Free to Dream: The Melodic Shapes in Selected

Improvisations of Saxophonist David Binney

Shane Landry

A Thesis submitted in fulfillment

of requirements for the degree of

Master of Music in Performance

Conservatorium of Music

University of Sydney

2013
 Declaration

I, Shane Landry, hereby declare that this submission is my own work and that it

contains no material previously published or written by another person except for the

co-authored publication submitted and where acknowledged in the text. This thesis

contains no material that has been accepted for the award of a higher degree.

Ethical approval has been granted for the study presented in this thesis from The

University Human Ethics Committee. Participating Subjects and Perceptual Judges

were required to read and to sign an information document. Informed consent was given

individually prior to the collection of data and to the collection of the judges results.

Signed: ___________________________________________Date: ___________

ii
 Acknowledgements

This project is made possible through the efforts of many people. I would first

like to thank David Binney, whose insight and cooperation were invaluable to this study.

Thank you for your time, mentorship, and inspiring music. I would like to thank Phil

Slater for supervising this project. Your guidance and encouragement helped me

immensely. I am grateful for the advice, and valuable time of Dr. Helen Mitchell,

Professor Anna Reid, and Craig Scott. I would like to thank John and Marianne Randall

for your unwavering support in this endeavour. To my parents, Don and Bev Landry for

your encouragement and support throughout my musical life. Last but not least, I wish

to thank my wife Amy, for believing in me. You are an inspiration.

iii
 Abstract

The purpose of this study is to examine specific melodic elements of saxophonist

David Binney. The five improvised solos were selected from standard jazz repertoire

that Binney has produced. An improvisation from one of Binneys compositions has

been included as well. Each solo was transcribed and examined to identify repeated

melodic devices. The analysis presents a detailed examination of the repeated use of

appoggiaturas, enclosures, neighbour groups, multi-note encirclements, chains of

encirclements, and two melodic motives. The melodic formulae that are employed are

discussed in the analysis with illustrated examples. An interview with Binney was

conducted to discuss his performance practice and the melodic devices identified in his

improvisations.

iv
 Table of Contents
Figures .............................................................................................................................vii

Appendices .......................................................................................................................ix

Introduction ...................................................................................................................1

Survey of Related Research ..........................................................................................2

Jazz Improvisation as a Language .............................................................................2

Analysing Jazz Improvisational Language................................................................3

Methodology .................................................................................................................6

Delimitations .............................................................................................................7

Selection of Analysed Works.................................................................................7

Transcriptions ........................................................................................................8

Biographical Information ............................................................................................10

Stylistic Traits of David Binneys Improvisations ......................................................13

Encirclements ..........................................................................................................14

The Appoggiatura ................................................................................................15

The Enclosure ......................................................................................................19

Neighbour Groups ...............................................................................................23

Melodic Formulae ...................................................................................................28

Motive 1 ..............................................................................................................29

Motive 2 ..............................................................................................................39

Extended Forms of Encirclements ..........................................................................52

Multi-note Encirclements ....................................................................................53

Chains of Encirclements......................................................................................61

v
Conclusion...................................................................................................................69

Suggestions for Continued Research.......................................................................69

Bibliography ................................................................................................................70

vi
 Figures
Figure 1: Three-note appoggiaturas, with quaver approach tones surrounding their

respective crotchet target tone ......................................................................16

Figure 2: Binneys use of appoggiaturas in Fuchsia Swing Song, second chorus.......17

Figure 3: Examples of appoggiaturas, and Motive LLT, used in Lester Left Town, first

chorus ...........................................................................................................19

Figure 4: The three-note enclosure, with quaver approach tones surrounding their

respective crotchet target tone ......................................................................20

Figure 5: Binneys use of enclosures in Lester Left Town, second chorus..................22

Figure 6: Motivic examples of enclosures from Fuchsia Swing Song, chorus nine....23

Figure 7: The three-note neighbour group, with quaver approach tones surrounding their

respective crotchet target tone ......................................................................24

Figure 8: Binneys recurring motive in Portrait of Jennie of 2 October 2012 ...........27

Figure 9: Motive POJ in Portrait of Jennie from 13 November 2012, second

chorus ...........................................................................................................28

Figure 10: An Example of Motive 1 (M. 1) in quavers...................................................30

Figure 11: Motive 1 incorporated in Oddman, second chorus.....................................32

Figure 12: An example of Motive 1 in Oddman, third chorus ....................................32

Figure 13: An example of Motive 1 in Portrait of Jennie from 2 October 2012 .........33

Figure 14: Motive 1 incorporated in Oddman, sixth chorus ........................................34

Figure 15: Motive 1 incorporated in Oddman, eighth chorus......................................34

Figure 16: A variant of Motive 1, and Motive 1 used in Fuchsia Swing Song, tenth

chorus ...........................................................................................................35

vii
Figure 17: A variation of Motive 1 in Heaven, second chorus ....................................37

Figure 18: A variation of Motive 1, and Motive 1 used in Lester Left Town, second

chorus ...........................................................................................................39

Figure 19: Examples of Binneys Motive 2, and Motive 2B, in quavers ........................40

Figure 20: Binneys use of Motive 2B in Oddman ......................................................42

Figure 21: Motive 2 used in Lester Left Town, first chorus ........................................43

Figure 22: Binneys use of Motive 2 in Lester Left Town, third chorus ......................44

Figure 23: Binneys use of Motive 2B in Portrait of Jennie from 13 November 2012,

second chorus ...............................................................................................46

Figure 24: Examples of Motive 2, and Motive 2B in Fuchsia Swing Song, in various

choruses ........................................................................................................51

Figure 25: Examples of basic four-note encirclements ...................................................54

Figure 26: An example of a five-note encirclement in Oddman, fourth chorus ..........56

Figure 27: Examples of multi-note encirclements in Binneys improvisations ..............60

Figure 28: Examples of chained encirclements from Heaven, first chorus .................63

Figure 29: Examples of chained encirclements in Portrait of Jennie from 13

November 2012, first chorus ........................................................................64

Figure 30: Examples of chained encirclements used in Lester Left Town, second and

third chorus ...................................................................................................66

Figure 31: Examples of chained encirclements in Oddman, fourth chorus ................68

viii
 Appendices
APPENDIX A: Ethics Application ..................................................................................75

APPENDIX B: Information Sheets ...............................................................................110

APPENDIX C: Consent Sheets .....................................................................................114

APPENDIX D: Transcriptions .......................................................................................116

APPENDIX E: Interview ..............................................................................................171

ix
 Introduction

The purpose of this study is to examine specific melodic elements observed in six

improvisations of saxophonist David Binney. While not an exhaustive study of his

approach, it identifies seven repeated techniques and patterns in his performance of

jazz standard repertoire. It presents a detailed examination of the repeated use of

appoggiaturas, enclosures, neighbour groups, multi-note encirclements, chains of

encirclements, and two melodic motives in six of Binneys improvisations. These

melodic devices reveal a conventional language made unique by Binneys execution.

by their execution not binneys
(ie. the techniques) These formulaic tendencies interesting as they are an idiosyncratic aspect of his
Grammer/punctuation. A
missing are. improvisational style. They are also intriguing, for the reason that Binney does not
Abit AWK.
prepare or memorize any patterns or melodic devices to use in his improvisations

(personal communication, 15 May 2013). It was important to discuss further with

Binney his improvisational process, to acquire an in-depth conception of how he views

just deeper?
the subject. Binneys response to the analysed transcriptions has provided a

comprehensive understanding of his music.

Yeah . . . this is a great point.
Indicating the process. Im sorry
that we didnt pick this up sooner
and make more of it.

1
 Survey of Related Research

Jazz Improvisation as a Language

Binney describes music as a language, as the interaction with the musicians and
Punctuation . . . should be a
hyphen or even a : the audience in a performance setting is like having a conversation (Philip, 2013, pp.

355-356, 365-366). If jazz improvisation is a language, what is being said? There is the
I would answer what is being
played is what is being said. possibility of the message conveyed by the performer to be interpreted in many ways by

the listener. Vijay Iyer proposes that the act of improvisation does not say anything in a

way that communicates in a literal sense; rather it is a narrative of congruence, or lack

of, between the individuals performing (2004, p. 394). Binney says, Youre just

expressing your story...telling them [the audience] about something that you have

experienced, and if people understand it and feel a kinship with it, theyll feel it

too (Philip, 2013, p. 365). With this in mind, the repeated techniques used by Binney

make up a vocabulary he can use to contribute to his narrative.

Binney describes an obvious melodic repetition in music as a means to bring the

listener into something that they can really grab on to and feel differently about (Olson,

2006). Repeated melodic patterns, encirclements, and other melodic formulae,

embedded in melodic lines, can create a sense of cohesion in the improvisation. These

repeated melodic devices can assist in convey[ing] a sense of both continuity and

closure (Berliner, 1994, p. 196) to the improvised melody. For example, the repeated

uses of encircling devices over various targeted notes, offer a feeling of consistent

stability in the way Binney organises his melodies in the analysed solos.

2
 Ingrid Monson explains that the scholarly disdain toward the insights and

opinions of jazz musicians in particular, has created a disparity between the academics

and the performers. Her work is an attempt to weaken this disparity, as she argues the

Western ethnocentric viewpoint for analysing jazz is inadequate. She is not opposed to

the analysis of jazz and its improvisations using Western harmonic concepts, as she

acknowledges the results can show that jazz music can meet Eurocentric compositions

on equal ground (1996, p. 4). Monson reiterates that jazz is an African American art

form, and when discussed in scholarly writing, it often lacks African American cultural

aspects that are valuable in understanding the music. She notes this is particularly

important, as the musicians descriptions of improvisation and performing are akin to

having a conversation (1996, p. 8).

Analysing Jazz Improvisational Language

Monsons work in the field of ethnomusicology provides a comprehensive

framework upon which to offer musical work of a subjective nature. The subjective

element is the personal thoughts and feelings of a musician on their own music. She

argues, [I]mprovisation should be analysed and evaluated on its own terms and that

the musicians themselves are the most authoritative source of knowledge about the

music... (1996, p. 4). Having Binneys perspective looking at his own work brings a

unique quality of knowledge to the analysis that otherwise may be missed or

overlooked. The artist imparts not only the means of expression but also the techniques

3
 for examining the music. Monsons argument is valuable to this study, as Binneys

interview has informed the analysis of his improvisations.

Improvisation can be considered spontaneous composition, and composition

Is this a direct quotation?
Grammer. thought of as carefully planned improvisation (Bailey, 1993, p. 140). Composition and

counterpoint have standardised terminology to describe what is taking place melodically

and harmonically. Paul Hindemiths text, The Craft Of Musical Composition provides

an in depth orientation to the melodic function of non-chord tones (1942, pp. 164-174).

However, discrepancies occur when terms used in classical music are applied to jazz

analysis (Lawn & Hellmer, 1993). The main differences are in the way rhythm is

determined in both styles, as jazz initially derived its rhythmic influences from African

musics. Lawn and Hellmer state, [T]he application of traditional terms will not

mandate strict interpretation of traditional rules about the proper preparation of non-

harmonic tones (1993, p. 74). Jazz musicians frequently alter chords, often in the

moment, thus the necessity to alter the terms. The solution is to maintain the

established terminology, for the ease of familiarity, and change the definitions to better

suit their applications to jazz analysis.

Jerry Coker explains that after analysing twenty-one trumpet solos of various eras

and artists, he concluded that the common ideas shared in each solo became a list of

particulars to be a codified addition to the jazz language (1991). He lists eighteen

devices used in jazz that form the connective tissue (p. iii) of the solos of the

established professional musicians. Thomas Owens dissertation on the improvisations

4
 of saxophonist Charlie Parker clearly identifies 100 motives from 250 of Parkers solos

(1974). Owens concludes that the way an artist, in this case Parker, includes or foregoes

the use of common motives reveals their individual style (p. 271). A motive is defined

as a short musical idea, melodic, harmonic, rhythmic, or any combination of these

three (Drabkin, 2013).

Analyses of Binneys transcriptions reveal melodic devices that are evident in his

work over many years. Monson concludes that there may be a broader class of

communicative meanings that may include both referential and nonreferential

modalities (1996, p. 187). She proposes that these modalities also take place in music,

such as a musical quote, having the functional equivalent of a past tense (p. 188). In
I love this idea.
these conversations, musician may quote a melody or a melodic motive, and as a result

it serves to index a prior performance iconically and place it in juxtaposition to the

present (Monson, p. 188), provided the other musicians and listeners identify the

index. Thus, Binneys repeated melodic motives serve to give the listener a sense of his

improvisational language. This language can then be used to create a feeling of tension,

expectation, surprise, or release for the audience.

5
Methodology

This study identifies and analyses repeated melodic formulae in selected

transcriptions of David Binney, combined with a supplementary questionnaire of his

performance practice methods. There are limited transcriptions of his improvisations

available, and the task of transcribing was required to produce visual examples for

analysis. Six improvisations were transcribed for this research. The transcriptions

provided the sample base for examining aspects of Binneys improvisational style. The

melodic lines were analysed for repeated elements that were of interest. From these

patterns and repetitions a taxonomy was formulated, and observations on how they were

used.

The findings were presented to, and discussed with Binney, to gain a more

comprehensive view of his creative process. This has been largely quantitative data that

supports the assertions made in the musical analysis. A review of the available

published literature and media regarding Binneys views and approach to music has

been conducted. An interview with David Binney was attained, to provide additional

information that may not be present in available published material. It has been

important to discuss his musical life, as it assisted in orienting the reader to Binney and

his method of improvisation.

The discussion was initially surmised to centre on harmonic implications in the

improvisations. The melodic lines Binney plays indeed have significance relating to the

harmony of the tunes. As the analysis progressed, the intervallic structure of the phrases

6
became intriguing. An internal built-in repetition going on irrespective of the

underlying harmony was identified in the transcriptions. This repetition became more

interesting, and seems to be an ongoing element of his improvisational language.

