THE IMPORTANCE OF RHYTHM: AN ANALYSIS OF

KENNY GARRETT’S SOLO ON

“REEDUS’ DANCE”

A PROJECT REPORT

Presented to the Bob Cole Conservatory of Music

California State University, Long Beach

In Partial Fulfillment

of the Requirements for the Degree

Master of Music

Concentration in Jazz Studies

Committee Members:

Ray Briggs, Ph.D. (Chair)

Elizabeth Lindau, Ph.D.
John Carnahan, M.A.

College Designee:

Johannes Müller Stosch, D.M.A.

By Brandon Johnson

B.M., 2016, Sonoma State University

May 2018




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 ABSTRACT

THE IMPORTANCE OF RHYTHM: AN ANALYSIS OF

KENNY GARRETT’S SOLO

ON “REEDUS’ DANCE”

By

Brandon Johnson

May 2018

Modern jazz education often focuses exclusively on harmonic aspects, although a

thorough knowledge of rhythm in jazz is also imperative to becoming a well-rounded player.

Many beginning and intermediate jazz students are taught about which scales and arpeggios they

should play over each chord progression, while the rhythmic aspect is often ignored. A strong

foundation in rhythm allows the improvisers to rhythmically lock in with one another and

perform their improvised melodic lines, comping patterns, or even walking bass lines with

confidence. In Rick Mattingly’s book The Drummer’s Time, throughout numerous interviews

with famous jazz musicians, many have discussed why rhythm is a keystone element of the

music. Louie Bellson, a jazz drummer who performed with players such as Duke Ellington,

Count Basie, and Ella Fitzgerald, stated that Charlie Parker and Dizzy Gillespie “would always

talk about knowing where [beat] one was. That’s very important, because if you don’t know

where one is, you’ve lost everybody.” The emphasis of beat one, rhythmic contrast, and rhythmic

motives can be found throughout alto saxophonist Kenny Garret’s solo on the tune “Reedus’

Dance” from Introducing Kenny Garret (1984). His use of rhythmic motives allows the audience

to grab onto certain melodic phrases because of the repetition of the rhythms. In addition, Garrett

places an emphasis on rhythmic contrast in his solo, allowing him to play melodic lines that do

ii
not always follow conventional rules. For example, this concept allows him to play

unconventional chord tones throughout his solo, such as a major seventh on a dominant seventh

chord. Finally, Garrett emphasizes where beat one is by playing notes on the first beat of each

chord change. In this project report, I will argue that Garrett’s approach to rhythm is a significant

component of his signature style.

iii
 ACKNOWLEDGEMENTS

Thank you to my parents for always supporting me financially and emotionally

throughout life. I am also greatly appreciative of my grandma for all of the support she has given

me.

Thank you, Ray Briggs, for opening my eyes to the importance of jazz history. I now

realize that learning about music history can help me become a better performer. In addition,

thank you for allowing me to come into your office hours to improve my essay writing skills.

Thank you, Elizabeth Lindau, for teaching me so much in your research methods class. If

it were not for you showing me how to use the library and its online resources, this paper would

not have been possible.

Thank you, John Carnahan, for helping me choose this research topic and for teaching me

about the importance of rhythm in jazz.

Thank you, Doug Leibinger, for taking my musicianship to the next level. Your approach

to your jazz improvisation and composition classes were a lot of fun because they pushed me to

learn the most basic to advanced ideas in jazz music theory. I appreciate all of the times you let

me come into your office hours so that I could pick your brain each and every week.

iv
 TABLE OF CONTENTS

ABSTRACT....................................................................................................................................ii

ACKNOWLEDGEMENTS............................................................................................................iv

LIST OF FIGURES........................................................................................................................vi

1. RHYTHM IN JAZZ.........................................................................................................1

2. BIOGRAPHY..................................................................................................................7

3. RHYTHMIC IDEAS IN “REEDUS’ DANCE” ANALYZED.....................................10

4. FINAL THOUGHTS.....................................................................................................16

APPENDIX: “REEDUS’ DANCE” TRANSCRIPTION..............................................................20

BIBLIOGRAPHY..........................................................................................................................27

v
 LIST OF FIGURES

1. Metheny uses few notes as possible and varies their rhythm to create melodies ............. 3

2. Measures 1-8 of Garrett’s solo....................................................................................... 10

