sure you are lister of your technique on a complex bebop line. Therefore, I for the flute, piano, and muted trumpet so you can bl< recommend practicing the section in measures 65-96 until and not overpower those instruments. it is second nature. It is not necessary to play this line very loudly in fact, it's meant to be a lighter color in contrast to If you play the improv solo, the first thing you v\ the trombone/tenor line that opened the chart. So, blow to do is make sure you know the melody. Next, learr lightly and float nicely over the time. the notes of each chord in the chord progression. I through each arpeggio—root, 3rd, 5th, and 7th and t The chords to this song are really fun to improvise on, the corresponding chord scale. Make sure you can hear and there are countless jazz recordings you can check out recording well enough so you can lock-in your solo time \ to hear how great players have soloed on these changes. the rhythm section. Listen for the bass and hi-hat for It does help to have knowledge of the bebop vocabulary, tempo, the ride cymbal and the rest of the drum kit for but when you're improvising, melody is king and it is often feel, and the piano and guitar for the harmony. When more effective than a bunch of random notes. The first step improvise, think of melodies, motifs, and phrases when toward improvisation is to learn and memorize the melody improvise instead of individual notes. One improv techn and the sound of the chord progression. Know this tune is to begin and end each of your phrases on a chord 1 inside and out. Listen to how the chords move in a dominant such as a 3rd or 5th—try it! pattern—live it, learn it, love it. Check out Eric Marienthal's transcribed solo on page 63. At measure 130 keep your playing confident but I

By GORDON GOODWIN

By ERIC MARIENTHAL Playing the lead alto chair in the Big Phat Band requires concentration on many things simultaneously, such as blend, intonation, articulation, phrasing, establishing the groove, listening to the lead trumpet and matching that style, pitch, sound, and feel. Playing in this sax section alongside of Sal Lozano, Brian Scanlon, Jeff Driskill, and Jay Mason is amazing. This sax section doesn't let anything slip through the cracks, so as you play along, pay attention to every detail. Try recording yourself while you play along with the band and see how close you can get to the Phat Band. I hope you have fun being the "virtual" lead alto player.

If you play with too much embouchure pressure, it wi more difficult to play evenly. Part of your attention nee< stay focused on the instruments that are defining the t which are again, the bass and hi-hat. At the same time important to listen to how the lead trumpet is playing part and try to match it. Think about leading the saxes don't allow your volume to rise too far above the secti< you play too hard, your pitch and accuracy will fly ou window! Check out the alternate soprano part.

SWINGIN1 FOR THE FENCES

AUTO iAVOMMM

GORDON GOODWIN CASCAPD

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By "Hunting Wabbits" is written only for soprano saxophone. I love to drop the rhythm section out once in a while; it gives the horn sections an opportunity to play a little softer, and the audience can hear subtleties that are normally covered up by the drums. On this chart the opening soli should be approached with a legit concept. If you have had instruction in playing classical saxophone and producing a round, classical sound, then you know what to do here. If you have not had any experience in that area, I suggest simply playing it straight-not swung, no vibrato, and with a light tongue. And pay careful attention to the dynamics, for example, the crescendos in measures 7, 15, and 25. Above all, lock-in that intonation! Do not put in any scoops or any other typical jazzy inflections. Save those for measure 87, where, after several minutes of legit, straight eighth-note staccato passages, the band bursts out into a swing feel.

