Lovano H-M App

JOE LOVANO
harmony melody
APPENDIX

THESIS
BY
Lars Angaard Madsen

Department of Musicology University of Copenhagen
CONTENTS

DISCOGRAPHY

COMPOSITIONS

IMPROVISATIONS
Emperor Jones
Transcription (annotated version)
Schematic Representation of the Secondary Chord Progression
Landmarks Along the Way
Where Hawks Fly
Here and Now
Primal Dance
In the Land of Ephesus
New York Fascination
Instructions to the Schematic Representation of the Secondary Chord Progression

Trent Kynaston Article (Down Beat/ May 92)

DISCOGRAPHY
________________________________________________________________________________________________
DISCOGRAPHY
Joe Lovano-compositions are in italic

as a leader

Tones, Shapes & Colors
Recorded live at the Jazz Center of New York City, N.Y. on November 21, 1985 / Soul Note 121 132
Joe Lovano (ts.gongs), KenWerner (p), Dennis Erwin (b), Mel Lewis (dr)
Chess Mates / Compensation / La Louisiane / Tones, Shapes & Colors / Ballad for Trane / In the Jazz Community /
Nocturne

Hometown Sessions
Recorded March 16, 1986 / JSL 0001
Tony Big T Lovano (ts*), Eddie Baccus (organ), Lawrence Jacktown Jackson (dr), Anthony Lovano (dr*),
Joe Lovano (ts,ss,dr**)
Stablemates / Now Is the Time / Body & Soul* / Be-Bop / Youre A Weaver of Dreams / Ts Bag** / Two Tenors /
St. Thomas* / Misterioso

Solid Steps
Recorded October, 1986 / Jazz Club 6011
Joe Lovano (ts,ss), Bert Joris (flh,tp), Michael Herr (p), Hein Van de Geyn(b), Dr Pallemaerts (dr)
Solid Steps / Who Knows / H and Cs Dance / Straight Shot / Lofritian Mode / A Picture of Her / Gustavia / Benjamin /
Pretext / Soulrole

Village Rhythm
Recorded June 7, 8 and 9, 1988 / Soul Note 121 182
Joe Lovano (ts,ss), Tom Harrell (tp), Kenny Werner (p), Marc Johnson (b), Paul Motian (dr)
Village Rhythm / Birds of Springtimes Gone By / Dewey Said / Chelsea Rendez-vous / Variation On A Theme /
His Dreams / T Was To Me Part I: Celebration of Life Everlasting, Part II: Theme / Sleepy Giant /
Duke Ellingtons Sound Of Love / Spirit of the Night

Worlds
Recorded live at the 8
th
American International Jazz Festival, Le Grand Theatre de la Maison de la Culture DAmiens,
France on May 5, 1989 / Label Bleu/Evidence 22132
The Wind Ensemble: Joe Lovano (ts,ss,alto cl), Bill Frisell (g), Tim Hagans (tp), Gary Valente (trb), Judi Silvano (voc),
Henri Texier (b), Paul Motian (dr)
Worlds / Round Dance / Tafabalewa Square / Two Hearts / Spirit of the Night / Lutetia / Bosstown

Ten Tales
Recorded live to digital 2 tracks at Armada Studio, Paris, France on May 8, 1989 / Owl 018 350 2
Aldo Romano (dr), Joe Lovano (ts)
Remanence / Dragons Are / Yellow Shadow / Moon Moth / Rain Season / Eternal Youth / Monologue for Two /
Return Match / Koua 1 / Autumn In New York
(All songs written by AR and JL, except Autumn In New York)

Landmarks
Recorded in August 13 & 14, 1990 / Blue Note 96108
Joe Lovano (ts), John Abercrombie (g), Ken Werner (p), Marc Johnson (b), Bill Stewart (dr)
The Own and the Fox / Primal Dance / Emperor Jones / Landmarks Along the Way / Street Talk / Her & Now /
I Love Music / Where Hawks Fly / Thanksgiving / Dig This

Sounds of Joy
Recorded January 26, 1991 / enja 7013
Joe Lovano (ts, as, ss, alto cl), Anthony Cox (b), Ed Blackwell (dr)
Sounds of Joy / Strenght and Courage / Ill Wait and Pray / Cedar Avenue Blues / Bass Space / Ettenro /
Until the Moment Was Now / This Ones for Lacy / 23rd Street Theme

DISCOGRAPHY
________________________________________________________________________________________________
From the Soul
Recorded on December 28, 1991 / Blue Note 98636
Joe Lovano (ts, as, ss), Michel Petrucciani (p), Dave Holland (b), Ed Blackwell (dr)
Evolution / Portrait of Jenny / Lines & Spaces / Body & Soul / Modern Man / Fort Worth / Central Park West / Work /
Left Behind / His Dreams

Universal Language
Recorded on June 26 & 28, 1992 / Blue Note 99830
Joe Lovano (ts, ss, as, alto cl, wood fl, gongs & perc), Judi Silvano (voc), Tim Hagans (tp), Kenny Werner (p), Steve
Swallow (el.b), Scott Lee (b), Charlie Haden (b), Jack DeJohnette (dr)
Luna Park / Sculpture / Josie & Rosie / This Is Always / Worship / Cleveland Circle / The Dawn of Time /
Lost Nations / Hypnosis / Chelsea Rendez-vous

Tenor Legacy
Recorded on June 18, 1993 / Blue Note 27014
Joe Lovano (ts), Joshua Redman (ts), Mulgrew Miller (p), Christian McBride (b), Lewis Nash (dr), Don Alias (perc)
Miss Etna / Love Is a Many Splendored Thing / Blackwells Message / Laura / Introspection / In the Land of Ephesus /
To Her Ladyship / Web of Fire / Rounders Mood / Bread and Wine

Joe Lovano Quartets Live at the Village Vanguard
Disc One: Recorded live at the Village Vanguard, March 12, 1994 / Blue Note 29125
Joe Lovano (ts, ss, C melody saxophones), Tom Harrell (tp, flh), Anthony Cox (b), Billy Hart (dr)
Fort Worth / Birds of Springtimes Gone By / I Cant Get Started / Uprising / Sail Away / Blues Not to Love /
Song and Dance
Disc Two: Recorded live at the Village Vanguard, January 20 & 22, 1995
Joe Lovano (ts), Mulgrew Miller (p), Christian McBride (b), Lewis Nash (dr)
Lonnies Lament / Reflections / Little Willie Leaps / This Is All I Ask / 26-2 / Duke Ellingtons Sound of Love /
Sounds of Joy

Rush Hour
Recorded April 6 & 7 and June 12, 1994 / Blue Note 29269
#1 / #2: Orchestra A / B
#3: Joe Lovano, Fred Sherry (cel), Gloria Agostini (harp), James Chirillo (g), Ed Schuller (b), George Schuller (dr)
#4: Joe Lovano, Judi Silvano; #5: Joe Lovano (solo)
Composed, Arranged and Conducted by Gunther Schuller
Prelude to a Kiss #1 / Peggys Blue Skylight #2 / Wildcat #5 / Angel Eyes #1 / Rush Hour on 23
rd
Street #2 /
Crepuscule With Nellie #2 / Lament for M #1 / Topsy Turvy #4 / The Love I Long for #1 / Junipers Garden #4 /
Kathline Gray #3 / Headin Out, Movin In #2 / Chelsea Bridge #5

Celebrating Sinatra
Recorded on June 2 & 3, 1996 / Blue Note 37718
Joe Lovano (ts), Kenny Werner (p), George Mraz (b), Al Foster (dr), Judi Silvano (voc), Billy Drewes (ss,bcl), Dick
Oatts (ts, fl), Ted Nash (ts, cl), Tom Christensen (ts, oboe, engh), Michael Rabinowitz (bsn), John Clark (frh),
Mark Feldman & Sara Perkins (vl), Lois Martin (vla), Eric Friedlander (cel), Emily Mitchell (harp)
Ill Never Smile Again / Chicago / Im a Fool To Want You / Ive Got the World On A String / All The Way /
South Of the Border / In Other Words / Ive Got You Under My Skin / This Love of Mine /
Someone to Watch Over Me / One for My Baby / The Song Is You

Tenor Time
Recorded at Avatar Studios, New York City on September 29, 1996 / somethinelse 5584
Joe Lovano (ts), Junko Onishi (p), Rodney Whitaker (b), Al Foster (dr)
Walkin / Why Dont I / Bye Bye Blackbird / Paradox / Ruby My Dear / Invitation / Budo / Like Sonny / Dewey Said

Flying Colors
Recorded on January 11, 1997 / Blue Note 56092
Joe Lovano (ts, ss, alto cl, dr, gongs), Gonzalo Rubalcaba (p)
Flying Colors / How Deep Is the Ocean / Boss Town / Bird Food / Spontaneous Color / Phantasm / Ugly Beauty /
Hot House / Glorias Step / Mr. Hyde / I Love Music / Along Came Betty

DISCOGRAPHY
________________________________________________________________________________________________
Trio Fascination (Edition One)
Recorded on September 16 & 17, 1997 / Blue Note 33114
Joe Lovano (ts, ss, straight as, alto cl), Dave Holland (b), Elvin Jones (dr)
New York Fascination / Sanctuary Park / Eternal Joy / Ghost of a Chance / Studio Rivbea / Cymbalism /
Impressionistic / Villa Paradiso / 4 on the Floor / Days of Yore

Friendly Fire (Joe Lovano + Greg Osby)
Recorded on December 15 & 16, 1998 / Blue Note 99125
Joe Lovano (ts, ss, fl), Greg Osby (as, ss), Jason Moran (p), Cameron Brown (b), Idris Muhammad (dr)
Geo J Lo / The Wild East / Serene / Broad Way Blues / Monks Mood / Idris / Truth Be Told / Silenos /
Alexander the Great

52
nd
Street Themes
Recorded at Avatar Studios on November 3 & 4, 1999 live to 2-track tape / Blue Note 96667
Joe Lovano (ts), Steve Slagle (as), George Garzone (ts), Ralph Lalama (ts), Gary Smulyan (bs), Tim Hagans (tp),
Conrad Herwig (trb), John Hicks (p), Dennis Erwin (b), Lewis Nash (dr)
Orchestrations by Willie Face Smith; Arrangements by Joe Lovano
If You Could See Me Now / On a Misty Night / Sippin At Bells / Passion Flower / Deal / The Scene Is Clean /
Whatever Possessd Me / Charlie Chan / Theme For Ernie / Tadds Delight / Abstractions On 52
nd
Street /
52
nd
Street Theme / Embraceable You

Flights of Fancy (Trio Fascination Edition Two)
Recorded live to 2-track analog tape at Avatar Studios June 14 & 15, 2000 / Blue Note 27618
Trio #1: Joe Lovano (ts, as), Cameron Brown (b), Idris Muhammad (dr)
Trio #2: Joe Lovano (ss, C-melody sax, alto cl, bcl, gongs), Billy Drewes (ss, alto fl, perc) , Joey Baron (dr)
Trio #3: Joe Lovano (ts), Toots Thielemans (acc), Kenny Werner (p)
Trio #4: Joe Lovano (ts, ss, dr), Dave Douglas (tp), Mark Dresser (b)
Flights of Fancy #1 / On April (Ill Remember April) #3 / Amsterdam #4 / Blue Mist #2 / Off and Runnin #2 /
Infant Eyes #3 / 206 #4 / Bougainvillea #1 / Windom Street #2 / Hot Shot #1 / Aisha #1 / Amber #4 /
On Giant Steps #3 & #1 / Flights of Fancy (Reprise) #1

Viva Caruso
Recorded October 13 & 15, 2001 / Blue Note 35986
The Opera House Ensemble*: Byron Olson (arr), Helen Campo (fl), Dick Oatts (fl), Billy Drewes (cl), Charlie Russo
(bcl), Kim Lackowski (bsn), Michael Rabinowitz (bsn), Tom Christianson (oboe, frh), John Clark (frh), Judi Silvano
5 & 8 (voc), Gil Goldstein 5,10 & 12 (acc), Ed Schuller 2,4 & 8 (b), Scott Lee 5,10 & 12 (b), Joey Baron (dr)
The Street Band
+
: Joe Lovano (arr), Gil Goldstein (accordion), Judi Silvano (voc), Ed Schuller (b), Scott Lee (b), Billy
Drewes (cl), Joey Baron (dr), Carmen Castaldi (dr), Bob Meyer (dr), Jamey Haddad (Mazar frame drum), Michael
Bocian (g), Herb Robertson (tp), Gary Valente (tb)
Vesti La Giubba
+
/ Tarantella Sincera* / The Streets of Naples
+
/ Cielo Turchino* / Pecche* / O Sole Mio /
Viva Caruso
+
/ Campane A Sera* / Santa Lucia
+
/ Soltanto A Tte* / Il Carnivale Di Pulcinella
+
/ For You Alone*

On This Day At the Vanguard
Recorded September 29, 2002 at the Village Vanguard / Blue Note 90950
Joe Lovano (ts), Barry Ries (tp), Larry Farrell (tb), Steve Slagle (as), George Garzone (ts), Ralph Lalama (ts), Scott
Robinson (bs), John Hicks (p), Dennis Erwin (b), Lewis Nash (dr)
Orchestrations: Joe Lovano (1 & 6), Willie Face Smith (2, 4 & 5), Steve Slagle (3)
At the Vanguard / Focus / After the Rain / Good Bait / Laura / On This Day / My Little Brown Book

Im All for You
Recorded live to 2-track analog tape at Avatar Studios June 11 & 12, 2003 / Blue Note 96922
Joe Lovano (ts), Hank Jones (p), George Mraz (b), Paul Motian (dr)
Im All for You / Dont Blame Me / Monks Mood / The Summary / Stella By Starlight / I Waited for You / Like
Someone In Love / Early Autumn / Countdown

DISCOGRAPHY
________________________________________________________________________________________________

with Paul Motian
The Story of Maryam (Soul Note)
Psalm (ECM)
Jack of Clubs (Soul Note)
It Should Have Happened A Long Time Ago (ECM)
Misterioso (Soul Note)
One Time Out (Soul Note)
Monk in Motian (JMT)
Paul Motian on Broadway vol. 1 (JMT)
Paul Motian / Bill Evans (JMT)
Motian in Tokyo (JMT)
Trioism (JMT)
Sound of Love (Winter & Winter)
You Took the Words Right Out Of My Heart (JMT)
I have the Room Above Her (ECM)

with John Scofield
Time On MY Hands (Blue Note)
Meant To Be (Blue Note)
The John Scofield Quartet Plays Live (JazzDoor)
What We Do (Blue Note)
scolohofo (Blue Note)

with Charlie Haden and the Liberation Music Orchestra
The Montreal Tapes (Verve)
Dream Keeper (Blue Note)

with Woody Herman
40
th
Anniversary In Carnegie Hall (RCA)
Roadfather (Century)
Chick, Donald, Walter and Woodrow (Century)
Woody & Flip Philips Together Again (Century)

with Mel Lewis Jazz Orchestra
The Definitive Thad Jones vol. 1 & 2 (MusicMasters)
Soft Lights and Hot Music (MusicMasters)
Make Me Smile (Finesse)
Live At Montreux (Pausa)
20 Years at the Village Vanguard (Atlantic)

