Joel Frahm\u00a0<\/strong><\/p>\n Here is a short bio\u00a0about Joel Frahm\u00a0from Joel’s website in case you don’t know about him:<\/p>\n <\/span> “<\/span>Joel Frahm’s May 1st release, We Used to Dance, places him in the company of master musicians Kenny Barron (piano), Rufus Reid (bass), and Victor Lewis (drums).\u00a0 Frahm more than holds his own in showing both the chops and lyricism that has made him an irreplaceable part of so many sessions in his two decades on the jazz scene. \u00a0<\/span> <\/span> <\/span>Surrounded by jazz legends, Frahm makes this recording a true \u201ccoming out party\u201d for his maturing artistry. It is his most ambitious CD to date,\u00a0 featuring six of his original compositions that come to life in beautiful and variegated ways in the hands of this remarkable band. \u201cIt was an honor and a watershed experience to make this record with these incredible musicians\u201d he says. <\/span>Having made a name for himself through his associations with singer Jane Monheit and boyhood friend,\u00a0 pianist Brad Mehldau,\u00a0 Frahm hones his own voice on this breakout recording. Joel has also worked with a vast array of musical peers and jazz legends including Maynard Ferguson, Betty Carter, Matt Wilson, Larry Goldings, Dewey Redman, Lee Konitz, Kurt Rosenwinkel, Andrew Hill, Ben Allison, Pat Martino, Ingrid Jensen, Dena Derose, The Village Vanguard Jazz Orchestra, Kyle Eastwood and many others. <\/span>Born in Racine, WI in 1969, Frahm attended the Mason Gross School for the Arts and earned his B.A. in Jazz Performance at Manhattan School of Music. He released three highly regarded CDs on Palmetto: The Navigator, Don’t Explain (with Mehldau), and Sorry No Decaf. Don\u2019t Explain, his latest, was the number one jazz release for radio play in the United States for two consecutive weeks in 2004, according to jazzweek.com airplay chart and also reached number one on college radio for one week, according to College Music Journal\u2019s airplay chart.\u00a0 Joel was also recently selected in DownBeat Magazine\u2019s Critics Poll as a Rising Star in the category of tenor saxophone.”<\/em><\/p>\n This is only chorus 1 of the solo but I thought it would be a good solo to transcribe because of\u00a0the hemiola concept being used. \u00a0 Be warned about the run during the last 7 bars of this \u00a0transcription. \u00a0If you try to read it and play it exactly as written you will probably fail miserably. \u00a0 Joel is basically starting this run in triplets in measure 31 and then in measure 32-36 he’s speeding up the line just slightly (It actually comes out to 3.25 notes per beat which x 4 beats is 13 notes over 4 beats!) Good Luck on that one…………….\u00a0Enjoy!!<\/p>\n PS.\u00a0 Make sure you buy Joel’s recordings<\/a>!\u00a0 I have most of them and they are terrific!<\/p>\n Joel Frahm Solo on All the Things You Are-Chorus 1 Bb PDF<\/a><\/p>\n Added chorus 2 below, \u00a0the 5th line is 8va as labeled. \u00a0Also, from measures 24-to the end of the chorus Joel is playing a line in triplets. \u00a0Although measure 24 starts out with two sets of triplets, in measure 25 onward he changes the articulation of the triplets to mimic eighth\u00a0note articulation. \u00a0The triplet pulse is still constant although the new articulation gives the line a floating feeling over the time. \u00a0 For more on this subject you can check out\u00a0Playing with a Triplet Pulse Lesson<\/a>\u00a0in which I walk you through how to use this concept…………<\/p>\n Joel Frahm Solo on All the Things You Are-Chorus 2 Bb PDF<\/a>![\"Frahm\"](\"https:\/\/cdn.neffmusic.com\/siteimages\/uploads\/2013\/12\/Frahm.jpg\")
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