3. Measures 13-20 ............................................................................................................. 11

4. Measures 25-28 and 57-60 ............................................................................................ 12

5. Measures 61-64 ............................................................................................................. 13

6. Measures 13-24 ............................................................................................................. 13

7. Measures 41-72 ............................................................................................................. 14

8. Measures 85-96 ............................................................................................................. 15

9. Guitar vamp in G minor.....................................................................................................17

10. Braxton rhythmically displaces the melodic idea and plays on top of the beat................ 17

vi
 CHAPTER 1

RHYTHM IN JAZZ

Since jazz was originally dance music, rhythm remains an essential ingredient within the

jazz tradition. Although it is helpful to learn about what scales and arpeggios function over

specific chords, rhythm is what allows the improviser to deliver his/her melodic lines to the

audience with confidence. When melodic ideas are delivered with certainty, notes from outside

of the scale or arpeggio may be used because it will sound as though the improviser played the

notes on purpose. The relevance of rhythm is apparent in the book titled The Drummers Time:

Conversations with the Great Drummers of Jazz, which contains a collection of interviews with

many of jazz’s great drummers such as Louie Bellson, Buddy Rich, and Jack DeJohnette.1

Bellson tells his private students that they should feel rhythmic phrases in bigger chunks and

“learn how to feel a two-bar phrase, or a four-bar phrase, or an eight-bar phrase” rather than

count each measure.2 When a jazz musician is able to feel music in bigger chunks, it becomes

easier to phrase melodic and rhythmic ideas as well as keeping his or her place within a tune. He

later claims that “if you count [the beats], you’ll concentrate too much on counting and not on

the invention of the solo itself.” 3 When many beginning jazz students learn how to improvise,

they usually count every beat in each bar so that they do not lose their place. Within the previous

quote, Bellson states that by learning how to feel four or eight-bar phrases, you no longer have to

1
Rick Mattingly, The Drummer’s Time: Conversations with the Great Drummers of Jazz
(Cedar Grove: Modern Drummer Publications, 1998), 8.
2
Mattingly, The Drummer's Time, 8.
3
Mattingly, The Drummer's Time, 8.

1
worry about losing your spot when improvising because you do not have to rely on counting four

beats to a measure. Feeling the music in larger chunks is paramount because the goal of jazz

music was to create a strong rhythmic foundation for the dancing audience. If a rhythm section

feels an entire tune in one bar chunks, the dancers may have a difficult time dancing to the music

since the rhythm section will most likely fail at distinguishing each individual section of the tune.

Rhythm was such a main attraction of jazz, that the McKinney’s Cotton Pickers became

far more popular than Jean Goldkette’s band because the latter was playing two beats to the

measure which resulted in a “sweet sound,” while the former “were playing four-four…[which]

gave the band a happy sound and the people could not resist dancing.”4 Bands which maintained

a sweet sound used a cut-time feel while the bands such as the Cotton Pickers played with a

“four-to-the-floor” feeling. The four-to-the-floor sound was achieved by the drummer playing

the bass drum on beats 1, 2, 3, and 4. In Saying Something: Jazz Improvisation and Interaction,

drummer Ralph Patterson mentions that the rhythmic component of a solo is “almost as

important, if not as important, as the notes themselves, because if you miss a note and the rhythm

is logical, then the idea comes across… whether you hit the note dead center or not.”5 In this

quote, Patterson is stating that although melodic content is crucial in jazz, rhythmic confidence

allows the musician to play any notes he or she desires because the listener can grasp onto the

rhythmic aspect of the solo. This rhythmic concept can be spotted in both Kenny Garrett’s and

Pat Metheny’s playing.

4
Lars Bjorn, Before Motown: A History of Jazz in Detroit, 1920-60 (Ann Arbor:
University of Michigan Press, 2001), 27.
5
Ingrid T. Monson, Saying Something: Jazz Improvisation and Interaction (Chicago:
University of Chicago Press, 1996), 29.