Delimitations

Selection of Analysed Works

Binneys improvisations predominantly consist of performance of his own

compositions. However, the use of jazz standard repertoire allows for a clearer

understanding of Binneys melodic formulae. The basic tonal progressions in standards

highlight his devices, and as a frame of reference, they are commonplace within the jazz

community. The selection of improvised solos were determined from the following

criteria:

1) Repertoire that includes ii-V7-I (or i) harmony. It is a suitable neutral

element, as jazz standards are a conventional platform for musicians to

improvise over.

2) The selections are performed in 4/4 time signatures, or 12/8 swing feels.

These are the most common time signatures in jazz standard repertoire.

This repertoire is important part of his output as a performer. It establishes his

connection to the jazz tradition, and illuminates his individuality as an improviser.

Another valuable factor is that Binney does not use any harmonic substitutions, or

superimpose any scales over the basic harmony (personal communication, 15 May

7
2013). This allowed the improvisations to be analysed on the logic of the melodic line

itself, and not by complex chord substitutions.

The jazz standard compositions selected of Binneys performances are Edward

Duke Ellingtons ballad Heaven (1968), Wayne Shorters Lester Left

Town (1959), Fuchsia Swing Song (1964) by Sam Rivers, and two versions of

Portrait of Jennie (1948a, 1948b) by J. Russel Robinson and Gordon Burdge. As a

contrast to the standard repertoire, Binneys improvisational performance of his

composition Oddman (1998) has been included. Binneys Oddman solo is the

earliest solo transcribed, providing examples of his formulaic language that reveal

ongoing occurrences throughout the examples in subsequent solos.

Transcriptions

An accurate collection of solos was obtained with the computer software

Transcribe! (A. Robinson, 2012), and notated with the program, Sibelius 6. The

notation is presented in the alto saxophone key, a major sixth above concert pitch. Pre-

existing manuscripts inform the chord changes used in the transcriptions. Binney notes

that the chord changes are what he is thinking of when he improvises, and any other

changes would mislead someone who is studying the solos (personal communication,

15 May 2013). The scores appear with chord symbols above the solo at the

corresponding bar, as they would appear on the manuscripts. Binneys examples are

notated in the primary key of the song, with adjustments made to correspond to the

chord of the moment. The discussion text will use the symbols when referring to

examples. A musician may structure the chords differently in a performance setting.

The symbols represent the following with their basic structures in parenthesis:

8
1) : C Major-major seventh chord (C, E, G, B).

2) : C Minor-minor seventh chord (C, E, G, B).

3) : C Major-minor seventh chord, or C Dominant seventh chord (C, E, G,

B).

4) : C Augmented-minor seventh chord (C, E, G, B).

5) : C Diminished-minor seventh chord, or C Half-Diminished seventh

chord (C, E, G, B).

6) : C Diminished seventh chord (C, E, G, B!).

7) : C Major-major seventh with an augmented fourth. G is the

lowest note, or bass note (G, C, E, F, B).

8) or represent alterations to chord extensions.

9
 Biographical Information

David Binney was born 2 August 1961 in Miami, Florida. His family moved to

Ventura, California, where he was raised. His parents were not musicians, but had a

record collection that included jazz recordings of artists such as Miles Davis, Wayne

Shorter, and John Coltrane (Erdmann, 2007). Binney recalls listening to many jazz

albums, but also other music, including artists Jimi Hendrix, and Sly Stone. He says

that from a young age he was really attracted to music (Orenstein, 2011). At the age

of 12, Binney approached his parents and said he would like to play saxophone. He

studied intermittently, and at age 14, decided that music would be his career (Erdmann,

2007). Binney devoted his time to studying college music courses and began playing

professionally in the greater Los Angeles area at age 16 (Orenstein, 2011).

Binney always had the desire to be original in his creative concept (Orenstein,

2011). An important teacher that encouraged his pursuit of originality was tenor

saxophonist Don Raffell. Rather than learning the solos of the jazz masters that came

before, Raffell would have Binney create and write out his own melodic lines over

standard ii-V7 chord progressions. The influence of Raffells tutelage has guided

Binneys approach to improvisation, as Binney has never transcribed or memorised any

improvisations of any artist, or even his own. However, he did absorb the sounds and

styles of the saxophonists he was listening to, and these influences were incorporated

into his performance style. These influences were valuable for gaining paid work to
employment is better.
play in the style of David Sanborn, or Clarence Clemmons (Orenstein, 2011).

10
 The demands of being a commercial studio musician affected Binney negatively.

He decided his personal musical identity was being compromised in an adverse way.

He would record himself playing, and identify the unwanted characteristics in his

performance and shed those aspects from his personal sound (Orenstein, 2011). He

studied classical etudes, harmony, and played through standards of jazz repertoire. This

practice routine has stayed constant throughout his entire career (Philip, 2011). In 1981

at the age of nineteen, he drove to New York City to study with his favourite players

(Erdmann, 2007, pp. 23-24). When he arrived in New York, he felt that the bebop style

was something he did not want to present in his music.

After moving to New York, Binney took lessons with saxophonists David

Liebman, Phil Woods, George Coleman, Bob Berg, and Bob Mintzer. In Liebman, he

found a mentor, a person to discuss music with on a philosophical level. Liebman

discussed the importance of staying focused and producing good work (Erdmann, 2007,

p. 24). These discussions supported Binneys desire to create original music. He

seldom attended jam sessions, as he would get onstage and forget the tunes (Panken,

2009, p. 58). Although he practiced jazz standards, developing a standard repertoire

from memory was a low priority for him at that point.

In 1989, Binney received a National Endowment of the Arts grant and used it to
no need for ,
fund his first album, Point Game (1989). Binney says the compositions on the album
as above
were influenced by a lot of stuff I was hearing in New York at the time, such as Steve

Coleman, Greg Osby, and the M-Base music which I thought was very forward thinking

11
and pretty cool (Erdmann, 2007, p. 25). He came to the realisation that the album was

his take on the music of the M-Base collective, and not entirely his own conception. He

started composing and arranging for acoustic settings, hearing a pop thing (Panken,

2009). Binney did not abandon electric music, and explored it further with a band

called Lost Tribe. Binney continued with his own projects, and has released 20 albums

under his own name.

12
Stylistic Traits of David Binneys Improvisations

Binney has an idiosyncratic improvisational style that is identifiable by repetition

of certain traits. Some of the melodic devices that have been identified include his

approach to encirclements, appoggiaturas, enclosures, and neighbour groups. These

encirclements occur in all keys, and in the entire tonal range of the alto saxophone, and

in consecutive sequence. Another identifiable aspect of his improvisational approach is

the use of two melodic motives that are played in what can be considered the A

Ionian mode. These melodic motives are also range specific. This means they occur in

the same range each time they are played. When asked about specific technical

fingerings of the motives discussed below, Binney did not recognise them as something

attributed to him (personal communication, 30 June 2013).

Binney has often stated that he makes no use of superimposing any alternate

scales, or harmonic substitutions over the basic harmony of a song, save one technique

he learned from saxophonist Phil Woods (D. Binney, personal communication, 15 May

2013). Woods showed Binney a device that is used over the common ii-V7-I (i) chord

progression. In this device, on the dominant chord, an improviser can substitute the

ascending Melodic Minor scale that is a semitone above the root of the dominant chord.

This is also known as the Altered Scale (Levine, 1995, p. 70), which is the seventh

mode of the ascending Melodic Minor scale. Binney felt this was an important aspect

of the bebop style, as it seemed so much a part of that language (Orenstein, 2011).

Binney says when he is performing, he is interacting and making choices from an

aesthetic choice rather than a technical one (personal communication 15 May 2013).

13
Binney says, Im not hearing things too far in advance....all the other stuff that Ive

learned and everything, thats already there. You learn how to trust yourself (personal

communication, 15 May 2013).

Encirclements

Binney says, Im thinking of shapes, and energy (personal communication, 15

May 2013) concerning his melodic lines. Describing melody as a line, creates a visual

stimulus for the auditory phenomenon. Looking at a score, one can trace lines

connecting the notes. Liebman states that the graphic contour of a line is apparent in

all music (2001, p. 47) in a description of melody.

One shape that Binney employs is melodic encirclement. Ernst Toch describes

encirclement as a melodic technique of deflection (1977, p. 116). This deflection

elongates the melodic line, by bending it through upper and lower approach tones to

encircle a target tone. The encirclement places some melodic importance on the target

tone, leading to a feeling of tension or resolution. In the harmonic palette of modern

jazz, encirclements can form around any note, chord tone or non-chord tone, creating a

temporary tonal anchor (Liebman, 2001, pp. 50, 52). The effect of the tonal anchor

enables the use of the revised classical music terminology. As Toch demonstrates, there

can be many types of encircling approaches, which may be defined by voice-leading

properties (1977, p. 119). For the purposes of this paper, the specific encirclements

examined are devices that surround the target tone in a stepwise motion, and provide

ample material to examine.

14
 Binney says, I do that a lot, actually, (personal communication, 15 May 2013)

when referring to applying melodic encirclements to his improvisations. He also adds

that he has not worked on these devices, and was not aware of their frequency in his

improvisations (personal communication 15 May 2013). The following discussion is of

the encircling devices Binney uses, and their melodic implications, with examples in his

improvisations. All examined specimens, appoggiaturas, enclosures, neighbour groups,

melodic motives, multi-note encirclements, and chains of encirclements will be

annotated in the figures. Each section will discuss the melodic consequences for the

specific technique examined, and not provide a detailed account for the other

highlighted devices.

The Appoggiatura

In the context of jazz, the appoggiatura (APP) is a non-harmonic tone that is

derived by leap and resolved by step, usually in the opposite direction to a chord

tone (Lawn & Hellmer, 1993, p. 77). This definition covers a wide range, as nearly all

types of encirclements can be considered appoggiaturas. However, two specific types

of appoggiaturas, the enclosure (ENC), and the neighbour group (NG), will be discussed

in detail in the subsequent section. For now, the basic three-note appoggiatura is shown

in Figure 1. The approach tones consist of tones (T) and semitones (ST) encircling the

target tone (TT).

15
Figure 1: Three-note appoggiaturas, with quaver approach tones surrounding their
respective crotchet target tone.

The lower tones of all the examples in Figure 1 are a whole tone below the target

tone. In classical music, this relationship may not establish a strong lean toward the

target tone. In jazz, the tonic chord of a harmonic progression may be of a dominant

quality, such as in the blues form. The melodic line may adopt the bluesy sonority of

the dominant seventh note. This type of playing is considered fundamental to playing

jazz (Berliner, 1994, p. 68). The effect of an established anchor tone is diminished with

the tone above and tone below appoggiatura, shown in bar one of Figure 1. Yet, the ear

of a listener may be sympathetic to the encirclement, and not require a leading tone

below the target tone.

An illustration of Binney using the appoggiatura is shown in Figure 2. The

example demonstrates the use of two types of appoggiaturas, the whole tone above and

below, and the semitone above, whole tone below the target tone. On beat one of bar

28, the appoggiatura begins with an E, the seventh of the chord, above the F target

tone. The third of the chord, A, starts the third appoggiatura below the target tone,

outlining, G, the minor ninth of the chord. The second appoggiatura initiates the

descending line, and is temporarily modified by the third one. This temporary

16
suspension in the direction of the line between beats two and three of bar 28, brings

focus to the G, and as an effect anticipates the E-7 chord.

The dissonance created with the use of non-harmonic tones on every downbeat in

bar 27 is released by the consonance of the line in bar 28. The E on beat one and the

A on beat three of bar 27 accentuate the feeling of tension in the melodic line, clashing

with the F Diminished-minor seventh chord. The descending motion of the line from

bar 28 adds to the resolution of tension in the phrase.

Figure 2: Binneys use of appoggiaturas in Fuchsia Swing Song, second chorus.

The examples shown in Figure 3 demonstrate Binneys use of the semitone above,

tone below appoggiatura to end a phrase in Lester Left Town. The first appoggiatura

is incorporated in a melodic theme, Motive LLT, which occurs in the first eight bars of

the solo. Motive LLT is not a strict set of intervals and rhythms. It is a melodic shape

that descends to the tonic with an interval of a major sixth, minor sixth, or perfect fifth.

Binney plays Motive LLT, a descending minor sixth interval, G to B, in bar 66. Motive

LLT Expansion is a descending perfect fifth interval, E to A in bar 68, accompanied by

the third and fourth beats of bar 67, which form an enclosure encirclement around E.

The enclosure device will be discussed in a later section. The melodic rhythm of both

bars is similar, incorporating the syncopation of the third beat with a quaver

17
anticipation, as well as stressing the tonic note of their respective chords. Bar 69 starts

on the second quaver of beat two with a series of short, scalar phrases. The melodic line

on the last half of beat three in bar 70 descends to G, the third of the E7, on beat one of

bar 71. The G is then left by a minor third upward into a five-note enclosure of A, the

perfect fourth of the chord.

As the line ascends in stepwise motion in quavers, the C on beat four creates the

effect that Binney has anticipated the A-7 chord in the next bar. The line rhythmically

pauses on beat one of bar 72, with E, the fifth of the chord, before leaping upward by a

minor third to initiate Motive LLT Contraction. It is a rhythmic contraction of Motive

LLT Expansion, substituting a three-note quaver appoggiatura around the F quaver on

beat three for an enclosure. Binney then leaps downward by a minor sixth to the tonic,

A. This finishes the phrase on the second quaver of beat three, syncopating Motive

LLT as a delay to the tonic, rather than anticipation. It creates interest in that it is the

largest interval leap in the predominantly diatonic phrase, and contracts Motive LLT.

