Gordon Goodwin's Big Phat Band Play-along Series Alto Saxophone

78 Pages·2016·16.47 MB·English

by  Goodwin G.

• 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 INTRODUCTION
A
s a young musician, I can remember how exciting it was « Eric Marienthal, a remarkable saxophonist, can be heard
to advance to each successive level because it meant I on recordings with the Chick Corea Electric Band and the
was getting to play with highly skilled musicians. That's Rippingtons, as well as on many recordings under his own
the secret to improving your game—play with musicians name.
who are better than you. Even though it can be a little intimidating
• Andy Martin, a superb improviser and one of the most
at times, or even embarrassing a few times in my case, spending
facile trombonists in Los Angeles, sets a new standard for
time paying your dues with accomplished players is a great way to
jazz trombone.
accelerate your musical growth. Accordingly, I believe this book
Since improvisation is an important facet in jazz, I have included
will provide you with a unique opportunity.
chord changes for the solo sections in the saxophone, trumpet,
I count myself as one lucky guy, to lead a band with the caliber
and trombone books. The play-along CD has the solos mixed out
of musicians who make up the Big Phat Band. The players in the
so that you can jump in and blow! Selected transcriptions of some
band are uniquely skilled and are without exception, masters at
of the solos recorded by various band members are included in
playing big band jazz in a variety of styles. They fearlessly attack
the saxophone, trumpet, and trombone books. You can use these
the most difficult material I throw at them. Not only do they
transcribed solos to study, practice as etudes, or simply play in
routinely achieve technical mastery of these charts but they also
the solo sections. On the drum book CD, the original horn solos
elevate the music to a new level beyond the notes on the page.
have been kept intact so you can play off the soloist. In addition,
The Big Phot Band Play-Along Series gives you the opportunity a Q&A session with Bernie Dresel and myself discusses aspects 01
to sit in with outstanding players to improve and measure your big-band drumming.
own ability to play in a big band. Make no mistake—the music in
To get the most out of the play-along CD, you can of course
this book is challenging. The Phat Band has been playing these
use headphones as you play along with the tracks, but for me
charts for years, and it still keeps us on our toes! But if you hang
the most realistic acoustical environment is to listen to the music
in there and keep at it, you will make huge strides toward the
through speakers with your ears unhindered by headphones. The
exhilaration and art of playing in a big band, along with becoming
key is to be able to hear yourself as well as everybody else in the
a stronger musician.
band, and headphones can sometimes prevent you from hearing
There are some minor alterations from the original published yourself well enough unless you take one ear off.
charts. For example, I added some inner trumpet lines to the
I have a policy in the Big Phat Band: on our gigs we corn*
trumpet and trombone books, and solo chord changes to all the
to play. The band works hard, no one makes excuses, and ever)
books, so the horn players can solo. There are also a few notes
player goes for it every night, all the while havin' a blast. I hops
that vary from the recorded tracks. Books are available for alto
you have fun working with this book and it helps you grow as ;
saxophone, tenor saxophone, trumpet, trombone, and drums.
musician.
The main goal of these books is to teach the art of ensemble
www.gordongoodwin.com
playing. You will learn volumes of information about style,
phrasing, tone, dynamics, technique, articulation, playing in time, Gordon Goodwin's Big Phat Band CDs—Swing/n' for the Fences, XXL,
Latin grooves, and a variety of swing styles as you play along and and The Phot Pock—are available on
Silver-line Records (www.silverlinerecords.com)
listen to the players in the Phat Band.
Photography by Rex Bullington (www.Rexbullington.com)
Additional photos by Tessa Viles and Linda Griffin
Participating in this series are the lead players from the Big
Phat Band. These musicians are all world-class performers, and Editor: Pete BarenBregge
Production Coordinator: Sharon Marlow
their guidance will be invaluable as you dig into this music.
Art Design: Thais Yanes
9 Wayne Bergeron is a one-of-a-kind lead trumpet player Engraving: Rick Pansier
whose strong chops and great musicality make him one of © 2006 WINGOOD MUSIC PRODUCTIONS, INC.
the most in-demand musicians in Los Angeles. All Rights Reserved including Public Performance
Exclusive Worldwide Distributor: ALFRED PUBLISHING CO, INC.
9 Bernie Dresel, one of the most musical and well-rounded
Any duplication, adaptation or arrangement of the compositions contained in this
drummers on the scene today, can play in any style, sight-
collection requires the written consent of the Publisher.
read anything, and is also an accomplished orchestral No part of this book may be photocopied or reproduced in any way without permissioi
percussionist. 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 # Demo track Play-Along track