By This is one of my personal favorites of the Big Ph Band charts. From measures 1 to 29 the responsibility keeping the tempo falls on your shoulders! There's no be or hi-hat to listen for. Therefore, the only way to keep steady and even time feel on a soli like this is to have a go< strong internal clock, and the only way to develop that to practice with a metronome. Whether you're practici scales, exercises, etudes or any music with a beat, ke the metronome going and don't allow a single note to P'ayed out of time. Keep your playing on this soli light /our time and phrasing feel like they're bouncing alo instead of getting bogged down. The run of sixteenth not in measure 73 has to be played just as evenly and in time all the eighth-note lines. The rhythmically difficult measur 'ike 84 must be right in time as well,

Make sure vou pay attention to the other instrumei you're playing with, such as the trombone at measi In a typical legit sax quartet, the players will play with a 127, and work to blend your sound. Gordon orchestral much lighter sound than most jazz players use, and chances different combinations of instruments together to j are your mouthpiece might be more geared toward a more different sounds and colors out of the band, so be care aggressive style of playing. So you might have to make a not to stick out in the texture, concerted effort to play light and to blend. Of course, when At you get to the improvised solo in measure 87, go ahead and the solo section there is a huge change of feel as t cut loose! chart moves to a relaxed swing. Play in the style, learn t changes, and take it easy—enjoy yourself!

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COUNT BUBBA'S REVENGE PERFORMANCE NOTES By GORDON GOODWIN The shuffle feel is one of my favorites, and to make it happen all you have to do is swing the eighth notes a little harder and it gives the music the essential forward movement. You will want to get the shuffle feel into your mind and body so that when the rhythm section drops out at measure 74, the a cappella sax section keeps the time moving. The challenge is actually more difficult when you are not playing than it is when you are. For example, in measure 75, the 1 1/2 beat rest can bog down the whole soli if you let it—don't come in late! Be sure to observe the dynamics in measures 74 and 76 and the phrasing accents at measures 86 and 87. After the solo section, take is easy on the volume, because with the rhythm section tacet, the audience can really hear the nuances in your phrasing, so play all the dynamics and accents. When the rhythm section comes in again, you can ride with them and build to your soli at measure 226. This time go for it—play full out with a big sound because the band is headed to the shout chorus at measure 244. From this point on out, just romp and stomp your way to the end, remembering to keep those rhythms nice and tight! For the improv solo, I suggest getting used to hearing the roots of the chord progression and then, depending on your knowledge of chords, learn the notes of each chord and any common tones. Then you can begin to weave through these changes and create some music of your own.

By ERIC MARIENTHAL Besides playing in time, playing with good intonat leading the section, making all the articulations and dynar and not making any mistakes, playing this chart is a piec cake! Your section leadership really comes into play on one. My advice is to take a few moments to listen to the the saxes are playing before you dive in. Then take ch of the section. Match the rhythm section concept and overall swing feel that drummer Bernie Dresel is ere; on the drums when you play your eighth notes. The li< measure 47 is begging to go sharp, so keep the air me through your instrument to hold the pitch down. Matd phrasing of the trumpets at measure 57. At measure 74 the time is all you! Keep that metroni time and good swing feel going throughout this soli and 1 on leading the section. If the lead alto plays consistently confidently, the section will respond by playing with r confidence and ease about their parts as well. At measure 126 and similar situations where you the choice of which B-flat fingering to use, my advi never slide to the bis key from the B key or vise vers; in this measure I used the side B-flat in beat 3 to avoi< slide up to the B-natural. There are plenty of great pi; who think about the B-flat fingerings differently, but do they know? Just'kidding! At measure 213 listen for the way the lead trumpe back at the end of the measure. If you play this chart your own band, it's important for the band (or the dire to make a decision as to how far to lay it back. The important thing is to agree on how it should be playe< then play it together. The articulations throughout this whole tune are tight, exaggerated, and definite. Again, the important th to listen to how the band plays them and really try to r the band as you play along with the CD. For the improv solo, check out the chord progres: it's not that difficult, but it goes where you might not e to hear it. Get comfortable with the sound of the < root progression and then learn the chord tones and s Always play in the style of the chart.

