He’s a robot. Or an alien. Or a machine. The sheer command he has of his language and the utter mastery of the horn makes him bound only to his imagination. Remarkable musician.
I love the fellow saxophone players listening and laughing 😆 thinking “best I can do is listen....I can practice all I want but I’ll never be an alien”
An amazing solo, but the next generation of great players probably should be careful not to mistake the transcription for the inspired playing itself. There is not "progress" in art (when asked why he wasn't a "trailblazer" like Bird, Sonny Stitt angrily replied, "Look at Art Tatum. You can't get no better than that!"). What comes first is "listening" (not just to Rollins but to Harold Land, Lester, Hawk, Stitt) and learning "the tunes." Chris incorporates into this solo on a Jerome Kern tune at least one other tune by the same composer as well as melodic ideas and tunes by Charlie Parker and Rollins among others. It's a great solo--not because of the pyrotechnics but the rush of melodic invention, the rhythmic energy (formerly called "swing"), and the joy communicated by a player who does not sacrifice his "personal voice" to technique, theory, or method. As impressive (even unbelievable) as this solo inarguably is, it need not deter musicians whose vocabulary or facility with the language is more limited. James Joyce was regarded by many as on the level of Shakespeare after the publication of "Ulysses," but that didn't prevent F. Scott Fitgerald from writing a nifty novelette, "The Great Gatsby," which many place on the same level as Joyce's far more complex and virtuosic acheivement. A great solo above all has melodic invention (not simply scales and chord patterns), swing and soul. This performance qualifies on all 3 counts. But so does Hawk's solo on "Body and Soul" (without a single reference to the altissimo register!) as does Hank Mobley's inventive, soulful playing (on practically anything he recorded before 1966). Rather than trying to memorize someone else's solo or to learn their "system" (from theory down to mouthpieces and reeds), new players would do better to memorize more of the most-played tunes--popular and jazz standards--melody, chords and, in some cases, lyrics. And though jazz is no longer an exclusively "orally transmitted" infection, that's pretty much the way it worked from Louis to Coltrane. The ear can hear faster than the mind can think. Many, if not most, multi-lingual people learn by hearing the language rather than studying it out of a book.
In jazz improv in college we had to tell the professor what transcription we wanted to do and turn it in 2 weeks later... I decided to tell him I was gonna do this one. I definitely did not get an A lmao
ngl I'm probably half the views on this video hehehe. imo Chris Potter might be the goat alive right now besides Sonny. redman is also crazy but potter moves me like no other when I hear him play :)
Every time I listen to this insane master Magician I still keeps saying oh my God. Now that's it I'm leaving see ya I'm out of here no just 5 more minutes,
Can somebody help me understand why measures 74-76 “works”? It’s driving me absolutely nuts. It looks like he’s substituting IV over the dominant, then moving up an augmented 4th and resolving to…F# minor? It works because he goes back inside at the Bb, but I can’t figure out what the hell he’s doing! I’ve learned the passage and played it live and it works with all the background harmonies present. I know the right thing is to say “it works, don’t think about it” but I’d love to synthesize this in other situations. It’s an ear worm and I can’t get it out of my head.
It works because he's treating F as a V7 of Bb. Bb is home, not F. He does the same in 288-292. The line goes through F# to B (key change!). That's why I think it works. Gotta ask him if you wanna be sure :)
Y”all act like this is something special.... ANBODY can do this in their sleep. Please. Like Chris Potter is one of the greats or something. Please!! Disclaimer: The comments above do not reflect the poster’s true sanity level. The above comments were intended to be fictional and should be viewed as such. The poster bears no responsibility for the any outrage that may ensue. The above comments cannot be reprinted or quoted without express written permission. Taxes, title, tags are extra. No refunds or exchanges allowed. See dealer for details.
As a motivated tenor sax player, I've studied a lot of the influences heard in this solo. Is anything here "new"? Well, not really. Is it still absolutely incredible? Yes, Chris Potter is an extremely skilled musician whose approach to music is undeniably textbook. My advice to anyone looking to tackle something like this... scales, scales, more scales, Bach, Sonny, Dex, Bird, Coltrane, and Brecker IN THAT ORDER. Be a theorist, and dissect the work of various players to the best of your ability. Once every single combination of notes is relatively under your fingers, that's when you start connecting the dots. Look, it's no easy task, but with the help of the musicians stated above, you can certainly achieve something of this caliper. Then, when you're a true virtuoso, inspire others with your own musical stylings. The sole reason why Chris Potter is able to blow like this is because of his influences and thirst for knowledge!
pfff. Hahaha! Sorry folks, Mike says nothing new here. Just a textbook musician...Mike would like to offer his advice for anyone that wants to play like Chris Potter. Thanks Mike!!
