Jump Jive and Wail

Sam Butera Tenor Sax Solo

Louis Prima

>œ œ
Transcribed by Nigel McGill

œ œ œ œ œbœ œ œœ
J ‰ Œ ™ nœ œ
q=200
4 >œ œ J #œ œ œ œ
& 4 ‰ œj œ ‰ J ‰ ‰ J
J
> 3

œ œ œbœ œ b œ. b œ œ œ. œ œ b œ. œ œ . b œ. œ b œ œ b œ œ b œ
œœœ œœ
5

& J ‰ Ó Œ

10
nœ n œ œ #œ nœ
bœ œ ùb œ b˙™ œ œ
& œ Œ Œ

bœ œ bœ œ œ
œ bœ nœ nœ #œ œ nœ bœ œ œ
13

& œ Œ Ó

How to get this sound:

Sam Butera used the blues scale extensively in his solos to create that "Rock and Roll"
sound. This solo is based largely on the C Blues scale blow. Try making up your own solos

œ b œ œ œ œ œ nœ bœ
using this scale.

nœ #œ
16
b œ
& bœ œ #œ œ bœ œ œ bœ œ
#œ nœ bœ w
œ
Bends, slurs and fall offs:
A big part of sounding like Sam Butera is being able to Growling - how to do it!
copy the way he bends notes, slurs up to and falls off notes.
Listen closely to recordings of this solo and try to Sam Butera has a fantastic raspy tone
imitate Sam's playing. This takes a little time but makes which really is the ultimate 50s Rock
all the difference to your sound! and Roll sax sound. He gets this by
“growling” when playing which is
basically singing. It takes a bit of
getting used to but try experimenting
by singing whilst playing a long tone.
You don’t need to sing the same note
as you are playing and the aim isn’t to
hear your singing. The vibrations of
your voice give the sax sound that
raspy quality. Again, listening and
copying recordings is the best way to
learn how and when to use growling
in your solos.

www.mcgillmusic.com