with others
Open Land / John Abercrombie (ECM)
Jazz Profile / Mose Allison (Blue Note)
The Earth Wants You / Mose Allison (Blue Note)
Portraits in Jazz and Clave / Ray Barretto (RCA/BMG)
For This Gift / Michael Bocian (GM Recordings)
Actor-Actress / Salvatore Bonafede (Ken)
Some Of My Best Friends Are The Sax Players /
Ray Brown (Telarc)
Young Lions & Old Tigers / Dave Brubeck (Telarc)
Side Step / Brad Buethe (Owl)
Cyrus Chestnut / Cyrus Chestnut (Atlantic)
Softly / Marc Copland (Savoy / Denon)
Anything Went / Bill DeArango (GM Recordings)
Unknown Voyage / Furio Di Castri (A Tempo)
Right On My Way Home / Bob Dorough (Blue Note)
Vignettes / Ray Drummond (Arabesque)
Excursions / Ray Drummond (Arabesque)
Transition / Peter Erskine (Passport)
Sweet Soul / Peter Erskine (RCA Novus)
The Common Thread / Allen Farnham (Concord)
5
th
House / Allen Farnham (Concord)
Gratitude / Eric Felten (Soul Note)
From Now On / Sonny Fortune (Blue Note)
Fours And Twos / George Garzone (NYC)
Nighttown / Don Grolnick (Blue Note)
Manhattan Bridge / Cliff Habian (Milestone)
No Words / Tim Hagans (Blue Note)
Nocturne / Charlie Haden (Gitanes)
By Arrangement / Jim Hall (Telarc)
Dialogues / Jim Hall (Telarc)
Textures / Jim Hall (Telarc)
Live At the Regattabar / Jim Hall (Telarc)
New Arrangements & Compositions / Jim Hall (Telarc)
Sail Away / Tom Harrell (Contemporary)
Labyrinth / Tom Harrell (RCA Victor)
Form / Tom Harrell (Contemporary)
Visions / Tom Harrell (Contemporary)
Passages / Tom Harrell (Chesky)
Upswing / Tom Harrell (Chesky)
Firebird / Billy Hart & the Western Jazz Quartet (SMR)
Fred Hersch and Friends / Fred Hersch (Broadway Cares)
Rhapsody / Lee Konitz (Paddle Wheel / Evidence)
Drag / K D Lang (Warner Brothers)
First Tango in NY / Andy LaVerne (Musicdisc)
Over the Years / Abbey Lincoln (Verve)
Another Time, A. Place / Kevin Mahogany (Warner Br.)
An American Diary / Mike Mainieri (NYC)
The Dark Keys / Branford Marsalis (Columbia)
Think Tank / Pat Martino (Blue Note)
Instructions Inside / Vince Mendoza (Manhattan)
Start Here / Vince Mendoza (World Pacific)
Epiphany / Vince Mendoza (Zebra Acoustic)
Monks Corner / Johannes Mssinger (double moon)
Long As Youre Living / Judy Niemack (Freelance)
Byron Olsons Sketches of Coltrane / B.O. (Angel/EMI)
Avenue U / Peter OMara (enja)
Danilo Perez / Danilo Perez (Novus)
Music / Michel Petrucciani (Blue Note)
Vertigo / Chris Potter (Concord)
Couldnt Happen Without You / Saheb Sarbib (Soul N.)
To Know Where One Is / Ed Schuller (GM)
Life Cycle / Ed Schuller (GM)
Lookin Up From Down Below / George Schuller (GM)
Afrodesia / Lonnie Smith (Groove Merchant)
Lonnie Smith and George Benson / Lonnie S. (Europa)
When the Night Is Right / Lonnie Smith (Groove M.)
Keep On Lovin / Lonnie Smith (Groove Merchant)
Durance / Alain Soler (Celp)
Think Before You Think / Bill Stewart (Evidence)
Real Book / Steve Swallow (XTRAWATT)
Izlaz / Henri Texier (Label Bleu)
Paris Batignoles / Henri Texier (Label Bleu)
Transatlantic Quartet / Henri Texier (Label Bleu)
Colonel Skopje / Henri Texier (Label Bleu / Evidence)
The Element of Swing / Ed Thigpen (STUNT)
Tiberian Mode / Frank Tiberi (NYJAM)
Sequestered Days / Gust Tsilis (enja)
American Rhapsody / Vienna Art Orchestra (RCA Vict.)
Uncovered Heart / Kenny Werner (Sunnyside)
DISCOGRAPHY
________________________________________________________________________________________________
298 Bridge Street / Kenny Werner (AMF)
Beauty Secrets / Kenny Werner (RCA Victor)
Kurdish Dance / Yosuke Yamashita (Verve)
Dazzling Days / Yosuke Yamashita (Verve)
Ways of Time / Yosuke Yamashita (Verve)

cooperations
Art of the Duo, vol. 1 (enja)
Gathering of Spirits / Saxophone Summit (Telarc)
Jackies Blues Bag (HIBD)
The Music of Keith Jarrett:
As Long As Youre Living Yours (RCA Victor)
TangoVivo! Noches de Buenos Aires (Winter & Winter)
To You A Tribute to Mel Lewis (MusicMasters)
Tribute to Lee Morgan (NYC)
Yule Be Boppin (Blue Note)

Lars Angaard Madsen page 1 of 3

Joe Lovano Compositions - including Flights of Fancy
If nothing else has been noted the solo is on the chord progression of the theme

Group I Chordal Improvisation (active chord progression)
- Ia complex Structure Joe Lovano Compositions
THEME
COMPOSITION
A A B A Blues Other Form Meter Style / M.M. () Comments
La Louisiane (Tones, Shapes & Colors) 14 4/4 Swing / 224 Kind of a blues
In the Jazz Community (T.S.& C.) 16 8 16 4/4 Swing / 250
Lofritian Mode (Solid Steps) 16 4/4 Swing / 132
Gustavia (Solid Steps) 18 18 8 18 3/4 Swing / 208 Partly a systematical structure (Gr.II)
Village Rhythm (Village Rhythm) A(20) A(24) 4/4 Swing / 224 Solo on A(20)
Birds of Springtime Gone By (V.Rhythm / LVV) 8 8 8 8 4/4 Ballad / 112 12/8 on the Live at the V.V. recording
Chelsea Rendezvous (Village Rhythm) 22 4/4 Rubato The form is evident on the Grand Slam recording
Sleepy Giant (Village Rhythm) 12 8 12 4/4 Swing / 216 Systematical chord progression for B
Spirit of the Night (Village Rhythm/ Worlds) 16 4/4 Swing / 192
Worlds (Worlds) 14 4/4 Fast Swing / 264
Primal Dance (Landmarks) A(12) B(7) 4/4 Latin/Funk+Swing / 194 See analysis!
Landmarks Along the Way (Landmarks) A(8) B(12) 4/4 Even 8th+Latin+Swing / 240 See analysis!
Where Hawks Fly (Landmarks) 12 12 8 12 4/4 Fast Swing / 268 See analysis!
Thanksgi ving (Landmarks) A(8) A(8) B(4) A(8) A(8) 4/4 Swing / 138
Sounds of Joy (Sounds of Joy / Live at the VV) 12 4/4 Fast Swing / 240 Kind of a Bb minor-blues
Ettenro (Sounds of Joy) A(?) A(?) 8-bar sections!? 4/4 Fast Swing / 252 16-bar solo-chorus
Lines & Spaces (From the Soul) 16 16 8 4/4 Swing / 160 B(8): interlude
The Dawn of Time (Universal Language) 8 8 10 4/4 Ballad / 92
Josie & Rosie (Universal Language) A(8) A(8) A(8) 4/4 Fast Swing / 264 A-section of Woodyn You (Monk)
Web of Fire (Tenor Legacy) 20 4/4 Jazz/Funk / 184 Theme: 4-bar vamp/lick + solo
Song and Dance (Live at the Village Vanguard) 8 8 4 8 4/4 Jazz/Funk / 112
Fl ying Colors (Flying Colors) 12 4/4 Swing / 184 Blues in B-major!
Sanctuary Park (Trio Fascination I) 22 4/4 Swing / 112
Eternal Joy (Trio Fascination I) 16 16 16 3/4 Swing / 176 B-section = motive
Ghost of a Change (Trio Fascination I) 8 8 8 8 4/4 Ballad / 58
Cymbalism (Trio Fascination I) 10 10 4 10 4/4 Swing / 232 A(10): oscillating chords (C7-Db7)
Villa Paradiso (Trio Fascination I) 6 6 8 6 4/4 Swing / 108 A = M3 up
4 On The Floor (Trio Fascination I) 16 16 8 4/4 Swing / 152 Solo on A
Alexander the Great (Friendly Fire) A(16) B(8) C(8) 4/4 Swing / 208 Thickened line on Bye Bye Blackbird
Charlie Chan (52
nd
Street Themes) 8 8 8 8 4/4 Swing / 224 based on Milestones (1947)


- Ib System Structure Joe Lovano Compositions
THEME
COMPOSITION
A A B A Other Form Meter Style / M.M. () Comments System
Solid Steps (Solid Steps) A(12) A(12) 4/4 Swing / 252 A= M2 up (blues) Tonal center down M3
His Dreams (Village Rhythm) 20 3/4 Swing / 126 Tonal center up m3 (complex)
Tafabalewa Square (Worlds) 8 (Theme; 2:29)* 6/4 Even 8th / 126 *) Suite Bass line: [F#-E-G-F#]-[E-D-F]
Emperor Jones (Landmarks) 24 4/4 Ballad / 112 See analysis! Tonal center down M3 (a) / m3 (b)
Here and Now (Landmarks) 18 (184/4 126/4) 4/4 Even 8th / 252 See analysis! 7alt-chords with root in w.t.-2
In the Land of Ephesus (Tenor Legacy) 16 4/4 Even 8th / 208 See analysis! Complex interval-structure
Miss Etna (Tenor Legacy) 8 8 8 4* 4/4 Fast Swing / 220 *) A = first 4 bars of A Chords with root in w.t.-2
New York Fascination (Trio Fascination I) A(12) A(12) 4/4 Swing / 208 See analysis! Complex interval-structure
Days of Yore (Trio Fascination I) (4/4) Rubato 4/4 through solo (Swing / 208) maj7-chords in a m3/P5-structure
The Wild East (Friendly Fire) 12 4/4 Swing / 208 7-chords down M2 (w.t.-structure)

Group II Modal Improvisation (passive chord progression) Joe Lovano Compositions
THEME
COMPOSITION
A A B A Other form Meter Style / M.M. () Comments
IMPROVISATION
Dewey Said (Village Rhythm / Tenor Time) 16 16 16 4/4 Fast Swing / 268 Active ch. progr. in A ( mm. 9-12)
The Owl and the Fox (Landmarks) A(10+6) B(20?) 4/4 Fast Swing / 232 Written piece for ts+b+dr Probably 8-bar sections for solo
Strength and Courage (Sounds of Joy) 4 3 8 4 4/4* Swing / 126 *) mixed with 12/8
Fort Worth (From the Soul / Live at the V.V.) 8 8 8 4/4 Swing / 200 4-bar riff
Luna Park (Universal Language) 24 (8+8+4+4) 4/4 Swing / 208 4-bar riff
Flights of Fancy (Flights of Fancy) A(22) A(22) 4/4 Swing / 168 A = m2 down 16-bar sections for solo


Group III Free Improvisation (no chord progression) Joe Lovano Compositions
THEME
COMPOSITION
A A B A Other Form Meter Style / M.M. () Comments Instruments
IMPROVISATION
Tones, Shapes & Colors (TS&C) Repeated line/riff (4x) Freely (3:28 3:50 + 5:07) gongs + ts Free (tonal centre = Cm)
Ts Bag (Hometown Sessions) Repeated line/riff (8x) Fast/Freely ts (Big T) dr (JL) Free
Two Tenors (Hometown Sessions) Sequence of details Freely Arrangement incl. improvisation ts + ts (Big T)
T Was to Me (Village Rhythm)* Rhetorical Freely Second part of a two-part suite ts + b +.dr Free (Part I)
Round Dance (Worlds) Rhetorical Slow/Freely Open arrangement (2:30-3:46) voc,tp,acl,tb,dr Free (various settings)
Lutetia (Worlds) 18 4/4 Slow/Freely / 40 Arrangement tp + ts + tb free on theme (voc. solo)
Boss Town (Worlds*/ Flying Colors) (5) (10) (5) 2/4 Freely / 120 Arrangement Voc + tp + ts (tb,b,dr) Free (various settings)
Street Talk (Landmarks) 12 4/4 Swing / 196 In unison / very blues-like ts,b,dr Free on melody/form (12)
Dig This (Landmarks) 12 4/4 Even 8th / 224 Arrangement in unison ts,gui,p,b,dr Free (changing tempi)
This Ones for Lacy (Sounds of Joy) No form / A simple riff ss+b / ss+dr Free
Evolution (From the Soul) 16 4/4 Freely / 216 Motive / Theme on chord progr. ts,p,b,dr Free in 4/4 (Fast Swing 276)
Modern Man (From the Soul) 32 (4:50) 4/4 Fast Swing / 264 Motive as,dr Free in time (4/4+12/8)
Sculpture (Universal Language) A A B Slow/Freely Coltrane-like (Expression) ts,p,b,dr Free (tonal centre = Gm)
Worship (Universal Language) 4 9 4 4/4 Even 8th / 84 Theme based on a motive voc,tp,ss,b,dr,gongs Free (various settings)
Cleveland Circle (Univ. Language) 15 4/4 Swing / 224 Arrangement voc,tp,ts,p,b,dr Free (various settings)
Lost Nations (Universal Language) Riff on ostinato 7+5/4 Even 8th / 152 2-bar ostinato (7+5/4) voc,tp,ss,b,dr,alto-cl Free on 7+5/4 (various set.)
Hypnosis (Universal Language) A(16)A(16)B(8)C(16) 4/4 Swing / 240 Ornette Coleman-style ts,b,b,dr Free in time
Blackwells Message (Tenor Legacy) 16 12/8 Swing / 168 4-bar ostinato in rhythm-section ts,ts,b,dr,perc Free on ostinato
Bread and Wine (Tenor Legacy) 16 4/4 Even 8th / 264 Riff-arrangement ts,ts,dr,perc Free on form (in time)
Uprising (Live At the Village Vanguard) 9 9 8 4/4 Fast Swing / 252 Ornette Coleman-style tp,as,b,dr Free in time
Topsy Turvy (Rush Hour) 8 8 4 8 4/4 Swing / 192 ts,ss,bcl,dr,voc Free (various settings)
Junipers Garden (Rush Hour) A A B A Slow/Freely In unison voc,ss Free (limited)
Wild Cat (Rush Hour) A(13+8) A(13+8) 4/4 Swing / 176 + intro (8) / A = up P5 ts,dr Free
Studio Ri vbea (Trio Fascination I) A(4+4) B(6+6) C(4) 4/4 Swing / 116 O.Coleman-style (blues-like) as,b,dr Free in time
Impressionistic (Trio Fascination I) Rhetorical in unison Freely Ornette Coleman-style bcl,b,dr Free + Swing (232)
Idris (Friendly Fire) 28 (30 with dr intro) 4/4 Swing / 168 Arr. in unison / displaced theme ss(fl),ss(as),b,dr Free (changing tempi)
Amsterdam (Flights of Fancy) Rhetorical in unison Freely Ornette Coleman-style ts,tp,b Free
Blue Mist (Flights of Fancy) (15) (3:38 ) (4/4) Rubato Arrangement Monk-style cl,b,dr Free (ss+gongs,dr,perc)
Off and Runnin (Flights of Fancy) Rhetorical in unison Freely Ornette Coleman-style ts,ss,dr Free
206 (Flights of Fancy) A A B Rhetorical in unison Freely Ornette Coleman-style tp,b,dr Free
Windom Street (Flights of Fancy) Rhetorical (4-lines) Slow/Freely (0:42 1:28 + 3:46 4:12) bcl,s,fl,ss,dr Free (various settings)
Hot Shot (Flights of Fancy) 16 16 7 16 4/4 Swing / 224 Motive / A(16) = up m3 as,b,dr 4/4-puls
Amber (Flights of Fancy) Rhetorical Slow/Freely Arrangement(0:45-1:18+2:21-3:02) ss,tp.b Free collective improv.
*) A scored out song, based on a poem by Ron Smith
IMPROVISATIONS

JOE LOVANO / Jazz Tenor Solos (Masters of the Tenor Saxophone)
Corybant Productions, Inc. (1991)
Transcribed and edited by Trent Kynaston; *) Corrections by Lars Angaard Madsen
Emperor Jones
Where Hawks Fly*
Primal Dance*

JOE LOVANO (Artist Transcriptions Series)
Hal Leonard Corporation (1995). ISBN: 0-7935-5160
Transcribed by Jim Carroll

Transcribtions by Lars Angaard Madsen
Here and Now

All themes transcribed by Lars Angaard Madsen (exept In the Land of Ephesus by Jim Carroll)

Notation
As far as possible the analysis from the main text is notated in the transcription, why articulation
symbols and other kind of musical notation for reason of space have been left out. Otherwise the
transcription is identical with the original notation, why there sometimes is a discrepancy between
notation and analysis (cf. enharmonic equivalents). Unless the notation is obviously wrong, I have
chosen to maintain the original transcription, not to fix the reader on the present explanation. In
connection with Where Hawks Fly (4-bar section), Primal Dance (section A) and In the Land
of Ephesus there are a number of regular corrections, which are shown in detail in continuation of
the solo.

With every transcribtion follows a schematic representation of the secondary chord progression,
illustrating the approach to improvisation. From the grey squares it is possible to form a general
view of chord substitution, which is described in detail in the column representing the secondary
chord progression. Are we dealing with horizontal improvisation it will appear from the column of
comments
In continuation of the improvisations follows some instructions to the Schematic Representation of
the Secondary Chord Progression.

