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This piece appears on the Woody Shaw recording, "In the Beginning", on Muse. It's a challenging form as it relies on two key centers that need to be carefully articulated, at a very fast tempo. Larry studied with a disciple of Béla Bartók, and to my ears, this composition is very much along the lines of the Hungarian master's work; see especially the first piano concerto. Larry was a marvelous, forward-looking musician whose music needs to be performed regularly.

McCoy Tyner's "Focal Point" septet session provides insights as to his practices as a composer. The composition here is "Mes Trois Fils", and features Eric Kamau Gravatt , Charles Fambrough, and Guilherme Franco. The crack front line is Gary Bartz, Joe Ford, and Ron Bridgewater. The central mode is centered in F#; a system that closely parallels such pieces as "Effendi", and "Planet X" . Note especially the channel / contrasting section that ascends dramatically in fourths, and was later overdubbed for release on Milestone records. On the Milestone release, you'll hear the additional harmonic components. Studio 'A', Fantasy Studios, Berkeley, California. August 4-7, 1976. Decades later, I recorded two sessions at McCoy's piano, ahead of the studio's closure.

Did ELP play this too?

I had not previously sightread this 1950s-era score. Earlier, Google AI produced this curious response to my inquiry: Yes, "Blue Rondo a la Turk" is considered a complicated piece of music, primarily due to its unusual time signature of 9/8 which is not divided into simple groups of three, but rather an irregular pattern of 2+2+2+3, making it rhythmically challenging to play and listen to for many musicians and listeners. Key points about its complexity: Unconventional rhythm: The 9/8 time signature is not divided into standard 3-beat groups, leading to a unique, "limping" feel. Additive rhythm: The pattern of 2+2+2+3 creates an irregular pulse that can be difficult to internalize. Improvisational challenges: For jazz musicians, soloing over this complex rhythm can be demanding.

Strive for that first take, because that's where the feeling is.

I have a continuous cycle of transcriptions underway at any given time; ongoing research and development that has been largely ignored by academics here. As was said in the bebop era, create something that's so challenging that they're unable to copy it.

A highly challenging blues in C minor, recorded by the great pianist at age 23. It's a virtuoso up-tempo piece, not easy to perform solo, especially. McCoy's contrary chord motion is highly original, as is the concluding harmonic structure, C7+9, -5. -9, which is a de facto Coltrane group sound. The late, great bassist Juini Booth and I discussed this composition many years ago, but we regrettably did not have a chance to perform it.

With many thanks to Sonny Clark. A resolution on the B flat Lydian scale.

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Technical references: Ferruccio Busoni: Etudes. Olivier Messiaen: Catalogue d'oiseaux; The Technique of My Musical Language.

nice james

Thanks for sharing

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A really good example of Wayne's skills as a composer. The form is reminiscent of "Night Dreamer", to the extent that the melody doesn't always follow the direction of the underlying changes. The line itself is quite subtle, rhythmically.

Nice Composition!... Best Wishes!

The expanded sections, cantabile, owe something to Enrique Granados (1867-1916). Certain scores are marked, in Catalan, "en recit".

Nice Skills!... Best wishes!😎🎹🎶🙏🏾

This piece was in my ears back in 1976; a 48 year old memory. The rhythmic feel is what I heard at Keystone Korner in San Francisco. The house piano at Keystone Korner was a Yamaha Conservatory. I've wondered if that piano ended up at AFM Local 6 on 9th Street, many years later.

Nice!... Best wishes!👌🏾🎹🎶🙏🏾

Your piano is exactly like mine. I sold it to a dealer in Kansas about 10 years ago.

Years ago, a famous musician with an advanced degree in music advised me to stay away from so-called "blues" scales. I disregarded those instructions in their entirety.

This beautiful piece appears in the Mosaic Select compilation MS-016, which is currently out of print.

This is one of my favourite Ellington compositions and I very much enjoyed your rendition. Thanks for sharing.

Nice Skills!👌🏾😎

All orchestral parts extend from the piano, as in Ellington's work.

Discs are also available. Please DM for information.

Moses Lei's fantastic transcription from the recording is available here -- www.sheetmusicdirect.com/en-US/se/ID_No/1123454/Product.aspx

Purchase the new solo recording here! jamesarmstrong.bandcamp.com/album/tempo-adagio

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Vocal front line, first stanza: "Na-na, sa-ware-ee rubla, a ranga-ba-lu-bee, ga..." (x 4)

Nicely done!

Years ago, McCoy Tyner said something to the effect that there's a lot of space between intervals, in music. To the point: in this piece, there are essentially three (3) key centers on which different / divergent tonalities can be superimposed. The technique was explored by composers as diverse as Busoni, Debussy, and Messiaen. But, this knowledge hasn't necessarily been absorbed by developing musicians, in time present.

Ideal place and music in my heart. Thank you so much ^.^**

Tadd Dameron and Sonny Clark epitomize the sounds of the era. So-called "changes" aren't what they appear to be; entirely flexible, revised on the spot.

Can I purchase any recordings of your comprovisations somewhere?

Hearing this while I sit in my living room, and the birds are singing along outside. Thank you. Blessings sir.

You still got it, gramps 💪

Nice man!!

And, one other thing: if you're going to play "out", you need to understand where "in" is.

Brief compositions along these lines formed the basis of a great many recordings on Prestige. A rhythm section of reasonable technical skill can stretch out on these things.

Advice for Bay Area musicians, especially: tank the sheet music! Don't read your solos.

French piano, from Emmanuel Chabrier on, represents a distinct attitude towards music. It's about breath, orchestral color, and novel rhythmic schemes. Messiaen summarizes everything that went on before, and where it's headed.

James very nice. I am a pianist who is really into Ellington and Strayhorn tunes even obscure ones. I’ve never heard of “Pyramid.” What Ellington album is that on? Do you have a lead sheet or sheet music for it? If so where did you find it? I have gotten music for several of his lesser known compositions from the Smithsonian Archive and the Library of Congress. Thanks again for your presentation.

Sounds lovely!

Super cool playing man! Glad you posted this today!

Fantastic performance! I've been enjoying your videos. Thank you!

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Source recording is Blue Note / BLP 4051 (1962).

The Sonny Clark turnaround --> Fm7/Bb7, Ebm7/Ab7, Dbm7/Gb7, Cm7/F7.

What an awesome rendition of this classic song. Greetings from Canada and all the best in 2024!