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Jimmy Garrison’s Bass line from Crescent
This month’s transcription is the final half of Jimmy Garrison’s Bass line from “Crescent”, off John Coltrane’s album Crescent. It starts at 4:21 as noted at the top of page one. As always, we’ll be comparing everything to the major scale by the numbers. If you are already familiar with this analysis technique, then go ahead and skip to the next paragraph. If this is new or you need a refresher, then read on.
First, as always, the notes in each line need to be compared with the major scale of the chord for each measure. We can then take our measurements and apply the idea to literally any situation. Let’s take the lick in measure 92 to explain this process.
Click to Download Crescent – Coltrane
The chord is some type of Eb chord, in this case, Eb minor seven. Take the Eb MAJOR scale and assign a number to each note. Start with one, and increase by one until you have labeled the last note (high Eb) as eight. One, two, three, four, five, six, seven, and eight, a number for every scale note. Now take the notes in the measure you are analyzing (meas 92): Eb, F, D, and Bb, and compare them to the major scale by the numbers. This example gives you 1, 2, 7, and 5. This is your lick. Now in order to apply this lick to all types of chords, you need to know your chord tones. A minor seven type of chord has the chord tones 1, b3, 5, and b7 when compared to its major scale (our ruler). The lick that we are looking at is 1, 2, 7, 5. Take this generic pattern and apply it to any chord. You need to know the chord tones for each chord in order to do this. For instance, over a major seven type of chord, this lick will be unchanged. 1, 2, 7, 5 on a G maj 7 chord gives us G, A, F#, D. Using the lick on a half diminished chord, aka minor 7 flat five, will give you 1, 2, b7, b5. We’ll not get into chord scales here. So if you know that a half diminished chord has the chord tones 1, b3, b5, b7, then you adjust your lick (1, 2, 7, 5) to fit, which gave us 1, 2, b7, b5. If you were using the lick on an “A half diminished” chord, aka A-7 b5, you would play A, B, G, Eb. If this discussion is a bit much to handle, try reading only one paragraph a day.
OK, so if you are reading this paragraph, you are feeling comfortable using the major scale as a ruler to apply ideas more universally. In this analysis, we will touch on some common walking licks and ideas that were used, some “fancy” licks that were played, some thoughts about walking over sus chords, and about chords that are more than one measure long.
As mentioned last month, you will notice that the walking line: 1, 2, 3, 1 happens frequently, sometimes appearing with variations. As you are playing through this transcription, you should be comparing every note to the major scale of the chord it happens “under”. You should perform this analysis at least once through the entire transcription, taking your time to understand what you are looking at. It’s perfectly fine to disregard reading at tempo. When you analyze, feel free to pause and really think about what you are playing.
Next I want to very briefly draw your attention to the triplet figure on beat three of measure 94. This rhythmic figure can often be ignored in most walking lines. It’s a useful tool that should not be forgotten.
Next let’s briefly talk about playing chromatic notes that lead into chord tones. Many of us are used to playing these on beat four of the measure, to lead into beat one of the next measure. But not as many are comfortable applying them to lead into beat three of a measure. Check out beat two of measure 128. Yep, that natural sign is correct. Those two D’s are acting as a lead in tone back to the root of Eb minor.
Now it’s time for the “fancy” licks. These are lines that should be used almost as a garnish as opposed to your tried and true foundation walking licks (like 1,2,3,1). Check out beats three and four of measure 101. Analyze this against the Bb major scale and you will see that it’s just chord tones from Bb7. It’s a really nice lick though, and since it is only chord tones, you can apply it freely and without fear to any chord, assuming of course that you adjust the lick for the chord tones in question. Next lick is measure 107. I really like it when a lick jumps up to the 9 (same note as 2) and then resolves back to the root on the next note. 9’s are pretty safe as well. The only time where a natural 9 would be totally wrong, is if the chord says specifically b9.
