Rok, first, some context:
Every arrangement of a tune has a structure that is adhered to. Within that structure there may be room for a predetermined number of solos by specific instruments. Sometimes the arranger is very specific about what the length of the solo should be and other times the arranger gives the designated soloist free reign to improvise as long as he wants, but this is done with the understanding that the soloist will improvise as long as he has something to say and not just to be indulgent and go on forever in a way that doesn’t fit the spirit of the tune or arrangement. That is basic ensemble protocol. All this is specified in the designated soloist’s part (sheet music). When it is a brand new composition and unfamiliar to the player(s), the chord changes are written in the part and the soloist follows that chord progression as spelled out in his written part. Sometimes, as is the case here, the tune is in a basic and very familiar twelve measure blues form. Any Jazz player worth his salt can improvise over a twelve bar blues in his sleep. This is the reason that sometimes you see players looking at the music while they improvise and other times they don’t.
Not quite sure I fully understand your question: “Did Kisor blow this solo during rehearsals?“
Do you mean, was it Kysor that improvised at this point in the tune, as designated by the arrangement, during rehearsals? Yes, undoubtedly. During rehearsals, the soloist gets to blow his solo (rehearse) just as he will during the performance. Obviously, since it will be an improvised solo, it will not be “this solo”; but it will be his solo at the same point in the arrangement. This is all a necessary part of the rehearsal process. The arrangement and its performance will be most effective musically if there is no doubt or hesitation during the transitions from, as in this case, instrumental soloist to vocal statement or soloist to soloist. Unless rehearsal time is running short (happens) the soloist will get to improvise as long as he will during the performance; but, again, only as long as is musically appropriate.
In this particular arrangement Kysor was given “free reign” to play as long as he needed; again, within reason. He plays six choruses. How do I know that he was given free reign as opposed to the length of his solo being dictated by the arranger? Notice what he does at precisely 4:29. He makes a quick gesture to his right with his horn. That’s a visual cue to the band that the next chorus he plays will be his last chorus.
This performance is interesting on a few counts and relates to the issue of “new” vs “old” Jazz and your clip is actually very timely. Traditional tune performed with an obviously traditional feel; and interesting that the opening statement is played by a different trumpet player (Kenny Rampton) than the trumpet player that improvises a solo later in the tune (Kysor). Both players sound fantastic. Rampton sounds fantastic playing in the more traditional, very inflected, plunger mute style. Rampton (a younger player) has a very modern harmonic concept. He plays very “outside” the very traditional harmony of the blues form. Very interesting and at times obtuse solo that is full of surprises and never telegraphs where he is going next. He plays his solo with a very advanced harmonic vocabulary that is clearly an extension of the vocabulary of great players like Miles and Woody Shaw. Those players didn’t and couldn’t play like Rampton. Obviously, not a criticism, just that Jazz was in a different place then. The listener may or may not like Rampton’s vocabulary because it is so different (“new”) from what is familiar (“old”) but Rampton clearly has his own voice. Killer solo which is on the same level, in every way that defines the spirit of Jazz, as many of the great solos by many of the great players from the past. “New” Jazz in the context of an “Old” setting. Great stuff.
Wynton was clearly digging it. And, btw, Wynton knows all of the above and much more. Did all that knowledge get in the way of his “digging it” (Katz/😉)? I seriously doubt it.
Every arrangement of a tune has a structure that is adhered to. Within that structure there may be room for a predetermined number of solos by specific instruments. Sometimes the arranger is very specific about what the length of the solo should be and other times the arranger gives the designated soloist free reign to improvise as long as he wants, but this is done with the understanding that the soloist will improvise as long as he has something to say and not just to be indulgent and go on forever in a way that doesn’t fit the spirit of the tune or arrangement. That is basic ensemble protocol. All this is specified in the designated soloist’s part (sheet music). When it is a brand new composition and unfamiliar to the player(s), the chord changes are written in the part and the soloist follows that chord progression as spelled out in his written part. Sometimes, as is the case here, the tune is in a basic and very familiar twelve measure blues form. Any Jazz player worth his salt can improvise over a twelve bar blues in his sleep. This is the reason that sometimes you see players looking at the music while they improvise and other times they don’t.
Not quite sure I fully understand your question: “Did Kisor blow this solo during rehearsals?“
Do you mean, was it Kysor that improvised at this point in the tune, as designated by the arrangement, during rehearsals? Yes, undoubtedly. During rehearsals, the soloist gets to blow his solo (rehearse) just as he will during the performance. Obviously, since it will be an improvised solo, it will not be “this solo”; but it will be his solo at the same point in the arrangement. This is all a necessary part of the rehearsal process. The arrangement and its performance will be most effective musically if there is no doubt or hesitation during the transitions from, as in this case, instrumental soloist to vocal statement or soloist to soloist. Unless rehearsal time is running short (happens) the soloist will get to improvise as long as he will during the performance; but, again, only as long as is musically appropriate.
In this particular arrangement Kysor was given “free reign” to play as long as he needed; again, within reason. He plays six choruses. How do I know that he was given free reign as opposed to the length of his solo being dictated by the arranger? Notice what he does at precisely 4:29. He makes a quick gesture to his right with his horn. That’s a visual cue to the band that the next chorus he plays will be his last chorus.
This performance is interesting on a few counts and relates to the issue of “new” vs “old” Jazz and your clip is actually very timely. Traditional tune performed with an obviously traditional feel; and interesting that the opening statement is played by a different trumpet player (Kenny Rampton) than the trumpet player that improvises a solo later in the tune (Kysor). Both players sound fantastic. Rampton sounds fantastic playing in the more traditional, very inflected, plunger mute style. Rampton (a younger player) has a very modern harmonic concept. He plays very “outside” the very traditional harmony of the blues form. Very interesting and at times obtuse solo that is full of surprises and never telegraphs where he is going next. He plays his solo with a very advanced harmonic vocabulary that is clearly an extension of the vocabulary of great players like Miles and Woody Shaw. Those players didn’t and couldn’t play like Rampton. Obviously, not a criticism, just that Jazz was in a different place then. The listener may or may not like Rampton’s vocabulary because it is so different (“new”) from what is familiar (“old”) but Rampton clearly has his own voice. Killer solo which is on the same level, in every way that defines the spirit of Jazz, as many of the great solos by many of the great players from the past. “New” Jazz in the context of an “Old” setting. Great stuff.
Wynton was clearly digging it. And, btw, Wynton knows all of the above and much more. Did all that knowledge get in the way of his “digging it” (Katz/😉)? I seriously doubt it.