Aurally, the appoggiatura also has less anchoring effect, in this instance, compared to

the enclosure. Its use in Motive LLT Contraction helps leave the phrase sounding open-

ended, finishing a thought, but ready to explore other possibilities.

The next appoggiatura in Figure 3 appears in bars 74 and 76. The tonic

movement of G-7 to C7 in bar 75 functions like a tritone substitution for D-7 to G7.

Binneys line appears to anticipate a G7 chord, by descending on beat three of bar 74

18
with a G7 bebop scale. Upon the G-7 chord on the downbeat of bar 75, he plays a D

crotchet, pausing the rhythmic momentum, to ascend to the tonic. On beat two, he

descends diatonically with quavers with G and E, and leaps down a tritone to the

seventh to a B quaver on beat three. With the dominant quality of the C7 established,

Binney continues descending quaver rhythm with notes A passing to G, which begins

the appoggiatura of the G crotchet of beat one in bar 76. The encirclement resolves to

the strong sound of the fifth on the C-7 chord. This type of encirclement may not create

a strong pull toward the target tone. However, when used as Binney has done in this

example, the value comes from the way it generates a conclusion to a thought that can

be explored and approached again from another angle.

Figure 3: Examples of appoggiaturas, and Motive LLT, used in Lester Left Town,
first chorus.

The Enclosure

The enclosure, Coker explains is a linear or melodic device in which an object

note is approached by both the upper and lower leading tones (1991, p. 50). These

19
leading tones are a semitone above and below the target tone (Cokers object tone), and

provide a strong pull toward the target tone, establishing it as an anchor tone in the

moment. The order of approach tones is interchangeable, as seen in Figure 4.

Figure 4: The three-note enclosure, with quaver approach tones surrounding their
respective crotchet target tone.

In his interview with Orenstein, Binney alludes to enclosures, saying: I would

rather know what my base [underlying harmony] is, and what I can come back to as a

safety zone . . . . leading tones going to strong tones, root, third, fifth, from a half-step

above, or half-step below (Orenstein, 2011). Figure 5 shows Binneys use of

enclosures in a long melodic line. The B - G - A enclosure found on the last triplet

quaver of beat four in bar 147 and the first beat of bar 148, is also used an octave below

on beat three of bar 149. The enclosure in bars 147-148 encircles the root of the A-7

chord, and the second use in bar 149 outlines the third of the F Diminished-minor

seventh chord.

The melodic line preceding each enclosure is similar in intervallic shape. The

motives are labeled Melodic Strands in Figure 5. The strand beginning on the first beat

of bar 147 descends by major third leap to D, which is a non-harmonic tone in the E7

20
chord. The D is the leading tone for the tonic E on beat two, and descends

chromatically to the fifth, B, on beat three. The second Melodic Strand departs G by a

descending leap by minor third to E. An appoggiatura is formed in beats three and four

of bar 148 with F as the target tone on beat four. The F is the sixth in A-7 chord, but

it the tonic of the chord following in bar 149. The second Melodic Strand descends to

the fifth, C, of the F-7(5) on the second quaver of beat one in bar 149. Thus each

strand descends to their respective fifths in the chord of the moment, before descending

by leap again, to G in the line.

Although rhythmically varied, the Melodic Strands from this point consist of the

same intervals, an octave apart. The only discrepancy is the E on beat four of bar 147.

Aurally, these strands provide an effect of coherence to the melodic line. The enclosure

on beat four of bar 149 surrounds D, a blue note (Berliner, 1994, p. 162) in the key

of A. The blues sound is firmly established in bar 150, as the line ascends to E and

descends to A, incorporating the D in beats one and three.

Figure 5: Binneys use of enclosures in Lester Left Town, second chorus.

21
 In some instances, the use of encirclements in Binneys solos form the primary

basis for melodic development. The enclosures used in the ninth chorus of Fuchsia

Swing Song demonstrate deliberate use of the motive as basis for the phrase. This is

not to say any other uses are unintentional. Owens states, [n]o one could create totally

new phrases at the speed of 200 beats-per-minute, and that an improviser has at

command a number of prepared devices to create clear musical statements (1974, p. 35).

Owens may be referring to the use of faster rhythmic values, such as quavers or

semiquavers at tempos greater than 200 beats-per-minute. The example in Figure 6

shows the use of enclosure as a primary idea of Binneys phrase. Though the tempo may

be brisk at 250 beats-per-minute in the ninth chorus of Fuchsia Swing Song, the

enclosures consist of crotchets, minims, and a pair of quavers on beat four of bar 130.

These note values could be considered longer and more easily executed at fast tempos,

thus allowing time for a musical idea to develop from a place other than preconceived

patterns.

The enclosure in bar 130 encircles the E, the fifth of the chord, anticipating the

downbeat of bar 131. The motif is used again, a semitone higher to encircle the E of

beat one in bar 133. Berliner affirms this as a clear way for a musician to explore their

narrative, by pausing briefly after an initial statement, then repeating it, perhaps with

minor changes... (1994, pp. 193-194).

22
Figure 6: Motivic examples of enclosures from Fuchsia Swing Song, chorus nine.

Neighbour Groups

The neighbour group consists of a chord tones lower and upper neighbours that,

when combined, form a leap preceding the resolution to a chord tone (Lawn &

Hellmer, 1993, p. 77). The neighbour group will be defined as a whole tone above, and

the leading tone below the target tone. The leading tone provides a strong lean toward

establishing the target tone as the tonal anchor. Again, the order of the approach tones

is interchangeable as shown in Figure 7.

Figure 7: The three-note neighbour group, with quaver approach tones surrounding
their respective crotchet target tone.

In Portrait of Jennie of 2 October 2012, Binney uses a neighbour group

encirclement and incorporates it in a recurring motive, Motive POJ, that he uses five

times throughout his improvisation. Although Binney alludes to Motive POJ on the

23
third and fourth beats of bar 139, and the first and second beats of bar 140, they omit or

substitute tones, and are not represented here as exact tonal replications. In three

instances of the motive, he incorporates the use of Motive 1, a recurring motive that will

be discussed in a later section. Example A in Figure 8 shows the initial use of the

Motive POJ. It is used as an embellishment in the original melody during the last A

section of the form. The melody note at this point in the tune is G, and is the highest

note of the phrase in the first half of bar 61. The E is repeated three times, a non-

harmonic major seventh tension in the F-7 chord. The first two occurrences lead to the

F in the neighbour group encirclement. However, the E on last quaver of beat two is

striking due to the E, the minor seventh of the chord, providing its leading tone. As a

result, beat two of bar 61 strongly suggests C Major, the primary key of the song.

Example B of Figure 8 is the second occurrence of Motive POJ, in bar 155 of his

first improvised chorus. The rhythm section changed from the 12/8 triple feel to a

double time duple feel in 4/4 in the bridge at bar 146, and is reflected in the rhythm of

the motive. Motive POJ occurs on beats three and four of bar 155, on a C7(9) chord.

The demisemiquaver neighbour group encirclement of F in the last half of beat three

provides momentary tension, released on beat four with the third of the chord.

The rhythm section alters the feel again, using a heavy swing pattern in the second

chorus. Binneys playing reflects the swinging motion, as he begins the chorus with a

phrase in the vein of alto saxophonist Johnny Hodges, incorporating a wide vibrato in

bars 162 and 163. Motive POJ of Example C in Figure 8 is incorporated into the blues-

24
like feel of Binneys sound, and outlines the minor seventh and major ninth tensions of

F Major-major seventh chord in beats three and four. He embellishes the motive with

an upper neighbour tone, A, on beat three. On the last half of beat four he finishes the

phrase descending to C and up to E semiquaver, a syncopated anticipation of the

downbeat of bar 173. The next phrase starting on beat two of bar 173 uses the C Minor

pentatonic scale, complementing the blues sonority of the line.

Binneys fourth implementation of Motive POJ is in the bridge of the song. He

approaches it from below with the demisemiquaver neighbour group, B - G - A, in the

last half of the second beat in bar 181, and ascends to Motive POJ with a

hemidemisemiquaver triplet A Minor arpeggio. The A Minor sonority of the phrase

anticipates the chord progression toward the A-7 chord in bar 182. The F neighbour

group of Motive POJ highlights the minor ninth chord tension. While they are non-

harmonic tones, the G notes are enharmonically spelled augmented ninth tones (F"),

which resolve with the tonic E of the E7(9) chord.

The final use of Motive POJ is in Binneys restatement of the melody. Again, it is

used as an ornamental device in between phrases, as the melody note G is a semibreve

tied to a minim in the third and fourth bars of the A section. At this point, the rhythm

section has returned to the original 12/8 feel. Binney executes adaptation of Motive 1 in

Example E, on the last two demisemiquavers of beat one in bar 197 and ascends to the F

neighbour group on the second quaver of beat two. At this point he delays Motive POJ,

and descends C - A - E, an augmented triad. The E is a non-harmonic tone on the F-7

chord, implying a major seventh quality to the chord with its repeated use. Motive POJ

25
is played an octave below the other uses on beat three of bar 197. At the change to the

B7 chord on beat three, the E becomes the augmented fourth. It is again a non-

harmonic tone, but has become an acceptable tension through its use since the bebop era

(Levine, 1995, pp. 38-39).

26
Figure 8: Binneys recurring motive in Portrait of Jennie of 2 October 2012.

In the later performance of Portrait of Jennie from 13 November 2012, Binney

plays Motive POJ once over the B7 chord of bar 45, as seen in Figure 9. The motive

takes place in the second chorus of Binneys solo, over the second A section of the form,

similar to that of Example A, in Figure 8. This short phrase, four beats in length,

hearkens back to the version of the tune performed six weeks prior. As in Examples A,

B, and E of Figure 8, Binney uses a variant of Motive 1 as a linking approach to Motive

POJ.

Figure 9: Motive POJ in Portrait of Jennie from 13 November 2012, second chorus.

Binneys use of Motive POJ brings to the listeners ear a sense of continuity. With

each use, the potency of the idea increases, producing a sense of familiarity for the

audience. His introduction of Motive POJ in his interpretation of the melody, and

27
subsequent return to the motive in his improvisation at the same section of the form,

establishes it as a thread in the solo on that particular sonority. The use of Motive POJ

in the bridge of the tune on the E7(9) chord offers a harmonic contrast. This contrast

is related harmonically, as Binney prepares the motive with an A Minor tonality, the

relative Minor key to C Major, the primary key of the song. Berliner describes this

method of improvising as storytelling (1994, p. 200). He recounts his conversation

with drummer Paul Wertico, who considers with great respect, soloists that construct

musical character line[s] and apply them at strategic moments to create cohesive

performances (p. 202).

Melodic Formulae

Through technical development, a musician may develop musical habits that may

lead to the continual use of certain melodic, harmonic, and rhythmic phrases. The

perception of the musical instrument through ones body is a phenomenon that affects a

musicians identity in creative ways. Iyer (2004) suggests the improvising musician

attempts to replicate the musical ideas in mind using their instrument, experimenting

with the physical limits of the execution to create favourable musical outcomes. He

says that an improviser who works on developing a personal voice, may create

idiosyncratic techniques created through experimentation with the relationship between

their instrument and their body. Derek Bailey (1993) asserts that the relationship

between the musician and their instrument is highly personal. He states, [T]echnique

for the improvisor is often an exploitation of the natural resources of the instrument (p.

28
 99). These techniques play a critical role in the creation of a unique musical identity.

Bailey sees the idiosyncratic approach to using the instrument as a conventional

practice, as a musician will develop the faculty that is of most interest to their personal

goals (p. 99).

By way of the experimental relationship with body and instrument, patterns may
AWK wording . . . syntax.
emerge. These patterns may be predetermined, and prepared for execution in

improvisations. They can also be muscle habits, musical formulae that are easily

executed on a particular instrument due to tactile convenience, and are ingrained as a

result of repeated performance (Berliner, 1994, p. 227). Although Binney does not

consciously incorporate any preconceived motives in his improvisations (personal

communication, 15 May 2013), a few repeated motivic formulae have emerged. The
Id omit a few
rhythms of the motives vary, and are considered tonal ideas that follow an intervallic

shape, rather than a rhythmic one. These formulae are not necessarily used in every

solo. However, they have been part of his improvisational language for a considerable

number of years, and appear in both live and studio recordings.

Motive 1

The first formula examined is Motive 1 (M. 1), which is found in all six of

improvisations analysed. Binneys use of Motive 1 in Heaven omits the first note F.

The motivic formula contains a three note neighbour group of A Major, and

arpeggiates an A Major triad. Motive 1 is predominantly played in the same octave,

29
as shown in Figure 10. There are two transposed variants of the motive, one found in

Lester Left Town and another in Fuchsia Swing Song.

Figure 10: An example of Motive 1 (M. 1) in quavers.

This motive occurs, as seen in Figure 9, two times in Oddman, twice in

Portrait of Jennie of 13 November 2012 live recording, three times in Lester Left

Town, five times in Portrait of Jennie of 2 October 2012 live recording, and 11 times

in Fuchsia Swing Song. Variations on the motive happen six times in Fuchsia Swing

Song, four times in Portrait of Jennie of 13 November 2012, three times in Lester

Left Town, and three times in Portrait of Jennie of 2 October 2012, and twice in

Heaven. Binney has used this motive for at least fourteen years, as Oddman is on

the 1998 release Free to Dream (Binney), and the latest Portrait of Jennie solos are

from late 2012.

Similar to Cokers explanation of the use of the Cry Me A River Lick (1991, p.

74), Binneys use of Motive 1 is employed over various chord changes, the most

frequent uses being four times each on A7, and G7. Over C7 he uses Motive 1

three times, and twice each over B7, E-7, F-7, F-7(5), and G+7 chords.

