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Going back on it I would indeed simplify the notation of the intro... perhaps you can send me a simplified version regarding making sense of the rhythm. I was too exact in trying to convey in a literal sense the fluctuations in speed and so on...there is a logic to it but I would agree that a bit more of a practical approach would be more beneficial

@@finngrassietranscriptions5000 Sorry if I sounded too critical in my previous comment, I want to say that you actually transcribing all of these rhythms literally must have taken quite a lot of effort and I respect that. And some of the ways you did that, like the afforementioned 4/12, are pretty novel and clever. I just don't think their use is approriate here.

@@asukalangleysoryu6695 You've inspired me to have a revision of it and perhaps upload it! Much appreciated :)

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Much appreciate the kind words! An inspiring guy both in his recordings and by the sounds of it in the flesh also. Would have loved to have met him

@@finngrassietranscriptions5000 I was trying to figure out how to purchase this transcription. I'm sure I must be missing something somewhere (probably right in front of me -- hehe).

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@@finngrassietranscriptions5000 thanks for sharing!!!

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Oh well haha it’s only a preview

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Yeah it was a real head scratcher for me haha. I ended up reflecting the phrasing/rhythmic emphasis points with the time sig changes…maybe there’s a better way to write it 🤷‍♀️

Lol! Lyle is BY FAR the most head-scratching jazz pianist to transcribe… or perhaps I should say head-exploding jazz pianist! (I know I always get a migraine- literally- when I try. 😅) He is SO liquid-y with his phrasing (with quite a bit of cross-rhythmic/metric gestures and harmonic anticipations), and his left hand is pretty much NEVER the conventional “claw” (he said he thought of his left hand essentially as being an orchestra unto itself) that much of what he plays is basically non-notable, lol. (This is especially the case when he’s playing unaccompanied. Yowza!) So, yeah, I definitely feel ya. Again, kudos for the incredible effort, and thank you for doing it! I may take a crack at putting it in all 4/4. (Oh no! I think I feel a migraine coming on! 😢😂 But perhaps the headache won’t be as bad this time as you did most of the heavy lifting on the notes for me! 😁🙏)

@@sonicmuse yeah for sure ! Haha id be so delighted to see this simplified into all just 4/4. All of the micro rhythms he does are just amazing but confusing to try and pin down. His performance of highland air from the same album is amazing also, and thinking of transcribing that..but somehow he has a drum machine going on, maybe synced with his piano I’m not sure, then some sort of midi trigger (I think??) with his acoustic piano triggering some pads and stuff

@@finngrassietranscriptions5000You’re probably right about the midi trigger thing in “Highland Aire.” Lyle’s technical prowess, ingenuity, and resourcefulness were as boundless as his artistic genius. There’s truly never been anyone like him. (Perhaps Leonardo da Vinci comes the closest.) Mark Egan was right when he said about Lyle after his untimely passing that he was a “highly developed human being!” (Although, I’m not entirely convinced he was human, lol! 👽😅) Speaking of which: the bass solo sounds like a bass sample, and the lines sound very Lyle to me. Is he playing that solo himself using a synth? If so, that probably means the guitar comping is also him on a (presumably) a different synth/sampler. Do you know? At any rate, it wouldn’t surprise me in the least… though it does contribute to my ever-mounting feeling that I should’ve quit music years ago, lol!

@@sonicmuse I would tend to disagree with you that Lyle playing unaccompanied on this is necessarily fitting into 4/4 or should need to. As mentioned, he is truly one of the most fluid players and improvisers of all time and having heard him play from two feet away many times in school I think he was playing this tune from the depths and from a stream of musical consciousness. Of course when playing with DeJohnette, Johnson he certainly could do that like no one else. This reminds me a little of a composition story around my dear friend Ron Miles who passed suddenly 3 years ago. When looking at many of his beautiful original compositions (hand manuscript on long landscape legal paper) there are often bars of different time - a 3/4, 7/8, etc. Ron would sit and write most of his music without bar lines at all using that wide paper, just putting down in a compositional sense that same fluid flow and later would add the bar lines which often would reflect those occasional bars of different time.

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It is taken from a live concert in Buenos Aires, in the late '90s.

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Amazing performance isn't it

He was and is an incredible artist

Thanks for watching ! I was equally floored, and such was compelled to write it out !

Thank you Geo!

I want to live in a Mansion with you forever and ever

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Glad you enjoyed the video! I just really liked that quote of his, and felt that the sentiment was reflected in his performance here

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Yes thank you so much for sharing such an exquisite piece.

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