SwingDJs

I have a few - Whenever I listen to the recording of "Milenburg Joys" by Tommy Dorsey, I always play the sax section choris a few times. Same thing with the sax section chorus in his version of "I Don't Know Why".

Same thing with whatever the trumpet section is doing on the Harry James recording of "Avalon" - unison triple tonguing?

On the Dizzy Gillespie big band recording of "Hey Pete! Let's Eat Mo' Meat" - There is an instrumetal chorus right before the final 'vocal' that is tremendous.

On Gene Krupa's "There'll Be Some Changes Made" - right between the 2 vocal chorus, there is fantastic section writing which defines the song. Great arrangement.

I was about to name two more, but they were also sectio choruses and I wanted to name some solos, too. Next time.

I love to listen to Basie piano solos and intros over and over.

Louis Armstrong on Fletcher Henderson's Shanghai Shuffle (1924). He shows the rest of em how to swing.

trev wrote:Louis Armstrong on Fletcher Henderson's Shanghai Shuffle (1924). He shows the rest of em how to swing.

I used to like to play the middle solo on the Louis recording of WILD MAN BLUES over and over again. So damn good!

Eyeball wrote:Whenever I listen to the recording of "Milenburg Joys" by Tommy Dorsey, I always play the sax section choris a few times

You mean the part that starts 45 seconds in? Yes, it's good

I think so. It is a full 32 bar chorus. I love great sax section writing.

I wish the TD version of "I Don't Know Why" was available. That is just so outstanding and powerful. All that volcanic heat in the middle of a ballad.

A pattern I've noticed is that a recording really takes off on the second 32-bar section - the first 32 often feels like an introduction. An example is Stealin' Apples by Fletcher Henderson. The third 32-bar section in that song introduces a great new riff in the harmony section as well.

Haydn wrote:A pattern I've noticed is that a recording really takes off on the second 32-bar section - the first 32 often feels like an introduction. An example is Stealin' Apples by Fletcher Henderson. The third 32-bar section in that song introduces a great new riff in the harmony section as well.

Interesting observation.

Those older 3 minute recordings are like a story - the have an introduction, a beginning, a middle and an end, sometimes a coda.

They need to establish the 'story' before they take off.

Not always...

In a lot of those older records, the band will be playing 2 beat for the first chorus- the bass only playing 2 beast per bar, and then start into 4 beat on the second chorus. That would give you the reaction of thing getting going in the second 32 bars.

The saxophone in Billie Holiday's recording of "Them There Eyes" always gets me. Definitely on repeat, it's great from start to finish.

Isn't that Lester Young? (Or maybe Ben Webster... gotta look it up).

Albert System wrote:In a lot of those older records, the band will be playing 2 beat for the first chorus- the bass only playing 2 beast per bar, and then start into 4 beat on the second chorus. That would give you the reaction of thing getting going in the second 32 bars.

To my ear, it's more that the whole rhythm section starts motoring in the second 32.

Eyeball wrote:I think so. It is a full 32 bar chorus. I love great sax section writing.

I think Duke Ellington's Peckin' has some lovely sax section rhythms.

Opening of Mahler No. 5. Give him 4 minutes, and you'll be feeling in love, depressed, and ready to go to war. It's an emotional roller coaster.

But in the jazz department- Ella Fitzgerald's open improv solos, like on Oh Lady Be Good.

caab wrote:The saxophone in Billie Holiday's recording of "Them There Eyes" always gets me. Definitely on repeat, it's great from start to finish.

Albert System wrote: Isn't that Lester Young? (Or maybe Ben Webster... gotta look it up).

I figured that was Lester Young too, but I did some Googling and it turns out it's Tab Smith.