Single uses of Motive 1 are on chords A-9(6), C7, C7, D7, D-7, E7(11), and

30
F7(11). The anchor tone strength the A Major triad has on the ear allows it to be

superimposed in the melodic line. This motive does not necessarily adhere to the chord

of the moment, and can create non-harmonic tensions in the melodic line. This method

of superimposition allows an improvising musician to reap the most benefit from a

motive.

The earliest example transcribed of Motive 1 is found in Binneys composition

Oddman. The motive is used mid-phrase, anticipating the B Major chord by a

quaver as illustrated in Figure 11. The non-harmonic A Major triad from on the

second semiquaver of bar 32 resolves to the third of the chord on beat two. The C and

E semiquavers of beat one in bar 32 create an appoggiatura with the D on beat two.

The motive gives the line a temporary modal shift, from A7 up a tone to the chord

of the moment, B. The resulting feeling of tension Motive 1 generates is in the

anticipation and delayed resolution of the B Major chord.

Figure 11: Motive 1 incorporated in Oddman, second chorus.

31
 In Figure 12, Binney uses Motive 1 again in Oddman at the end of his phrase in

bar 37. The F is the sixth of the A-9(6). The C and E demisemiquavers of beat 2

in bar 37 create an appoggiatura to the D. The demisemiquaver D of beat two is a

passing tone to the C demisemiquaver of beat three, effectively resolving the feeling of

tension. The phrase ends on the ninth tension of the chord, B, on the third beat. This is

a clear example of the superimposition of Motive 1 over an unrelated chord, that

resolves with diatonic notes in the chord of the moment.

Figure 12: An example of Motive 1 in Oddman, third chorus.

Figure 13 demonstrates an example of Binneys use of Motive 1 over a standard

ii-V7 chord progression is found on the version of Portrait of Jennie from 2 October

2012. Binney firmly establishes the sonority of the D-7 as the first two

demisemiquavers of bar 175 are part of a neighbour group encirclement around D

started on the last demisemiquaver of bar 174. The three-note demisemiquaver

appoggiatura to the D on beat two begins the descending G7 bebop scale that is

interrupted by the enclosure around G in the last half of beat three. The G7 bebop scale

ends on beat four, which begins Motive 1. The tonic note of beat four, G, acts as a

leading tone for the A. The motive superimposes the A sonority, resolving

preemptively to C on the last two demisemiquavers of beat four in bar 175. The

32
 phrase finishes in bar 176 with a diatonic melodic line in C. The placement of Motive

1 in this context suspends the descent of the melodic line. It accentuates the feeling of

tension in the G7 chord, with its ascent and non-harmonic tones. Binneys diatonicism

following Motive 1 releases the preceding feeling of agitation.

I think you should stick to
musical terms like tension and
release.

Figure 13: An example of Motive 1 in Portrait of Jennie from 2 October 2012.

The example in Figure 14 shows Binneys diatonic use of Motive and is the first

occurrence of the formula in Fuchsia Swing Song. Beats three and four of bar 83

clearly outline the A7 chord. Binney initially starts his melodic line in bar 78, and

inserts Motive 1 in mid-phrase. Beats one and two of bars 83 consists of a three note

appoggiatura that is repeated on the same beats an octave above in bar 84. The phrase

ends in Tochs variant of the encirclement (1977, p. 118), as the crotchets on beats two

and three in bar 86 form a neighbour group of the target tone C on beat one, effectively

spiralling out from the tonic.

Figure 14: Motive 1 in Fuchsia Swing Song, sixth chorus.

33
 In Figure 15, Binney uses Motive 1 on an E-7 chord in bar 126. The motive is

predominantly diatonic, apart from the enharmonic G naturals, which fall on the

dominant first and third beats. The strength of the Gs is somewhat diminished, as the G

on beat one is part of a longer chromatic passage that starts on the upbeat of beat two in

bar 125, ending on the F that begins Motive 1. The G on beat three of bar 126 forms the

leading tone of the A immediately following it. The descending chromaticism of the

melodic line in bars 124 and 125 reflects that of the harmonic motion of bars 123 to

127. Motive 1 is then followed in bar 127 by a descending G7 bebop scale to B on beat

four, which anticipates the G7 chord in bar 128.

Figure 15: Motive 1 in Fuchsia Swing Song, eighth chorus.

Binney will use parts of his motives in the construction of his lines. The modified

motive will follow the shape of the original, but include one or two different tones.

Figure 16 demonstrates the use of a modified version of Motive 1 in bar 150. The Gs

on the upbeat of beat two and the downbeat of beat four are the leading tone for the

As, anticipating the A 7 chord in bar 151. The B on the last half of beat three in

bar 150 assists in defining the C 7 chord, and provides a leading tone for the C in bar

151. The original Motive 1 is used on the G+7 chord in bar 152. The A and A,

34
while being non-harmonic tones, provide the ninth tensions of a G7 Altered chord. In

the 21 beats that make up the entire phrase, ten beats are used with Motive 1 and the

appoggiatura around F. This motive combination is similar to the example in Figure 14.

The use of the motives provides a strong melodic cohesion. It concludes with an

arpeggiated outline of the C 7 chord in bar 153, which is a truncated version of the

motif found in bar 85, as seen in Figure 14.

Figure 16: A variant of Motive 1, and Motive 1 used in Fuchsia Swing Song, tenth
chorus.

Another variation of Motive 1 is played on Binneys performance of Heaven.

Figure 17 shows another use of Motive 1 with a B replacing the B as the idea is

executed on beat two of bar 70. Technically, the majority of Motive 1 is executed with

the left hand. Only the note F at the beginning, and the E at the end of the formula

requires use of the right hand. Binney has explained that he would use the bis key to

play B in Motive 1, (personal communication, 30 June 2013). The bis key, when

used in conjunction with the B key by the left index finger, plays a notated B. It

would be an easy adjustment for Binney to substitute B with B in the example in

Figure 17, as the finger movements from the left index finger onward in the pattern are

the same as the original formula.

35
 The trilled third and fourth B demisemiquavers of beat one resolve the feeling of

tension created in bar 69. The fifth demisemiquaver of beat one in bar 70 continues the

line, almost as an afterthought, beginning with the minor third, G. The G acts as an

upper neighbour tone between the fifth and seventh demisemiquavers, descending to the

tonic for the last note of beat one. The E demisemiquaver of beat one begins the

ascension of an E Minor triad. The third demisemiquaver acts as the leading tone for

the major third, G, which rises to a C, the minor sixth, and D, the major seventh non-

harmonic tensions in E7(11). These intervals suggest an E7(5) sonority. In beat

two of bar 70, the line from the fifth demisemiquaver, C, to the A semiquaver resembles

the fifth transposition of the fourth mode of Olivier Messiaens modes with limited

transpositions. This scale can be found in Guy Lacours book for saxophone on

Messiaens modes (1972, p. 28). Binney notes that he had often studied out of that

book but never memorized anything (personal communication, 2 July 2013). Beat

three finishes the line, ascending to F. The semiquaver Fs in beat four resolve to E, the

fifth of the A7(11) chord in bar 71.

Figure 17: A variation of Motive 1 in Heaven, second chorus.

Taken in context with bars 70 through 72, the melodic line harmonically functions

as V7-I-V7, one chord per bar, in the key of C Major. The melodic line of bar 70

appears to outline a G7 chord on every beat, and resolves to an E in bar 71. Bar 72

36
clearly sounds like a G7 line with a blues connotation, extending through to bar 74,

resolving on the third of the C7 chord. The harmonic progression of the song

compliments the contour of the melody in this section of the improvisation.

One of the transposed variations on Motive 1 is found in Lester Left Town.

Binney begins his phrase with it, moving into a triple rhythm in bar 190 as shown in

Figure 18. The modified Motive 1 is transposed a perfect fourth below the primary

example of the formula. Over the C7(9) chord, the non-harmonic tone B acts as a

passing tone, despite being placed on beat two. The D is thought of as an acceptable

harmonic tension in this chord (Lawn & Hellmer, 1993, p. 139). The D functions as

an enharmonically spelled leading tone (C") and imposes a D-(7) arpeggio in third

inversion over the C7(9) with the remaining two triplet quavers in beat three, and the

first triplet quaver of beat four.

The second and third triplet quavers of beat four in bar 190 are part of an

appoggiatura that encircles the E on the downbeat of bar 191, joining the two motives.

The previous B has piqued the ear, and assists the E melodically, as the non-harmonic

tension increases due to the position on the dominant beat of the bar. The minor ninth,

G, is the leading tone of the neighbour group, through the motive to the G at the highest

point of the bar. The G on beat three of bar 191 is a leading note appoggiatura toward

the tonic F triplet quaver. The D Minor triad of Motive 1 Variant compliments the G

Major triad of Motive 1, which functions similarly to a ii-V7 chord progression in C

37
Major. Binney plays Motive 1 a third time, over the G7 chord on the third beat of bar

192.

The execution of Motive 1 Variant and of Motive 1 has similarities between the

fingerings. The E and A tones are fingered with the right, and left index fingers,

respectively. The D requires the index, middle, and ring fingers of the right hand, as

does the G of the left hand. The F tone can be played with the right middle finger, as

can the tone C with the left middle finger. These similarities, and the speed at which the

melodic line is performed, provide evidence that Motive 1 is a formula that has been

prepared. This would be a subconscious preparation, as Binney does not consciously

memorise techniques, especially to be deliberately played (personal communication, 15

May 2013). The speed at which this phrase is executed, creates a quickly twisting,

serpentine line that turns back on itself. It slowly builds, to pause on the way to fold the

melody, to resume arpeggiated ascents. The gradual rhythmic acceleration adds to the

feeling of agitation and expectation.

Figure 18: A variation of Motive 1, and Motive 1 used in Lester Left Town, second
chorus.

38
Motive 2

The next formula examined is Motive 2 (M. 2), which occurs in five of the

transcriptions analysed. As illustrated in Figure 19, the motive appears two times in

Lester Left Town and once in all other transcriptions, except Oddman, where it is

not present. This motive is another range-specific formula, as it only occurs in the

range on the alto saxophone seen in Figure 19. There is one variant of Motive 2 that has

been given special attention, (M. 2B), where a D may be added after the B. It

appears in Oddman, making it an earlier form of Motive 2. Even so, Motive 2B

appears as shown in Figure 19, in three of the six pieces: once in Portrait of Jennie

from 13 November 2012, twice in Oddman, and three times in Fuchsia Swing

Song. Variations on both motives are found an additional 10 times in Fuchsia Swing

Song.

As with Motive 1, Binney has expressed that he would use the bis key to play the

B (personal communication 15 May 2013). This increases the versatility of the

motive, as the left hand would execute the fingering in virtually the identical pattern, if

he were to replace the B with B . Also, a substitution of B in place of B would

increase the number of chord types the motive can be used with. These considerations

make Motive 2 and Motive 2B a left-handed formula, except for the initial F tone.

Binney plays Motive 2, Motive 2B, and their modified versions on various chord

changes, the most frequent being six times on A7. He uses them twice on B-7,

39
Eb-7, G7, and C7 respectively. Single uses of the motives are found on A-7, C7,

D7(11), D7, E-7, and F-7 chords.

Figure 19: Examples of Binneys Motive 2, and Motive 2B, in quavers.

The first use of this formula appears as Motive 2B in Oddman. It first appears

in the third chorus, given as Example A in Figure 20, and is played with the exclusion of

the last note. The A is used to begin the next phrase. In Example A, the phrase

begins with a six-note enclosure around the note A, in bar 38. The last semiquaver of

bar 38 initiates a four-note encirclement around F, the fifth of the B- chord in bar 39.

The only non-harmonic tone in the bar is the G passing tone on the second

semiquaver. Motive 2B begins on the third semiquaver of bar 39, and is diatonic

through to the end of the phrase. Motive 2B outlines an E7 arpeggio from the G to

the E, creating a dominant chord sound within the melodic line. Drummer Jeff

Hirshfield assists the feeling of tension in the music, as he is the only other musician

playing at this time. The ear of the listener is consequently relying on Binneys melody

to define the harmonic structure. The C and subsequent A frame a V7-I chord

progression in A Major formed in the motive over the B- chord of the moment.

The suspense of the line does not seem to release with the C, as bar 39 reveals Binneys

40
alto saxophone in the upper range, the highest point of the chorus. The line descends

into bar 41, creating a resolution before restating the melody in bars 42 through 44.

The second use of the motive occurs in the fourth chorus, on the same B- chord

of the form, shown in Example B. The duo of alto saxophone and drum set continues,

and Binney is still responsible for the melodic contour and harmonic changes of the

song. Bar 49 reveals Binneys use of a five-note enclosure that is similar to the one in

Example A, an octave higher. This encirclement is part of a chain of successive

encirclements, which are discussed in a later section. It is interesting that the five-note,

and six-note encirclements are realised on the same beat of the A7sus4 chord in each

example. For Example B, the tension is enhanced by the placement in the higher

octave. Motive 2B is approached by the same four-note encirclement as in Example A,

and is delayed by two semiquavers this time. He omits the A at the end of the

motive, opting to end the phrase on C.

When listening the recording, Binneys cohesion of thought in the melodic line is

strengthened with the motive. The fact that it happens in the same part of the form, a

chorus after it is established, provides a platform to elaborate. This is an effective

melodic technique, as he is the only tonal instrument playing able to express harmony,

during his solo. It allows the listener to grasp on to the idea, as well the form of the

song.