_
_
Transcribed by Trent Kynaston
Analysed by Lars Angaard Madsen
Composed by Joe Lovano
Tenor sax solo by Joe Lovano
Landmarks; Blue Note 96108
Bb-instrument
Emperor Jones
_
Ballad (q = 112)
Theme as played in the opening chorus
a
Tonal Centres down M3
C^
,
, ,
,
[Dm7
,
,
,
G7]
,
,
, ,
Ab^
,
,
, ,
,
, ,
,
[Bbm7
Db penta
, ,
,
, ,
, ,
Eb7]
, ,
,
, ,
,
5
_
,
E^
,
,
,
,
,
,
3
,
[F#m7
,
,
,
B7]
,
,
,

C^
,
,
,
,
,
,
,
,
,
[Bm7
E7]
,
,
,
b9
,
,
,
3
3
3
9
_
b
Tonal Centres down m3
,
A^
,
,
,
,
,

[Abm7
,
,
, ,
b9
,
,
, ,
Db7]
, ,
,
, ,
Db penta
,
,
Gb^
,
, ,
, ,
, ,
,
,
,
, ,
[Fm7
,
, ,
Bb7]
,,
,
, ,
,
3
3 3
3
3
13
_
,
Eb^
,
,
, ,
,
,
,
3
,
[Dm7
,
G7]
,
,
,
,
C^
,
,
3
,
,
,
,
,
,
, ,
[Gm7
,
,
,
,
C7]
,
,
, ,
,
,
3
3
3
17
_
a'
Tonal Centres down M3
F^
F penta
,
,
,
,
,
, ,

,
[Gm7
,
C7]
, ,
,
,
, ,
,
,
,
Db^
Db metric penta
,
,
, ,
, ,
[Ebm7
, ,
,
, ,

Ab7]
,
,
, ,
, ,
,
,
3
3
3
3
21
_
Theme transcribed by Lars Angaard Madsen
The dividing into three sections is only caused by the chord progression. That explains the use of small letters (a-b-a)
A^
E metric penta
,
,
,
,
,
,
,
,

,
3
,
[Bm7
, ,
E7]
b9
,
,
F^
,
,
,
,
,
, ,
, ,
, ,
,
,
,
, ,
G7sus4
[G7sus4 G7]
,
,
,
,

,
, ,
,
3
3
3
3
3 3
3
3
LISTEN
1
_
PCP:
SCP:
a
0:48
Chorus 1 - tenor sax solo
,
C^
C^
,
, ,
Dm
,
,
Dm7
,
,
,
G7
G7
Ab^
,
, ,
Ab^
,
, ,
,
Eb7
,
,
,
Bbm7
,
,
, ,
, ,
Eb7
, ,
3
5
_
E^
E^
,
,
E horisontal
,
,
,
,
,
,
3
F#m7
,
,
,
,
B7
C^
,
,
,
,
C^
,
,
,
,
G penta
Bm7
,
,
,
Bm7 E7
E7(b9)
,
,
,
,
, ,
,
,
3
9
_
b
1:04
A^
A^
,
,
,
_
Abm7
Abm
,
, ,
, ,
Db7
, ,
,
,
,
Db7
Cb penta
, ,
, ,
, ,
, ,
, ,
, ,
, ,
,
,
Gb^
Gb^
, ,
, ,
,
,
, ,
,
, ,
,
,
,
,
,
, ,
,
, ,
12
_
Fm7
Fm7
app
,
, ,
,
,
,
,
, ,
Bb7
,
,
,
,
Eb^
, ,
,
,
Eb^
,
,
, , ,
,
,
, ,
,
,
Dm
, ,
, ,
,
Dm7
,
,

G7
G7
,
,
3
15
_
,
C^
C^
,
,
,
,
,
,
C7
,
,
, , ,
Gm7
,
,
,
,
,
C7
a'
1:20
F^
F^
,
, ,
,
,
,
Gm/C7
, , ,
Gm7 C7
, ,
, ,
,
Db^
,
,
,
3
3
3
3
19
_
,
Db^
,
Db horisontal
, ,
, ,
3
Ebm7
, ,
,
, ,
, ,
Ab7
,
A^
, ,
,
,
,
A^
,
, ,

,

,

,

,
,
,
,
Bm7
Bm7
_
E7
E7(#9)
ctd+
,
,
,
F dorian scale!
[Fm7
,
,
,
, ,
,
5
23
_
PCP = Primary Chord Progression; SCP = Secondary Chord Progression
NB: The bar numbers in the solo are separated from the bar numbers in the theme to follow the transcription of Trent Kynaston
*
F^
app
Gm7]
, ,
,
, ,
,
,
F^
,
,
,
p ct
,
, , ,
, , ,
,
,
,
G7sus4
G7sus4
,
,
,
G7
,
,
,
,
G7(b9)
,
,
,
,
b9
a
1:36
Chorus 2
C^
C^
,
,
, ,
,
, ,
,
,
,
C penta
,
, ,
,
,
,
5
Emperor Jones / Joe Lovano solo
26
_
Dm7
G7
,
, ,
,
,
G7
,
,
, ,
Ab^
,
,
Ab^
, ,
,
,
,
, ,
,
Bbm7
Bbm7 Eb7
, ,
,
, ,
, ,
Eb7
E6
E penta
,
, ,
,
,
,
E^
,
,
,
,
,
,
,
,
,
,
3
3
3
3
5
5
5
30
_
F#m7
F#m7
,
, ,
,
,
B7
B7
,
,
,
C^
,
,
,
C^
,
,
,
,
,
, ,
,
Bm7
E7(#9)
ctd+
, ,
,
E7
,
,
,
,
,
, ,
, ,
,
,
,
,
,
n
,
,
,
,
,
,
,
3
3
3
3
3
3
6
6
3
33
_
b
1:51
A^
A^
,
,
,
,
,
,
, ,
,
,
,
Gb^
Abm7
,
,
,
,
,
, , ,

Db7
,
Gb horisontal / Db penta
,

, ,
, ,
,
Gb^
,
, ,
, ,
, ,
,
,
,
,
6
3
3
3
3
36
_
Eb^
Fm7
, ,
,
,
3
Eb horisontal / Eb penta
,
Bb7 Eb^
, ,
, ,
,
,
,
, ,
,
3
,
C^
Dm7
C horisontal / G penta
G7
,
,
,
,
,
,
,
C^
,
,
,
, ,
,
,
,
,
,
3
40
_
,
Gm7
C7
, ,
,
C7
,
,
,
,
,
,
a'
2:07
F^
,
,
,
F^
,
, ,
, ,
,
,
,
,
,
,
Gm7
Gm7
,
,
,
,
, ,
C7
C7
_
Db^
,
,
, ,
3
3 3
3
43
_
Db^
Ab penta
,
,
, ,
,
,
, ,
,
, ,
,
,
,
,
,
,
,
Ebm7
Ebm7
, ,
, ,
,
, ,
, ,
, ,
,
,
Ab7
,
,
,
,
A^
A^
,
,
,
,
,
,
,
,
,
,
,
,
,
46
_
Bm7
Bm/E7
,
,
,
,
E7
,
F
F^
,
,
,
F horisontal / C penta
,
,
,
,
G7sus4
,
,
G7
,
,
G penta
,
,
C^
,
,
,
,
,
,

3
Emperor Jones / Joe Lovano solo

4/4 Ballad; q=112 page 1 of 1
Categories of Substitution
Chorus Section Primary Chord Progr. Measure Secondary Chord Progression Comments
regular antic. delay omit insert
C^7 1 C^7
Dm7 G7 2 Dm G7
A^7 3 A^7
a
Bm7 E7 4 E7
E^7 5 E^7 E horizontal
Fm7 B7 6
C^7 7 C^7 G penta
(M3)
Bm7 E7 8 Bm7 E79* *
A^7 9 A^7 /
Am7 D7 10 Am7 D7* *) C penta
G^7 11 G^7
b
Fm7 B7 12 Fm7
E^7 13 E^7
Dm7 G7 14 Dm/G7 / /
C^7 15 C^7
(m3)
Gm7 C7 16 C7
F^7 17 F^7 /
Gm7 C7 18 C7 D^7 D horizontal
D^7 19
a
Em7 Ab7 20
A^7 21 A^7
Bm7 E7 22 Bm7 / E7alt* *) Fm dorian scale! *
F^7 23 F^7
1
(M3)
G7sus4 G7 24 G7sus4 G79* *
C^7 25 C6 C penta
Dm7 G7 26 G7
A^7 27 A^7 /
a
Bm7 E7 28 Bm7 E7 E6* *) E penta
E^7 29
Fm7 B7 30 Fm7 B7
C^7 31 C^7 /
(M3)
Bm7 E7 32 E7alt* or Bm7-E7alt *
A^7 33 A^7
Am7 D7 34 G^7 / G horizontal (Dpenta)
G^7 35
b
Fm7 B7 36 E^7 E horizontal (Epenta)
E^7 37
Dm7 G7 38 C6 C horizontal (C penta)
C^7 39
(m3)
Gm7 C7 40 C7
F^7 41 F^7
Gm7 C7 42 Gm7 / C7
D^7 43 D^7 A penta
a
Em7 A7 44 Em7
A^7 45 A^7
Bm7 E7 46 Bm/E7
F^7 47 F F horizontal (C penta)
2
(M3)
G7sus4 G7 48 C penta / G penta
E
m
p
e
r
o
r

J
o
n
e
s

/

L
a
n
d
m
a
r
k
s

B
l
u
e

N
o
t
e

9
6

1
0
8

/

J
o
e

L
o
v
a
n
o

t
e
n
o
r

s
a
x

s
o
l
o

/

B

_
_
Composed by J oe Lovano
Tenor sax solo by J oe Lovano
Bb-instrument
_
Intro Even Eighth Notes
,
P4
,

(q =208)
,
,

P4
,
,
,
,

,
,
.
,
,

,
, .
,
,
,
,
,

5
_
dim-chord
,
,
(app)
,
,

,
,
, ,
(app)
,
,

,
,

,
,
(app)
,
, ,

8
_
A Section leading to Bmaj7 (m.17) / Bm-maj7 (m.20)
F#7sus4
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
G#7sus4*
,
,
,
,
,
,
,
,
,
, ,
.
_
,
F#7sus4/D^
,

,

,
,
,

,
,
.
,

,
,
.
,
,
,
,
,

12
_
,
C#m7(b5)
,
,
,
, ,
,
,
dim-chord
,
,
,
,
,
, ,
F#7(#11)
,
,
,
,
,
,
,
_
,
,
,
,

,
,
, ,
,

,

,
,

,
, ,

16
_
B
Swing
,
C#m7 F#7
,
,
3
,
,
,
,
B^
P4+
,
,
,
,
,
,
3
,
,
,
,
Gm7
P4+insert
,
,
C7(#11)
3
,
,
,
,
, ,
F^(#11)
,
,
, ,
,
,
20
_
Latin
Bm^
,
,

,
,
,
,
,
, ,
,
Cm7(b5)
dim-chord
,
, ,
,
,
,
,
,
,
,
Fm7
,
,
,
Bb7
,
,
, ,
, ,
, ,
Eb^

P4+
,
,
,
24
_
*) noted as Ab7sus4 by Trent Kynaston
Bm7(b5)
,
,
,
,
,
,
E7alt
,
,
Am7
,
,
,
,
,
A7alt
3
,
,
,
3
,
, ,
,
.
D^
P4
,
,

,
,
,
,

,
,
LISTEN
1
_
0:48
PCP:
SCP:
A
Even Eighth Notes
F#7
F#7sus4
,
,
,
,
,
,
,
,
,
,
,
,
,
G#7
G#7sus4
,
,
,
,
,
,
,
5
_
C#m7
,
C#m7(b5)
,
,
.
B-horisontal
ct
,
, ,
,
,
F#7(#11)
,
,
,
,
, ,
,
,
,
,
,
,
,
,
, pd
,
, ,
,
9
_
0:56
B
Swing throughout the solo
,
C#m7
T
,
,
F#7
,
,
,
,
B^
,
,
,
,
,

Gm7
,
F-horisontal
,
C7(#11)
,
,
,
,
,
(app)
F^(#11)
,
,
,
,
,
,
,
,
,
,
,
3
3
13
_
Bm^
,
,
,
,
,
p
, ,
,
,
,
[Cm7]
Cm7(b5)
, ,
,
,
,
,
Eb-horisontal +Bb penta
,
, ,
,
,
,
Fm7 Bb7
,
,
, ,
,
Eb^
, ,
,
,
,
,
,
17
_
.
Bm7(b5)
app
Bb7
E7alt p
,
, ,
, , ,
Am7
Am7
app ,
,
,
,
,
,
,
,
A7[D^]
A7alt
p
,
,
, , , app
D^
,
,
,
,
,
ct
,
,
,
,
G
,
,
,
,
21
_
1:08
Chorus 2
A
,
F#7sus4
F#7(#11)
,
,
,
,
,
,
,
,
,
app
,
,
,
,
,
,
G#7sus4
G#7(#11)
,
,
,
,
,
,
app
,
,
,
,
25
_
PCP =Primary Chord Progression; SCP =Secondary Chord Progression
NB: The bar numbers in the solo are separated from the bar number in the theme to follow the transcription of Trent Kynaston
C#m7(b5)
C#m7
,
,
,
, ,
,
app
,
,
,
, ,
,
F#7(#11)
F#7(#11)
,
,
,
,

,
, ,
,
B-horisontal
, ,
,
,
,
,
,
,
Landmarks Along the Way / J oe Lovano solo
29
_
1:16 B
C#m7
F#penta / B penta
,
,
F#7
,
,
,
B^
,
,
Gm7
.
C7(#11)
,
C7 F^
, ,
,
,
F^(#11)
,
,
p
, , ,
,
,
33
_
Bm^
C7(b9)
, ,
, ,
,
,
,
,
,
,
, ,
Cm7(b5)
,
,
[Fm7]
, ,
,
,
Eb-horisontal
Fm7
p
Bb7
,
, , ,
,
,
,
, ,
Eb^
, ,
,
, ,

37
_
,
Bm7(b5)
,
Bm7(b5)
,
,
,
E7alt
Bb7(#11)
,
, ,
,
[E7alt]
,
,
,
Am7
Am7
,
,
, ,
,
,
,
.
A7alt
A7[D^]
p
, , ,
,
p
, , ,
D^
,
,
,
,
,
,
,
,
app
,
, ,
,
3
3
3
3
41
_
1:27
Chorus 3
A
F#7
F#7sus4
,
,
,
,
,
,
,
,
,
,
,
,
G#7
,
,
,
,
,
G#7sus4
,
,
,
,
,
,
,
,
,
,
45
_
.
C#m7(b5)
app
C#(7)
app
, ,
, ,
F#7
,
, ,
,
F#7(#11)
B-horisontal
,
,
p
, ,
,
, ,
,
,
,
,
,
49
_
1:35
B
C#m7
,
,
,
F#7
,
,
,
,
, ,
B^
,
,
,
,
,
,
,
,
,
Gm7
F-horisontal
,
C7(#11)
,
,
ct
,
,
,
F^(#11)
, ,
,
,
(app)
,
,
,
,
,
,
,
,
,
,
3 3 3
3 3
53
_
,
Bm^
[Bm^]
,
fill
, ,
,
, , ,
Cm7(b5)
[Cm7] Eb-horisontal
,
,
, ,
,
,
,
,
,
ct
Fm7
, ,
,
,
,
,
p
Bb7
, , ,
,
,
,
Eb^
,
,
,
,
3

57
_
,
Bm7(b5)
Bm7(b5)
E7alt
p

, , ,
,
,
G7alt
Am7
,
, ,
,
, ,
C
,
,
,
,
app
A7alt
,
, ,
,
,
A7[D^]
,
,
,
,
D^
,
,
,
,
,
,
,
,
61
_
1:47
Chorus 4
A
F#7sus4
F#7(#11)[F#7(#5)]
, ,
,
,
app
,
,
,
, ,

,
,
,
,
,
,
G#7sus4
G#7(#11)/G#7(#5)
,
,
,
,
,
,
,
,
,
,
.
app
,
,
,
3
3
3
3
3
3
65
_
C#m7(b5)
app
,
,
,
,
,
,
C#m7
,
,
,
,
B-horisontal
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
F#7(#11)
,
,
,
appd
app
, ,
, ,
,
,
, , , ,
T
,
3
3
3
3
3
3
3
69
_
1:54
B
,
C#m7
F#7
,
,
,
,
,
,
, ,
B^
,
,
,
,
,
app
,
, ,
, ,
Gm7
F-horisontal
pd
,
,
,
,
C7(#11)
T
, ,
,
,
,
F^(#11)
,
,
,
,
,
p
,
, , ,
,
,
73
_
Bm^
, ,
,
,
,
,
,
app
,
,
,
,
Cm7(b5)
[Cm7]
p
, ,
,
, , ,
p
Eb-horisontal (lydian mode)
, , ,
,
,
Fm7
Eb penta
Bb7
,
, ,
,
, ,
Eb^
,
,
,
,
p
, ,
,
,
p
, ,
,
,
, ,
3
3
77
_
.
Bm7(b5)
Bm7(b5)
ctd
E7alt
,
,
,
ct
T
,
,
,
Am7
,
,
,
[E7alt]
T
Am7
,
,
,
,
,
,
,
,
,
A7alt
A7[D^]
app
,
,
,
,
,
,
A penta
,
,
, ,
D^
fill
,
, ,
,
,

3
3
3
3
3 3
3 3
3
81
_
2:06
Chorus 5
A
,
F#7(#11)
F#7sus4
fill
, ,
, ,

,
,
,
,
,
,
,
,
,
,
,
, ,
G#7(#11)
G#7sus4
,
,
(app)
,
,
,
,
, ,
,

85
_
.
C#m7(b5)
C#7(#5)
p
w.t.

