Alfred Lion, president of Blue Note, hired Warren to fill the vacancy of staff bassist. Through his friendship with Sonny Clark he recorded for Blue Note Records in 1961 on Clark's album Leapin' and Lopin'. A few days later, Dorham invited him to New York City, where he spent the next six months as a sideman at a club in Brooklyn. He appeared on his first recording in January 1960 with Dorham, saxophonist Charles Davis, pianist Tommy Flanagan, and drummer Buddy Enlow. When he was 19, he sat in with Kenny Dorham to substitute for an absent bassist. He later worked with other local groups, including that of Stuff Smith, as well as with altoist and bandleader Rick Henderson at the Howard Theatre. Warren began playing professionally at age 14 in a Washington, D.C. Warren has cited Jimmy Blanton, another Ellington bassist, as his biggest inspiration. The first time Butch Warren played bass was at home on an instrument left by Billy Taylor, who had played bass for Duke Ellington. The Warren home was often visited by jazz musicians Billy Hart, Jimmy Smith, and Stuff Smith. ![]() His father, Edward Sr., was an electronics technician who played piano and organ part-time in clubs in Washington, D.C. (Aug– October 5, 2013) was an American jazz bassist who was active during the 1950s and '60s. So check back when you have a chance.Edward Rudolph "Butch" Warren Jr. I’m making an effort to transcribe a little bit every day so I hope to have more transcription available in the future as well as the ones I have based my video lessons off of. This chord is usually a C minor 7th chord but it sound to me like they are using a C7#9 chord there which I really love the sound of. One cool change that I noticed in this recording from the typical changes used is that in the second bar of the tune there is a major 3rd present in the chord. ( If you happen to discover any inaccuracies feel free to let me know) I’m still not sure if that bar is right but I can’t tell you how many times I rewound that section and found myself yelling at my computer in frustration. I believe most of the transcription is accurate or close to it but I will say that the first bar on the sixth line of the first page almost gave me a nervous breakdown. I thought I would share this transcription with all of you as I consider this to be a great solo! There are many rhythmic, harmonic and melodic ideas used that are worthy of imitation. A couple of hours later and a few cups of coffee and I was done. I got a sudden surge of adrenalin and decided to finish the transcription. Earlier this week, I was cleaning my desk area and found the manuscript paper with the start of the solo. I decided to transcribe Bob’s solo on this tune but like many things I have intentions to do, it got put in a pile of papers on my desk. (Hopefully, it will remain up so that you can listen to it in the future) Somehow, I had missed this CD release…………. I clicked on the link and discovered the recording was from a Mintzer album that I never heard of called “Bop Boy”. I thought perhaps it was a “live” gig video tape or maybe a masterclass. I don’t have any recordings of Bob playing this standard tune so I was curious what it was a clip of. ![]() Not to mention that I have always loved his tenor saxophone tone and phrasing.Ī few months ago, I was browsing around Youtube when I saw a video for Bob Mintzer called Blue Bossa. Bob is the perfect fusing of advanced harmonic concepts, time and melody. Since that time I have bought so many recordings of Bob and I have loved his playing and concept through the years. We worked up a number of Bob Mintzer big band charts and Bob played great during that concert and was such a humble and nice guy to meet. Around 1986 or so I remember he came to Ithaca College in NY to play with our big band. Bob Mintzer has been one of my favorite tenor saxophone players for as long as I can remember.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |