![]() There are some little trumpet “issues” that happen here and there, namely some notes that don’t speak (particularly in the final chorus and the out head, you have to buy the track to hear the in/out head), but it only adds to the charm of the solo, the same way Miles would make a frack sound like it was totally on purpose (they weren’t). Tom’s sound is sweet, reminiscent of Clifford Brown’s ballad playing, but over a medium tempo bop tune. Most of all, it’s beautiful trumpet playing. ![]() The solo is full of bebop language, pianistic arpeggios (see analysis), and motif development. I seriously thought to myself, “no way he knows where he is right now,” shows you how much I know. Sure enough, after breaking up the 32-bar choruses and plugging in the changes, it’s spot on. Obviously, it’s tough to understand some phrase decisions where the soloist is playing unaccompanied, but the soloist can probably make different decisions in terms of phrasing due to the freedom of playing without a rhythm section. After listening to the solo a few times and starting to play along, I started wondering if Tom knew where he was in the form because of how different his phrasing was. I was immediately taken by the beauty with which Tom plays, and his sense of phrasing. I’ve never listened to much Tom Harrell, but one of my students (thanks, Alex!) put this on during one of our lessons and asked if I had heard it. That being said, I just heard this track for the first time a few weeks ago and I knew I had to transcribe it. First of all, let me just issue an official promise to our readers that my next transcription will not be a trumpet player. That’s all I’ve got to say about this solo. You also need to have JavaScript enabled in your browser. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip.
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