I feel sorry for anyone that wouldn't be losing their mind over seeing this live. This is too rediculous to sit quiet and only try to process live. The energy of his playing is too infectious to shut up during
Maybe you should learn that Tenor Sax plays a whole step above concert pitch before criticizing? The jazz studies I'm applying to(one of the best in my state) uses this as audition music so... I'm gonna trust them before you.
He’s a robot. Or an alien. Or a machine. The sheer command he has of his language and the utter mastery of the horn makes him bound only to his imagination. Remarkable musician.
I love the fellow saxophone players listening and laughing 😆 thinking “best I can do is listen....I can practice all I want but I’ll never be an alien”
this is like a jazz scrap book with visits from bach. what a god.
a heavy classical influence here
Bach = Bebop, swung
@@Bird_Coltrane_Monk_Dizzy1113 bibop & sweeng
Listened to this 100 times still love it
I bet he's terrible at Counter Strike.
Yeah, I got nothin...
Haha!
« Practice what turns you on. »
- Chris Potter
Yeah, I'm in love with this solo
Absolutely breathtaking.
Who's still amazed and watching this in 2021?
@Simone Frati
I hadn’t heard it in probably more than 10 years, found this and am awestruck all over again!
Still amazed in 2023.😮
Middle of 2024... still ridicadacadonkulously fantablous. The type of stuff only musicians get a stiffy for but damn if it's not rock solid.
What else to say, but THANK YOU ! I looked up your download, it's really great of you to share that with us. All the best.
amazing solo
What a goldmine
Thanks for doing this hard work. Must have taken a "few minutes"?
Lmao
"It's you or no one" quote at 5:05. Unbelievable.
I don’t think this solo can be played better then this.
Thanks for transcribing! Instructive for visualizing the variety of rhythms Chris uses in his phrases!
you're welcome!
Inspiring
Geniale!!!!
An amazing solo, but the next generation of great players probably should be careful not to mistake the transcription for the inspired playing itself. There is not "progress" in art (when asked why he wasn't a "trailblazer" like Bird, Sonny Stitt angrily replied, "Look at Art Tatum. You can't get no better than that!"). What comes first is "listening" (not just to Rollins but to Harold Land, Lester, Hawk, Stitt) and learning "the tunes." Chris incorporates into this solo on a Jerome Kern tune at least one other tune by the same composer as well as melodic ideas and tunes by Charlie Parker and Rollins among others. It's a great solo--not because of the pyrotechnics but the rush of melodic invention, the rhythmic energy (formerly called "swing"), and the joy communicated by a player who does not sacrifice his "personal voice" to technique, theory, or method.
As impressive (even unbelievable) as this solo inarguably is, it need not deter musicians whose vocabulary or facility with the language is more limited. James Joyce was regarded by many as on the level of Shakespeare after the publication of "Ulysses," but that didn't prevent F. Scott Fitgerald from writing a nifty novelette, "The Great Gatsby," which many place on the same level as Joyce's far more complex and virtuosic acheivement. A great solo above all has melodic invention (not simply scales and chord patterns), swing and soul. This performance qualifies on all 3 counts. But so does Hawk's solo on "Body and Soul" (without a single reference to the altissimo register!) as does Hank Mobley's inventive, soulful playing (on practically anything he recorded before 1966).
Rather than trying to memorize someone else's solo or to learn their "system" (from theory down to mouthpieces and reeds), new players would do better to memorize more of the most-played tunes--popular and jazz standards--melody, chords and, in some cases, lyrics. And though jazz is no longer an exclusively "orally transmitted" infection, that's pretty much the way it worked from Louis to Coltrane. The ear can hear faster than the mind can think. Many, if not most, multi-lingual people learn by hearing the language rather than studying it out of a book.
+caponsacchi
Well said.
You've put a lot of things into a tidy nutshell. Well done.
Shut the fuck up and enjoy the music you eliteist.
scoobydoo62 lmao, found the dude who can’t play over changes
@@butterdrool991 lol found the dude who will vibe a cat for not being able to play giant steps
Fking incredible
Remember that last rap battle in 8 Mile? Chris Potter is Eminem, and I feel like Clarence right now.
