Quote:
Originally Posted by davidAaronCarte  - Cop Wayne's feel (he turned out to be much looser than I aspire to having in my own playing, to be honest) |
I totally understand. Wayne's later approach isn't so much about covering the changes, blowing bebop vocabulary or blues licks with typical phrasing, and implying swung 8th notes. He got the nickname Mr. Gone for a reason.
Wayne has definitely developed his own voice and approach when it comes to soloing and I notice that some guys get it and others just don't. When I think of his improvisations I can't help but want to use words like "astral", "spacial", "experimental", "tone/color painting" to describe it...but I know some horn players who just think "dude's not really trying" or "dude can't blow".
I find the guys who don't really appreciate his style are players who are more interested in hard charging Clifford Brown or Bird style bebop/blues based stuff, and that's cool...to each his own.
For me the magic is Wayne's COMPOSITIONS. His changes are so unique. His arrangements so sick. His melodies hauntingly beautiful, or bluesy, or just really cool. And furthermore, I absolutely love the way his improvisational style juxtaposes so nicely with the other players in his groups, going all the way back to the jazz messengers.
Anyways, I'm ranting cause I just love Wayne's music so much! But like I said, I've never really felt the need to transcribe Wayne for the purpose of imitating his approach, but I have arranged half of dozen of his compositions.
...should have learned Freddie's. 