41
Figure 20: Binneys use of Motive 2B in Oddman.

As discussed above, Motive 2 outlines a V7-I progression in A Major. Figure

21 shows Binney using the formula over that chord progression in the composition

Lester Left Town. In bar 107 Binney plays what Coker describes as harmonic

generalization (1991, p. 45), by running up G Locrian, the seventh mode of A Major,

over the two chords. This scale places the third, G, and seventh, D, of the E7

chord on the dominant beats of bar. The motive is presented on beat four of bar 107,

and finishes on the last half of the second beat in bar 108. The seventh chord tension,

G, is reinforced on beat three by the upper neighbour tone A. The fourth beat is the

start of an enclosure around F, which is the seventh chord tension of the following G-7

chord. This use of Motive 2 is one that produces resolution, as the prior four bars

consist of encirclements that create a restless effect in the melodic line.

Figure 21: Motive 2 used in Lester Left Town, first chorus.

42
 Motive 2 can likewise bring a feeling of agitation to the improvisation, by

superimposing it over an unrelated chord. In the third chorus of Lester Left Town,

Binney revisits Motive 2, using it over A-7, as seen in Figure 22. The tempo is 240

beat-per-minute, making the lines quavers, triplet quavers, and semiquavers move

swiftly. The phrase begins with non-harmonic tones, immediately setting the expectant

quality in the melodic line. Beat four of bar 242 outlines the major seventh, perfect

fifth, and major third, over the B-7(5) chord. An appoggiatura to F on the downbeat

of bar 243 begins the ascent of what resembles an F Harmonic Minor scale on beat one.

This interpretation of F Minor is similar to the device Binney learned from

saxophonist Phil Woods, which employs an Altered Dominant scale a semitone above

the tonic of the dominant chord (personal communication, 15 May 2013). The C

semiquaver in beat one gives the line a Harmonic Minor sonority, and would be easier

to execute than C at this speed, as the former requires no fingers depressed on the

keys to play. The first half of the bar is given an E7alt. quality. Binney plays strong

chord tones with the first three semiquavers of beat two, and plays the fifth on beat three

of bar 243. He uses a B Major triad for beats three and four, imposing an E7 sound on

the dominant quality of the bar. The last two semiquavers of bar 243 encircle the F on

the downbeat of bar 244 with the appoggiatura played an octave lower in the previous

bar.

43
 The F Minor sonority of the melodic line in bar 243 transfers to the sound of

Motive 2 as the note F is repeated three times in bar 244. The motive incorporates non-

harmonic tones F, B, E, and G, which are also sounded on all stressed beats of the

bar, maintaining the dissonance created thus far. If the progression carried on the root

movement in fourths, the A sonority of Motive 1 could function as the tritone

substitution for a D7 chord. The F-7(5) chord can be interpreted as the third, fifth,

seventh, and ninth intervals of a D7 chord. The line does not yield its suspense even to

the end of the phrase. In context with the rest of the improvisation, Binney becomes

increasingly more complex each time the B-7(5) - E7 - A-7 - F-7(5) progression

appears in the song. The example begins the last A section of his improvisation. These

four bars repeat one last time, and Binneys melody becomes more consonant, with a

relaxing of the elaborate line, returning to a more simple statement.

Figure 22: Binneys use of Motive 2 in Lester Left Town, third chorus.

As in Figure 22 above, the root movement of the first three bars of the A section

of Lester Left Town are similar to the fourth and fifth bar of the B section of Portrait

of Jennie. Each song at this point contains a ii7-V7-i in A Minor, the former tune

44
progressing to F-7(5), and the latter progressing to D7. Figure 23 demonstrates a

more transparent example of Motive 2B functioning like a tritone substitution of in

Portrait of Jennie from 13 November 2012.

The phrase starts with strong tones A, C, and D, ascending quickly to

demisemiquaver non-harmonic tones G and G . The tonic D demisemiquaver of the

triplet of beat two provides a leading tone to the rising E7 arpeggio. The last half of

the second beat is a sextuplet demisemiquaver version of Motive 2B, truncated with the

absence of the F. Sacks voicing on the electric piano features a B, giving the chord an

F7(11) quality, which transposes to D7(11) for the alto saxophone. This voicing may

have influenced Binneys melodic choice, and the motive strongly suggests a G Major

tonality to the ear.

The dominant function of the G Major is slightly curtailed with absence of the

F. The last half of the third beat contains an appoggiatura around E, a non-harmonic

tone in the D7 chord. The 4-note encirclement around the E on the third

demisemiquaver of the fourth beat. These two encirclements stress the value of the

note, and anticipate the D-7 chord in the following bar. Binney had previously finished

a phrase that arpeggiated the A-7 chord in bar 54. The initial agitation created using

Motive 2B in bar 55 contrasts the previous bar, and resolves by the descending

chromatic line that resolves on the tonic D in bar 56. The emotive quality of

exuberance is felt as Binney reaches an almost vocal cry at the phrase end in bar 56.

45
The speed in which these phrases have been executed leads to a feeling of expectancy,

and anticipation.

Figure 23: Binneys use of Motive 2B in Portrait of Jennie from 13 November 2012,
second chorus.

Gunther Schuller states, [To] a very great extent, improvised solos-even those

that are imaginative-have suffered from a general lack of cohesiveness and direction,-

the lack of a unifying force (1958, p. 6). This argument proposes that thematic

material provides continuity and coalescence, adding an intellectual sophistication to the

improvised solo. Schuller sees this as an evolutionary process, mirroring classical

music at an exponentially higher rate (1958, p. 21). Binney has a strong awareness of

thematic cohesion and the significance in the way it affects the audience. When

referring to melodic themes, he will bring the listener into something they can really

grab on to and feel differently about...maybe it helps explain what we were doing before

and after....I try to bring that element into my own playing (Olson, 2006).

Binney uses Motive 2 and Motive 2B as an element producing coherence in his

performance of Fuchsia Swing Song. The motives are played a total of fourteen

times, including variations, throughout the solo. Figure 24 shows five of the uses, over

various chord changes in the tune, and how they are incorporated into longer thematic

46
developments, including material from Rivers melody. The rapid peaks and valleys

that occur around the use of the motive, and in the same range on the alto saxophone are

grouped together and labelled Motive 2 Thematic Contour (M.2 Thematic Contour).

Example A shows a truncated version of Motive 2B over the A7 chord of the fifth

chorus on the second quaver of beat two in bar 71. This is a consonant use of the

motive, as the D falls on the unstressed quaver of beat three, acting as a passing tone.

The A quaver on beat one of bar 72 begins a four-note appoggiatura, chained to a

five-note encirclement. The line is held in stasis over bar 72, and ascends into bar 73

with a similar contour to Motive 2B. The peak of bar 73 includes a neighbour group

encirclement to D on beat three, and descends a G7 bebop scale ending with the tonic

F on the second quaver of beat two.

As the solo develops, Example B shows another truncation of Motive 2B as it

anticipates the F-7 chord by two beats in bar 91 of the sixth chorus. The harmonic

anticipation continues in bar 92, as the B semiquaver on beat three leaps up to an E

quaver, the enharmonic spelling of D, providing the leading tone to the E quaver on

beat four to peak with a D quaver on the last half of beat four. The peak in bar 92

descends an A Major triad, and is mirrored a beat and a half later with the line

coming down a G Major triad. The melody is playing with the interval of the minor

seventh as the peaks in the line, setting the audience up with a feeling of expectancy.

The G, A, and C quavers on the second half of beat three into beat four of bar 93 are

repeated in the same rhythmic position in bar 91, and heighten the expectation of a

47
 similar melodic outcome. Instead of playing Motive 2B again, he peaks to the highest

point in the phrase with the minor third, G, of E-7 on beat one of bar 94. Binney

successfully brings the element of surprise to the line, due to the repetition of thematic

material.

The melodic profile begins to look choppier, as the peaks and valleys created by

the line feature more frequent interval leaps in Example C. In the sixteenth chorus,

Binney incorporates a variant of Motive 2 over the F-7(5) in bar 251, anticipating

the change to the F-7 in bar 252. The non-harmonic E on beat one descends

chromatically to the D on beat two, and is reinforced as a melodic anchor on the

second quaver of beat three by the 4-note neighbour group surrounding it. The entire

bar could then be interpreted as a full bar anticipation of the following F-7 chord.
in a way . . . this is the
communicative/language Binney repeats this idea in the same place of the compositions form, thereby creating a
element. An interesting area to
explore . . . rhetorical devices,
etc.
feeling of suspense for the listener as they anticipate the outcome of the phrase.

Binney descends chromatically to the tonic on beat four of bar 252, creating an

enclosure around the tonic of the E-7 in bar 253. He repeats the descending G Major

triad from the second quaver of beat one, adding a triplet rhythm for variation on beat

two. The A quaver on the second half of the fourth beat in bar 253 anticipates the

E-7 chord. Beat one of bar 254 starts a five-note encirclement of F, incorporating the

non-harmonic major third, G, on beat two. The ascending melodic line on beats three

and four are reminiscent of beats three and four of bar 251. This again creates a sense

of expectation for the listener. Binney cuts the idea short, with a leap from a C quaver

48
to the muted G in beat one of bar 255. The audience is left with a cliffhanger, as the

D-7 in bar 255 sets the ii-V7-I cadence to end the form.

Binney continues a tone below where he finished the prior phrase, on beat three of

bar 255. He descends an F Minor triad, which becomes a 5-note appoggiatura to the

minor seventh of G7 on beat two in bar 256. A modified Motive 2 is incorporated on

beat two of the same bar. The non-harmonic A Major triad descends to resolve on the

major seventh, B, of the C7 chord in bar 257. The Motive 2 Thematic Contour

follows through down the G Major triad on the second quaver of beat two. The phrase

ends with an E quaver anticipation of the A7 that begins the top of the form. The

descent of notes F to C, and A to E on beats three and four in bar 255, followed by

the ascent from F to B to E on beats two and three in bar 256 show that Binney is

consciously aware of the perfect fourths in the original melody. With each recurrence of

the Motive 2 Thematic Contour thus far, Binney maintains the characteristic elements of

the main theme, incorporating them into this own thematic extemporisations.

The chromatically descending root movement of the form returns in chorus 25,

Binney constructs the Motive 2 Thematic Contour, as shown in Example D. He

establishes an anticipation with a hint of Motive 2B on the second quaver of beat two in

bar 396. The D quaver on beat four is left by a downward leap of a minor sixth to the

tonic F quaver, heightening its dissonance as a non-harmonic tone. The descending G

Major triad in second inversion outlines the fifth, third, and seventh chord tones of E-7

49
in bar 397. The ascending diatonic climb, that outlines an A9 tonality from the second

quaver of beat two, links with an appoggiatura encirclement of F on the second quaver

of first beat in bar 398. A variant of Motive 2 is played, revitalising the Motive 2

Thematic Contour through bars 399 to 401.

On beat three of bar 399 Binney plays a descending G to D perfect fourth interval

in quavers. He leaps up a perfect fifth, to play a descending augmented fourth interval

in quavers, A to E, on beat four. The E quaver leads to the E quaver on beat one of

bar 400, then leaps a perfect fifth to the B quaver above. He drops to an A quaver on

beat two, and again to an E quaver before returning to A on beat three. This

rendering of fourths and perfect fifth intervals not only alludes to Rivers theme, it also

pulls the listener along with a strong intervallic interplay. The line has a gentle arc on

beats three and four of bar 399, and beat one of bar 400, as the top note interval pairs

move up by step, and the lower counterparts up by semitone. Binney then ascends the

last peak of the phrase, a neighbour group encirclement of D, before descending two

octaves to resolve the phrase on the tonic, C in bar 402.

50
Figure 24: Examples of Motive 2, and Motive 2B in Fuchsia Swing Song, in various
choruses.

51
 The Motive 2 Thematic Contour occurs 17 times throughout Fuchsia Swing

Song. Binneys use of these formulae provides a base for other motivic components to

take shape. He provides clear examples of repeated melodic devices, and the lucid

outgrowth of them. They never sound forced, but flow as natural extensions, working

seamlessly with other melodic elements. The motive can be bent to conform to the

chord of the moment, or be used as contrasting tension. Jost describes this type of

playing as running counter to what the listener expects (1994, p. 51), when creating

temporary tonal modulations. Listening to the live recordings, one can hear the

connection made with the audience, as the musical results of Binneys inner narrative

find logical, coherent outcomes.

Extended Forms of Encirclements

Coker describes the use of enclosures (and by association, neighbour groups, and

appoggiaturas) as commonplace within a jazz solo (1991, p. 50). He later says that they

are important, and should be learned along with his other identified elements (p. 117).

After examining Binneys solos, it is revealed that about 33.5% of the beats he

improvised include the use of encirclements. A beat is considered as a crotchet. With

the 12/8 time signature, the beat is considered three quavers, making a bar consist of

four beats. In the case of the composition Oddman where there are many odd number

time signatures, the total beats in the form were added together, with the result of forty

crotchet beats. The frequency of encirclements in the improvisations are rounded

approximations, listed lowest to highest: Fuchsia Swing Song with 21%, Oddman

52
 with 26%, Lester Left Town with 31%, Portrait of Jennie of 2 February 2012 with

33%, Heaven with 43%, and Portrait of Jennie of 13 November 2012 with 47%.

Some of the above figures that have been discussed show longer encirclements, as

these devices appear frequently in the transcriptions. The extended encirclements

Spacing?
include four, and five-note encirclements, and successive chains of encirclements. The
Encirclment chains is a great
term (for future reference). multi-note, and chained encirclements provide an elongation of a melodic line, and can

delay harmonic resolution. The encirclement may contain non-harmonic tones, and

provide a feeling of tension to the line. The value of this effect is that it has the

potential to create melodic tension without increasing the tonal range.

Multi-note Encirclements

Binneys use of encirclements can be more elaborate than the basic three note

versions. He often incorporates four-note, five-note, and six-note encirclements in the

examples. The multi-note encirclements can incorporate the basic structures, as the

intervals spiral in toward the target tone in a stepwise fashion. Others can be shapes

that surround the target tone without the basic encircling formulae. Due to the confines

of this discussion, the only alternative multi-note shapes examined are presented in

Figure 25. Many examples can be found with these, and previously discussed devices,

as they are the most commonly used encirclement formulae in the sample of

transcriptions.