,
, , ,
,
C7
,
, ,
, ,
,
,
,
, ,
,
F#7(#11)
,
,
, ,
,
,
B-horisontal
, ,
,
,
, ,
,
,
, ,
,
,
,
,
,
,
,
89
_
2:14
B
C#m7
,
,
,
,
F#7 B^
,
,
,
,
,
,
,
,
,
,
F-horisontal
Gm7
,
,
,
,
, ,
,

C7(#11)
,
,
,
F^(#11)
,
,
,
,
,
,
3
93
_
,
Bm^

[Cm7]
Eb-horisontal
, ,
,
Cm7(b5)
p
,
, , ,
, ,
,
p
, ,
Fm7
Bb7
,
, ,
,
,
, ,
, ,
,
,
Eb^
,
,
, ,
, ,
,
, ,
,
, ,
97
_
Bm7(b5)
,
, ,
,
,
E7alt
app
,
,
,
,
Am7
, ,
,
, ,
,
p
Am7/A7alt
, , ,
,
,
A7alt
,
,
,
theme fragment
,
,
, ,
,

D^
,
,
,
,
,
,
,
D
,
3
3
101
_
Chorus 6
A
F#7
,
F#7sus4
, ,

Guitar solo
- - -

4/4 Swing; q= 240 page 1 of 3
Chorus Section Primary Chord Progr. Meas. Secondary Chord Progression Comments
F7sus = F7 1 F7
2
G7sus = G7 3 / G7
4
Cm7(5) = Cm7* 5 Cm7 /
6 / / B^7 B horizontal
F7(11) 7
A
8
Cm7 F7 9
B^7 10 /
Gm7 C7(11) 11 / / F^7 F horizontal
B
F^7(11) 12
(Bm^) 13
Cm7(5) = Cm7* 14 E E horizontal
Fm7 B7 15 (B penta)
E^7 16
(Bm75) E7alt 17 / / B7(11) or E7alt
Am7 18 Am7
A7alt = A7* 19 A7 mixolydian mode (D^7)
1

D^7 20 G sliding
F7sus = F7 21 F711
22
G7sus = G7 23 G711 / / /
24
Cm7(5) = Cm7 25 Cm7 /
26 /
F711 27 F711
A
28 B^7 B horizontal (F+B penta)
Cm7 F7 29
B^7 30 /
Gm7 C7(11) 31 / / / /
B
F^7 (11) 32 F^7
(Bm^) 33 C79 indirectly leading to Fm7
Cm7(5) = Cm7 34 E E horizontal
Fm7 B7 35
E^7 36 /
Bm75 E7alt 37 Bm75 B711 B711 = E7alt
Am7 38 Am7 / /
A7alt = A7 39 A7 mixolydian mode (D^7)
2

D^7 40
L
a
n
d
m
a
r
k
s

A
l
o
n
g

t
h
e

W
a
y

/

L
a
n
d
m
a
r
k
s

B
l
u
e

N
o
t
e

9
6

1
0
8

/

J
o
e

L
o
v
a
n
o

t
s

s
o
l
o

/

B

*) Regular chord-substitution to fit in with the horizontal approach (Cm7 B horizontal; Cm7 E horizontal; A7 D horizontal)

page 2 of 3
F7sus = F7 41 F7
42
G7sus = G7 43 G7
44
(Cm75 ) = Cm7 45 / / C(7) indirectly leading to F7
46 B^7 B horizontal
F7(11) 47
A
48
Cm7 F7 49
B^7 50
Gm7 C7(11) 51 F^7 / / F horizontal
B
F^7(11) 52
(Bm^) 53 / / possible Bm^
Fm7 B7 55
E^7 56
Bm75 (E7alt) 57 Bm75
Am7 58 G7alt C (Am)
A7alt = A7 59 A7 mixolydian mode (D^7)
3

D^7 60
F7sus = F7 61 F711 or F75
62 /
G7sus = G7 63 G711 and G75
64 / / /
Cm7(5) = Cm7 65 B B horizontal
66
F7(11) 67
A
68 / /
Cm7 F7 69 B^7
B^7 70
Gm7 C7(11) 71 F^7 F horizontal
B
F^7(11) 72
(Bm^) 73
Fm7 B7 75 / E penta.
E^7 76
Bm75 E7alt 77 / / Bm75
Am7 78 (E7alt) Am7
A7alt = A7 79 A7 / D A7 mixolydian (D^7) / A penta
4

D^7 80 / /
L
a
n
d
m
a
r
k
s

A
l
o
n
g

t
h
e

W
a
y

/

J
o
e

L
o
v
a
n
o

t
e
n
o
r

s
a
x

s
o
l
o

page 3 of 3
F7sus = F7 81 F711 (F75)
82
G7sus = G7 83 G711 (G75)
84
(Cm75) = Cm7 85 / / C75* *) questionable interpretation
86 C7 / C7 mixolydian mode
F7(11) 87 B^7 B horizontal
A
88
Cm7 F7 89
B^7 90 F^7
Gm7 C7(11) 91 / F horizontal
B

F^7(11) 92
(Bm^) 93 / / E E horizontal
Cm7(5) = Cm7 94
Fm7 B7 95
E^7 96
(Bm75) (E7alt) 97
Am7 98 Am/A7alt*
A7alt = A7 99 / theme fragment (Am/A7alt)
5

D^7 100 D
L
a
n
d
m
a
r
k
s

A
l
o
n
g

t
h
e

W
a
y

_
_
Revised and analysed by
Lars Angaard Madsen
Composed by Joe Lovano
Joe Lovano ts solo
Where Hawks Fly
Bb-instrument
_
A
"Blues-with-a-Bridge"
Fast Swing (q =268)
Ebm7
,
, ,
,
,
, ,
,
,
,
, .
, ,
,
,
,
,
,
D7(#5)
,
,
,
,
,
,
Gm7
,
,
,
,
, .
5

_
,
Gm7
G aeolian mode/ Bb ionian mode
, ,
,
,
3
,
, ,
,
p
3
C7
, ,
,
,

Bb7 Bb mixolydian mode
3
Fm7
,
, ,
,
, ,
,
,
,
-
Bb7
, ,
,
,
,
9

_
B7
Eb7alt
,
,
,
,
E7alt
,
,
,
,
,
A7(#11)
,
,
,
,
,
,
,
,
Bb7alt
C7(#11)
, ,
,
,
app
,
,
A7alt
C#7
,
,
,
,
,
D7(#11)
D7(#11)
,
,
.
13

_
B
Db7
, ,
, ,
,
, ,
,
, ,
,
, ,
.
C7
,
,
,
, ,
,
,
,
,
,
,
,
, ,
,
,

17

_
B7
.
,
,
,
,
,
The chord progression expressed in the melody of Section A, mm.7-12 corres-
pond the chord progression in Section B: Bb7-B7-C7-C#7-D7-Db7-C7-B7-Bb7
.
Bb7
3
,
,
,
, ,
,
,
,
-
21

_
A
Ebm7
,
, ,
,
,
, ,
,
,
,
, .
, ,
,
,
,
,
,
D7(#5)
,
,
,
,
,
,
,
,
,
,
, .
25

_
,
Gm7
, ,
,
,
3
,
, ,
,
3
C7
, ,
,
,

3
,
, ,
,
Fm7
, ,
,
,
,
-
Bb7
, ,
,
,
,
29

_
Eb7alt
,
,
,
,
E7alt
,
,
,
,
,
A7(#11)
,
,
,
,
,
,
,
,
Bb7alt
, ,
,
,
,
,
A7alt
,
,
,
,
,
D7(#11)
,
,
.
LISTEN
1

_
PCP:
SCP:
A
2:02
,
Ebm7
Ebm7
, ,
, ,
,
, ,
,
,
.
D7(#5)
,
D7(#5)
,
,
, ,
,
,
5

_
,
Gm7
C penta (F horisontal)
,
, ,
C7
,
,
,
,
,
,
Fm7
Fm7
,
,
,
,
,
,
, ,
Bb7
,
,
, ,
9

_
.
Eb7alt
E7alt
E
,
, ,
A7(#11)
,
,
, ,
Bb7alt

A7alt
Eb
, ,
,
,
D7(#11)
,
ct
, ,
,
13

_
A
2:13
,
Ebm7
.
Ebm
, ,
, ,
, ,

D7(#5)
app
Ab7
,
p
,
,
,
,
, ,
, ,
p
, ,
,
,
, ,
,
,
,
,
3
3
3
3
3
17

_
,
Gm7
Gm7
,
app
,
,
,
,
C7
,
,
,
,
C
,
,
,
,
Bb7
Fm7
,
,
ct
Bb metric penta
, ,
,
,
, ,
Bb7
,
, ,
,
,
,
,
,
, ,
,
21

_
,
Eb7alt
,
E7alt
*
, ,
Eb7(#11)/A7alt
, ,
,
A7(#11)
p p
, , ,
, , ,
app
*
,
, ,
, ,
Bb7alt
*
pd
*
T
,
,
,
,
A7alt
,
,
, ,
,
D7(#11)
D7(#11)
, ,
, ,
.
25

_
PCP = Primary Chord Progression; SCP = Secondary Chord Progression
NB: The bar numbers in the solo are separated from the bar numbers in the theme to follow the transcription of Trent Kynaston
B
2:23
Db7
Db7
, ,
, ,
,
,
,
, ,
, ,
,
C7
C7
,
, ,
*) corrected notes (see last page)
n
,
, ,
, , ,
p
p
, , ,
, , ,
G7(b9)
,
, ,
,
,
C7
p
p
, , ,
, , ,
Where Hawks Fly / Joe Lovano solo
29

_
B7
p
n
B7
,
, , ,
,
,
,
,
,
,
,
,
,
Bb7
,
,
,
,
Bb7
p
, , ,
,
, ,
,
, ,
,
,
,

, ,
33

_
A
2:30
Ebm7
, Ebm7
Eb blues II
, ,
,
, ,
,
, ,
D7(#5)
.
, ,
, ,
, ,
,
D7(#5)
* *
, ,
,
,
, ,
3
37

_
Gm7
Gm7
,
,
,
,
,
,
,
C7
, ,
,
,
p
p
, ,
,
,
p
,
, ,
,
Fm7
p
Fm7/Bb7
, , ,
,
,
,
,
,
,
Bb7
ct
, ,
,
,
, ,
p ,
,
, , ,
41

_
Eb7alt
,
, ,
,
* *
Eb7(#11)
p
*
, ,
,
E7alt
, ,
,
,
, ,
E7(#11)
A7(#11)
*
*
,
,
,
,
*
,
A7(#11)
,
.
Bb7alt
Bb7(#11)
A7alt
, ,
, ,
,
,
,
D7(#11)
p
,
adjusted rhythm!
,
p
,
45

_
A
Chorus 2
2:41
,
Ebm7
,
Ebm
,
, , , ,
w.t.
, ,
, , ,
,
D77(#5)
D7(#5)
, ,
,
,
,
.
*
p
,
, , ,
3
49

_
C7
Gm7
,
,
, ,
,
,
,
p
C7
, ,
,
p
, , ,
,
,
,
,
, ,
,
,

Fm7
.
Fm7
p
, ,
,
, ,
, , ,
Bb7
,
,
, ,
, ,
,
,
,
,
3
3
3
53

_
Bb7
Eb7alt
* *
, ,
, ,
,
, ,
E7alt
p
,
,
, , ,
,
A7(#11)
p
, , ,
A7(#11)
*
,
,
, ,
,
Bb7alt
,
,
* * *
, ,
,
A7alt
D7(#11)
,
,
,
*
,
,
D7(#11)
,
, ,
, ,

Ebm7
, ,
3
57

_
A
2:51
Ebm7
,
, ,
,
,
, ,
, ,
,
, ,
, ,
,
,
, ,
,
,
D7(#5)
Ab7(b9)
, ,
, ,
, , ,
Db^
,
, ,
,
, , ,
,
,
,
61

_
C7
Gm7
,
, ,
,

C7(b9)
C7
,
,
,
,
dim scale
, ,
, ,
,
, ,
,
,

Fm7
n
,
,
,
,
, ,
Fm
Bb7
, ,
Bb7
,
,
,
,
, ,
,
65

_
Eb7alt
Eb7alt
* *
, , ,
, ,
,
E7alt
E7alt
*
p
,
,
, ,
, , ,
A7(#11)
.
Bb7alt
A7alt
,

ctd+
,
,
,
A7alt
substance-affinity between A7alt and Db7
T
, ,
,
,
,
D7(#11)
, ,
,
,
,
, ,
,
, ,
,
3 3
69

_
B
3:02
Db7
Db7
,
, ,
, ,
, ,
, ,
,
,
,
, ,
, ,
, ,
, ,
,
, ,
, ,
C7
.
C7
,
p
, , , ,
b9
,
, ,
,
,
73

_
B7
B(7)
,

,
,
,
,
B penta
*
,
,
,
app
Bb7
Bb7
,
,
, ,
p
, ,
, , ,
,
,
,
, ,
, ,
,
Ebm7
,
,
, ,

77

_
A
3:08
,
Ebm7
fill
, ,
,
Db horisontal
, , ,
, , ,
,
fill
,
, , ,
,
,
,
fill
, , ,
, , ,
,
, ,
3
,
,
,
D7(#5)
, ,
,
, ,
,
,
,
, ,
,
, ,
p
,
,
, ,
,
,
F horisontal
p
,
, , ,
,
3
3
3
3
3
3 3 3
3
3
81

_
,
Gm7
,
, ,
p
, , , ,
ct
, , , ,
C7
,
,
,
,
p
Fm7
, , ,
,
,
,
Fm7
,
,
,
, ,
Bb7
p
, , ,
,
, ,
Eb7alt
p
p
, ,
,
, , ,
85

_
Eb7alt
n
E7alt
,
,
,
,
E7alt
ct
, ,
,
,
,
A7(#11)
,
, ,
,
, ,
,
A7(#11)
ctd
, ,
,
,
,
T
Bb7alt
Bb7(#11)
,
, ,
,
, ,
A7alt
[A7alt] D
,
,
,
, ,
D7(#11)
,
,

Ebm7
, ,
, ,
89

_
A 3:19
Chorus 3
Ebm7
, ,
, ,

,
, ,
, ,
,

, ,
,
Ab7
D7(#5)
[D7(#5)]
, ,
,
,
, ,
,
,
,
, ,
,
, ,
,
,
,
,
93

_
,
Gm7
Gm7
,
, ,
,
,
,
, ,
,
,
C7
C7
,
,
,
,
, ,
,
,
,
,
Fm7
Fm7
, ,
,
,
,
Bb7
Bb7
, ,
,
, ,
,
,
,
, ,

97

_
,
theme fragment
Eb7alt
[A7(#11)
B7(#11)
,

,
,
,
E7alt
,
,
,
,
A7(#11)
,
*
,
,
,
,
Bb7alt
Ab7(b9)
p
,
, ,
, , ,
A7alt
,
,
, ,
D7(#11)
p
Db^]
Bb7
,
,
, ,
,
, ,
3
101

_
A
3:29
Ebm7
,
Ebm7
, ,
,
,
, ,
,
,

, ,
,
, ,
, ,
, ,
, ,
, ,
,
fill
D7(#5)
, , ,
, , ,
,
, , ,
.
Cm7 F7
,
, ,
,
, ,
p
, ,
,
,
3
3
3
3
105

_
Gm7
Bb^#11/Gm7
,
, ,
,
app
,
,
,
, , ,
,
C7
,
,
,
, ,
,
,
,
,
, ,
C7
,
,
,
,
Fm7
,
, ,

ctd+
Bb7
,
, , ,
,
F7
*
,
,
,
, ,
,
p
, , ,
,
,
3 3
3
3
3
3
3
109

_
p
Eb7alt
7alt
,
,
,
, ,
E7alt
, ,
,
,
,
app
A7(#11)
,
,
, ,
,
ct
, , , , ,
,
,
Bb7alt
,
,
,
, ,
A7alt
,
, , , ,
D7(#11)
, ,
, ,
p
p
, ,
,
, , ,
113