2
 In the book titled The Pat Metheny Interviews: The Inner Workings of His Creativity

Revealed, there is a transcription of Metheny demonstrating how rhythm can make a simple three

note motif interesting (Figure 1).6 In measure 9 he introduces more notes.

FIGURE 1. Metheny uses few notes as possible and varies their rhythm to create melodies.

Metheny chose only three notes because he wanted to prove that it is possible to make a

simple melodic idea swing with only syncopation and rhythmic variation. He starts off with

quarter notes and eighth-note syncopations. By measure 12 he becomes rhythmically active and

utilizes quarter note triplet subdivisions to bring a climax to his solo. If he only used a steady

6
Richard Niles, The Pat Metheny Interviews: The Inner Workings of His Creativity
Revealed (United States of America: Hal Leonard Books, 2009).
3
stream of eighth notes or quarter notes, one may argue that the solo would sound repetitive.

However, the rhythmic variety throughout this short demonstration allowed his melody to reach

a climax beginning at bar 9. Garrett uses this same concept in his solo throughout “Reedus’

Dance.” Garrett often takes many simple melodic ideas with as few notes as possible and brings

spontaneity to his ideas by varying the rhythm. Like Metheny, he begins melodic ideas with

simple quarter note or half note values and then syncopates the line to add momentum to each

phrase. In addition, because of Garrett’s solid rhythmic foundation, he is able to play melodic

ideas that do not always fit the “rules” of standard voice-leading. 7 For instance, this may mean

that if Garrett was soloing on a CMAJ7 chord, he could end a melodic phrase on the note F, also

known as the natural eleventh. As this paper progresses, specific examples of this concept from

Garrett’s solo on “Reedus’ Dance” will be cited.8

In an interview with Roy Hargrove, a jazz trumpet player who has performed with groups

and performers such as Wynton Marsalis, Herbie Hancock, and The RH Factor, he talks about

why jazz musicians should practice rhythm and then discusses his experience on the band stand

with the saxophonist George Coleman.9 During a jam session, Coleman took a solo on the tune

“Cherokee” in all keys and then played the tune in multiple time signatures such as 4/4 and 5/4.

Hargrove realized that one of his own weaknesses was rhythm. In another interview, Gary Bartz

mentions how he has seen many college rhythm sections “argue, discuss, [and] fight” in regard

7
“Pat Metheny - Lesson on Improvisation” (masterclass video), posted September 8,
2013, accessed November 1, 2017, https://www.youtube.com/watch?v=UAc1CytLStw.
8
Woody Shaw et al., Introducing Kenny Garrett, Criss Cross Jazz 1014, 1984, CD.
9
Roy Hargrove, "Cocky Young Players,” posted September 7, 2011, accessed November
1, 2017, https://www.youtube.com/watch?v=cUbaLwCeri8.
4
to how the bass and drums should lock in with one another.10 For instance, many younger upright

bass and drum players may not understand how their instruments lock in with one another. The

drummer and bassist may play directly on top of the beat, or the bass player may play behind the

beat while the drummer plays on top of the beat. There are many other possibilities to

implement, but it is helpful when a rhythm section knows how these different approaches can

affect the feeling of a tune. During “Reedus’ Dance” when Nat Reeves (bass) and Tony Reedus

(drums) were playing on top of the beat, Garrett chose to play on top of the beat with them,

giving the tune a forward momentum.

In an interview titled “The ‘Secret’ to Improving Your Rhythm and Time,” Chick Corea,

a jazz pianist who is a DownBeat Hall of Famer and twenty-two-time Grammy winner, gives tips

on how to improve one’s rhythm.11 He states that we can enhance our sense of time by

mimicking the time feel of the musicians that we admire. This may first be done by transcribing

a soloist that we like and then playing along with the recording. After technically mastering this

transcription, we should apply the same time-feel from the transcription to our own

improvisation. The final step is to record ourselves playing so that we can make sure that we are

achieving the desired time-feel. In a separate interview titled “Barry Talking About the

Importance of Rhythm,” Barry Harris, a legendary bebop pianist and educator from Detroit,

10
Essentially Ellington, "Gary Bartz Discusses Egos and Music," posted October 27,
2012, accessed November 1, 2017, https://www.youtube.com/watch?v=rQ_djHO8684.
11
Chick Corea, "The 'Secret' to Improving Your Rhythm and Time" (masterclass video),
posted February 5, 2015, accessed November 1, 2017, https://www.youtube.com/watch?v=ED7l
iSX7zvY.