53
 The examples in Figure 25 are derivatives of some three-note examples discussed,

with the addition of a passing semitone between the tone a whole step away from the

target tone. The example in bar one resembles the neighbour group, and examples two,

three, and four resemble appoggiatura groups. However, they will be labelled as x-note

encirclements (x Note ) to reflect the semitone passing tone before the target tone.

The half-step passing tone removes the immediacy of the minor third (bars 1 and 2), and

major third (bars 3 and 4) interval from the target tone. It also creates a strong pull

toward the target tone. Each example from the transcriptions is taken in context (x Note

), and will be labelled accordingly from these four-note groupings. These groupings

are seldom found in isolation from other encirclements, and are frequently larger than

four notes.

Figure 25: Examples of basic four-note encirclements.

Figure 26 demonstrates Binneys use of a five-note encirclement to shift from

dissonance to consonance. In the composition Oddman, he begins the phrase in bar

53 with a semiquaver B leaping down a tritone to a semiquaver F. This coupling is

repeated in reverse, F to C, on beat one and three of the B chord in bar 54. The

non-harmonic tone, C, becomes a pivot point for the motion below, as it is repeated

on the second, and fourth semiquavers of beat one, and the second semiquaver of beat

54
three. The augmented fourth, E , provides the lowest tone in beats one and two, as the

third semiquaver of beat one, and second semiquaver of beat two. Beat two begins a

five-note encirclement around the F on beat three. Binney plays the F to C

semiquaver coupling one more time on beat three before beginning a descending line.

The phrase begins to lean toward consonance as he plays a C Major triad in

descending semiquavers on beat four, sounding upper extensions 13, 11, and 9 of the

B chord. The final non-harmonic tones in the line are the fourth semiquaver of beat

four, C, and the E semiquaver on beat five. The E acts as a leading tone, as Binney

plays a descending B Major triad from the second semiquaver of beat five. Here, he

states the chord of the moment, coming to full consonance. Beat six is an expression of

perfect fourths in semiquavers, G up to C, returning to G, and down to D. The D on the

last semiquaver passes down a tone to C quaver, the longest tone in the bar, making it

more assertive, as the next chord is C7(11)/G.

With the unstable sound of the tritone relationship between the F and C at the

beginning of the bar, the encirclement shifts the dominance toward the former note.

The line is confined between the E and C notes, creating a constricted agitation in

the line that winds out through the encirclement. Binneys melody then shifts toward

concordance with the B chord, realising it on beat five. The bar descends and

contrasts the augmented fourth sound of the beginning of the bar, with open sounding

perfect fourths on beat six.

55
Figure 26: An example of a five-note encirclement in Oddman, fourth chorus.

Binney uses a specific five-note encirclement, in five of the solos examined. It is

an encirclement around the note E (5 Note E). He uses it once in Lester Left Town,

and in Portrait of Jennie from 2 October 2012. It occurs four times in Heaven, nine

times in Portrait of Jennie from 13 November 2012, and 10 times in Fuchsia Swing

Song. Figure 27 shows a four examples incorporated into his phrases.

In the version of Portrait of Jennie from 2 October 2012, the five-note

encirclement of E is used in conjunction with a four-note neighbour group. Binney is

embellishing the melody of the tune in these bars, which from bar 207 would consist of

a minim F on beats one and two, descending to a D dotted crotchet on the third beat,

down to a B quaver on the last half of beat four. It then resolves up a semitone to the

tonic in bar 208, completing the phrase before modulating to the bridge, or B section of

the form.

Binney delays the melody note F, chromatically descending to it from the A on the

last quaver of beat four in bar 206. He anticipates the D, approaching it from the A

below, and embellishes it with an appoggiatura, before continuing his scalar descent on

beat three. The line reaches an A on the fourth semiquaver on beat three, and Binney

56
initiates a four-note neighbour group around the F semiquaver of beat four. The A

gravitates toward the G, obscuring the neighbour group encirclement. This device ties

in with the five-note encirclement of E, as an anticipated resolution to the C7 of bar

208. Upon repeated listening, the neighbour group encirclement plays a subordinate

role. The rhythm displays a gradual acceleration, from the quintuplet semiquavers in

beat three to the sextuplet semiquavers of beat four, further blurring the neighbour

group encirclement, as the five-note encirclement begins on the sextuplet semiquavers.

The neighbour group encirclement slightly delays the five-note encirclement, as if

pulling back the anticipated chord change.

The encirclement in Example B is expanded to a seven-note device used in the

middle of the phrase. The chromaticism, and rhythmic variation add to create a sense of

anticipation, as illustrated in Example A. In Binneys second chorus of Heaven, bar

66 starts with a chromatic descent from the third, G, of the E7(11) chord. The rhythm

of the line speeds up with the last four semiquavers of a sextuplet figure in beat two,

landing on beat three with the B semiquaver. The rhythm slows again with four

semiquavers, adding rhythmic shifts, descending in a scalar fashion, from B to A to G.

At this point Binney leaps downward to the seventh of the chord, D, outlining the

tritone, and beginning the seven-note encirclement of E. The tritone interval creates

instability, and prepares for the use of the original five-note encirclement. It has also

given him the opportunity to shift into the E7 Altered scale. The G and F are non-

harmonic tones in the chord, further enhancing the feeling of tension in the line,

functioning as the sharp nine and flat nine, respectively, in the chord. The D is repeated,

57
followed by a D passing tone to resolve on the tonic E note, completing the

encirclement and resolving the feeling of tension.

In Binneys first improvised chorus over the composition Lester Left Town the

five-note encirclement of E is used to end a phrase. In this incarnation, it is used as a

six-note encirclement. Binney begins his phrase on the second quaver of the first beat

of bar 86, with the tonic of the B-7(5) chord. He ascends to beat two by a perfect

fourth, to E on beat two. At this point, Binney plays a three-note quaver line of an

ascending tritone followed by a descending perfect fourth, and repeats this motive a

semi-tone higher on the last half of beat three. The sequence has the fifth, F, on beat

three, and the ninth, C, on beat four, increasing a feeling of suspense as he ascends.

Binney interrupts this pattern in bar 87 with the non-harmonic tone C, providing a

major third interval, before ascending to D. The G and F of the encirclement provide

the sharp ninth and flat ninth chord tensions. The tones in bar 87 to beat three are all

part of the E Altered scale. This would indicate Binney is using this harmonic

superimposition, with the F note on beat three. The D is the leading tone for the E,

tonic to the E7, and fifth of the A-7 chord in the next bar resolving the a feeling of

suspense of the line. The shift of the five-note encirclement to the unstressed beat

allows the E to be interpreted as an anticipation to the A-7 chord. It releases melodic

tension in bar 87, and agitates rhythmically, creating a sense of expectation to be

resolved in the next phrase.

58
 The final example of Figure 27 shows the five-note encirclement incorporated

into a chain of encirclements in the eleventh chorus of Binneys improvisation in his

performance of Fuchsia Swing Song. This example is part of a phrase he has

stretched past the conventional cadence ending the form. Bar 163 designates the

beginning of the form, and Binney enters with a sustained G, the seventh chord tone.

He leaps up a perfect fourth to the third, C, on the second quaver of beat two. He

lowers to the tonic on beat three and begins a five-note appoggiatura in quavers to land

on the third of the D7(11) chord on beat one of bar 164. This appoggiatura uses the

E as a kind of pivot note, allowing the motion to come from the higher pitches. The

quaver rhythm of the melodic line continues, as he leaps to the tonic D, to come

down to the A on beat two, playing a broken D arpeggio in second inversion.

The rhythm begins to accelerate to quaver triplets on beat two, with the A

forming a contracted four-note appoggiatura. This is done with the same notes as the

preceding encirclement, omitting one E quaver. To this point, the note choices in the

melody have all been diatonic. The third, F, is played again on the third beat, as part of

the five-note encirclement. The G beginning the five-note encirclement is the sharp 11

chord tension, and the fifth of the C7 chord in the following bar. The encircling

motive anticipates the move to C Major as the third of the chord, E, sounds on beat

three. Binney continues the triplet quavers, as the E becomes the leading tone to the F,

the proper third of the moment. The line carries on with two semiquavers on the last

triplet quaver of beat four, forming a neighbour group around the A minim on beat one

59
of bar 165. The A then functions as an appoggiatura to the G on beat three, resolving

the phrase on the fifth of the C7 chord. The effect of the line is one of a sense of

agitation with both the rhythmic, and modal shifts that occur in bar 164. Another result

of the use of the string of encircling devices is that this melodic agitation is achieved

with a minimal use of tonal range.

Figure 27: Examples of multi-note encirclements in Binneys improvisations.

The above examples in Figure 27 are but four of a diverse range of encirclement

devices that work together to create larger melodic structures. There has been brief

discussion of their melodic relationships to one another. The succession of

encirclements and their melodic implications will be examined in greater detail in the

following section.

60
Chains of Encirclements

The examples examined thus far reveal that Binneys use of simple encirclements form

parts of larger melodic structures. It was difficult to isolate specific encirclement

devices, as one or another will work in tandem with the observed device. Longer forms

of encirclements will be examined here, as Binney uses them extensively in the

surveyed improvisations. Of the encircled beats, approximately 41% of encirclements

in Oddman are chained together. The next highest percentage of chained

encirclements is found in Portrait of Jennie from 13 November 2012 with 36% of

encirclements in consecutive successions, followed by Portrait of Jennie from 2

October 2012 with 33%. After that, comes Lester Left Town at 28% of encircled

material found in a sequenced series, succeeded by Fuchsia Swing Song with 21% of

encirclements strung together. Lastly, Heaven has Binney playing chained

encirclements 19% of the time.

In Heaven, Binney links every beat of bar 62 with encircling motives. The

phrase starts with a semiquaver enclosure around G in an E7(9, 11) chord. This

chord has two tritones, creating a sense of tension before melodic material is played

over it. One is between G and D, the third and seventh degrees of the chord. The

second is between E and A, the tonic and sharp eleventh tension of the chord. Binney

immediately initiates a feeling of anticipation, starting the phrase on A, the non-

harmonic eleventh tension of the chord. The resolution is short-lived, as the line

ascends, arpeggiating the E Major triad in first inversion to the F" demisemiquaver, the

highest point in the beat. The F" highlights the sharp ninth tension of the chord, and

61
links beat one with beat two using a neighbour group encirclement around the flat ninth,

an F demisemiquaver. Binney maintains the rapid ascent to G, and up to C, the flat

thirteenth of the chord.

The staccato articulation Binney uses emphasises the notes A, E, and C, on beats

one and two, and rhythmically creates a halting, agitated feeling. The ascending

contour of the melodic line also contributes to the feeling of expectancy. The pinnacle

of the line is realised on the altissimo F", which begins the rapid descent toward beat

three. The descent uses tones F, C, G, and F" of the E Altered scale in a

demisemiquaver figure. Beat three sees the four-note neighbour group realised on the

second demisemiquaver, F, of the nonuplet figure. He plays the tonic E on beat three,

before moving up a semitone to F. The line then descends using the same notes, F, C,

and G, an octave below the previous beat. Upon reaching the G, Binney initiates a

four-note encirclement of F . It is blended with an additional five-note encirclement

around E, creating a similar tonal effect to that of Examples A, B, and D of Figure 27.

He resolves the encirclements to the E demisemiquaver on beat four. The line then

begins a six-note enclosure around A, which is the tonic of the following chord in bar

63.

Binney explores nearly the full range of the alto saxophone with his melodic line,

reaching to the extended upper range with the F" in beat two, down to a low D in beat

three. The descent in beats two and three outline the E Altered scale sonority, making in

depth use of the chord tensions included in the E7(9, 11) chord. The staggered effect

62
of the rhythm on the ascent creates the feeling of tension that gives way on the descent,

as the rhythm smoothes into a flowing demisemiquaver figure. The feeling of

expectation arises melodically, as the chained encirclements offer delayed resolution of

the improvised line.

Figure 28: Examples of chained encirclements from Heaven, first chorus.

Binney offers the longest string of encirclements in Portrait of Jennie from 13

November 2012. In the space of two bars, he implements eight motivic devices in

successive sequence as seen in Figure 29. Binneys phrase starts as an anticipation of

the B7 chord with the tonic. He implements a sequence of notes described by Coker

as the digital pattern 1-2-3-5 (1982, p. 23) by ascending B, C, D, to F in beat three.

Binney then plays a variant of Motive 1, altering the E to E on beat four. The

sharp eleventh tension of the E provides a leading tone, and ascends to G, which begins

a neighbour group encirclement around F, delaying the melodic consonance. The line

then descends by leap to C, where Binney arpeggiates to the F and octave below, and

implements a four-note encirclement around the dotted semiquaver E, the tonic of the

E-7 chord in bar 6. He plays a staccato B on the second quaver triplet of beat one,

before hastening the melodic rhythm again, using an enclosure around the A

demisemiquaver of beat two. The ascending A Minor triad sounding on the

63
demisemiquaver triplet of beat two, with the implementation of a four-note

encirclement surrounding F, creates a modal shift, temporarily to F Major. This modal

shift enhances the feeling of tension in the melodic line.

Binney resolves the tension of beat two with an enclosure surrounding the C

quaver of beat three, the third of the A7 chord. He quickly arpeggiates an ascending E

Minor triad, forming part of the five-note enclosure that resolves around the tonic, A, on

beat four. The line leaps downward a perfect fourth to initiate a four-note encirclement

surrounding F. This encirclement anticipates the change to D-7 in the next bar. At

slower tempos, like this ballad, the embellishing effect of the encirclements is enhanced,

as the harmonic motion travels slower. This allows Binney, or any improviser, to

explore each chord to the fullest extent.

