The Conrad Herwig album Another Kind of Blue features an abundance of Latin Jazz giants re-imagining Miles Davis’ classic recording. The expert “Latinization” of the music alone sheds new light upon these songs, but the band continually throws unexpected, but pleasant, arranging ideas into the mix. The respect, admiration, and love for the music shines brightly throughout the album. Amid this inspiring backdrop, the incredible improvisations consistently steal the show.

This transcription features Paquito D’Rivera soloing over seven choruses of the Miles Davis composition Freddie Freeloader. The first four choruses feature D’Rivera improvising against a lone bass line, provided strongly by John Benitez. The rest of rhythm section joins Benitez in the fifth chorus, following D’Rivera’s cue. The remaining wind players supply a background line variation on the Dizzy Gillespie song “Manteca” during the sixth and seventh choruses. The complete solo reflects D’Rivera’s ability to build a melodic statement, full of dynamics, shape, and tension over several minutes.

A few points of interest:
*D’Rivera’s utilizes range quite effectively.
He makes use of a little less than 2 full octaves throughout the course of his solo. He saves the extreme high end of his range for the end of his solo, cutting through the band with ease. Woodwind players notice D’Rivera’s flawless intonation even in that high register!

* D’Rivera makes extensive use of quotes.
He begins with a short recollection of “Manteca” at measure 5 before moving into some other ideas. At measure 17, D’Rivera spends 7 measures playing variations upon “Tequila.” He returns to “Manteca” at 29, this time focusing upon the original rhythmic trombone line. D’Rivera weaves these catchy melodies into his solo seamlessly, also pulling listeners closer into the experience.

* D’Rivera creates rhythmic tension through the use of triplets.
Check out the way Robby Ameen jumps onto D’Rivera’s line when he starts playing the triplet figure at measure 79. Triplets effectively build tension in Latin Jazz on their own, but D’Rivera adds a grace note before each note. He emulates a percussion “flam,” right away recalling a conga solo figure. His solo becomes more percussive and the drummers respond.

This transcription presents some interesting study items - have fun with it! I wrote the transcription in treble clef in concert Bb (the recording’s original key). If you need a Bb, Eb, or Bass Clef version, please let me know, I’d be happy post it.

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