5
states that utilizing syncopations or eighth and quarter note triplets allows the improviser to bring

spontaneity to his or her solo.12

12
Frans Elsen, "Barry Harris Talking About the Importance of Rhythm" (masterclass
video), posted March 11, 2013, accessed November 1, 2017, https://www.youtube.com/watch?v
=N5VDXcmRiaU.
6
 CHAPTER 2

BIOGRAPHY

Kenny Garrett is a jazz saxophonist, composer, and pianist who was born on October 9,

1960 in Detroit, Michigan. Garrett has shared the stage with jazz legends such as Miles Davis,

Art Blakey, Joe Henderson, Brad Mehldau, Brian Blade, Chick Corea, Mulgrew Miller, and

Chick Corea according to an interview on YouTube entitled “Kenny Garrett.”13 He won the

prestigious DownBeat poll in 1996, 1997, 1998, 1999, 2009, 2010, 2012, and 2013 for his

compositions and alto saxophone playing. Garrett has received Grammy nominations numerous

times such as in 1997 for Best Jazz Instrumental Performance for his album Songbook and for

Best Jazz Instrumental Album for Beyond the Wall (2006).14 He won a Grammy for his album

titled Five Peace Band – LIVE (2010) for Best Jazz Instrumental Album. In 2012 the Washington

City Paper called him “The most important alto saxophonist of his generation” and in 2013 New

York Times called him “one of the most admired alto saxophonists in jazz after Charlie Parker.”15
16

When asked about rhythm, Garrett answered: “I think rhythm is rhythm… jazz was

influenced by so many different genres… Sometimes we have funk rhythms. But at the end of

13
“Kenny Garrett,” posted September 11, 2015, accessed November 1, 2017,
https://www.youtube.com/watch?v=H2oNti8KjA4.
14
Kenny Garrett, Beyond the Wall, Nonesuch, 2006, CD.
15
Michael J. West, “Jazz Setlist, Feb. 26-March 2: A Truncated Set,” The Washington
City Paper, February 26, 2016, accessed May 8, 2018, https://www.washingtoncitypaper.com/art
s/music/blog/13082796/jazz-setlist-feb-26-march-2-a-truncated-set.
16
Ben Ratliff, “A Young Jazz Singer Reminds Her Elders How It Was Done,” New York
Times, August 25, 2013.
7
the day, it’s just really African rhythms that we’re performing.”17 In another interview, Garrett

said that at each of his concerts he lets his audience know that if they “feel something [they] can

shout out… [and] get up and dance.”18 Although modern jazz is not required to be in the dance

tradition, this quote shows that Garrett understands that jazz has its roots in dance music. Like

other jazz musicians, he believes that music should have an interaction between the performers

and the listeners. In an interview entitled “An Jazz Interview with Kenny Garrett,” he mentions

that his “mother wasn’t a musician, but there was always music around the house.”19 “[His] dad

bought [him] a toy saxophone when [Kenny] was a child, then he bought [him his] first real

saxophone.”20 Later in the interview, Garrett points out that “Detroit [contained] so many

different genres [such as] bebop, free music, classical music, [and] Motown.”21 Perhaps his

exposure to so many different styles of music at a young age allowed him to organically develop

his signature sound and strong sense of rhythm. In A History of Jazz in Detroit, Before Motown,

it is stated that musical variety has always been central to the Detroit scene. For instance, during

the 1920s “society bands played a repertoire ranging from light classics to waltzes and the

17
“Kenny Garrett.”
18
“An Interview with Kenny Garrett," posted October 28, 2008, accessed November 1,
2017, https://www.youtube.com/watch?v=FCUVkL7FYxo.