SWINGIN' FOR THE FENCES 7 Track 1
(Swingin* for the Fences, Silverline - 85002-2) Track 2
LA ALMEJA PEQUENA 12 Track 3
(The Phat Pack, Silverline - 284404-2) Track 4
HUNTING WABBITS 18 Track 5
(XXL, Silverline - 281206-2) Track 6
WHODUNNIT? 23 Track 7
(The Phot Pack, Silverline - 284404-2) ...Track 8
COUNT BUBBA'S REVENGE 29 Track 9
(The Phot Pock, Silverline ~ 284404-2) Track 10
GET IN LINE 34 Track 11
(The Phat Pack, Silverline - 284404-2) Track 12
HORN OF PUENTE 39 Track 13
(XXL, Silverline - 281206-2) '. Track 14
THE JAZZ POLICE 46 Track 15
(XXL, Silverline - 281206-2) , Track 16
HIGH MAINTENANCE 51 Track 17
(XXL, Silverline - 281206-2) Track 18
CUT'N RUN 57 Track 19
(The Phot Pack, Silverline - 284404-2) 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 Good Times Roll," and Take 6 takes the lead on Goodwin's
Emmy winner and a multi-Grammy nominee, arrangement of "It's All Right With Me." Jazz greats Eddie
Gordon Goodwin could say he has fulfilled his Daniels, Michael Brecker, and Peter Erskine are also guest
dreams and achieved all of his goals. But that soloists on the record. The bold arrangements coupled with
isn't the case—not by a long shot. The composer/arranger memory-evoking yet modern music are heart-stopping.
released his second album, XXL, in September 2003,
Sold-out L.A.-area performances by Gordon Goodwin's
receiving three Grammy nominations for Best Large Jazz ony to the genius of Goodwin's
Bjg phat Band are testim
Ensemble Album, Best Instrumental Composition ("Hunting |
musjc and have eamed the group hign crjtica acdaim and
Wabbits"), and Best Instrumental Arrangement with Vocals . . established itself as one of
praise The Bjg phat Band has
("Comes Love" with Brian McKnight and Take 6).
the Southland's most craftsman-like hard-swinging large jazz
It all began at the tender age of five, when Gordon ensembles, galvanized by Goodwin's witty and insightful
Goodwin began composing from the music he heard in arrangements and compositions." —Don Heckman, Los
his head. Not just snippets or melody lines, but whole Angeles Times.
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,
GORDON GOODWIN'S
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.
Acknowledgments
Throughout his career, Goodwin has built a larger-than-
life reputation for his composing, arranging, and musical
Keeping a big band operating is a huge endeavor, and
instrumentation skills. Christina Aguilera, Quincy Jones,
I am indebted to the many people who contribute to
Mel Torme, David Foster, Toni Braxton, Ray Charles, Sarah
the band and to th/s series of books.
Vaughan, Brian McKnight, and Johnny Mathis are just a
• The guys in the Big Phat Band—they are an amazing
few of the artists for whom he has written, recorded,
gift to any composer.
and performed. In addition, he has conducted with world-
• To my friend and co-producer Dan Savant, who is a
renowned symphony orchestras in Atlanta, Dallas, Utah,
master at solving either business or creative issues,
Seattle, Toronto, and London.
sometimes at the same time.
Goodwin combines all of these talents as leader of L.A.'s
« To Pete BarenBregge, my editor at Alfred, whose
most exciting big band jazz ensemble, Gordon Goodwin's
vision and unwavering support really made this book
Big Phat Band. Established in 2000, the band released its
happen.
debut record, Swingin' for the Fences (Silverline Records),
which made history as the first commercially available DVD • To my wife Lisa, who has made my passion her
audio title ever released and the first DVD audio title to passion and knows firsthand the demands of running
receive two Grammy nominations. an organization like this one!
» To my multitalented assistant Linda, who hits every
Building on the tremendous success of their first album,
assignment out of the park—without exception.
Gordon and the boys returned to the studio and raised
the ante, along with the roof. XXL is an exciting blend of » To Silverline Records, who believed in big band jazz
jazz styles that stretches the boundaries of the big band when nobody else in the industry did.
genre. Along with his usual stable of L.A.'s finest musicians, • To our recording engineers and mixers Tommy Vicari,
including Eric Marienthal, Wayne Bergeron, Andy Martin, Mike Aarvold, and Gary Lux, who are responsible for
Bob Summers, Brian Scanlon, Luis Conte, and Bernie Dresel, the sparkling and punchy sound of our records. It's
this album features both legendary and contemporary guest more than just pushing buttons; you have to get it,
artists. R&B great Brian McKnight teams up with vocal group and they do.
Take 6 on the '30s classic "Comes Love," legendary crooner
Johnny Mathis provides a knockout performance of "Let the
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
By GORDON GOODWIN
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
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<
By ERIC MARIENTHAL
you play too hard, your pitch and accuracy will fly ou
window! Check out the alternate soprano part.
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.
1
SWINGIN FOR THE FENCES
AUTO iAVOMMM GORDON GOODWIN CASCAPD
© 2OC3 WINGOOD MUSIC PRODUCTIONS, INC. CASCAP)
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