_
substance-affinity between F7alt and Db7
B
3:40
Db7
,
,
,
,
Db7
, ,
, ,
,
,
b9
,
, ,
,
, ,
C7(#11)
pd , , ,
, ,
C7
T
,
,
, ,
,
,
,
, ,
B7
,
,
,
,
117

_
B7
,
,
,
,
,
,
,
,
,
,
,
Bb7
,
, ,
Bb7
Eb penta
, ,
,
,
,
,
,
,
, ,
,
Ebm7
, ,
,
121

_
A
3:47
Ebm7
, ,
,
,
,
,

, ,
,
,
,
,
, ,
D7(#5)
D7(#5)
, ,
, ,
,
w.t.
,
,
,
,
,
,
,
,
,

125

_

Gm7
Gm7
, ,
,
,
,
C7
,
, ,
,
p
, ,
,
Fm7
Fm7/Bb7
p
, ,
, ,
,
n
,
,
,
Bb7
,
n
,
,

129

_

Eb7alt
B7
app
(sliding; Bb7 - B7 - Bb7)
,
,
E7alt
, ,
,
,
,
A7(#11)
,
,
,
,
,
,
,
,
appd
,
,
Bb7alt
,
,
*
T
,
,
,
A7alt
,
,
,
,
D7(#11)
p
,
, , ,
,
Bb7
, ,
,
,
, ,
3
133

_
A
Chorus 4
3:57
Ebm7
, ,
,
,
Ebm7
, ,
,
,
, ,
, ,
, ,
.
D7(#5)
, ,
, ,
,
, ,
D7(#5)
, ,
, ,
,
,
,
,
, , ,
, ,
,
137

_
Gm7
Gm7
,
, ,
. -
C7
-
Fm7
-
Bb7
141

_
app
Eb7alt
*
A7(#11)[Eb7alt]
, , ,
, ,
,
E7alt
E7(#11)
*
app
, ,
, ,
,
,
A7(#11)
A7(#11) Bb7(#11)
,
,
, ,
, ,
p
, , ,
,
,
Bb7alt
A7alt
,
, ,
,
, ,
D7(#11)
A7alt
app
,
,
, ,
,
D7(#11)
,
, , ,
, ,
,
145

_
A
4:08
Ebm7
,
. - - -
149

_
,
Gm7
Gm7
,
,
, ,
,
fill
C7
, ,
, ,
,
, ,
,
,
3
nd
,
,
,
Fm7
,
Fm7
, ,
3
ct
Ab penta
Bb7
, ,
, ,
,
,
n
, ,
,
,
, ,
, ,
,
,
, ,
N
,
,
,
3
3
3
3
3
153

_
Eb7alt
, ,
,
, ,
, ,

E7alt
. -
A7alt
-
Bb7alt A7alt
.
D7(#11)
Db7
, ,
,
157

_
B
4:18
Db7
, ,
, ,
, ,
,
, ,
, ,
, ,
,
, ,

[C7]
, ,
,
,
C7
C7
,
,
,
,
,
F^
, ,
,
,
,
,
,
,
,
,
,
3
161

_
,
B7
. - -
Bb7
-
165

_
A
4:25
Ebm7
Ebm7
, ,
, ,
,
Gb penta
,
,
,
, ,
,
,
, ,
,
,
, ,
,
, ,
, ,
,
, ,
,
D7(#5)
D7(#5)
,
,
,
, ,
,
,
,
, ,
,
,
Gm7
,
,
,
,
,
,
,
,
3
169

_
,
Gm7
. -
C7
-
Fm7
-
Bb7
173

_
theme fragment
B7(#11)
Eb7alt
,
,
,
,
E7alt
E7
,
,
,
,
A7(#11)
*
[B7]
* *
E7
,
,
,
, ,
,
,
, , ,
Bb7alt
F7(#11)
p p
, , ,
,
,
A7alt D7(#11)
,
,
,
,
, ,
Bb7
p ,
,
, ,
,
177

_
A
Chorus 5
4:35
, ,
Ebm7
. - -
D7(#5)
.
D7(#5)
p
, ,
, , ,
,
181

_
,
Gm7
Gm7
,
,
,
,
C7
, ,
,
p
,
, ,
, , ,
,
Fm7
,
,
, ,
,
,
,
Fm7
ct
Bb7
, ,
, , ,
,
,
, ,
,
,
, ,
185

_
-
Eb7alt E7alt
-
A7(#11)
-
Bb7alt A7alt
-
D7(#11)
189

_
A
4:46
Ebm7
, ,
Ebm7
, ,
, ,
, ,
, ,
, ,
, ,
, ,
, ,
, ,
,
, ,
,
, ,
,
A7(b9)
D7(#5)
,
, ,
, ,
, , ,
,
,
, ,
,
,
,
,
D7
,
,
193

_
Gm7
Gm7
,
,
,
,
,
,
C7
D7
,
,
Gm7
,
,
,
,
,
. -
Fm7
-
Bb7
197

_
[Eb7]
Eb7alt
, ,
,
,
Ab(7)
, ,
,

E7alt
[E7] A(7)
,
,
,
A7(#11)
,
,

Bb7
fill
, ,
,
Bb7alt
A7
,
, ,
,
, ,
A7alt
D7(#11)
D7(#11)
p
, , ,
,
Db7
,
,
,

,
,
3 3 3
3
3
201

_
B
4:56
Db7
,
. - -
C7
-
205

_
B7
appd
B7(#11)
T
theme paraphrase
,
,
,
,
, ,
,
,
.
Fm7
Bb7
,
, ,
,
,
,
, ,
,
, ,
,
,
,
Bb7
,
,
,
,
,
209

_
A
5:03
Ebm7
Ebm7
,
, , ,
,
, ,
. -
D7(#5)
-
213

_
,
Gm7
Gm7
, ,
,
,
,
C7
, ,
,
,
p
p
, , ,
, , ,
Fm7
Fm7
p
,
, , ,
,
Bb7
,
,
,
, ,
p
, , ,
,
,
, ,
pd
Eb7alt
,
, ,
, , ,
3
217

_
Eb7alt
T
, ,
,

E7alt
There are some minor but nevertheless decisive mistakes in the transcription of Trent Kynaston,
which mainly has come out in the last four bars of Section A. In the present version the mistakes
have been corrected and subsequent marked with a star (*) above the particular note.
All the corrections are juxtaposed with the original transcription on the following pages.
,
, ,
-
A7(#11)
-
Bb7alt A7alt
-
D7(#11)
Transcribtion: Trent Kynaston (TK); Corrections: Lars Angaard Madsen (LA)
Corrected notes are marked with a star and/or frame
Corrections
_
(21-24)
TK
,
Eb7alt
,
E7alt
*
,
, ,
,
A7(#11)
, , ,
, , ,
*
*
,
,
, ,
, ,
Bb7alt
*
* ,
, ,
,
,
A7alt
,
,
, ,
,
D7(#11)
, ,
, ,
.
_ LA
,
,
, ,
, ,
,
, , ,
, , ,
,
, ,
, , ,
,
,
,
,
,
, ,
,
, ,
, ,
.

_
(41-44)
TK
Eb7alt
,
, ,
,
, , ,
E7alt
,
,
,
, ,
A7(#11)
, ,
, ,
,
,
, ,
,
.
Bb7alt A7alt
, ,
, ,
,
,
D7(#11)
,
,
,
,
,
,

_ LA
,
, ,
,
, ,
, , ,
,
,
, ,
,
,
,
,
,
,
.
, ,
, ,
,
,
, ,
, ,

_
(53-56)
TK
Eb7alt
, ,
,
, ,
, ,
E7alt
,
,
, , ,
,
A7(#11)
, , ,
,
,
, ,
,
Bb7alt
,
,
,
,
,
,
A7alt
,
,
,
,
,
D7(#11)
,
, ,
, ,

, ,
3
3
_ LA
, ,
, ,
,
, ,
,
,
, , ,
,
, , ,
,
,
, ,
,
,
,
, ,
,
,
,
,
,
,
,
, ,
, ,

, ,
3

_
(65-68)
TK
Eb7alt
, , ,
,
, ,
E7alt
,
, , ,
, , ,
A7(#11)
.
Bb7alt
,

,
,
,
A7alt
, ,
,
,
,
D7(#11)
, ,
,
,
,
, ,
,
, ,
,
3
3
_ LA
, , ,
, ,
,
,
,
, ,
, , ,
.
,

,
,
, , ,
,
,
,
, ,
,
,
,
, ,
,
, ,
,
3
3

_
(85-88)
TK
Eb7alt
,
,
,
,
E7alt
, ,
,
,
,
A7(#11)
,
, ,
,
, ,
,
*
, ,
,
,
,
Bb7alt
*
,
, ,
,
, ,
A7alt
,
,
,
, ,
D7(#11)
,
,

, ,
, ,
_ LA
,
,
,
,
, ,
,
,
,
,
, ,
,
, ,
,
, ,
,
,
,
,
, ,
,
, ,
,
,
,
, ,
,
,

, ,
, ,
Where Hawks Fly / J oe Lovano solo

_
(97-100)
TK
,
Eb7alt
,

,
,
,
E7alt
,
,
,
,
A7(#11)
,
*
,
,
,
,
Bb7alt
,
, ,
, , ,
A7alt
Corrections / Page 2 of 2
,
,
, ,
D7(#11)
,
,
, ,
,
, ,

3
_ LA
,
,

,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
, , ,
,
,
, ,
,
,
, ,
,
, ,

3

_
(129-32)
TK

Eb7alt
,
,
E7alt
, ,
,
,
,
A7(#11)
,
,
,
,
,
,
,
,
,
,
Bb7alt
,
,
*
,
,
,
A7alt
,
,
,
,
D7(#11)
,
, , ,
, , ,
,
,
, ,
3
_ LA

,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, , ,
, , ,
,
,
, ,
3

_
(141-44)
TK
Eb7alt
*
, ,
, ,
, ,
,
E7alt
*
, ,
, ,
,
,
A7(#11)
,
,
, ,
, ,
, , ,
,
,
Bb7alt
,
, ,
,
, ,
A7alt
,
,
, ,
,
D7(#11)
,
, , ,
, ,
,
_ LA
, , ,
, ,
,
, ,
, ,
,
, ,
,
, ,
, ,
, , ,
,
,
,
, ,
,
, ,
,
,
, ,
,
,
, , ,
, ,
,

_
(173-76)
TK
Eb7alt
,
,
,
,
E7alt
,
,
,
,
A7(#11)
,
,
,
,
,
,
, , ,
Bb7alt
, , ,
,
,
A7alt
,
,
,
,
, ,
D7(#11)
,
,
, ,
,
_ LA ,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
, , ,
, , ,
,
, ,
,
,
,
, ,
,
,
, ,
,

_ TK
D7(#5)
, ,
, ,
, ,
,
_
D7(#5)
, ,
, ,
, ,
, ,
.
*
_
, ,
, , ,
Bb7
,
, ,
, ,
, ,
, , ,
,
,
3
_ LA
(36-37)
, ,
, ,
, ,
,
_
(48-49)
, ,
,
,
, ,
.
_
(108)
,
, , ,
,
,
,
, ,
,
, , ,
,
,
3
Where Hawks Fly / J oe Lovano solo

4/4 Fast Swing; q=268 page 1 of 5
regular antic. delay omit insert progr.
Em7 1 Em7
2
D75 3 / / D75 (w.t.)
4
Gm7 5 F^7 F horizontal (C penta)
C7 6
Fm7 7 Fm7
B7 8 /
(E7alt) (E7alt) 9 / / / E
(A711) 10
(B7alt) (A7alt) 11 / / / /
A
(D711) 12 E
Em7 13 / / / /
14 Em7 /
D75 15 / / A7* *) mixolydian mode
16 / /
Gm7 17 Gm7
C7 18 C(7)
Fm7 19 B7 B metric penta
B7 20
(E7alt) (E7alt) 21 / / / A7alt E711 or A7alt
(A711) 22
(B7alt) A7alt 23
A
D711 24 D711 / /
D7 25 D7
26 C7
C7 27
28 G79 C7
B7 29 B7
30
B7 31 B7
B
32 / /
Em7 33 Em7 E Blues II
34
D75 35 / / / or D7alt
36 D75
Gm7 37 Gm7
C7 38
Fm7 39 Fm7/B7
B7 40
E7(alt) E7(alt) 41 E7(11)
A711 42 E7(11) A7(11)
B7(alt) (A7alt) 43 / / B7(11)
1
A
(D711) 44
W
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e

H
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s

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y

/

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m
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B
l
u
e

N
o
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e

9
6
1
0
8

/

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B

page 2 of 5
Em7 45 Em
46
D75 47 D75
48 / / /
Gm7 49 C7
C7 50 /
Fm7 51 / / Fm7
B7 52
(E7alt) (E7alt) 53 B7
A711 54 A711
(B7alt) (A7alt) 55 D711
A
D711 56 / Em7
Em7 57
58
(D75) 59 A79 D^7
60 / /
Gm7 61 C7
C7 62 -9
Fm7 63 /
B7 64 Fm7 B7
E7alt E7alt 65 Ealt E7(alt)
(A711) 66 / / /
(B7alt) A7alt 67 A7alt
A
(D711) 68 A7alt D7: substance-affinity
D7 69 D7
70
C7 71 / / C7
72 sus 9
B7 73 / B(7) B penta
74
B7 75 B7 ()
B
76 Em7 /
Em7 77 D^7 D horizontal
78
D75 79
80 F^7* / F horizontal *
Gm7 81
C7 82 /
Fm7 83 / Fm7 /
B7 84 E7alt
E7alt E7alt 85 E7alt
A711 86 A711
B7alt A7alt 87 B7 (A7alt)
2
A
D711 88 D / /
W
h
e
r
e

H
a
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k
s

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/

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page 3 of 5
Em7 89 Em7 / /
90 / /
D75 91 A7 / or D75
92 /
Gm7 93 Gm7
C7 94 C7
Fm7 95 Fm7
B7 96 B7 /
(E7alt) (E7alt) 97 B711 theme fragment
(A711) 98
(B7alt) (A7alt) 99
A
(D711) 100 B7
Em7 101 / / Em7
102
D75 103 or D75
104 / / Cm7 F7
Gm7 105 B^7 B^7 =Gm7
C7 106 C7
(Fm7) 107 / /
(B7) 108 F7
(E7alt) (E7alt) 109 F7alt
(A711) 110
(B7alt) (A7alt) 111
A
(D711) 112
D7 113 D7 F7alt D7: substance-affinity
114 -9* C711 *) questionable interpretation
C7 115
116 / / B7
B7 117
118 B7
B7 119
B
120 Em7
Em7 121 /
122
D75 123 D75 w.t.
124 /
Gm7 125 / Gm7
C7 126
Fm7 127 Fm7/B7
B7 128 /
(E7alt) (E7alt) 129 / B711 sliding
(A711) 130
(B7alt) (A7alt) 131
3
A
(D711) 132 B7
W
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H
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page 4 of 5
Em7 133 Em7
134 / / D75 w.t.
D75 135
136
Gm7 137 Gm
C7 138
Fm7 139
B7 140
drum solo

E7alt E7(alt) 141 E7alt E711* *
A711 142 A711 B711* *
B7(alt) A7alt 143 A7alt D711
A
D711 144 /
Em7 145
146
D75 147
148
drum solo

Gm7 149 Gm7
C7 150
Fm7 151 / Fm7 A penta
B7 152
E7alt E7alt 153
A711 154
B7alt A7alt 155
A
D711 156
drum solo

D7 157 D7
158 (C7)
C7 159 / C7
160 F^7
B7 161
162
B7 163
B
164
drum solo

Em7 165 Em7 G penta
166
D75 167 D75
168 Gm7
Gm7 169
C7 170
Fm7 171
B7 172
drum solo

(E7alt) (E7alt) 173 B7
(A711) 174 E7 (B7) E7
(B7alt) (A7alt) 175 F711
4
A
(D711) 176 / B7
W
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page 5 of 5
Em7 177
178
D75 179
180 (D75)
drum solo

Gm7 181 Gm7
C7 182
Fm7 183 Fm7
B7 184
E7alt E7alt 185
A711 186
B7alt A7alt 187
A
D711 188
drum solo

Em7 189 Em7
190
D75 191 A79
192 / D7
Gm7 193 Gm7 D7 Gm7
C7 194
Fm7 195
B7 196
drum solo

