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Its a "tense" tune...can be very exciting played by good players in a live environment. But yeah, it's not going to be everybody's favorite thing...its not mine, either. But I do like it...it has attitude
Originally Posted by rpjazzguitar
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08-15-2023 03:51 PM
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By the way ragman, you've got the form incorrect, you played 20 bars instead of 24. The cause should be pretty obvious if you count yours and compare to the chart. Originally Posted by ragman1
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The sleeve notes on the record quote Joe saying the tune represented the anger and frustration he felt trying to make his way as a musician in New York. So it’s probably meant to be quite tense! Originally Posted by mr. beaumont
Its a "tense" tune...can be very exciting played by good players in a live environment. But yeah, it's not going to be everybody's favorite thing...its not mine, either. But I do like it...it has attitude
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Joe did a great big band version (arrangement by Slide Hampton). Piano solo by Chick Corea.
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The more I listen to this tune, the more I like it. Originally Posted by grahambop
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Makes sense to me. In that case, it's perfectly evocative. Originally Posted by grahambop
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It's OK to not like any tune. I started working on it because it caught my ear. I like me some uncomfortable music. Always have. And I was on a Joe kick.
'Uncontrollable Inner Urge'. That's funny man! 'got to scream and shout it'.
I like Larry's a lot.
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Oops, so I did. Thanks for pointing that out. I suppose I could edit the first section from 4 bars each to two, but perhaps not. I'll have to redo it. Of course, it'll be even easier now because it's longer :-) Originally Posted by grahambop
I jest, naturally. I read something a few days ago about how JH wrote the tune. I thought it was about him trying to deal with the bustle and pace of the city, too many people, fighting the traffic, and all that, but I probably didn't read it correctly!
But, as Jeff said, it is evocative, and that big band version especially so. Just like being there.
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Well, of course it is. It's okay to like some as well! Originally Posted by ccroft
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Here’s the sleeve note from the original Blue Note recording. Note that the writer (Nat Hentoff) also got the form wrong, it’s 16+8 not 16+8+16! Originally Posted by ragman1
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This is my quick IU recording.
I've never played this before.
Recording on classical guitar... it's not as difficult as I thought before.
Courage!!!
Box
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Channel is not a word I hear much these days. IIRC it means the bridge/b section, right?
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That’s my understanding, I know I was baffled when I first came across it years ago in a bio of Bird or something. Originally Posted by Christian Miller
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Nice, Kris.
Thought I'd try this. Simple pentatonic hack. Probably nothing much to do with trying to make it in the Big Apple :-)
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Graham -
Yes, that's what I read before. I thought it was talking about the noise, etc, of NYC. Anyway, he did make it, which is good :-)
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Originally Posted by Christian Miller
https://www.apassion4jazz.net/glossary.html
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When I said everything I said, please take into account that I actually meant 20 years ago when I could vaguely do it. Now I can do this. Sigh.
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Wow, just catching up on the thread. Some great suggestions, videos and info
I’ve been out of the loop this past week or so. How do you post a video here - is it only through a YouTube link? I played inner urge at a gig last night, be interesting to get some thoughts
Sent from my iPhone using Tapatalk
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Youtube link is easiest. You can set it to ‘unlisted’ on youtube if you don’t want it to appear on your youtube channel. (In other words it should only be viewable from the link here).
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Interesting 8 bars of Inner Urge I transcribed today. Hope I got the rhythms vaguely straight, finding it tough in a world of Adam Rogers and barely audible bass haha. But the pitches are also interesting.
EDIT: Two done now. Tab is questionable
Note the imaginative and precise use of rhythm. That 'mostly playing quarter and adding a little push every so often' thing he's doing in the second is a very good way of playing an uptempo feel without spamming notes. It's also quite hard to get accurate with the metronome (for me) - try it.Last edited by Christian Miller; 08-30-2023 at 12:37 PM.
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Analysis for first (mostly triads and tetrachords)
Emaj7 - F# (Lydian triad)
Dbmaj7 - C (VERY interesting - gives Dbmaj7#9. I'm almost temped to say this was a mistake, but it's an INCREDIBLY cool sound, and does Adam make mistakes????)
Dmaj7 - C# - same thing up a semi
Bmaj7 - B
Cmaj7 - C
Amaj7 - I want to say C#m(add4), but there is also an A there
Bb7 - Ab - intersting, gives Bb7sus4
Gmaj7 - Bm BUT with an extra F natural in it. Fun times.
Analysis for the second(mostly triads)
Emaj7 - E
Dbmaj7 - Fm
Dmaj7 - F#m
Bmaj7 - B or G#m
Cmaj7 - Am
Amaj7 - A(add9)
Bb7 - Gm
Gmaj7 - Gmaj7
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Re the transcription, Originally Posted by ragman1
Here's Joe Henderson's first solo on his original recording. I mean, it is his tune so one assumes it's not just random and he knows what he's doing... maybe
The transcription has a D major key sig so, unless otherwise stated, all F's and C's are sharp.
Attachment 104281
Possible analyses:
E: Bbm pent.
Db: Fm9 arp.
D: Abm pent.
B: DbM7 arp.
C: -
A: A# F# (he does like to sharpen the roots of M7 chords for some reason).
Bb7: G mel m.
G: A mel m.
Amazing :-)
What's going on.... the note on the Cmaj7 chord sounds like B natural to me, not C#, and the following two notes are G# E, not A# F#, and then he plays an Abmaj7#5 arpeggio not a Bbmaj7#5 arpeggio...
WAIT A SECOND...internet transcriptions often have the odd mistake, but not this many systematic mistakes haha.
I haven't gone through the whole thing, but I would say this is a Bb part transposed on (an earlier version of?) Musescore which has the delightful habit of sometimes not also transposing the chord symbols. I remember this quirk well, but luckily I noticed it before any charts were in front of players haha. I actually went back to S*b*l**s for a while because of it.
This makes sense as most tenor sax transcriptions on the web are in Bb. It also explains the key signature - you would normally notate something like this in a null key signature for all instruments (inc transposing ones) but this transcriber must have use C major instead and the software dutifully transposed the key sig. Done it myself.
Joe was progressive, but not that progressive. The note choices are more typical once you pop them down a whole tone, actually pretty textbook which is interesting given those mostly weren't written yet. I'd be interested to know how Joe was conceptualising harmony at this point, if he'd looked into George Russell for example. (In any case this extract is a good fit for modern CST.)
That said, I love the E A E thing he plays on the Dbmaj7 just before your extract begins.
Let this be a lesson to ye! Use yer lugholes.
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So you're not interested in the other three, then?
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1) are they in concert pitch?
2) did you come by them via some process other than google search?
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So here's one that is a bit strange from the Adam Rogers solo (9:45ish), and I transcribed it myself today (it's definitely in the right key). Not 100% on what's happening here.
It ends up in a fairly understandable place (Cmaj7#5 on F#m7b5), but the stuff in the middle is ... interesting.
-We are arpeggiating a G#o, possibly E7 in the first bar here,
- second bar I struggle to 'name that scale' - possibly Gb major bebop (for some reason) going to a G in the following bar
- and then it's kind of, I don't know, G Locrian bb7/Ab harmonic major (Ab Bb C Db Eb Fb(E) G) for... some reason.
I can't see much logic here TBH. Maybe some has a brain wave?Last edited by Christian Miller; 09-01-2023 at 02:43 PM.
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