19
Don Brown Sr., “Jazz Interview with Kenny Garrett,” Jazz Internet, August 4, 2003,
accessed November 1, 2017, http://www.jazzinternet.com/interviews/garrett.htm.
20
Brown Sr., "Jazz Interview with Kenny Garrett."
21
Scott H. Thompson, “Kenny Garrett Interview,” Jazz in Europe, October 6, 2016,
accessed November 1, 2017, https://jazzineurope.mfmmedia.nl/2016/10/kenny-garrett-
interview/.

8
popular music of the day, such as ragtime.”22 The tradition of Detroit musicians being versatile

carried on into Garrett’s lifetime, allowing him to absorb many different genres of music at a

young age. While growing up in this city, he remembers his father listening to all kinds of music

such as Stanley Turrentine and Joe Henderson while his “mother was listening to Motown

sounds.”23 By hearing these two different genres of music, he was able to absorb African

rhythms and then eventually apply this sense of rhythm to his own music, as heard in the tune

“African Exchange Student” from the album African Exchange Student.24

Based on all of this biographical information found in interviews about Garrett, it may be

safe to assume that his strong rhythmic sense may be related to hearing jazz and Motown at a

young age. As he grew older, he enjoyed different styles of music from places such as the

Middle East, China, Japan, and Turkey. The influence of Asian music can be heard on his album

Beyond the Wall. Pentatonic melodies are used during melodies and solos within tunes such as

“Qing Wen.” Although he delves into an exotic sound on Beyond the Wall in terms of harmony

and melody, he displays a strong rhythmic sense with his use of rhythmic motifs, playing chord

tones on beat one, and ramping up his rhythmic intensity just as he did in “Reedus’ Dance.”

22
Bjorn, Before Motown: A History of Jazz in Detroit, 14.
23
Jason Crane, “Kenny Garrett: Musical Explorer,” All About Jazz, September 11, 2006,
accessed November 2, 2017, https://www.allaboutjazz.com/kenny-garrett-musical-explorer-
kenny-garrett-by-jason-crane.php.

24
Kenny Garrett et al., African Exchange Student, Atlantic, 1990, CD.
9
 CHAPTER 3

RHYTHMIC IDEAS IN “REEDUS’ DANCE” ANALYZED

Before analyzing this solo, it must be pointed out that Garrett records with musicians that

display a strong sense of rhythm. His personnel for the album Introducing Kenny Garrett (1984)

included Nat Reeves (bass), Tony Reedus (drums), Mulgrew Miller (piano), and Woody Shaw

(trumpet). In addition, Garrett’s melodic ideas on “Reedus’ Dance” not only display an

understanding of bebop voice-leading, but his rhythmic concepts help contribute to the overall

structure of his solo. Because Garrett utilizes rhythmic motivic development, increases rhythmic

action as the solo develops, and places emphasis of beat one, the listener may grasp the overall

arc of Garrett’s solo. First, his use of rhythmic motifs will be examined. In Figure 2, the same

rhythmic idea is played in both measures 1-2 and 5-6. (All figures are in concert pitch and are

transcribed by myself. The appendix includes a part in concert pitch and in the key of Eb).

FIGURE 2. Measures 1-8 of Garrett’s solo.

The strength of his rhythmic motif beginning in measure 5 enables Garrett to end his phrase on

Db in measure 6, or the major seven of D7(alt). This would be considered a wrong note over a

dominant seventh chord in college jazz improvisation courses because the Db is not being used

10
as a passing tone in the bebop dominant scale. Although Garrett plays mostly chord tones in

these two motifs, he begins both melodic ideas with the note C. After these two phrases, a pause

ensues from measures 11 to 12, allowing Garrett to develop his solo because the audience

remembers his first two phrases. In Figure 3, there are more rhythmic motifs in both measures

13-14 and 19-20. These two melodic ideas are linked together because of their similar shape in

melodic contour and similar rhythms. Due to the complex chord changes and fast tempo of this

tune (200bpm+), these small melodic and rhythmic motifs give coherency to the solo. In Figure

3, Garrett uses common bebop techniques for improvising. For example, in measures 13-16, he

uses the altered scale over C7(alt), a common technique amongst jazz improvisers. In measure 17

he utilizes a FmiMaj9 arpeggio over FMI7, and from 18-20 he plays mostly chord tones on the

downbeats with some passing tones on the off-beats. The reason for discussing these harmonic

elements is to point out that Garrett uses common soloing techniques such as arpeggios, altered

and bebop scales, and melodic motivic ideas.

