Over the past couple years I spent a lot of time in the shed with this tune on tenor sax. I found an interesting anomaly in it, which is, of course, the bridge. Playing hot lines in the first half happens only when I slow the tempo down to something reasonable.
Listen to these four top jazz trumpet players. Pay close attention to what they do on the bridge in their choruses.
http://www.youtube.com/watch?v=EvUsaZeXCKM
All four players burn on the Bb part. But when the tune shifts into B then A tonal centers at the bridge, only Sandoval keeps it going. The others back down from the usual blazzing sixteenth note runs. They don't get speedy again until the 2nd half of the bridge when the tune reenters the comfort zone of G then F tonal centers.
This video made me feel a lot better about the wall I hit on tenor whenever I get to that bridge. All it should require is the ability to play fast lines against the D-flat and B major scales (tenor key). I guess that sounds easier than it really is. Except for Sandoval.
Listen to these four top jazz trumpet players. Pay close attention to what they do on the bridge in their choruses.
http://www.youtube.com/watch?v=EvUsaZeXCKM
All four players burn on the Bb part. But when the tune shifts into B then A tonal centers at the bridge, only Sandoval keeps it going. The others back down from the usual blazzing sixteenth note runs. They don't get speedy again until the 2nd half of the bridge when the tune reenters the comfort zone of G then F tonal centers.
This video made me feel a lot better about the wall I hit on tenor whenever I get to that bridge. All it should require is the ability to play fast lines against the D-flat and B major scales (tenor key). I guess that sounds easier than it really is. Except for Sandoval.