New Jim Hall & Herb Ellis Transcriptions

Over the last few weeks I’ve been listening to a lot of Jim Hall.  I’ve just added a Jim Hall page to the website’s motley collection of transcriptions.  It contains an excerpt from his solo on the standard Here’s That Rainy Day.  There’s now also a Herb Ellis page, with a transcription of Ellis’s solo over the bridge of My Old Flame.

New Joe Pass Transcription

I’ve added a Joe Pass page to the website’s collection of transcriptions.  So far it contains a transcription I’ve made of his solo on the Jobim tune Wave from the album called The Big 3 he made with Milt Jackson and Ray Brown.  Apart from the musical pedigree on display, Pass’s pot belly, featured on the album cover, shows that he was doing his bit to add credence to the albums title.

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Recent Events

Here are a few photos taken during the last couple of months:  On the left Jonathan Parkin and myself after his acclaimed recital at St Mary with St Alban featuring two of my guitar compositions.  On the right a shot of me conducting The Big Swing Band at The Bull’s Head (courtesy of Brian Campbell Photography) and a snap taken at The Junction of Domenico Johnson and myself before our first set of the evening.

Duo Gig This Tuesday (22nd Dec)

This coming Tuesday Dom and I will be playing at the Duke of Cambridge in Twickenham.  First set starts at 7:30pm.  Visit our Alex Corlett & Domenico Johnson Guitar Duo facebook page for more details.

Corlett & Johnson Guitar Duo

Last Saturday evening I recorded some numbers on a little hand-held recording device with my guitar duo partner Domenico Johnson.  This is the link to our soundcloud page where you can hear them: Corlett & Johnson Guitar Duo page   A&D2

Transcriptions

Recently I’ve been adding a number of new pages to the site’s jazz guitar transcriptions page.  It now includes pages dedicated to the following guitarists: Barney Kessel, Gabor Szabo, Grant Green, Kenny Burrell, Peter Bernstein, Wes Montgomery, and the relatively obscure John Collins. These pages might expand in the future, and new pages for other guitarists may also be created.  I hope that the material included may be of some use to other players.

Cocaine Nights: Concert photos from the Dora Stoutzker Hall

Cocaine Nights Concert PhotoToo many people to capture in one shot!  Deej Williams, bass; Alex Corlett, guitar; Huw Evans, trombone; Michael Gibbs, horn; Matt Pauley, trumpet; Andrew Martin, flute; Will White, clarinets; Naomi Bailey, saxophones; James Golborn, drums & vibes; Matt Petrie, contrabassoon

James GolbornAlex Corlett Cocaine NightsMatt Petrie

Cocaine Nights in Rehearsal

Yesterday we had our third rehearsal for Cocaine Nights. A couple of people were deputising, and for them it was the first time they’d seen their parts. Gareth Trott can just about be glimpsed in the grainy photo playing the French horn part on Euphonium, not the easiest task (out of shot are the bass, drums, trumpet and trombone). The other day he also covered the trombone part!  Charlie Jackson helped out with conducting.

Charlie conducting a tricky bit

Weston Gallery Concert/First Rehearsal for Cocaine Nights

I did end up conducting Distortions on Tuesday.  I was glad the performance went well because the brief rehearsal earlier in the day had been rather a shambles!  The whole concert turned out to be somewhat longer than I’d expected.  Almost a full two hours from start to finish.  It was nevertheless interesting to hear the eclectic range of music performed.  Charlie Jackson’s piece for string quartet entitled After IV, and guided to an extent by Bartók’s fourth string quartet was played with conviction by the Silverstone Quartet.  The talented Kina Miyamoto performed not only her own new work for piano and electronics, but premiered Lewis Furber’s bleak and moody Dead Preludes for solo piano.

Conducting Distortions

Conducting Distortions in the Weston Gallery at RWCMD

On Wednesday I had the first rehearsal for my Cocaine Nights piece.  I’d only finished the music a few days before, and was rather excited to see how it would come together.  It’s written for a ten piece ensemble consisting of mixed wind, brass, percussion, bass and myself on guitar, and in some respects is related to Gunther Schuller’s Third Stream movement which began in the latter half of the fifties.  My ensemble contains classical and jazz trained musicians side by side and some moments in the piece are ad libbed.  It ranges from moments of atmospheric slow music, with pungent chords to fast rhythmic sections, some of which have a downright groove.  No doubt those moments will be looked down upon by some listeners, but who cares, they’re not who I’ve written it for.