Un altre clàssic de Miles Davis i una grandíssima versió. Espero que ho disfruteu. Com sempre, penjo el comentari original del llibre, la transcripció i el vídeo.
OCTOBER 26, 1956
"OLEO"
FORM: AABA - rhythm changes in Bb
On this Ylll'sion of "Oleo" Miles plays two solos in harmon mute. Except for the B sec-tions and the first four measures of the last A sections, Miles and Paul Chambers play alone. Miles' rhythmic and time conceptions are beautifully revealed in these solos. The solos are a model of rhythmic strength and grace and demonstrate a very effective use of space. A good example of Miles' use of chromaticism occurs at the beginning of the seacond chorus. The intensity of this phrase is awsome because of his eighth-note interpre-tation and use of accents and the context of what happened before and after this phrase. The last eight measures of this first solo are a gradual release of tension leading into John Coltrane's solo. The second solo demonstrates a more extended use of repetition. A different use of chromaticism is shown in the three bars before the last B section. In the last three bars of this solo he uses a rhythmic f'tgure which he was to use again 2 1/2 years later on the B section of Milestones.
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