E7(alt) E7(alt) 197 (E7) A / (E7) melodic sequence
A711 198 A / / B7* * *
B7(alt) A7(alt) 199 A7 /
A
D711 200 D711 D7* *
D7 201
202
C7 203
204
drum solo

B7 205 B711 theme paraphrase
206 / / Fm7
B7 207
B
208 B7
Em7 209 Em7
210
D75 211
212
drum solo

Gm7 213 Gm7
C7 214
Fm7 215 Fm7
B7 216 E7alt
E7alt E7alt 217
A711 218
B7alt A7alt 219
5
A
D711 220
drum solo

W
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H
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/

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s
a
x

s
o
l
o

_
_
Transcribed and analysed by
Lars Angaard Madsen
Bb-instrument
Here and Now
J oe Lovano ts solo
dr
Even Eighth Notes (q =252)
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ts
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b
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C#7alt
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4
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(P4+) (P4+)
C#7alt
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(P4+)
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C#m
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(P4+)
C#7(#11)
(P4+)
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7
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app
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app
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app
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Am7/E7
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3
3
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A7alt
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10
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A7alt
p
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(P4+)
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F7(#5)/B7(#5)
p
,
pd
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p
w.t.-2
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F7alt
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13
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p
app , , ,
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B7alt
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16
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P4+
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P4+
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F^
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2nd time only
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F7alt
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LISTEN
19
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PCP:
SCP:
1:18
[F^]
C#7alt
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C#7(#11)
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C#7alt
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*
E Blues II
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22
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C#7(#11)
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C
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C#
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24
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app
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A7
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A7alt
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app/ct
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27
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app
*
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Am7
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F7alt
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[F7alt]
difficult to transcribe
,
Fm7
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31
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Ab penta (F blues III)
B7alt
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(n)
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B7(#5)
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n
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w.t.-2
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33
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appd
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F7alt
fill
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p
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F7alt
p
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35
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m3 and P4+=blue notes
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Chorus 2
1:54
C#7alt
C#7
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C#m7
app
*
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,
Here and Now / J oe Lovano solo
38
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pd
*
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pd
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ct
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*
T
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b13
C#7alt
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C#7
b13
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C#7alt C#7
p
ct
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C#7alt
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41
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D minor blues (D blues II)
pd
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C#7
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A7
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A7alt
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A blues (IV)
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44
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overtones created from root
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F7alt
F7
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wrong rhythm!
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Fm7
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49
_ _
Ab penta (F blues III)
B7alt
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B7(#5)
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(appd)
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*
w.t.-2
(T)
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51
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[G7]
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C7
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F7alt
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G7
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53
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C7
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Db7
fill
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C7
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ct
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F^
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Theme fragment
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55
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Chorus 3
2:30
C#/C#m
C#7alt
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Ostinato paraphrase
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58
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A7alt

[Am7/E7]
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Theme fragment
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63
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F^
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F7alt
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Fm7
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[C7]
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ctd+
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3
65
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F7alt
Db upper triad
[Db7
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app
Ab^]
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Fm7
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ct
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B7alt
B7(#5)
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68
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w.t.-2
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70
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F7(#5)
F7alt
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Theme paraphrase
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The phrase is displaced in proportion to the metric of the beat
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4/4 Even Eighth Notes; q=252 page 1 of 2
Chorus Primary Chord Progr. Measure Secondary Chord Progression Comments
C7alt 19 (F^)* / C711 *) theme fragment (maj7-motive)
20 / /
21 alt* *) E blues II
22 11
23 C sliding
24 C A7 blue notes!
A7alt 25
26
27 Am7* *) blues line
F7alt 28 / / (F7)
29 no transcription
30 / / Fm7 A penta (F blues III)
B7alt 31 B75 w.t.-2 (notes: C-F-G-B)
32
33 F7alt or B711
F7alt 34
35 / /
1
36 no transcription
C7alt 37 C7* / *) or Cm7
38
39 C7alt C7 C7alt C7
40 alt* / *) D minor blues (D blues II )
41 /
42 C7
A7alt 43 A A blues sound overtones from root
44
45
F7alt 46 no transcription
47 F7
48 / Fm7 A penta (F blues III)
B7alt 49 B75 w.t.-2
50
51 One beat extra!
F7alt 52 C7 G7/C7 or F^
53 / D7
2
54 C7 F^ Theme fragment (maj7-motive)
H
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e

a
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d

N
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w

/

L
a
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d
m
a
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k
s

B
l
u
e

N
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t
e

9
6
1
0
8

/

J
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e

L
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v
a
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o

t
s

s
o
l
o

/

B

page 2 of 2
Chorus Primary Chord Progr. Measure Secondary Chord Progression Comments
C7alt 55 / C/ Cm Ostinato paraphrase
56
57
58
59 no transcription
60
A7alt 61
62 / (Am7/E7) Theme fragment
63 / F^* / *) exception!
F7alt 64 Fm7
65 F7alt Fm7
66
B7alt 67 (B7alt) B75 w.t.-2
68
69
F7alt 70 F75 Theme paraphrase
71 F^+
3
72 / maj7-motive
H
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a
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N
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w

/

J
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L
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s
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o

_
_
Primal Dance
Revised and analysed by
Lars Angaard Madsen
Bb-instrument
J oe Lovano ts solo
_
A
Latin/Funk
A/D
,
X(P)-motive
(q =194)
Dm^
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,
X(R)-motive
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,
, - -
PD+motive
Bbm7b5
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5
_
-
E/Bb
PD+motive
Abm7b5
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D/Ab
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C#/A
A^#5
PDalt motive
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9
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-
Ab/D
,
PD motive / X(R)-motive
Dm7b5
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,
[D7alt]
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PD motive / X(R)-motive
B/F
Fm7b5
, ,
,
,
[F7alt]
,
PD motive =Primal Dance motive
PD+motive =PD motive with extra note
PDalt motive =All variations on PD motive
X-motive =Rhythm-motive
X(P)-motive =X-motive in Primary order
X(R) -motive =X-motive in Retrograde
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13
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B
Swing
Cm7
m3
F7
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m3
3
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Ebm7
m3
Ab7
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m3
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Bb^
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17
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F#m7
m3
B7
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Abm7
m3
Db7
,
,
,
,
m3
(Theme transcribed by Lars Angaard Madsen)
Eb^
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2nd time only
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1
_
0:49
PCP:
SCP:
A
Latin/Funk
Eb^
A/D
Dm^
D^
Dm7
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,
X(P)-motive
F penta (D blues)
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E/Bb
Bbm7b5
Bb7b9
Bb7alt
Bbm7(b5)
,
,
,
,
6
_
[ x ]: Possible interpretations of the chords in Section A

NB: The bar numbers in the solo are separated from the bar number in the theme to follow the transcription of Trent Kynaston
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13
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D/Ab
Abm7b5
Ab7b9
Ab7alt
PDalt motive
[D/Ab]
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A^#5
C#/A
A^#5
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LISTEN
9
_

Ab/D
G7
Dm7b5
D7b9
D7alt
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B/F
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Fm7b5
F7b9
F7alt
app
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PD motive
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13
_
1:04
B
Swing
,
Cm7
Cm7
p
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p
F7
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Ebm7
Ebm7
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Ab7
Bb^
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Bb^
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3
3
3
3
17
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F#m7
,
B7
Abm7
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Db7
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Abm7
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Eb^
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Db7
p
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Eb^
n
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,
3
3
3
3
3
20
_
1:13
Chorus 2
A
Latin/Funk
Dm^
A/D
F wholetone scale (see m.58-9)
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Dm7
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C penta
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p
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n
Bb7alt
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3
3
3
24
_
E/Bb
* *
(w.t.-1)
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*
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D/Ab
,
[D/Ab]
,
A^#5
,

fill
corrections (see last page)
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C#/A
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Dm7b5
, ,

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28
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Ab/D
, ,

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B/F
F7alt
ch
T
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w.t.-2
*
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, *
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31
_
*) corrected notes (see last page)
ct
,
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, *
Cm7
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, ,
1:29
B
Swing
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,
Cm7
, ,
,
, ,
F7
,
,
,
p
Ebm7
, ,
,
, ,
p
, ,
,
,
Primal Dance / J oe Lovano solo
33
_
Ebm7
, ,
,
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Ab7
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Bb^
,
Eb^
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,
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,
,
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,
,
,
,
,
, ,
F#m7
,
,
36
_
F#m7
,
,
,
Abm7
B7
,
,
,
Abm7
,
,
, ,
Db7
Eb^
app
Eb^
, ,
,
,
,
,
,
,
,
,
1:38
Chorus 3
A
Latin/Funk
A/D
, ,
Dm
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,
40
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,
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,
, , , , , ,
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,
, ,
,

E/Bb
,
[E/Bb]
, ,
,
,
A^#5
,
,

44
_
,

, ,
, ,
fill
, ,
,
, , ,
p
, , ,
,
D/Ab
, ,
,
,

ctd
anticipation!
,
, ,
,
,
3
46
_
C#/A
,
,
, , ,
p
, ,
, , ,
,
,
,
, , p ct
, ,
, , ,
,
Ab/D
Dm7b5
,
, ,
,
, ,
,
, ,
, ,
,
,
,
,
,
,
,
,
3
48
_
G7
,
,
,
,
,
,
,
,
,
,
B/F
_
G7#11
corrections (see last page)
,
,
,
,
,
,
,
,
,
,
, ,
,
.
3 3
3
51
_
1:54
B
Swing
,
Cm7
Cm7
, ,

F7
,
,
, ,
Ebm7
Ebm7
,
,
, ,
, ,
Ab7
, ,
, ,
, ,
,
Ab7
Bb^
,
, ,
, ,
,
Bb^
,
,
,
, ,
,
, , ,
3
54
_
,

, ,
F#m7
,
,
, ,
,
F#m7
,
,
B7
B7
,
,
,
,
,
,
,
Abm7
Abm7
, ,
, , ,
Db7
Db7
Eb^
,
, ,
,
,
, ,
Eb^
, ,
,

3
58
_
2:03
Chorus 4
A
Latin/Funk
A/D
Dm^
F wholetone scale (Lydian Chromatic Concept ..; G. Russell)
,
,
, ,
, ,
, ,
,
,
,
,
,
,
, ,
,
,
,
,
D7
P5 progression
,
,
,
,
,
G7
, , ,
,
,
,
,
,
3
3 3
3
61
_
n
C7
,
,
,
,
fill
, ,
, , ,
,
F7
, , ,
,
,
n
, ,
,
,
,
E/Bb
,
,
, ,
,
F7alt
p
,
,
, , ,
,
,
,
p ,
, , , ,
63
_
Bbm7b5
, ,
,
,
,
,
, ,
,
,
,
D/Ab
.
app
A^#5
,
, ,
C#/A
, ,
,
,
Dm7b5
ct
,
,
nd
,
,
T
,
, ,
66
_
Ab/D
, ,
,
ct
, ,
,
,
,
,
,
,
, ,
,
, ,
,
,
,
,
B/F
G7(#11)
,
,
,
,
,

69
_
,
,
,
,
,
,
,
2:19
,
,
, ,
,
B
Swing
Cm7
,
Cm7
F7
,
Ebm7
Ebm7
,
,
,
, , ,
, ,
Ab7
, ,
,
, ,
Bb^
, ,
, ,
, ,
,
3
3
3
72
_
Bb^
,
F penta
,
,
,
,
,
,
,
,
,
,
,
F#m7
[F#m]
,
,
Abm7
B7
,
,
,
,
,
,
Db7
Abm7
Eb^
Db7
,
, ,
, ,
, ,
,
,
76
_
Bb penta
Eb^
,
Dm7
,
, ,
,
2:28
Chorus 5
A
Latin/Funk
,
,
A/D
F penta (e)
,
,
, ,
, ,
,
,
,
,
,
,
,
,
.
Theme fragment
n
Bbm7b5
,
,
,
, ,
, ,
,
3
3
3
80
_
,

Abm7b5
,
E/Bb
,
,
,
, ,
,
A^#5
ct
,
,
,
,
, ,
, ,
, ,
,
D/Ab
?
, ,
, ,
,
, ,
,
,
,
84
_
C#/A
,
,
,
,
,
,
,
,
Ab/D
Dm7b5
nd
,
, ,
,
,
T
,
,
,
, , ,
p
, , ,
, ,
B/F
G7#11
,
(app)
,
,
,
88
_
,
,
,
,

G7alt
, ,
, ,
2:43
, ,
,
,
B
Swing
Cm7
Cm7
p
,
, , ,
,
F7
,
,
,
,
, ,
Ebm7
,
, , ,

Ebm7
,
Gb penta
"overlapping pentatonic scales"
Ab7
, ,
, ,
Ab penta
, ,
, ,
, ,
,
,
, ,
3
3
3
3
3 3
3
3
3
3
91
_
Bb^
Bb^
,
,
, ,
n
,
,
,
, , ,
p
p
, , ,
, , ,
,
,
,
, ,
,
, ,
,
,
,
,
,
, , ,
3
93
_

F#m7
F#m7
E penta
,
,
,
,
B7
,
,
,
,
,
,
,
,
Abm7
Abm7
, ,
, ,
, , ,
Db7#11
, ,
, ,
, ,
,
Db7
Eb^
, , ,
,
,
,
_
,
95
_
Eb^
,
,
, ,
,
Eb penta
,
, ,
, , ,
Dm7
,
,
,
,
p
2:52
Chorus 6
A
,
, , ,
,
Latin/Funk
A/D
slurred D-blues (IV)
,
,
,
, ,
, , ,
,
,
fill
, ,
, , ,
,
, , , ,
97
_
m3 =direct m3-interval
(m3) =indirect m3-interval
growl
(m3)
dim-scale
(m3)
,
, ,
, ,
n
N =diatonic neighbor tone
m3
N
,
, ,
,
,
,
,
, , ,
m3
n
(m3)
app
, ,
,
,
, ,
m3
[Dm7]
,
,
,
,
slurred Am7 (aeolian scale)
ct
,
,
,
,
,
,
,
,
99
_
app
,
,
,
, ,
app
,
,
,
,
app n
,
,
,
,
p
,
, ,
,
E/Bb
,
,
,
*
*
,
,
,
app
,
,
,
,
*
Bbm7b5
,
,
, ,
, ,
101
_
,
, ,
,
Dm7b5
, ,
,
D/Ab
, ,
,
,
, ,
p
, , ,
ct
,
,
,
,
,
,
C#/A
,
,
, ,
,
anticipation!
,
,
,
,
3
104
_
Ab/D
, ,
,
,
,
,
, ,
,
, ,
,
,
, ,
,
,
B/F
,
G7#11
,
,
,
,
PD motive
,
,
,
,
,
,
,
, ,
,
108
_
3:07
B
Swing
Cm7
Cm7
,
,
,
, ,
F7
Ebm7
p
,
[F7b9]
, ,
,
,
Ebm7
Ab7
,
, ,
,
,
,
,
Bb^
Bb^
,
,
,
, ,
,
,
, ,
,
3
.
112
_
F#m7
Theme fragment
B7
,
,
,
,
,
,
,
Abm7
,
,
,
,
Db7
,
, ,
,
,
Eb^
,
, ,
, ,
,
,
3
115
_
Chorus 7
A
Latin/Funk
A/D
,
,
,
Dm^
,
, ,
, ,
Guitar solo
- - -
Corrections
Transcribtion: Trent Kynaston (TK); Corrections: Lars Angaard Madsen (LA)
_
TK
,
,
,
,
E/Bb
* *
, ,
,
,
,
,
,
, ,
,
*
,
.
D/Ab
,
,
wrong rhythm +pitch!
, ,

,
, ,
,
, ,
,
C#/A
, ,
, ,
,
,
, ,
,

, ,

,
3
3
_
(23-7)
LA
,
,
,
,
, ,
,
,
,
,
,
, ,
,
,
, ,
. ,
,
, ,

, ,
,
, ,
,
, ,
, ,
, ,
,
,
, ,
, ,

, ,

,
3

_
TK
B/F
,
,
, ,
*
,
, ,
,
,
wrong rhythm!
*
,
,
,
,
,
, ,
,
,
*
, ,
,
,
,
,
, ,
,
, ,
B
,
,
,
,
_
(30-1)
LA

,
,
, ,
,
, ,
,
,
, ,
,
,
,
,
, ,
,
, , ,
, ,
,
,
,
, ,
,
, ,
,
,
,
,

_
TK
,
,
,
,
,
,
,
,
,
,
B/F
_
*
,
,
, ,
*
,
, ,
,
,
, ,
,
,
, ,
,
,
.
3 3
3
_
(48-50)
LA
,
,
,
,
,
,
,
,
,
,
_
,
,
,
,
,
,
,
,
,
,
, ,
,
.
3 3
3