FIGURE 3. Measures 13-20.

What makes this solo different from an intermediate player’s approach, is his ability to

make simple melodic ideas sound advanced due to his ability to manipulate rhythm by stressing

11
beat one and utilizing rhythmic motifs. In addition, his ability to play on top of the beat when

using rhythmic motifs makes his melodic phrases memorable. Playing on top of the beat is when

an improviser aims to make each rhythm on a downbeat land directly on the beat, rather than

slightly before it or after it. Players known for playing on top of the beat are Cannonball

Adderley and Pat Metheny. On the contrary, laying back is when a performer places their notes

behind the strong beats. Many great players such as Dexter Gordon or John Coltrane often laid

back when improvising.

In measures 25-26 and 27-28 (Figure 4), Garrett repeats a melodic idea with the same

rhythm. In measure 27 he varies the rhythm by placing C on beat 4 instead on the “and of 4.”

Another example of rhythmic motifs is in measures 57 through 60 (Figure 4).

FIGURE 4. Measures 25-28 and 57-60.

To vary the melody within this rhythmic idea, Garrett sequences the melody from

measure 57 which contains A (sharp eleventh) and C (sixth), and then in measure 58 he plays Bb

(5) and Eb (root). He repeats this same rhythmic motif from measures 57 to 58 in measures 59

and 60. In measure 61 (Figure 5) he repeats the same rhythmic idea starting on beat 1 and then

beat 3. To contrast this, he augments the rhythmic value of the final note (C) in measure 62 to

12
add spontaneity. The rhythmic motifs help Garrett interact with the rhythm section and form

melodic ideas which spell out the harmony.

FIGURE 5. Measures 61-64.

The concept of increasing rhythmic intensity is used throughout Garrett’s solo. Increasing

rhythmic intensity is when a player uses longer note durations and simple rhythms at the

beginning of an improvisation, and then increases the rhythmic activity by adding in more

subdivisions later in the solo. From measure 13 until 24 (Figure 6), two full bars of rest can be

observed as well as multiple quarter note values within the line. Because he does not play a

continuous line of eight notes in this beginning section of the solo, he leaves space to build up

rhythmic intensity later on.

FIGURE 6. Measures 13-24.

13
 By measure 45 through 72 (Figure 7), Garrett plays a multitude of notes but becomes

rhythmically less active. Syncopation, multiple rests, and quarter note values can be spotted

throughout his lines.

FIGURE 7. Measures 41-72.

14
 By the last five systems beginning on measure 78 of his solo, Garrett becomes active with

a near steady stream of eighth notes. Although there are not any sixteenth notes or eighth note

and quarter note triplets within this solo, his syncopation allows him to create contrast within

each phrase. In addition to his rhythmic variety, the emphasis on beat one can be spotted

throughout this solo. The two instances where a note is not played on beat one of a major chord

change are in measures 63 and 73. In addition, a chord tone (as opposed to a color note) tends to

be played on beat one except for measures 1, 9, 77, 81, and 85. By playing a majority of either

color tones or chord tones on beat one for most of the measures throughout the solo, the rhythm

section can better interact with the soloist in terms of harmony and melody. Finally, another

essential aspect of Garrett’s rhythm is his ability to play on top of the beat. One may assume that

Garrett’s combo played on top of the beat is because “Reedus’ Dance” is a Latin-styled tune.

When listening to Latin jazz, one may notice that many of the rhythms played by the

percussionists, horn players, and rhythm section tend to be on top of the beat.

FIGURE 8. Measures 85-96.