Now let’s talk about “sus” chords. Should we constantly avoid the thirds of the chord in a walking line? Take a look at the transcription. By analyzing the walking line, it’s clear that Jimmy is treating all the G7sus4b9’s as just G7b9’s, not “sus” chords. He plays a major third (the note B) on most of the places where this chord occurs. Upon further analysis, it’s clear that he is considering all the Bb7sus chords as actual “sus” chords, meaning that the four (of the Bb major scale) takes the place of any third (either D or Db). When you look at the measures where a Bb7sus happens, in most cases, he plays everything except the third. It’s really important to analyze these measures to get some ideas on how to walk over a “sus” chord without playing any type of third. There are places where he does play a third, but if you analyze each case (of Bb7sus), you will see that this is the exception rather than the rule. Now here’s something to chew on: what’s the difference between a G7sus4 and a Dmin7? Not much at all. Without getting too much into a subject that could take a whole article to cover, let me just say that the most important part of each chord is the third and seventh. In a dominant sus, one of the most important tones is missing, the third. So a Dominant sus4 is actually a blend of the 2 and 5 chords (like D-7, G7). Why am I mentioning this? Because if you see two measures on a sus chord that then moves to a chord up a fourth (like Bb7sus to Eb-), you can actually walk a 2-5 to the Eb. You could “superimpose” a measure of F-7, then a measure of Bb7 instead of two measures on Bb7sus. Make sure to adjust the 2-5 combination to either major or minor, depending on the 1 chord to end up on. Or you could just ignore it and not adjust, it’s jazz right? If this is confusing, don’t worry. Just forget it and read on. It’ll make sense later in your jazz studies.
The last item on our agenda is to discus a few ideas for walking over a chord that lasts for more than one measure. This can turn into a problem if you are called to play on a tune that has four or more measures all on a single chord. If you aren’t prepared with some tricks for these situations, a walking line can quickly become stale. One approach is to target chord tones on the down beats of following measures instead of roots. For instance, as in the example of this piece, there are many instances where a chord lasts for two measures. Instead of meandering in a scale, you can plan to target a chord tone on the down beat of the next measure, and construct a walking line that leads into your target. This will give your lines the feeling of having direction and motion in the midst of static harmony. One further trick to ensure that your lines have the feeling of momentum is to introduce chromatic tones that will lead into your targets. If your line is ascending, play a note that is a half step below the target directly before landing on the target. Practice this idea of chromatics leading into target chord tones over a song like “So What”, which has long stretches of measures over a single chord.
Want to take this idea a step further and get totally crazy? I’m not going to take a ton of time to explain this, because this article is already pretty long. Take a Gmaj9 and take away the root. What chord do you have? B-7. This works for every chord. Every chord has a 9th tone that will work on it. Memorize what type of chord is found on the third of each chord. Maj9 = Min7 from its third, Min9 = Maj7 from its third, dom b9 = dim7, dom9 = half diminished 7, half dim = min7. Ok, you have two measures on a D-9. Walk D-7 for the first measure, and walk Fmaj7 on the second measure. They’re both just notes from D-9, but now you’ve introduced a subtly different flavor. If you have four measures on Amaj7 (Amaj9), try a measure on Amaj7, then one on C#-7 and keep alternating. Very cool, but not easy at all.
That’s it for this month. Hope you enjoyed the rest of this great performance. Next time we’ll look at some funk lines.
Bass CDs
New Album: Jake Leckie, Planter of Seeds
Bassist Jake Leckie and The Guide Trio Unveil New Album Planter of Seeds,
to be released on June 7, 2024
Planter of Seeds is bassist/composer Jake Leckie’s third release as a bandleader and explores what beauty can come tomorrow from the seeds we plant today.
What are we putting in the ground? What are we building? What is the village we want to bring our children up in? At the core of the ensemble is The Guide Trio, his working band with guitarist Nadav Peled and drummer Beth Goodfellow, who played on Leckie’s second album, The Guide, a rootsy funky acoustic analog folk-jazz recording released on Ropeadope records in 2022. For Planter of Seeds, the ensemble is augmented by Cathlene Pineda (piano), Randal Fisher (tenor saxophone), and Darius Christian (trombone), who infuse freedom and soul into the already tightly established ensemble.