COUNT BUBBA'S REVENGE

GORDON GOODWIN CASCAP3

SHUKLC Groove

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GET IN LINE PERFORMANCE NOTES By GORDON GOODWIN

By ERIC MARIENTHAL

When playing a contemporary chart like this one, you must commit to the stylistic parameters. That means playing these licks with soul, tightness, and precision. Listen to lead alto Eric Marienthal and all the other saxes and all th«=s horns, for that matter on the Phat Band's CD recording of this chart and you can hear how every horn player supports each phrase with a strong air stream. The sixteenth notes in measure 8 should not be tossed off casually but played deliberately and with intent. Many of the licks in this chart emulate a solo instrument or vocal, so as a group the band must phrase together as one, perhaps even more so than on a traditional swing chart. Listen closely to the other sections to make sure all the articulations are the same, including the note lengths, the scoops, falls, pace of crescendos, type of vibrato, and so on. There is a difference in the manner of vibrato and tone production for each musical style. Listen to how the saxes in the Phat Band change their approach depending on the genre of the chart.

Just listening to Grant Geismann's guitar comping at the very beginning of this tune, you know it's going to be superfunky, tight, and precise. Before you begin playing, listen to the time, the feel, and the intensity of the band. Every note has to be in the pocket or it won't groove. For the very first four notes you play in measure 16, make sure those sixteenths subdivide beat 1 exactly. If those notes lag behind the time, then beat 2 will be late and you'll be playing catch-up—and that is a problem!

There is not typically a wide range of dynamics in funk music, but the section after the solos beginning in measure 91 provides a chance to bring the volume down a bit, allowing the groove some room to build again. If you are soloing on this tune, you will find that the usual bluesy pentatonic licks work really well, but don't be afraid to try some new stuff. Listen to the sound of the root chord progression and become familiar with the notes in the chords. Whatever you play, it should have energy and feel good and funky! Check out Eric Marienthal's transcribed solo on page 65.

Check out the section beginning at measure 50. Make sure you hit those accents harder than the staccatos. Doing so really creates a cool effect. Pay close attention to how the rhythm section is grooving with even eighth notes all the way. If you let any of these phrases get ahead, fall behind, or not groove with the rhythm section, the feel of the saxes will not be locked in. Articulation is especially important in this chart. Make sure you really engage your tongue. The short notes have to have a good punch to them, especially the accented notes. At the same time, make sure that the short notes have a full tone. Don't choke off the note so much you can hardly hear what pitch you're playing. The goal is to play the notes short but full. For the improv solo section, funky is good! Keep it moving and try some blues notes—flatted 3rds, 7ths, and the occasional flat 5th.

GET IN LINE

GORDON GOODWIN CASCAP)

2OO5 WINGOOD MUSIC PRODUCTIONS, INC. CASCAP] This Edition © SOOB WINGOOD MUSIC PRODUCTIONS, INC. All Rights Reserved including Public Performance

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HORN OF PUENTE PERFORMANCE NOTES Beginning at measure 9, where you play along with t trumpet, make sure to really listen so you can blend. I even more crucial starting at measure 19, where the teno Wayne, and you are playing irrunison. Note that Sal Loza I decided to give you the 2nd alto part on this chart so is the 2nd alto player in the band. I highly recommend y you can have an opportunity to play an inner part in a fairly check out how perfectly his playing is on every tune. I complex soli. Playing inner parts is often more difficult than sound, phrasing, and pitch are spot-on—always. playing the lead line because sometimes the voice leading Make sure your part is played in context to the voicii can be tricky and you need to concentrate on phrasing and so it sounds even, balanced, and blended. Keep y< blend even more so than the lead player, who can dictate those things according to his or her whim. The melodic attention focused on Wayne's playing so that when you p group begins at measure 9 and consists of trumpet, alto, together, everything is lining up. That means pitch, tir and two tenors. I add a flute for color at measure 42, so dynamics, articulation—everything!

By GORDON GOODWIN

listen and blend. Listen to trumpeter Wayne Bergeron and the guys and catch all the accents, the back phrasing, and all the nuance of this soli.

Throughout the rest of the chart, some of the rhyth in Gordon's lines are tricky. If you subdivide every beat i sixteenth notes, it'll be much less confusing to read, looking at each lick a beat at a time.