15
 CHAPTER 4

FINAL THOUGHTS

A study of Kenny Garrett’s rhythm in the tune “Reedus’ Dance” is imperative for many

reasons. As mentioned earlier, many beginning jazz students are taught about which scales and

arpeggios should be played over each chord progression, while the rhythmic aspect of jazz is

often ignored. In this solo, many of Garrett’s lines are quite basic in terms of melodic and

harmonic analysis. He often plays chord tones and basic modes over each chord. What makes his

solo different from an intermediate player’s approach, is his ability to make simple melodic ideas

sound advanced due to his ability to play on top of the beat, stress beat one, interact with the

rhythm section, and utilize rhythmic motifs. Even though Garrett knows how to lay back, he

chose to play on top of the beat with the rest of the band which allowed the rhythm section to

create a forward momentum.

Since Kenny Garrett released Introducing Kenny Garrett in 1984, he has influenced

many musicians that have come after him. A contemporary musician that was influenced by him

is Braxton Cook, an alto saxophonist and vocalist who graduated from the Julliard School and

has performed with players such as Wynton Marsalis, Christian McBride, Jon Batiste, Robert

Glasper, and Christian Scott. 25 In addition to jazz, he plays pop, rhythm and blues, and hip hop

and has performed with Rihanna. During a National Public Radio (NPR) concert, Braxton

performed a tune entitled “West of the West” with Christian Scott (trumpet), Elena Pinderhughes

25
Braxton Cook, “Braxton Cook,” February 13, 2018, accessed November 1, 2017,
https://www.braxtoncook.com.

16
(flute), Dominic Minix (guitar), Corey Fonville (drums), and Lawrence Fields (piano). 26 Figure

9 displays the guitar vamp that is used throughout most of the tune. Figure 10 is a lick that

Braxton plays beginning at the 1:18 mark of the YouTube video.

FIGURE 9. Guitar vamp in G minor.

FIGURE 10. Braxton rhythmically displaces the melodic idea and plays on top of the beat.

Like Garrett, he takes a simple rhythmic and melodic motif which in this case is the b3,

root, and b7 of a G minor vamp. In measure 2 he plays an improvised lick beginning on beat 2,

but by measure 3 he displaces it and starts it on beat one. In measure 4, he displaces it once again

26
Patrick Jarenwattananon, “Christian Scott ATunde Adjuah: NPR Music Tiny Desk
Concert,” posted October 9, 2015, accessed January 5, 2018, https://www.youtube.com/watch?
v=mVJjmyFfuts.
17
and begins it on the “and of 1.” Throughout this solo Braxton also plays with a similar alto tone

that resembles Garrett’s, plays on top of the beat, takes simple melodic motifs and alters their

rhythms, plays on top of the beat, and then at the end of the lick in Figure 10, utilizes the

Phrygian scale with an added major third. It is no surprise that Braxton uses these elements in his

improvisation. On Braxton’s website, he provides a transcription of Garrett’s solo on “I’ll

Remember April” from a live recording at the Berlin Jazz Festival in 1985. Braxton claims that

he wanted to impress Carl Allen, the head of the Julliard Jazz program. Braxton states “I

remember I wanted to impress him and learn something he played on and since I love young

Kenny Garrett (back in his bebop days) I figured I would learn this one.” 27

Ultimately, I hope that the readers of this paper will continue to explore beyond harmonic

and melodic devices in jazz composition and improvisation. I continue to focus on harmonic and

melodic aspects of my playing, but I wish that it would not have taken me all the way until

graduate school to realize that my rhythm was always laying back because of my weak sense of

time. Players with a solid rhythmic foundation such as John Coltrane played behind the beat at

times because they chose to do so as a stylistic decision. When analyzing solos by Braxton and

Garrett, it is apparent that they spent a lot of time not only learning how to voice-lead, but they

also learned how to greatly improve their sense of rhythm. In this paper I sought to make the

argument that Garrett’s solo on “Reedus’ Dance” sounded contemporary and influential because

he was able to utilize multiple rhythmic techniques to make his lines both memorable and swing.

Finally, I always keep in mind that the two main aspects of playing which leave first impressions

amongst fellow musicians are tone and rhythm. When one of these traits are out of balance, even

27
Cook, “Braxton Cook.”
18
the most sophisticated line can sound lackluster. Because of this, I hope that more aspiring jazz

players will make more time for rhythm in the woodshed.