Eight original compositions were pristinely recorded live off the floor of Studio 3 at East West Studios in Hollywood CA, and mastered by A.T. Michael MacDonald. The cover art is by internationally acclaimed visual artist Wayne White. Whereas his previous work has been compared to Charles Mingus, and Keith Jarrett’s American Quartet with Charlie Haden, Leckie’s new collection sits comfortably between the funky odd time signatures of the Dave Holland Quintet and the modern folk-jazz of the Brian Blade Fellowship Band with a respectful nod towards the late 1950s classic recordings of Ahmad Jamal and Miles Davis.
The title track, “Planter of Seeds,” is dedicated to a close family friend, who was originally from Trinidad, and whenever she visited family or friends at their homes, without anyone knowing, she would plant seeds she kept in her pocket in their gardens, so the next season beautiful flowers would pop up. It was a small altruistic anonymous act of kindness that brought just a little more beauty into the world. The rhythm is a tribute to Ahmad Jamal, who we also lost around the same time, and whose theme song Poinciana is about a tree from the Caribbean.
“Big Sur Jade” was written on a trip Leckie took with his wife to Big Sur, CA, and is a celebration of his family and community. This swinging 5/4 blues opens with an unaccompanied bass solo, and gives an opportunity for each of the musicians to share their improvisational voices. “Clear Skies” is a cathartic up-tempo release of collective creative energies in fiery improvisational freedom. “The Aquatic Uncle” features Randal Fisher’s saxophone and is named after an Italo Calvino short story which contemplates if one can embrace the new ways while being in tune with tradition. In ancient times, before a rudder, the Starboard side of the ship was where it was steered from with a steering oar. In this meditative quartet performance, the bass is like the steering oar of the ensemble: it can control the direction of the music, and when things begin to unravel or become unhinged, a simple pedal note keeps everything grounded.
The two trio tunes on the album are proof that the establishment of his consistent working band The Guide Trio has been a fruitful collaboration. “Santa Teresa”, a bouncy samba-blues in ? time, embodies the winding streets and stairways of the bohemian neighborhood in Rio de Janeiro it is named for. The swampy drum feel on “String Song” pays homage to Levon Helm of The Band, a group where you can’t always tell who wrote the song or who the bandleader is, proving that the sum is greater than the individual parts. Early jazz reflected egalitarianism in collective improvisation, and this group dynamic is an expression of that kind of inclusivity and democracy.
“The Daughters of the Moon” rounds out the album, putting book ends on the naturalist themes. This composition is named after magical surrealist Italo Calvino’s short story about consumerism, in which a mythical modern society that values only buying shiny new things throws away the moon like it is a piece of garbage and the daughters of the moon save it and resurrect it. It’s an eco-feminist take on how women are going to save the world. Pineda’s piano outro is a hauntingly beautiful lunar voyage, blinding us with love. Leckie dedicates this song to his daughter: “My hope is that my daughter becomes a daughter of the moon, helping to make the world a more beautiful and verdant place to live.”
Bass CDs
Debut Album: Nate Sabat, Bass Fiddler
In a thrilling solo debut, bassist Nate Sabat combines instrumental virtuosity with a songwriter’s heart on Bass Fiddler…
The upright bass and the human voice. Two essential musical instruments, one with roots in 15th century Europe, the other as old as humanity itself.
On Bass Fiddler (Adhyâropa Records ÂR00057), the debut album from Brooklyn-based singer-songwriter and bass virtuoso Nate Sabat, the scope is narrowed down a bit. Drawing from the rich and thriving tradition of American folk music, Sabat delivers expertly crafted original songs and choice covers with the upright bass as his lone tool for accompaniment.
The concept was born a decade ago when Sabat began studying with the legendary old-time fiddler Bruce Molsky at Berklee College of Music. “One of Bruce’s specialties is singing and playing fiddle at the same time. The second I heard it I was hooked,” recalls Sabat. “I thought, how can I do this on the bass?” From there, he was off to the races, arranging original and traditional material with Molsky as his guide. “Fast forward to 2020, and I — like so many other musicians — was thinking of how to best spend my time. I sat down with the goal of writing some new songs and arranging some new covers, and an entire record came out.” When the time came to make the album, it was evident that Molsky would be the ideal producer. Sabat asked him if he’d be interested, and luckily he was. “What an inspiration to work with an artist like Nate,” says Molsky. “Right at the beginning, he came to this project with a strong, personal and unique vision. Plus he had the guts to try for a complete and compelling cycle of music with nothing but a bass and a voice. You’ll hear right away that it’s engaging, sometimes serious, sometimes fun, and beautifully thought out from top to bottom.”