_
TK
E/Bb
,
,
,
*
*
,
,
,
,
,
,
,
*
,
,
, ,
,
, ,
,
, ,
,
_
(100-1)
LA
,
,
, ,
,
,
n
,
,
,
,
,
,
, ,
, , ,
, ,
,
, ,
,

4/4 Latin/Funk+Swing; q=194 page 1 of 3
A/D =Dm^ 1 E^7* Dm7 / F penta *
2 /
3 / blue note: G
4 /
E/B =Bm75 5 / / Bm75
6 (13)
(D/A) 7 13 ! / / *notes: G-F *) D/A or A^75
C/A =A^75 8 A^75 / PDalt motive
A/D =Dm75 9 / Dm75* or G7 anticipation
10 / / G7 notes: G-B-F (PD motive)
B/F notes: B +F 11 /
A
Latin/Funk
12 / /
Cm7 F7 13 Cm7
Em7 A7 14 Em7 B^7
B^7 15
16
(Fm7) (B7) 17 / / Am7
Am7 D7 18 E^7
1
B
Swing
E^7 19 / /
A/D =Dm^ 20 Dm^* / *) F wholetone (George Russell)
21 / / /
22 Dm7 C penta
23 B7alt
E/B =B7alt 24
25 / /
(D/A) 26 / D note* A^75 *) E/B or D/A .
C/A =A^75 27 Dm75
A/D =Dm75 28 /
29 /
B/F =F7alt 30 / F7alt
A
Latin/Funk
31 Cm7
Cm7 F7 32 Em7
Em7 A7 33 /
B^7 34 / B^7
35 Fm7
Fm7 B7 36 Am7
Am7 D7 37 E^7
2
B
Swing
E^7 38 /
P
r
i
m
a
l

D
a
n
c
e

/

L
a
n
d
m
a
r
k
s

B
l
u
e

N
o
t
e

9
6
1
0
8

/

J
o
e

L
o
v
a
n
o

t
e
n
o
r

s
a
x

s
o
l
o

/

B

Possible interpretations of the chords in Section A:
A/D [Dm^, D^7] ; E/B, D/A & B/F [Bm75, B79, B7alt] ; C/A [A^75]

page 2 of 3
A/D =Dm^ 39 E^7* Dm7 / / *) B note *
40 /
41 /
42 /
E/B 43 / / B note* A^75 *) E/B or app (A^75)
44
(D/A) 45 / /
C/A =A^75 46
A/D =Dm75 47 Dm75
48 G7
B/F notes: B +F 49 / 11 notes: G-B-F-A-C-E
A
Latin/Funk
50 / /
Cm7 F7 51 / Cm7 Em7
Em7 A7 52
B^7 53 B^7
54
Fm7 B7 55 Fm7
Am7 D7 56 Am7 /
3
B
Swing
E^7 57 E^7 /
A/D =Dm^ 58 Dm^* *) F wholetone (George Russell)
59 /
60 D7 G7 P5-progression
61 C7 F7
E/B =Bm75 62 F7alt
63 Bm75
(D/A) 64 / / A^75
C/A =A^75 65 Dm75
A/D =Dm75 66
67
B/F notes: B +F 68 G711 / notes: G-B-F-C-E
A
Latin/Funk
69
Cm7 F7 70 / / Cm7
Em7 A7 71 Em7 B^7
B^7 72 F penta
73 /
(Fm7) (B7) 74 (Fm)* Am7 *) A-note
Am7 D7 75 E^7 B penta
4
B
Swing
E^7 76 (Dm7)
P
r
i
m
a
l

D
a
n
c
e

/

J
o
e

L
o
v
a
n
o

s
o
l
o

page 3 of 3
A/D =Dm^ 77 Dm7 F penta (e)
78
79 / / B7m75 Theme fragment (PD+motive)
80 / / Am75
E/B =Bm75 81 /
82 / A^75
D/A =Am75 83
C/A =A^75 84
A/D =Dm75 85 Dm75
86 /
B/F notes: B +F 87 G7(11) / notes: G-B-F-A
A
Latin/Funk
88 G7alt G7alt =Fm75 (add 9)
Cm7 F7 89 Cm7
Em7 A7 90 / Em7 G +A penta (overlapping)
B^7 91 B^7
92
Fm7 B7 93 / Fm7 E penta
Am7 D7 94 Am7 D711 E^7
5
B
Swing
E^7 95 E penta
A/D =Dm^ 96 Dm7 slurred D blues (IV)
97 / m3 interval-structure (m3) growl!
98 (Dm7) slurred Am7 (aeolian scale)
99
E/B =Bm75 100
101 Bm75 / / /
(D/A) 102 Dm75 /
(C/A) 103 /
A/D =Dm75 104
105 /
B/F notes: B +F 106 G711 notes: B-F-C-E (PD-motive)
A
Latin/Funk
107
Cm7 F7 108 Cm7 Em7
Em7 A7 109 / /
B^7 110 B^7
111 / /
Fm7 B7 112 Theme fragment
Am7 D7 113
6
B
Swing
E^7 114
P
r
i
m
a
l

D
a
n
c
e

/

J
o
e

L
o
v
a
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o

s
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o

_
_
Tenor Legacy; Blue Note 27014
Bb-instrument
Transcribed by J im Carroll
Tenor sax solo by J oe Lovano
_
Even Eighth Notes (q =208)
C^
,
X (P)
E7(#11)
,
,
,
,

,
F^
,
,
X (R)
P4+
,
,
, ,
A7
X (R)
,
,
,
F#^(#11)
P4+
(P4+)
E7(#11)
, ,
,
,
,
P4+
,

Bb^(#11)
,
,
X (R)
,
,
,
C^(#11)
,

5
_
A1
Ostinato
C^
,
E7(#11)
P4+
F^
,
,
, ,
,
X (R)
,
,
,
A7
X (R)
F#^(#11)
, ,
, ,
P4+
,
E7(#11) Bb^(#11)
,
X (R)
,
,
C^(#11)
,
, ,
, ,
X (P)
P4+
, ,
,
9
_
A1
C^
,
X (R)
E7(#11)
,
,
,
P4+
X (P)
F^
,
, , ,
A7
m2 up
,
F#^(#11)
,
E7(#11) Bb^(#11)
,
,
,
,
, ,
, ,
, ,
C^(#11)
,
,
13
_ A1
C^
,
,
E7(#11) F^
,
,
,
A7
,
,
,
F#^(#11)
,
, ,
E7(#11)
, ,
,
,
Bb^(#11)
,
, ,
X (R)
C^(#11)
,
,
,
X (P)
,
, ,
17
_
A1
C^
,
E7(#11)
,
,

ostinato
F^
,
,
,
,
, ,
A7
,
,
,
F#^(#11) E7(#11)
, ,
,
,
,
,

Bb^(#11)
,
,
,
,
,
C^(#11)
,
2nd time
,
21
_
A1+
0:46
Chorus 1 - tenor sax solo Swing
PCP:
SCP:
,
C^
C7
, ,
,
C blues IV
-
E7#11 F^
,
,
,
,

, ,
,
,
p
A7
, ,
, , , ,
,
,
,
,
,
25
_
Rhythm Motive: X (P) =Primary; X (R) =Retrograde
PCP. =Primary Chord Progression; SCP. =Secondary Chord Progression
The primary chords expressed in the solo are framed
F#^
F#^#11
,
,
,
G#penta
,
,
[E7]
,
,
,
,
E7#11
p
F#
F#penta (d)
,
,
, , ,
,
,
,
Bb^#11
C7(#9)/C7(b9)
,
,
,
,
, , ,
C^#11
,
, ,
,
, ,
LISTEN
29
_
A2+
0:56
F
F^
,
,

,

A7#11
.
A7(b9)
, ,
Bb^
dim scale
,
,
, ,
, , ,
, ,
D7#11
D7
, ,

p
, , ,
p
,
,
, ,
p
, ,
,
,
,
,
,
,
33
_
,
B7(#5)
B^#11
.
whole-tone scale (Lydian Chromatic Coincept ...; G. Russell) - horizontal improvisation
,
A7#11
p
,
,
app
,
,
,
,
,
,
Eb^#11
,
,
,
,
,
, ,
F^#11
,
,
,
3
3
37
_
A1+
1:05
C^
,
C9
,
,
,
,
,
,
,
,
E7#11
, ,
,
,
,
p
,
,
,
, , ,
F^
F
p
,
,
, , ,
A7
A7
,
(Db blues II)
,
,
,
, ,
F#^#11
,
41
_
.
F#^#11
(C blues II)
,
, ,
E7#11
ct
,
, ,
, ,
,
app
,
,
, ,
,
Bb^#11
, ,
, ,
,
, ,
p
p
,
, ,
,
C^#11
,
,
,
,
,
,
, ,
,
,
45
_
A1+
1:14
Chorus 2
C7
,
C^
,
,
,
,
,
,
E7#11
,
,
,
.
F^
,
,
C blues
, ,
,
,
,
,
3
A7
ct
F^
,
, ,
,
,
,
app
,
,
,
,
,
,
3
3
3
3
49
_
ct
F#^#11
,
,
,
A7(#9)
ct
,
, ,
,
P5 progression
ct
,
, ,
,
,
, ,
,
D7(#9)
E7#11
, ,
,
,
Gm7/Bb^
, ,
,
,
,
,
,
,
Bb^#11
,
,
,
, ,
,
,
,
,
,
,
,
,

C^#11
,
,
,
,
,
,
,
F^
,
,
,
,
,
,
3 3
3
3
3
In the Land of Ephesus / J oe Lovano
53
_
A2+
1:23
F^
,
,
,
,
,
,
,
A7#11
,
,
,
B(7)
, ,
,
chord progression on a secondary tonal level
p
E7
Bb^
,
,
,
, , ,
,
,
,
ct
D7
,
,
F#(^) C#7
,
,
,
,
ct
G#m7
,
, ,
,
3
57
_
,
B^#11
C#7 F#(^)
,
, ,
,

A7#11
,
F7(#9) (F#mel. minor)
,
,
,
,
,
,
Eb^#11
,
, ,
, ,
, ,
Bb7(#11)
p
, ,
, , ,
F^#11
p
, , ,
,

,
[G7(b9)]
,
,
, ,
,
61
_
A1+
1:32
C
C^
pd T
, ,
,
, ,
,
F^
,

E7#11
,
,
,
,

F^
,
ct+
,
,
, , ,
, ,
,
,
p
A7
,
, ,
p
, ,
,
,
F#^#11
p
p
,
, ,
,
, ,
3
3
65
_
.
F#^#11
, ,
, ,
, ,
,
E7#11
C#penta (c)
,
, ,
, ,
, ,
,
,
,
G7(#9)
,
, ,
Bb^#11
(Ab dorian scale)
, ,
,
,
,
,
,
, ,
, ,
,
, ,
C^#11
C(^)
app
,
,
p
ct
, , ,
,
,
69
_
A1
1:41
Chorus 3
C7
X (R)
C^
P5 progression
,
,
,
F7
,
ctd
X (P)
E7(#11)
Bb7/E7
ctd
F^
,
, ,
T
A7
, ,
,
T
A7
,
,
A penta
,
,
,
,
F#^(#11)
D7
,
,
,

E7(#11)
. ,
Bb^#11
G7(#11)
,
,
C^#11
,
,
,
,
,
X (R)
,
,
,
3
73
_
A1
1:46
C7
C^
n
,
,
,
,
,
,
E7(#11)
F^
A7
,
, , ,
.
F#^(#11)
,
G#7
E7(#11)
P5 progression
,
C#7
,
,
Bb^(#11)
X (R)
,
, ,
, ,
X (R)
C^(#11)
F#(^)
,
,
, ,
77
_
A2
1:51
F^
F^
p
, ,
,
, , ,
A7(#11)
,
,
,
,
Bb^
,
,
**
D7
A7(#11)
app
Bb
,
,
B^(#11)
X (R)
,
,
,
app
F#
A7(#11)
X (R)
P5 progression
, ,
,
app
B
Eb^(#11)
X (R)
,
,
,
app
E
F^(#11)
, ,

81
_
A1
1:55
C^
A
X (R)
D G
,
,
,
E7(#11)
C7
F^
,
,
A7
n
C Blues
,
,
,
,
,
[Cm]
F#^(#11)
(chromatic progression)
,
,
, ,
, ,
E7(#11)
[Bm]
Bb^#11
,
,

C^#11
[Bbm]
,
,
85
_
A1
2:00
Chorus 4
C^
[Am]
,
,
,
,
,
E7(#11)
F^
,
F^
ct+
,
,
A7
, , ,
,
n
,
,
,
F#^(#11)
,
,
,
p
, ,
,
E7(#11)
*
p
,
, ,
nd
Am [F^]
T
,
,
,
Bb^#11
p
,
, , ,
n
,
,
,
C^#11
E7(b9)
, ,
, ,
,
,
Am
,
,
,
,
3 3
3
3
3
3
3
3
3
89
_
A1
2:04
E7
C^
p
Am
,
,
, , *
p
E7
,
,
, ,
E7(#11)
app
Am
,
,
, ,
n
F^
,
,
,
,
F#^
F#blues (corrections; see last page)
,
,
,
,
,
,
A7
,
,
, ,
, ,
,
,
F#^(#11)
,
,
,
_
F
E7(#11)
,
,
, ,
Bb^#11
.
,
C^#11
,
3
3

93
_
A2
2:09
F^
,
,
, ,
A7(#11)
,
Bb^
Bb7
**
D7
ct
, ,
,
p
, ,
,
,
,
B^(#11)
, ,
,
,
B7(#11)
A7(#11)
p
Bb7
, ,
, ,
,
,
Eb^(#11)
, ,
,
,
, ,
,
F^(#11)
Ebm7
, ,
, ,
, ,
,

97
_
A1
2:13
*) corrections (see last page)
**) J im Carroll has notated A7#11 instead of D7, which is supposed to be a mistake!
,
C^
, ,
,
,

Ab(7)
E7(#11)
, ,
,
,
,

app
F^
,
,
, ,
A7
Bb7
p
B7
, , ,
,
, ,
F#^(#11)
,
,
,
,
E7(#11)
Bb7
,
,
,
,
p
, , ,
Bb^(#11)
,
, ,
,
C(^)
C^(#11)
,
,
,
,
,
,
Corrections
- 60 -
Transcribtion: J im Carroll (J C); Corrections: Lars Angaard Madsen (LA)
_
JC
F^
,
,
,
A7
, , ,
,
,
,
,
F#^(#11)
,
,
,
, ,
E7(#11)
,
,
,
,
,
,
Bb^#11
,
, , ,
,
,
,
C^#11
, ,
, ,
,
,
,
,
,
,
3 3
3
3
3
3
3
3
_
(86-91)
LA
,
,
,
, , ,
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, , ,
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,
3 3
3
3 3
3 3 3
3

_
C^
,
,
, , *
,
,
, ,
E7(#11)
,
,
, ,
F^
,
,
,
,
*
,
,
,
,
, ,
, ,
A7
wrong transcribtion!
,
,
, ,
,
,
,
,
,
F#^(#11)
,
,
,
,
,
,
, ,
E7(#11)
3
3

_
,
,
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_
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, ,
3
3
In the Land of Ephesus / J oe Lovano solo

4/4 Even Eighth Notes; q= 208 page 1 of 2
C(^7) 21 C7 C horizontal (C blues IV)
(E711) 22 / / / /
(F^7) 23 /
(A7) 24
F^711 25 F^7 / Fhorizontal / Gpenta
(E711) 26 / Fpenta (d)
(B^711) 27 C7alt C7alt/ C79
A1+
tonic
(C^711) 28
F^7 29 F / /
A7(11) 30 / / / A79
(B^7) 31
D7 32 D711
B^711 33 B75 / / / horiz. wholetone (G. Russell)
A711 34 A75
E^711 35 E75
A2+
subdom.
F^711 36 F75 / / /
C(^7) 37 C7 C blues-tonic
(E711) 38
F^7 39 / F(^7)
A7 40 A7 F^711 Fhorizontal
F^711 41 / / /
(E711) 42
(B^711) 43
1
A1+
tonic
(C^711) 44
C^7 45 C7 C blues-tonic
(E711) 46 / /
F^7 47 / /
A7 48 F^7
(F^711) 49 A7alt Substitute Chord Progression
(E711) 50 D7(alt) Gm7/B / Gm7 = B^7
B^711 51
A1+
tonic
(C^711) 52 / / F^7
F^7 53
(A711) 54 B(7) Substitute Chord Progression!
(B^7) 55 E7
(D7) 56 F^7 C7 Gm7
(B^711) 57 C7 F
(A711) 58 / / F7alt
(E^711) 59 B711
2
A2+
subdom.
(F^711) 60 (G79)
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2
7