Figure 29: Examples of chained encirclements in Portrait of Jennie from 13

November 2012, first chorus.

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 In Lester left Town, Binney strings together encirclements with Motive 1, as

seen in Figure 30. The explanation of bars 190 and 191 are found in the discussion of

Figure 18. The link between the two motives is the appoggiatura encirclement on beat

four of bar 190, encircling the E of beat one of bar 190. This appoggiatura extends the

sonority of the C7(9), but quickly gives way to the melodic gravity of Motive 1. Bar

192 continues Binneys quaver triplet line, and forms a five-note encirclement of F from

the G on the second quaver of beat one. Binney repeats Motive 1 from the third triplet

quaver of beat two, ascending to the tonic G, on the third quaver beat of beat four.

From here, the melodic line descends stepwise to E on beat one of the C7 chord of bar

193. Binney diatonically descends from beat one, inserting a passing tone F on beat

three. The line reaches the lowest note in the bar on the next quaver beat, to then

arpeggiate up an F Major triad. The E on the second quaver of beat four begins a four-

note encirclement of the F on the second quaver of beat one in bar 194. The line moves

up a step to then engage a six-note encirclement of A on beat three. The anchor tones of

these encirclements highlight the diminished fifth, and minor seventh chord tensions,

respectively.

This phrase is one of the most exciting points of the improvisation, as it

demonstrates strong group interplay. Binney plays Motive 1, and its variation, three

times in duration of less than three-seconds. The ensuing flurry of notes in the phrase

covers ten bars, with the melodic rhythm increasing to semi-quavers, and groupings of

five and six semiquavers per beat. The rhythm section responds increasing the textural

65
density, with drummer Dan Weiss tightening the rhythm of his ride cymbal, and pianist

Jacob Sacks filling the space with sustained, syncopated block chords.

Binney says his teachers refrained from using negative connotations about non-

harmonic tones, specifically the perfect fourth interval from the tonic, when choosing

notes to play on a chord (Orenstein, 2011). His line from bar 190, going into the third

chorus of his performance of the composition Lester Left Town, presents a feeling of

freedom. Binney says, I learned how to go three, four, bars and play what I wanted to

play, but kind of key in and out of the harmony in a strong way (Orenstein, 2011). By

presenting the motive in various situations, he is able to experiment with ways to relate

them to the harmony of the tune, as this example presents.

Figure 30: Examples of chained encirclements used in Lester Left Town, second and
third chorus.

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 The final example examined is from the earliest of the samples of Binneys

improvisations. Figure 31 shows the start of the fourth chorus of Oddman. Binney

finished playing the last three bars of the melody prior to this chorus, and has increased

the tempo to 282 beats per minute. The F of bar 45 is the last note of the melody, that

is continued in a syncopated rhythm to the first beat of bar 46, where he plays the third,

F, of the D-7sus4 chord. The line ascends an F Major triad, moving up a tone to D on

the second semiquaver of beat four to begin an appoggiatura around E. The E is placed

on beat one of bar 47. Binney then leaves the E by leap down a minor third to C on

the second quaver beat, beginning a five-note semiquaver neighbour group encirclement

of A, using G as a pivot tone.

The appoggiatura encirclement of bar 46 outlines the harmonic progression, and is

reinforced by the five-note neighbour group, which firmly grounds the A Major tonality

for the listener. He then ascends from beat four with the 1-2-3-5 digital sequence to

leap a minor third to G on beat six. Binney initiates a semiquaver five note

encirclement of A, which resolves to beat one of bar 48. He continues by stepwise

chromatic descent in semiquavers to beat four, where he uses the D to begin a

neighbour group encirclement of E to beat five, which changes the direction of the line

upward. The melodic line ascends stepwise to beat two, leaping down a perfect fourth

to F, beginning a six-note encirclement of A, which resolves on beat five of bar 49.

The A flows into the neighbour group encirclement of the seventh, G, of the A7sus4

chord. The G serves as a pivot tone, as Binney leaps up a perfect fourth to C, returning

67
to G, and descending a minor third to E, outlining a C Major triad in first inversion.

The E serves to begin a four-note encirclement of F, which resolves on beat three,

before becoming part of a truncated version of Motive 2B, which ends the phrase. This

example demonstrates the undulating nature the chained encirclements create. This

rippling feeling is intensified by the constant semiquaver rhythm. The listener is treated

to a feeling of expectancy, waiting for a resolution.

Figure 31: Examples of chained encirclements in Oddman, fourth chorus.

68
 Conclusion

This thesis has examined seven melodic techniques utilised by New York

saxophonist David Binney in his improvisations within the context of jazz standards.
this feels abit awk . . . perhaps
something like his The analysis expounds upon the repeated use of appoggiaturas, enclosures, neighbour
performances
groups, multi-note encirclements, chains of encirclements, and two melodic motives. It

also illustrates the melodic and harmonic implications of these devices when observed

in the melodic context of Binneys performance. Despite their frequency, Binney

reveals in interview that these melodic devices were never prepared in his practice or

performance.

Suggestions for Continued Research

This is not an exhaustive examination of Binneys techniques. Further

transcriptions of Binneys work may reveal further patterns and devices he uses when

improvising. In many interviews, Binney says he does not transcribe, or memorise any

improvisations of other artists. Binney stated that he studied Lacours book on

Messiaens modes (personal communication, 3 July 2013). He has also said that he uses

Nicholas Slonimskys Thesaurus of Scales and Melodic Patterns (1947) along with

many other classical materials (personal communication, 15 May 2013). Examination

of further transcriptions may reveal elements of classical music materials in Binneys

playing. Binney feels he is always progressing as a musician (personal communication

15 May 2013). His output as a composer and recording artist has been prolific,

particularly in the last ten years, providing ample material for study.

69
Bibliography

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Capo Press.

Berliner, P. (1994). Thinking in Jazz: The Infinite Art of Improvisation: University of

Chicago Press.

Binney, D. (1989). Point Game [CD]. Caen, France: Owl Records.

Binney, D. (1998). Oddman. On Free To Dream [CD]. New York, NY: Mythology

Records.

Coker, J. (1991). Elements of the Jazz Language for the Developing Improvisor. Miami,

FL: CCP/Belwin.

Coker, J., Casale, J., Campbell, G., & Greene, J. (1982). Patterns for Jazz -- A Theory

Text for Jazz Composition and Improvisation: Treble Clef Instruments. Van

Nuys, CA: Alfred Publishing Co., Inc.

Drabkin, W. (2013). Motif. Grove Music Online. Oxford Music Online. Web: Oxford

University Press. Retrieved from http://www.oxfordmusiconline.com/subscriber/

article/grove/music/19221.

Ellington, E. D. (1968). Heaven [Recorded by David Binney]. On Bastion of Sanity

[CD]. Enschede, Netherlands: Criss Cross Jazz. (2005).

Erdmann, T. (2007). David Binney. Saxophone Journal, 32(1), 22-29.

Hindemith, P. (1942). The Craft of Musical Composition Book 1: Theory (Fourth ed.).

London, England: Schott & Co., Ltd.

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Iyer, V. (2004). Exploding the Narrative in Jazz Improvisation. In B. H. E. Robert G.

O'Meally, and Farah Jasmine Griffin (Ed.), Uptown Conversation: The New Jazz

Studies (pp. 393-403). New York, NY: Columbia University Press.

Jost, E. (1994). Free Jazz. New York, N.Y.: Da Capo Press, Inc.

Lacour, G. (1972). 28 tudes sur les modes transpositions limites d'Olivier

Messiaen, pour saxophone - 28 Studies on modes with limited transpositions by

Olivier Messiaen, for saxophone. Paris, France: Grard Billaudot.

Lawn, R. L., & Hellmer, J. L. (1993). Jazz: Theory and Practice. Van Nuys, CA: Alfred

Publishing Co., Inc.

Levine, M. (1995). The Jazz Theory Book. Petaluma, CA: Sher Music Co.

Liebman, D. (2001). A Chromatic Approach To Jazz Harmony And Melody. Rottenburg

N., Germany: Advance Music.

Monson, I. T. (1996). Saying Something: Jazz Improvisation and Interaction. Chicago:

University of Chicago Press.

Olson, P. (2006). David Binney: Airplanes, Cities, Moods and Vibes. All About Jazz.

Retrieved from http://www.allaboutjazz.com/php/article.php?id=22909&page=1

Orenstein, D. (Producer). (2011). Musings on Improvisation and Originality with David

Binney. [Audio podcast] Retrieved from http://

www.bestsaxophonewebsiteever.com/musings-on-improvisation-and-originality-

with-david-binney/

Owens, T. (1974). Charlie Parker: Techniques of Improvisation. (Vol. I and II). (Ph.D.

7501992), University of California, Los Angeles, United States -- California.

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 search.proquest.com/docview/288504206?accountid=14757 ProQuest

Dissertations & Theses (PQDT) database.

Panken, T. (2009). FINDING Harmony. Downbeat, 76(2), 56-59.

Philip, R. (Producer). (2011). David Binney on his Practice. [Audio file] Retrieved from

h t t p : / / w w w. a r t i s t s h a r e . c o m / v 4 / p r o j e c t s / e x p e r i e n c e / ?

artistID=295&projectId=394

Philip, R. (2013). Being Here. Manuscript submitted for publication.

Rivers, S. (1964). Fuchsia Swing Song [Recorded by David Binney]. On David Binney,

Jeff Hirshfield, Hans Glawischnig: 55 Bar NYC Jan. 21, 2007 [mp3 file]. New

York, NY: David Binney. (2007).

Robinson, A. (2012). Transcribe! (Version 8.31.0 for Mac) [Computer Software].

London, England: JazzSense (Jazzwise) Publications. Retrieved from http://

www.seventhstring.com

Robinson, J. R., & Burdge, G. (1948a). Portrait of Jennie [Recorded by David Binney].

On Portrait of Jenny [sic] (version from 10/2/12) 55 Bar [aiff file]. http://

soundcloud.com/david-binney/portrait-of-jenny-version-f: David Binney.

(2012).

Robinson, J. R., & Burdge, G. (1948b). Portrait of Jennie [Recorded by David Binney].

On Portrait of Jenny [sic], 55 Bar NYC, 11-13-12 [aiff file]. http://

soundcloud.com/david-binney/portrait-of-jenny-55-bar-nyc: David Binney.

(2012).

Schuller, G. (1958). Sonny Rollins and the challenge of thematic improvisation. Jazz

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Shorter, W. (1959). Lester Left Town [Recorded by David Binney]. On Bastion of

Sanity [CD]. Enschede, Netherlands: Criss Cross Jazz. (2005).

Slonimsky, N. (1947). Thesaurus of Scales and Melodic Patterns New York, N.Y.:

Schirmer Books.

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 Appendix A: ETHICS APPLICATION

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 Appendix D: TRANSCRIPTIONS

The transcriptions are an interpretation of David Binneys improvisations. These

recordings are available on his website. The rhythms are intended to be as close as

possible to what he played. This may make for difficult reading, should one decide to

perform them.

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 Appendix E: I N T E RV I E W

Interview with David Binney

The interview excerpts have been transcribed in a straightforward manner to

preserve the integrity and tone of the conversation. The ellipses have been added to

better connect ideas, and do away with stutters and repeated words.

Interview

Shane Landry (SL): Can you talk about your practice routine?

David Binney (DB): Yeah...The Slonimsky thing, [Nicolas Slonimskys Thesaurus

of Scales and Melodic Patterns] I would take...a pattern and memorize it, and then just

sort of, you know, play it in all keys....A lot of times that takes me at least a couple

weeks to get it really under my fingers so I can play it really fast, depending on how

hard the pattern is....I start off with that, then once I...do that for a little while, I go to

like, Classical etudes and stuff....Any kind of Classical music, exercises.

SL: Yeah.

DB: What I read.

SL: Any in particular?

DB: Oh, well, there has been many. I mean, I just go from one book to another.

SL: Yeah.

DB: There have been hundreds (chuckles) basically, of books. You know, now

Im working on a certain book....Although I havent been here for ages. I havent

practiced here in more than a month, probably.

SL: Yeah.

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 DB: Ive been on the road. Which means, I actually havent practiced, because I

dont practice when Im on the road.

SL: Yeah.

DB: But when Im at home, I practice. (inaudible) when Im playing all the time

on the road. So, lets see...I do the Classical thing, and then I go to...like, jazz

transcription thing. You know, solo books.

SL: Yeah.

DB: And I usually just read through some of those, depending on whatever I feel

like. Um, I dont always do the jazz transcription books, sometimes I go right from the

Classical to just improvising. But, a lot of times...I do the jazz transcription thing. And

then I go...after that I go to like, improvising, Ill put the metronome on two and four

[second and fourth beats of 4/4 time], and just improvise over standards, basically, at

different tempos.

SL: Yeah.

DB: And uh, just try different things...nothing like (pauses). I dont work things

out really, I just play. You know, I just play over the tunes and try to stretch my

imagination and see what I can come up with over them.

SL: So you dont try to incorporate, like, you work on a Slonimsky idea, and you

dont try to incorporate it?

DB: No.

SL: You just let it happen.

DB: Ive never once tried to incorporate any of that into improvisation.

SL: Yeah.

171
 DB: Never one time, I cant ever remember, a way. No, Ive never done that...

SL & DB: So...

DB: Yeah?

SL: Sorry, so would you say the goal...of playing over a standard would be to

expand your imagination? Like, there is no set goal in mind? Like, when you...sit

down, OK, Im going to play Rhythm Changes [chord progression to Gershwins I

Got Rhythm] today....