While this record is, at its core, a folk music album, Sabat uses the term broadly. Some tracks lean more rock (‘In the Shade’), some more pop (‘White Marble’, ‘Rabid Thoughts’), some more jazz (‘Fade Away’), but the setting ties them all together. “There’s something inherently folksy about a musician singing songs with their instrument, no matter the influences behind the compositions themselves,” Sabat notes. To be sure, there are plenty of folk songs (‘Louise’ ‘Sometimes’, ‘Eli’) and fiddling (‘Year of the Ox’) to be had here — the folk music fan won’t go hungry. There’s a healthy dose of bluegrass too (‘Orphan Annie’, ‘Lonesome Night’), clean and simple, the way Mr. Bill Monroe intended.
All in all, this album shines a light on an instrument that often goes overlooked in the folk music world, enveloping the listener in its myriad sounds, textures, and colors. “There’s nothing I love more than playing the upright bass,” exclaims Sabat. “My hope is that listeners take the time to sit with this album front to back — I want them to take in the full scope of the work. I have a feeling they’ll hear something they haven’t heard before.”
Available online at natesabat.bandcamp.com/album/walking-away
Gear News
New Gear: Esopus Guitars Launches New Acoustic/Electric Bass
Esopus Guitars Launches New Acoustic/Electric Bass…
Esopus Guitars is proud to announce the new “Tailwater” bass guitar, from legendary bass luthier Stuart Spector. This 32” scale bass is handcrafted by Stuart using the only finest woods and components at the Esopus Guitar workshop located near Woodstock NY in the Catskill Mountains.
From its fully carved spruce top (the top is carved on both its exterior and interior surfaces) with a thumb rest that is elegantly carved into the top, to its custom-made Fishman piezo pickup and super hard Carnauba wax finish, every detail of the Tailwater is part of creating the ultimate playing experience.
The Tailwater bass features a fully chambered spruce over alder body (15.5″ lower body bout width, 2.25″ body thickness measuring from the peak of the carved top) that delivers a super comfortable tonal tool for all your low-end needs.
Each Tailwater bass is hand-signed and numbered on the back of the peghead by Stuart Spector. A very limited number of Tailwater basses are handcrafted each year at the Esopus workshop.
“I am proud to present the Tailwater bass, a bass that I have spent the last three years perfecting. The Tailwater is a culmination of all of my 45 years of experience, knowledge, and passion for bass guitar crafting. I am so eager to hear what fellow musicians create with this exciting new instrument.” -Stuart Spector
Direct Pricing : $4995.00 plus options.
For more information about Esopus Guitars and Stuart Spector’s handcrafted instruments, visit www.EsopusGuitars.com.
Bass Videos
Tour Touch Base (Bass) with Ian Allison
Ian Allison Bassist extreme…
Most recently Ian has spent the last seven years touring nationally as part of Eric Hutchinson and The Believers, sharing stages with acts like Kelly Clarkson, Pentatonix, Rachel Platten, Matt Nathanson, Phillip Phillips, and Cory Wong playing venues such as Radio City Music Hall, The Staples Center and The Xcel Center in St. Paul, MN.
I had a chance to meet up with him at the Sellersville Theater in Eastern Pennsylvania to catch up on everything bass. Visit online at ianmartinallison.com/
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This Week’s Top 10 Basses on Instagram
Check out our top 10 favorite basses on Instagram this week…
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Tour Touch Base (Bass) with Ian Allison
New Gear: Spector Woodstock Custom Collection Volume II
New Gear: The Dingwall John Taylor Signature Model
Interview With Bassist Edmond Gilmore
Have Fret Sprout? Sharp Fret Management… a How-To Video
This Week’s Top 10 Basses on Instagram
Tour Touch Base (Bass) with Ian Allison
Interview With Audic Empire Bassist James Tobias
New Album: Avery Sharpe, I Am My Neighbors Keeper
