ae eee ROTHERS No sgt tate em? ° $A) Gio» eee tities G. Here, Lee opens up rhythmically by patting the strings with his fingertips while resting his wrist on the top of the body: He relates, "Chuck Rainey was my ‘dol, and had just figured out how he patted his part fon Aretha Franklins ‘Rock Steady’ The bass sounded beefy in my headphones, soit worked. “L wanted to add some development and make the part He continues, not sound so read, and Harvey was right with me.” For H, Will sticks to the written line, but as the trumpet solo continues at I, he cuts back on his improvised part and introduces some 3rds (though Mason's acive kick remains). “I felt Pd gotten to the highest energy level, so there’ only one way to go, and thats co simplify— which, if done right, can take it to another place.” Sections J, K, and L continue as before, behind the trumpet, with Will adding a trademark slide in bar 60, and some variation throughout K. Letter M commences a ripping tenor sax solo by the late Michael Brecker, Lee returns to patting and throws down a new vibe with steady eighth-notes. #79 D7¥s Gm7 c749 DG GWG AG babe rts “Some Shank Fu” by Randy Brecker ‘After Ni writen Tine (in which he makes his fone mis- take, playing an A instead of the written D for the last note of 103), Wills turbos kick in at O, As Brecker continues to blow, Lee goes to G an octave higher for the first time, unleashing a slick drop on beat three of jbar 104, and generally adding more 16ths, syncopa- tion, and melodic movement throughout, This culmi- nates in the cool rhythmic phrase in bar 110, "Thats all me doing more Chuck,” laughs Will. The written, part of P concludes with his ear-grabbing two-note slide, in bar 123, The sax solo rolls through Q, leading toa 16-bar percussion break at R, and, at S, a restate- ‘ment of the entire head, The coda contains the closing lick—isten for the delay added to everyone’ final note, in bar 141. Lee, who cherishes his time carving new musical territory with the Breckers, advises, “Alter you get the gist of the written part, make it your ‘own, We were fortunate that everyone felt the tempo, the groove, and the swing factor the same way, so just sit in pocket-central with us and have fun.” 749 owe Ferd Sowery Music (BMI). Interationat copyright secured AlLsights reserved. Used ty permission of Randy BreckerTRANSCRIPT. anh, ED, Eb OF a ba DbiG ED EoD aye — DE D EWE DA AWE GIA E69 EVE AG GE” BWG GHD Dpmaj7bsDbIA 789 es7i9 ‘B7HO Fm7sus cre EE c7¥s ci7#9 G77 D799 DyIG [gq] env estoniasee ae ROTHERS ao, oye Gye AG OMe amr | np HhG i o EVE | AIG GIEb BYGGHD Dpmaj7b5 DIA brio Ho bet co DUA ABE Gia E69 EDF : Baa 7 Ih - | EE a = = SeTRANSCRIPTION D740 Oo c7ecy7is m7 orto oye im] om7 Seseeeny me. PWG GYD ,AG Oris fBGm7 — abe GIDL EL Db Eb OL my st s Eve NG GEL BLIGH GUD Dbmajri5” EWE OW/A ar 2 OWA AWE GAL LEO crt o7#9 B79 fayfnzous eeA Eee ia a one carte bd We Sa ri Gmr c7#a YG w DS. al coda c7fo cargo Gm cna DpIG D749 iis] Gia a NEW YORK CITY AUGUST 30 ~ SEPTEMBER 3,207 (Lor Da exh) er Pe eed AN Ea) Sie ee Te ae Sener iy SOA Uta re oan RRS Cette)