Ever since I wrote the piece about Gadd’s┬áplaying with the Manhattan Jazz Quintet, I’ve been itching to give you my transcription of his fours from “Jordu.”┬á┬á┬á Steve takes eight fours on the tune, which is from the “Autumn Leaves” album released in 1985.┬á┬á┬á It turns out that the transcribing of these mini solos is a bit more difficult than I thought, and I’ve been revising my original transcription….polishing the details and making sure that it is worthy and ready for publication on the world wide web.
Since I’m still tweaking it, I decided to whet your appetite a little by posting just the first two┬áfours.┬á I’ll follow up shortly with the rest, but these are both great and there are good lessons to be learned from checking them out.┬á┬á┬á
First, get your hands on the PDF by clicking this link: Gadds┬áFours on Jordu Part One
Proof That The Rudiments Are Worthwhile
The first lesson is that rudiments are useful!┬á Check out the first four.┬á The first lick Gadd┬áplays is a combination of a single paradiddle┬áand left handed┬áparadiddle-diddle.┬á It sounds amazing!┬á So don’t listen to anyone who says the rudiments are a waste of time.┬á This is a great example of why they are not.
Repeating A Phrase is a Good Way to Hook Your Audience
The second lesson, which you can learn by checking out the second four, is that repeating a great sounding lick or phrase is a good strategy to get your audience excited.┬á Steve is great at doing this, and it is one of the things that I believe makes him such a strong soloist.┬á┬á Sticking with a single idea for a number of measures will give your audience something to latch onto.┬á Musicians who play complicated patterns that change every few beats may think that they’re being slick, but I think they are losing an opportunity to build exciting solos by playing to other musicians rather than to the “layperson.”
That’s all for now.┬á I’ll return shortly with the rest of Gadd’s┬átranscribed fours from “Jordu.”┬á Until then…
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