The solo section on this tune is hot, hot, hot. You're going to have to go for it, but remember there is a ways to The Latin cha-cha feel of this tune is relaxed and alnr go, so pace yourself. Your solo should have a good arc to it. You can hear Wayne doing his solo thing on this tune on feels like it's pulling back, but it's not—it's the groove. Lis the CD XXL, and as you can imagine, the high notes on the listen, listen! Make sure to match the groove in all of > trumpet are tailor-made for this groove. Solo-wise, energy is phrases. Don't allow yourself to play too hard or witf the key ingredient in this type of chart. Build, phrase, listen to much pressure that you have a difficult time matching wr the rhythm section and the groove, play off any backgrounds being played around you. In other words, don't be a bi you may hear and always feel free to incorporate motives a china shop. Playing the 2nd alto chair in a big band m< from the melody in a solo. Keep in mind that in a tune like you're always blending with other instruments. Use ! this, the rule of showbiz dictates that you'll need to find playing as an example as you play along with the band. your own way to bring the crowd to its feet. For the solo section, keep in mind this chart was wri as a trumpet feature with high-energy brass licks. Therel The sax licks get fancier after the solos beginning at measure 153. You know the drill; practice them slowly and to make it work for the saxophone, consider playir bright, edgy, and full of energy. Don't over-blow, but work them up to speed. Salsa music is the best! strong. You can use snippets of the melody, some licks 1 the chart, and other simple devices to get yourself g on this one. Another approach is to begin the solo so sparse and build in intensity, using some higher notes 01 horn at the peak. If you have altissimo chops, this wou a nice opportunity to use them.

By ERIC MARIENTHAL

My comments on this chart refer to the approach to the 2nd alto part. This is a great feature for one of the most amazing trumpet players you'll ever hear. If you have the Big Phat Band CD XXL, check out the way Wayne Bergeron plays the melodies smooth and melodic at the beginning. You know what's coming later in the song; some wailin' soloing and killer high notes!

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THE JAZZ PERFORMANCE NOTES By GORDON GOODWIN

By ERIC MARIENTHAL

This chart features one of my favorite color sounds: the Play this tune with intensity, but be careful not to blow trumpets and saxes playing the same material in the same so hard that you push yourself out of tune or distort your register as in measures 9-21. For this sound, the trumpets sound. Remember that when you want to play loud, the provide the power, but the saxes provide the hipness. Bends difference between playing at 90 percent of your available and vibrato are not as easy for trumpets as they are for you pressure and 100 percent isn't really going to change your sax players, and you'll have to work with the trumpets to actual volume. In other words, don't push as hard as you agree on a concept. This chart requires constant energy, can when you want to play loud. Always keep a little in but just because it's rockin' hard throughout doesn't mean reserve. That way you'll be able to control your technique, you throw all subtlety out the window. There are plenty of articulation, intonation and everything else much more opportunities for (1) dynamics, like measures 20, 36,40, and easily and still have plenty of intensity. 58, to name a few; (2) phrasing, for example, the accents and scoops in measures 9, 10, and 36; and (3) articulation When you play a scoop like in measure 9, make sure throughout. These musical issues all are important in a not to overdo it. As with any kind of inflection, make sure nuanced performance. Listen carefully during the unison it's part of the written note and not a different note. Keep sections: articulate, phrase, blend, and tune with the rest the support going with your air and create the scoop with of the band. In this style groove it's very important to play y°ur embouchure, all the eighth notes on top of the beat, never laid-back but always pushing forward. And toward the end of the chart Take a big breath at measure 120 to make it through that around measure 113, is where the whole band will have to whole phrase. You never want to get into a situation where dig down and pitch in to push this chart to the finish line. • you're struggling for air at the end of a lick. For the solo section: It's rock, it's got energy, it's straight eighth notes, it's sort of bluesy, so try some flatted 3rds and 5ths. Let the horn scream for you!

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