19
 APPENDIX

“REEDUS’ DANCE” TRANSCRIPTION

20
21
22
23
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BIBLIOGRAPHY

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 BIBLIOGRAPHY

Andree, Joshua G. “Charlie Parker, Cannonball Adderley, and Kenny Garrett: A Lineage of Alto
Saxophone Players: A Project Report.” Master’s thesis, California State University Long
Beach, 2012. Accessed October 7, 2017. ProQuest Dissertations and Theses.

Bjorn, Lars. Before Motown: A History of Jazz in Detroit, 1920-60. Ann Arbor: University of
Michigan Press, 2001.

Brown, Don, Sr. “Jazz Interview with Kenny Garrett.” Jazz Internet, August 4, 2003, accessed
November 1, 2017. http://www.jazzinternet.com/interviews/garrett.htm.

Chirillo, James. “The Role of Rhythm in a Big Band” (demonstration video). Posted September
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https://www.youtube.com/watch?v=G3Yrd1ipjBM.

Cook, Braxton. “Braxton Cook.” Accessed February 13, 2018. https://www.braxtoncook.com/.

Corea, Chick. “The ‘Secret’ to Improving Your Rhythm and Time.” Posted February 6, 2015.
Accessed November 1, 2017. https://www.youtube.com /watch? v= ED7liSX7 zvY.

Crane, Jason. “Kenny Garrett: Musical Explorer.” All About Jazz. September 11, 2006. Accessed
October 7 2017. https://www.allaboutjazz.com/kenny-garrett-musical-explorer-kenny-
garrett-by-jason-crane.php.

Davis, Francis. Bebop and Nothingness: Jazz and Pop at the End of the Century. New York:
Schirmer Books, 1996.

Elsen, Frans. “Barry Harris Talking About the Importance of Rhythm” (masterclass video).
Posted March 11, 2013. Accessed November 1, 2017. https://www.youtube.com/ watch?
v=N5VDXcm RiaU.

Essentially Ellington. “Gary Bartz Discusses Egos and Music.” Posted October 27, 2012.
Accessed November 1, 2017. https://www.youtube.com/watch?v=rQ_djHO8684.

Garrett, Kenny, Mulgrew Miller, Charnett Moffett, Ron Carter, Tony Reedus, and Elvin Jones.
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Garrett, Kenny. Beyond the Wall. Nonesuch, 2006, CD.

Harris, Barry. “Artists House Master Class with Barry Harris: Student Performances”
(masterclass video). Posted March 6, 2013. Accessed November 1, 2017. https://www.
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“An Interview with Kenny Garrett.” Posted on October 27, 2008. Accessed January 1, 2017.
https://www.youtube.com/watch?v=FCUVkL7FYxo.

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Jarenwattananon, Patrick. “Christian Scott ATunde Adjuah: NPR Music Tiny Desk Concert.”
Posted October 9, 2015. Accessed February 1, 2018. https://www.youtube.com/watch?v
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“Kenny Garrett.” Posted September 11, 2015. Accessed November 1, 2017. https://www.youtube
.com/watch?v=H2oNti8KjA4.

Mattingly, Rick. The Drummer’s Time: Conversations with the Great Drummers of Jazz. Cedar
Grove, NJ: Modern Drummer Publications, 1998.

Monson, Ingrid T. Saying Something: Jazz Improvisation and Interaction. Chicago: University
of Chicago Press, 1996.

Niles, Richard. The Pat Metheny Interviews: The Inner Workings of His Creativity Revealed.
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“Roy Hargrove, Cocky Young Players.” Posted September 7, 2011. Accessed November 20,
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Schuller, Gunther. The Swing Era: The Development of Jazz, 1930-1945. New York: Oxford
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Shaw, Woody, Kenny Garrett, Mulgrew Miller, Nat Reeves, and Tony Reedus. Introducing
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West, Michael J. “Jazz Setlist, Feb. 26-March 2: A Truncated Set,” February 26, 2016.
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march-2-a-truncated-set.

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