Around 6:50 on bar 327-330 I think there is a bar missing or maybe just some notes.
In jazz improv in college we had to tell the professor what transcription we wanted to do and turn it in 2 weeks later... I decided to tell him I was gonna do this one. I definitely did not get an A lmao
ngl I'm probably half the views on this video hehehe. imo Chris Potter might be the goat alive right now besides Sonny. redman is also crazy but potter moves me like no other when I hear him play :)
do you know where I could get the music for sun king
Whoa ... what!
Every time I listen to this insane master Magician I still keeps saying oh my God. Now that's it I'm leaving see ya I'm out of here no just 5 more minutes,
Ummmmmm ok. I don't have many words. It speaks for itself
11:21 that little line with that timbre just turn me on ,kinda evil sound
Algún día 🥹🫶🏻
Oh for crying out loud, give it a rest. Take up basket weaving.will ya
4:36
10:54
SUPER HUMAN. :)
パチパチパチ♪
Funny!
transcription for alto sax?
show de improviso arranjo Tenos Sax
Can somebody help me understand why measures 74-76 “works”? It’s driving me absolutely nuts. It looks like he’s substituting IV over the dominant, then moving up an augmented 4th and resolving to…F# minor? It works because he goes back inside at the Bb, but I can’t figure out what the hell he’s doing! I’ve learned the passage and played it live and it works with all the background harmonies present.
I know the right thing is to say “it works, don’t think about it” but I’d love to synthesize this in other situations. It’s an ear worm and I can’t get it out of my head.
It works because he's treating F as a V7 of Bb. Bb is home, not F. He does the same in 288-292. The line goes through F# to B (key change!). That's why I think it works. Gotta ask him if you wanna be sure :)
F#m over F implies Falt going to Bb. Generally F#m6 (ie F# melodic minor) but there is some freedom there
Is there a transcription in concert pitch?
🙄💚🌱🌾
There's a mistake at letter A. He goes down to an F#, never hits the D, and goes from Bb to Eb.
Y”all act like this is something special.... ANBODY can do this in their sleep. Please. Like Chris Potter is one of the greats or something. Please!!
Disclaimer: The comments above do not reflect the poster’s true sanity level. The above comments were intended to be fictional and should be viewed as such. The poster bears no responsibility for the any outrage that may ensue. The above comments cannot be reprinted or quoted without express written permission. Taxes, title, tags are extra. No refunds or exchanges allowed. See dealer for details.
PARA LOS EJECUTANTES DE MÙSICA CLÀSICA AQUÌ LES VA UNA DE TANTAS DE LOS QUE ES LEER JAZZ... A VER SI SE ATREVEN LOS DETRACTORES...
As a motivated tenor sax player, I've studied a lot of the influences heard in this solo. Is anything here "new"? Well, not really. Is it still absolutely incredible? Yes, Chris Potter is an extremely skilled musician whose approach to music is undeniably textbook.
My advice to anyone looking to tackle something like this... scales, scales, more scales, Bach, Sonny, Dex, Bird, Coltrane, and Brecker IN THAT ORDER. Be a theorist, and dissect the work of various players to the best of your ability. Once every single combination of notes is relatively under your fingers, that's when you start connecting the dots. Look, it's no easy task, but with the help of the musicians stated above, you can certainly achieve something of this caliper. Then, when you're a true virtuoso, inspire others with your own musical stylings. The sole reason why Chris Potter is able to blow like this is because of his influences and thirst for knowledge!
Mike Paquette what about Lester Young?
pfff. Hahaha! Sorry folks, Mike says nothing new here. Just a textbook musician...Mike would like to offer his advice for anyone that wants to play like Chris Potter. Thanks Mike!!
moaning dude... hush
Yeah, the tenor bros digging themselves digging Chris are kind of annoying.
There are so many misnotes😅
what an annoying audience
Mr.Chong lol bro that’s how us americans do it
I feel sorry for anyone that wouldn't be losing their mind over seeing this live. This is too rediculous to sit quiet and only try to process live. The energy of his playing is too infectious to shut up during
To me the music is a master piece but the transcription is a joke. Even the first measure of the tune (A) is wrong
Maybe you should learn that Tenor Sax plays a whole step above concert pitch before criticizing? The jazz studies I'm applying to(one of the best in my state) uses this as audition music so... I'm gonna trust them before you.
It's transposed in tenor key