0
1
4

/

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B

Section A1: [C^7 - E711 - F^7 - A7] = C major tonality; [F^711 - E711 - B^711 - C^711] = Ftonal center

page 2 of 2
C(^7) 61 C /
(E711) 62 F^7 /
F^7 63
(A7) 64 F^7 / Fhorizontal
F^711 65 / /
(E711) 66 / Cpenta (c)
(B^711) 67 G7alt *) Am dorian mode

A1+
tonic
(C^711) 68 C(7)
C(^7) (E711) 69 F7 Substitute P5-progression
(F^7) (A7) 70 B7/ E7 A7* / *) A penta
(F^711) (E711) 71 D7 / /
A1
tonic
(B^711) (C^711) 72 / G7
C(^7) (E711) 73 C7 / / C blues-tonic
(F^7) (A7) 74 / /
F^711 (E711) 75 / / / G7 Substitute P5-Progression
A1
tonic
(B^711) (C^711) 76 C7 F^7
F^7 A711 77 F^7 Vertical affinity!
B^7 (D7) 78 / / A711
(B^711) (A711) 79 B* F Substitute P5-Progression *
A2
subdom.
(E^711) (F^711) 80 B E /
C^7 (E711) 81 / A D G /
(F^7) (A7) 82 C7 / C blues-tonic
(F^711) (E711) 83 (Cm) / C blues (Subst.Chord Progr.)
3
A1
tonic
(B^711) (C^711) 84 (Bm) / / (Bm)
C^7 (E711) 85 (Am7) /
F^7 (A7) 86 / F^7 Substitute Chord Progression
(F^711) (E711) 87 Am7/E79 / Am7 = F^7
A1
tonic
(B^711) (C^11) 88
(C^7) (E711) 89
F^7 (A7) 90 F^7* / Fblues
F^711 (E711) 91 F /
A1
tonic
(B^711) (C^711) 92 / /
F^7 (A711) 93 /
B(^7) (D7) 94 / B7 Substitute Chord Progression
(B^711) (A711) 95 B(7)* / *) sliding
A2
subdom.
(E^711) (F^711) 96 B7 Em7
(C^7) (E711) 97 A7
(F^7) (A7) 98 / B7
(F^711) (E711) 99 B7* B7 / *) sliding
4
A1
tonic
B(^711) C^711 100 C
I
n

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f

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_
_
_
_
Transcribed and analysed by
Lars Angaard Madsen
J oe Lovano ts-solo
Trio Fascination I; Blue Note 33114
Bb-instrument
_
ts
A
Swing (q =208)
[G7]
P4+
,
,
,

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,
,
P4+
,
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,

[C#7]
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,
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P4+
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[D7]
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P4+
[Ab^]
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,
,
,
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,
_

b
,

,

,

,
.

,

, ,

, ,
.
5
_
[B7]
P4+
,
,

P4+
[E7]
,
, ,
.
P4+
[C7]
, ,
,
,
P4+
[C#7]
,
,
,

[F#7]
P4+
,
,
.
_

,

,
,
,

,
. ,
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,

,
,
,

,
9
_
[C7]
,
,
,
(P4+)
, ,
,
,
,
[F^]
,
, ,
,
(P4+)
,
[G#7]
,
,
P4+
,
,
,
. .
A G7
P4+
A' C#7
,
,
, ,
_
, ,
,
,
,
,
.

,
. -
13
_
A'
[C#7]
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,
,

,
,
[G7]
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,
,

[G#7]
,

,
,
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[D^]
,

,
,

,
,
,
,
_

,

,

,

,
.

,

,
,

,
.
17
_

[F7]
, ,
,

[Bb7]
,
, , ,
,
, .
[F#7]
,
,
,
[G7]
,
,
,
,
,
[C7]
, ,
,
,
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_
,

, ,
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,

, ,
. ,
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,

,
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,
21
_
[F#7]
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,
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,
[B^]
,
, ,
,
, ,
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,
[D7]
,
,
,
,
,
.
[G7]
,
,
,

,
,
_
NB: There exists a second voice for trumpet/piano +an arrangement for the interlude, which is not included in this trio context.
Bass-part is transposed up a major second to match the tenor sax
, ,
J oe Lovano:"The theme was written over a bass line and the chord progression is only for the solo"
I have not remowed the chords from the theme, because they are a part of the analysis in the thesis.
,
,
,
,
.

,
.

,

,

,
LISTEN
25
_
Interlude
0:27
PCP
SCP
,
G7
G7
tenor sax solo
,
,
(w.t.)
,
,
,
,
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,
,
,
,
,
,
M3
B7
B7
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M3
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29
_

Eb7
Eb7
, ,
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, ,
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, ,
M3
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,
G7
G7
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,
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,
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,
, ,
,
,

33
_
A1
0:36
G7
G7
Chorus 1
,
,
,
,
,
,
,
P4+
,
,
,
,
,
,
,
, ,
C#
C#7
,
,

D
D7
,
,
,
Eb
, ,
,
,
Eb7
P4+
Ab
, ,
,
,
, ,
,
,
Ab^
37
_
B
B7
,
P5
E
,
,
symmetrical construction/structure with C as an axis
E7
,
,
,
D7
,
,
D7*
,
, ,
,

P5
G
G7*
,
,
C
,
,
,
,
,
C7
.
C#7
,
F#
,
,
P5
F#7
,
,
E7(b9)
E7*
,
,
,
,
P5
,
,

41
_
,
A^*
A^
,
,
,
, ,
p
, ,
,

C7
,
C
,
,
,

,
Coltrane-changes
fill
, ,
,
,
,
,
,
F^
F
, ,
,
,
,

,
,
,
,
G#
G#7
,

,
C#7(#11)
,
,
fr
,
,
,

,
,
45
_
A2
0:50
C#7
,
,
,
G7(#11)
G7
,
,
,
,
,
,
,
G#7
,
D
A7
,
,
,
,
,
,
,
,
D penta
,
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,
D^
,
,
,
,
49
_
F7
,
[F]
Bb7
,
,
[Bb7] [G#]
G#7
C#
,
,
, ,
,
ct
#11
C#7
,
,
,
,
F#7
,
,
,
F#7
G
G penta
G7
p
,
,
,
,
C7(#11)
app
C7
,
,
,
, ,
#11
Bb7
,
,
, ,
Bb7
Eb
,
, ,
,
, ,
53
_
*) chord insertion to the hypothetical chord progression of the theme
Eb^
,
, ,
,
,
,
F#7
F#7
, ,
,
,
, ,
,
,
,
,
,
,
,

B^
,
B^
,
,
,
,
,
,
D7
,
,
,
[D7sus4]
,
,
G7sus4
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,
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,
,
,
New York Fascination / J oe Lovano solo
57
_
Interlude
1:04
G7
,
C-horisontal
,
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,
,
, ,

B7
,
B7
,
,
adjusted rhythm notation!
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,
,
,
,

,
,
3 3
3
3
61
_
Eb7
.
Eb7sus4
Db penta
, ,
, ,
, ,
, ,
, ,
, ,
,
,
, ,
, ,
,
,
,
,
,
G7
G7
p
b9
, , ,
,
, ,
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,
.
3 3
3
3
3
65
_
A1
1:13
Chorus 2
,
G7
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,
,
,
C#7
C#7
,
, ,
,
F#m
,
,
,
D7
,
,
Fm7 [Ab^]
substitute chord progression
Eb7
,
,
, ,
,
Ab^
,
, ,
,
, ,
,
,
,
,
,
3
3
3
3
69
_
B7
F#m7
E7
,
,

A penta
,
,
,
,
D7
,
G7
,
,
,
, ,
G7
,
,
,
C7
C7
,
, ,
C#7
,
,
,
,
C#7
,
,
,
F#7
,
,
,
,
, ,
F#7
E7
,
,
pd
,
,
,
,
73
_
A^
E7(b9)
n ct
,
,
,
A
,
,
,
,
,
,
,
C7
,
C7
,
,
,
,
F
F^
, ,
,
,
,
,
, ,
,
,
_,
F penta
,
,
G#
G#7
,
,
,
,
,

,
,
C#7
n , ,
, , ,
,
,
3
3
77
_
A2
1:27
C#7
,
,
,
,
,
, ,
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,
,
p
G7
,
,
, ,
,
,
,
G7
G#7
,
,
,
,
,
,
A7
pd T
A7
,
, , ,
,
,
,
p
,
,
,
D^
,
,
,
D^
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
3 3
3
3
3
81
_
F7
,
F7
Bb7
,
,
p
Bb/G#
G#7
,
, , ,
, ,
C#
p
F#
C#7
, ,
, ,
,
,
,
F#7
,
,
,
G7
,
,
G7
,
,
C7
,
,
,
,
Bb7
app
Bb7
Eb^
, ,
,
,
, ,
,
,
, ,
,
85
_
Eb^
,
,
,
,
, ,
,
,
,
F#7
. ,
F#
,

,
B^
,
,
B
,
,
,
D7
D7
,
,
,
,
,
,
,
G7
,
,
,
,
89
_
Interlude
1:41
G7
,
,
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,
,
,
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,
,
B7
,
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,
B7
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,
,
,
,
,
,
,
,
,
,
Eb7
,
,
,
93
_
Eb7
, ,
, ,
,
, ,
,
,
G7(#11)
,
, ,
,
, ,
G7
,
,
,
,
,
,
,
,
, ,
,

,
,
97
_
A1
1:50
Chorus 3
G7
,
,
, ,
,
, ,
,
, ,
,
,
,
C#7
.
D7
D7 Eb7(#11)
Eb7
,
,
, ,
,
p
Ab^
, , ,
,
, ,
,
,
,
,
, ,
101
_
B7 E7
D(7)
,
,
,
, ,
,
A upper triad
D7
,
,
G7(#11)
, ,
,
,
G7
,
b9
C7
C
,
, ,
C#7
C#
,
,
,
,
,
,

F#7
,
F#7(#11)
E7
,
,
E7(b9)
,
,
,
,
,
,
,
,
,
105
_
not audible
A
A^
,
C7
C7
ct
,
,
, ,
,
F^
appd
,
,
, ,
,
app
T
,
,
,
,
,
,
,
,
F^
,
,
,
,
,
,
,
,
,
,
,
,
,
G#7
C#7
,
,
p
,
,
, ,
appd
, ,
,
,
,
,
,
,
3
3
109
_
A2
2:04
T
C#7
,
,
,
,
,
, ,
G7
,
,
,
,
G7
, ,
,
,
G#7 A7
G#7
,
,
,
,
,
,
,
A7
,
,
,
,
D^
,
,
,

,
D^
,
,
,
,
,
,
3
113
_
F7
F
Bb7
,
,
,
,
,
Bb7 G#7
G#7
,
, ,
, ,
,
C#7
C#7
F#
F#7
G7
, ,
,
,
G7
,
,
,
,
, C7
,
,
,
C7
Bb7
,
,
Bb
, ,
,
,
,
,
117
_
Eb^
Eb
,
, ,
Eb penta
,
,
, ,
, ,
F#7
F#
,
,
F#penta
,
B^
B^
,
,
,
,
,
,
,

D7
G7
,
,
,
,
,
,
,
,
,
121
_
Interlude
2:18
G7
G7
, ,
,
,

, ,
,
,
,
,
,
,
,
,
,
B7
,
B7
,
,
, ,
,
,
,
,
125
_
,
Eb7
Eb7
,
,
,
,
, , ,
, ,
, , ,
,
,
, ,
,
, ,
G7
,
,
,
G7
,
,
,
,
,
,
,
,
,
,

4/4 Swing; q= 208 page 1 of 3
G7 25 G7 (w.t.)
26
B7 27 B7
28
E7 29 E7
30
G7 31 G7 /

Interlude
32 G7 /
G7 33 /
34 /
C7 D7 35 C D E
E7 A^7 36 / A /
B7 E7 37 (B) E D7
D7 G7 38 G C
C7 (C7) 39 / / F
F7 E7 40 E79 /
A^7 41 A^7 /
C7 42 C
F^7 43 F
A1
G7 44 G C711
C7 45
G7 (G7) 46 G711
(A7) 47 D D penta
D^7 48
F7 B7 49 / (F) (B7) (G)
G7 C7 50 C F7 C711
F7 G7 51 G C711
C7 B7 52 B7 E
E^7 53
F7 54 F7 /
B^7 55 / B^7
1
A2
D7 56 (D7) G7sus4 C horizontal
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B

page 2 of 3
regular antic. Delay omit insert progr.
G7 57 (G7sus4) (C horizontal)
58 /
B7 59 B7
60
E7 61 / / E7sus4 D penta
62
G7 63 G7
Interlude
64 / / /
G7 65
66 C(7)
C7 (D7) 67 Fm Fm7 Fm7 = A^7
(E7) A^7 68
(B7) (E7) 69 / Fm7* *) A penta
(D7) G7 70 G7 C7
C7 C7 71 C7
F7 E7 72 F7
A^7 73 E79 * A *
C7 74 / / C7
F^7 75 F6 / / * F penta
A1
G7 76 G C7
C7 77
G7 (G7) 78 G7 A7
A7 79 D^7
D^7 80
F7 B7 81 / / F7
G7 C7 82 B/ G C F
F7 G7 83 G7
(C7) B7 84 B7 E^7
E^7 85
F7 86 / / / F
B^7 87 B
2

A2
D7 88 D7 G7
G7 89
90 B7
B7 91
92 E7
E7 93 /
94 G
G7 95
Interlude
96
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page 3 of 3
G7 97
98
(C7) D7 99 / / D7 E711
E7 (A^7) 100
(B7) (E7) 101 D(7)
D7 G7 102 G711 A upper triad
C7 C7 103 C C /
F7 E7 104 / (F711) E79
A^7 105 (A) not audible
C7 106 C7 F^7* *) m3 passing note (blues)
F^7 107 /
A1
(G7) 108 / C7
C7 109 / G7
G7 G7 110 G7 A7
A7 111 D^7
D^7 112
F7 B7 113 / F B
G7 C7 114 G7 C7 F
F7 G7 115 G7
C7 B7 116 C7 B7 E penta
E^7 117 E /
F7 118 F Fpenta
B^7 119 B^7 /
3
A2
(D7) 120 G7
G7 121
122 B7
B7 123
124
E7 125 E7
126
G7 127 G7
Interlude
128 /
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Instructions to the Schematic Representation of the Secondary Chord Progression

Primary Chord Progression (PCP):
A primary chord in brackets means that it is not expressed in the secondary chord progression (the improvisation). So
saying we are dealing with chord substitution, either in form of regular substitution or in form of chord-omission
(omit), to which the chord is shaded grey in addition.
- As far as it is only the upper extension tones of the primary chord which are in brackets, we are dealing with regular
substitution in form of alterations (ex: C7(#11) C7alt)
- Chords indirectly taking part of a horizontal section are not notated in brackets
(ex: [Gm7 - C7#11 - F^#11 - (Bm^)] = F-horizontal; cf. Landmarks Along the Way)
- The [IIm7-V7]-progression is in general regarded as one chord. Since both chords deal with the same scale it is
very often impossible to define the melodic line precisely. Of that reason the IIm7 chord is consequently notated in
the secondary chord progression, unless the melody unambiguously expresses V7.

Secondary Chord Progression (SCP):
The column representing the secondary chord progression is divided with a dash line representing the beat.
[ / ] Rest
A chord/rest is notated in connection with the successive beat when it appears within the second part of the beat.
(ex: quaver rest + quaver note within the same beat is notated as a rest.
When there is no chord notation in the secondary chord progression, the preceding chord is still operating.
[ ] Chord substitution in the form of displacement (antic./delay).
A reductive chord symbol in the secondary chord progression (SCP) tells that the primary chord is expressed in a
reduced form (ex: C (SCP) notated in connection with C7 (PCP) means that the minor seven is not expressed in
the improvisation. At the same time the improvisation does not oppose the notation of the minor seventh)
[ * ] Occasionally the star symbol is used to connect information within the same row.

Comments
[ ] Repetition of the comments in the square above.
[ / ] The slash symbol separate diverse notation within the same square.

Categories of Substitution (cf. Harmonic Substitution; Chapter II)
- regular substitution
alterations, position substitution; leading chord substitution; substitution determined by the affinity with the
successive chord; substitution according to the Lydian Chromatic Concept (George Russell)
- anticipation
chord-displacement anticipation of the primary chord
- delay
chord-displacement delayed attack of the primary chord caused by delay of the preceding chord
- omit
The chord-omission can be the result of - 1) delay of the preceding chord, or 2) anticipation of the successive chord.
- insert
Insertion of a chord in a chord progression while retaining all the primary chords
- substitute chord progression (progr.)
A substitute chord progression is unambiguously detached from the primary chord progression.

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