In my last post on "must-hear" alto saxophone recordings, I highlighted Jimmy Dorsey, Tram, and Willie Smith (we could also include Buster Smith), mostly because of the influence they had on the outstanding voice on the instrument, Charlie Parker.
Although it would be difficult to argue that any specific recording of Rudy Vallee's saxophone playing helped shaped the tradition of the alto sax, it is nonetheless the case that Vallee had apparently influenced Bird to take up the saxophone. Vallee in turn had been primarily influenced by Rudy Wiedoeft and even borrowed his first name; Bird was of course also aware of Wiedoeft.
In 1958, Bird's leading successor, Jackie McLean, would record Vallee's "Deep Night" with Sonny Clark for the album Cool Struttin'.
JazzTimes recently asked a number of well-known alto players to list the recordings that, in their views, "helped shape the jazz alto saxophone tradition." Their responses are here and here.
Any list of "must-hear" alto recordings that doesn't include Charlie Parker, Lee Konitz, and Jackie McLean should be regarded as highly suspect. Of these twenty-six players, only Michael Attias and Andrew D'Angelo included all three.
The must-hear album by Jackie McLean, by the way, is The Jackie Mac Attack Live for the track, "Cyclical." For Lee Konitz it's Live at the Half Note and Motion, but really anything Lee plays is essential.
Benny Carter and Rab, Bostic and Ornette should all appear, of course (as they do here, though not all on the same list.) But the criterion is "great performances that helped shape the...tradition"---where are "Trumbology" and "Beebe?" Where's Willie Smith? Rudy Williams?
Snidero is right that the must-hear Kenny Garrett is African Exchange Student, for the eponymous track. Essential Gary Bartz is Roy Hargrove's Of Kindred Souls for "My Shining Hour." Abraham Burton's Closest to the Sun is also required listening.
But the most glaring omission? Jug's Groove Blues; "Tranesonic" from Stellar Regions; and Live in Japan---John Coltrane on alto!
Good try, prominent alto players---keep listening.
Below are two more transcriptions of improvised duos by Lee Konitz and Warne Marsh from the 1959 date at the Half Note.
Notice the abundance of imitation in "My Melancholy Baby," particularly in bars 20-21 of the first chorus, bars 1-4 and 11-13 of the second chorus, and bars 17-19 of the third chorus.
"It's You Or No One" exhibits imitative playing as well, for example in bars 16-21 of the second chorus. Indeed, Lee and Warne are so highly attuned to each other that they converge on an identical melody in bars 31-32!
Also note the cross-rhythm that emerges in bars 16-21 of the second chorus of "It's You Or No One" as Warne and Lee each play 3:4 polyrhythms that are out of phase with each other by one beat. (Warne's polyrhythmic figure starts on beat 4 of bar 16, completing two full periods just as Lee's starts on beat 1 of bar 18.) Despite the rhythmic complexity, this passage shows rather harmonious 4-3-6-5 voice-leading.