DB: Theres not a specific goal. Theres just a...goal of trying to play better on it

than I did the last time (laughs). Um...or just, you know what I mean, play smoothly

through it...come up with different ideas. Be more, somewhat more, original in my

ideas, trying to stretch my imagination. Yeah.

SL: Yeah.

DB: Thats basically all that I think about with that, you know? Thats

really...thats basically how I practice. Sometimes I stop and I-or after that Ill play

something-just um...I dont know how to describe it...I guess just solo saxophone stuff,

just play whatever I feel like at the very end of the day.

SL: Yeah.

DB: You know, sometimes I have music to learn from different bands. And Ill do

that as part of-I incorporate that into my practice routine. But um, basically thats been

my routine for...a long, long time, you know? Thats it.

SL: Yeah.

DB: I said its not really super amazing routine, its just consistent. Being

consistent, you know?

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 SL: Right.

DB: Thats the key. And, you know, I used to always be...when Im here, Im

consistent, Ill do it everyday. But um, you know, when Im on the road its hard to be

consistent...I dont practice on the road. But I like the balance, actually, of practicing at

home and not playing many gigs at home, and then going on the road and playing a lot

of gigs, and not practicing.

SL: Yeah.

DB: Theres a learning thing that happens with both of those things that I dont

think can happen very easily if you do both of them at the same time. If that makes

sense.

SL: Yeah, yeah.

DB: So, and I always feel like I am getting better (pauses) quickly. Like I always

feel like Im improving every year. Its kind of dramatic for me. It feels like...

SL: Yeah.

DB: I feel like Im way better every year than I was the year before. And its no

question that I am, because I can tell by just playing over the same music that I did the

year before, and how much easier it is. Like I just had that experience last night. I

played with the Gil Evans Orchestra, and I remember when I used to do that band, you

know, in the 90s, and some of the tunes that used to be kinda hard for me are so-I

mean, I couldnt even believe they were hard for me-as so simple, I dont even know

what I was thinking....

SL: Is there anything...specific, that you can think of?....is it, ah...

DB: Rhythmic stuff.

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 SL: Rhythmic stuff, yeah.

DB: Yeah, rhythmic reading. Reading rhythmic stuff, and just really nailing an

eighth note [quaver] or a sixteenth note [semiquaver] on an up beat at the end of a bar or

after. You know, somewhere...that used to be like, tricky for me somehow. Really nail

it...exactly where its supposed to be...and now its not....so, its funny...

SL: Ive noticed some...sorry, go ahead.

DB: No, no. Its okay, go ahead.

SL: Um, that in your solos...there is some parts with odd-number groupings...like

consecutive groupings of five, groupings of seven, nine, like odd number groupings. Is

that like a rhythmic thing that you would practice?

DB: No. No, I dont, I never prac-I mean, I guess there was times where I

practiced-Ive practiced groups of five, I remember. Maybe, maybe sevens. I mean

besides obviously four, and six, and three and all those. But, um, no, not really...never

really practiced them. It just-getting my rhythm together, and playing what I am

hearing-as long as the rhythms cool and I know where the beat is, whatever comes out,

comes out. So, you know, I guess that sometimes in comes out like that, but its not like

Im thinking of seven, and nine, and, you know. Im not thinking of it.

SL: Yeah.

DB: Its just, I might be hearing it somehow subconsciously. I must be, Im

hearing it, Im playing what Im hearing. But, um...its not something I ever worked

out, or worked on.

SL: Yeah. So, like no rhythmic devices, its purely melodic?

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 DB: Totally melodic. Its totally melodic, and improvisation. You know? Its just

what Im hearing. Its not, its nothing that Ive worked out. Im not a fan of working

stuff out, if youve noticed.

SL: Yeah, yeah.

DB: ...Thats what I dont like hearing in other people, and...I (pauses). Theres

very few people that have worked out a lot of shit that I really liked. I mean, the guys I

could mention would be like Coltrane (chuckles) maybe, and ah, Mark Turner, you

know?

SL: Yeah.

DB: But, um, very few people that have worked out a lot of stuff that I really like,

you know?

SL: Yeah. So when you are soloing, do you you consciously direct the way you

are soloing, or does it come out and sort of surprise you?

DB: Does it surprise me when I look at the transcriptions later? Or like...

SL: Or even in the moment. Like...is it a conscious intention? Do you...I guess it

comes down to the- I mean...youve established that you dont really prepare anything.

But, um, I mean, you let your ear guide you. But I mean, I guess, the conscious intent.

Do you have the forethought of what you are going to play, before you play it, in a

sense that you know where your line [melodic line] is going to go? Or does it kind of

come out in a way that thats more intuitive, an surprise you that way?

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 DB: Um, well, yeah I think that Im...not hearing things too far in advance. Im

thinking more of shapes, and energy. You know, it sounds New Age-y, but...Im

thinking of all those things, and with the band, and you know. But Im thinking about

playing high, or playing low, playing fast. or slow. Or, you know, that.

SL: Yeah.

DB: You know, its hard to explain. I tried to explain it to a couple of students,

recently. But, now, a lot of times when I feel like Im really on, and really playing well,

I feel like a little kid, with like a piece of metal in his hands and Im just going,

Weeeeee! Like, now Im going to move this hand fast, and Im gonna-now lemme

see what happens if I do this finger, then this finger, and this and this and then (pauses).

Thats how it feels to me. And Ive talked to other people, like, a few. Or, you know,

have read, I think, even once, a couple of really great players, which I dont

remember...now who it was. But, I think when youre really kind of in the zone so to

speak, its ah, it becomes like that. Its not-its completely like youre a little kid

playing with like, an object, and youre like, really simple. Like, what if I move this

finger fast? And then, Oh! Im gonna move this finger fast, and then this one slow, and

then this one. Thats really what it comes down to, lets see what happens. And

because...you have this mechanism in your hands that has buttons and youre just like,

Oh! What if I do this button? What happens if I do this button, then this?

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 Or I could just, you know, thats what it becomes. And thats...when it becomes

that I know Im really playing well. Like Im playing kind of in the zone. Cause all

the other stuff that Ive learned, and everything, thats going to be, thats already there.

You have to, you learn how to trust yourself to just, its there. Its gonna come out ,

youre gonna play well, your time is good, your harm-you know your harmony, you

know. Um, so at a certain point it becomes about that kind of playfulness, and that um,

just purity of moving, you know, buttons on a...on an object. You know? It sounds

weird, but thats really what it feels like. And um, so I dont know...but, thats kind of

the goal for me. But Im not thinking about-yeah sometimes I dont-I, you know am

definitely not in that zone very often, but Im, even when Im playing really well. But

uh...Im still thinking about all those sort of things. And thinking...about you know,

Dan Weiss will play some drum thing, and Ill-itll give me an idea to play some drum

thing. Its that kind of conversation. But its not, Im not thinking about a technical

thing I practiced or...anything like that. Or what he played, Im not concerned about

what he played in a rhythmic sense. Im not thinking, Oh, thats a triplet over a...You

know? Im saying-hearing he went da-da-da-dat. So Im going to go da-da-da-dat

and build something off of that.

SL: Yeah.

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 DB: You know, same with the harmony....Its like, oh, I hear this harmony, and

Im not thinking I know what that chord is. Oh, I hear that chord. Its not like that. Its

more like, um, Thats a cool colour. How can I be either be opposite of that, or go

along with it, or kind of be in between? You know? Its those kind of

aesthetic...choices that are happening. Its not...intellectual in the sense of a technical

thing.

SL: Yeah.

DB: For me. You know, thats just not the way I think. But when I practice, its

all technical. You know what I mean? Its basically all technical, except for the

improvising on the standards, in a way. Although, that can still be more technical than I

would play...on a gig. But its...yeah, the practice routine is more technical. But yeah,

playing live is just a whole (pauses) thats a different thing. You know? Or a recording.

Im just trying to get to a certain kind of....yeah, Im just trying to get to a musical thing

that can be brought-whats the word, I cant think of the word- ah, given to the audience

in some way so they feel something. Or react in some way, or whatever. You know?

SL: Yeah, yeah. So I guess on the other spectrum of that, being in the zone, do

you ever feel like you...when youre performing, if theres something youre not happy

with....Do you use that knowledge to assist you the next time?

DB: Oh yeah, of course. Yeah. Like anything in life. You know, if you do

something you dont like, you dont do it (chuckles). You try not to do it again.

SL: Yeah.

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 DB: Its the same thing. So, yeah. Its like, oh, I did that. That didnt really

work. Or I really dont like the way that sounds, so Im going to get rid of that, or

change it, or something. You know? Im always trying to...improve, you know, thats

the goal. So...hearing yourself on a recording, just remembering the gig is a good way

to improve, you know?

SL: Yeah. So you mentioned that youre influenced by Dan, something that he

does....On the bandstand, is there any particular instrument that youre drawn to more

than another?

DB: Um, no, I think its a combination. Sometimes I key in-Im trying to key into

the whole sound of everything together.

SL: Yeah.

DB: Sometimes Ill focus in on one of the, lets say Im playing quartet, itll be

one of the other three rhythmic, uh rhythm section instruments. So sometimes I key in

on the harmony. Its...kinda sometimes...whatever I find more interesting. Um,

sometimes its the harmony, sometimes its the rhythm. Sometimes, with the bass, it

would be almost sometimes like a melodic thing. Um, but its probably a little less with

the bass than it is with the drums, or the piano.

SL: Yeah,

DB: But, I kinda live or die with the guys I play with, because I feed off of that a

lot. You know?

SL: Yeah.

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 DB: So, its important for me to...have good musicians playing with me, you

know? A lot of times, if Im playing with musicians who arent so good, I really play a

lot more. Like Im playing-I know its on me to play better (chuckles). Or play, not

better, but play. Make more of an impact as far as a technical thing, or something more

dramatic. So, a lot of times I have to take over to make the gig happen. If the

musicians arent as good, I really have to be more of the focus. And I become more

selfish, in a way, about the space that I take up in the aural spectrum. You know what I

mean?

SL: Yeah...So you become more of a leader and sort of-maybe to teach them

something?

DB: Well, teach...or just as making the gig happen. Just being strong. Like if you

watch a sports team, Im a big sports fan. But if you watch basketball, and you watch

the [Los Angeles] Lakers play. I mean, you know, see someone like Kobe Bryant. I

mean, when he takes over, when they need somebody to take over, theyre not playing

well. Instead of being more of a assist guy and everything, Kobe will just start taking

every shot, you know? And that sometimes works, and sometimes it doesnt, but they

have a better chance, when theyre not playing well if hes doing that.

SL: Yeah.

DB: So, its the same way in music, in a way. But in my band, I dont need to do

that, cause theyre all so strong.

SL: Mmhmm.

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 DB: Matter of fact, its better if I dont do that. I mean, once in a while I do it, but

its a good balance. A lot of times, I can just lay back and not do much at all and a lot

will happen, because theyre so keyed in. A lot of times, if I just play a couple notes

and drop out, theyll use that. And theyre listening as hard as I am, so...theyll build off

of that...and we, it becomes this other thing. Where as a young...rhythm section, or a

bad rhythm section, if I did that, they wouldnt know what to do, so nothing would

happen. They would just fizzle out. Like, if Im not playing, people get....Like if the

rhythm section is not good, or doesnt understand, if I stop playing very much and I

play a couple notes, theyll just come down and theyll like, be confused, and like, what

are we doing, wh-whats happening? You know? Where as, if I do that with my band,

theyll just fill up the space with energy, you know?

SL: Yeah.

DB: Its just...sometimes it becomes even more. Like, theyll know what Im

doing. They understand, oh...hes leaving us space to fill in this thing, and now were

gonna go, you know. Hes not playing a lot of notes. So, and that happen even within

one solo. Going from playing a lot of notes, to very little, which happens a lot with me.

Like, Ill play a lot of notes and Ill end the solo by playing one note for a long time, or

playing one rhythm pattern over and over, as a climax to a solo.

SL: Yeah.

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 DB: Instead of the other way around, a lot of times Ill play a lot at the start, and

kinda whittle it down to this kind of, these nuggets of an idea, of ideas, rather that the

other way around, which most people always play. Start slow, and then build up to a lot

of notes, you know? Which I also do a lot. But I mean, theres-you can do it both

ways.

SL: Yeah, Ive noticed some of that on your um-I got a lot of recordings from

your website, the live gigs...I noticed on the more, like, the electric gigs, you kinda lay

out. Well, in the ones that I have, um, you play a lot of solo stuff.

DB: Mmhmm.

SL: And then once the band comes in, or maybe thats when you start to lay out,

they fill that up. Particularly with Wayne Krantz on a couple of the recordings.

DB: Mmhmm. Well, they also tend to play a lot. Krantz, can play-a lot of guys,

the electric guys tend to play more, sometimes, so. And its louder. So, a lot of times

its better for me to back off a little bit, you know?

SL: Yeah.

DB: Um, also I enjoy listening to a lot of, you know, great players. So, sometimes

Ill just, Ill lay out just to see what happens, you know? Which I like. To see what

theyre gonna play, you know, and then thatll inspire me a lot. Um, yeah, its, you

know. Its whatever happens, in a way. But those are all, theres a lot of options that

you dont necessarily have with a bad rhythm section, or a young rhythm section

sometimes.

SL: Yeah. A little bit...oh sorry, go ahead.

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 DB: Thats what like Miles, you know, those bands, thats what they were great at.

They just played and went for it. Whatever happened, whoever took over, with all the

solos every night it was completely different, you know?

SL: Yeah.

DB: Thats kinda where that all comes from, really. It was really sort of the first

band that really did that in the modern way.

SL: Yeah. Just going back to your soloing...in the transcriptions Ive done...Ive

noticed a lot of the chromaticism that comes out in your playing is due to enclosures, or,

um, encirclements around target notes. Is that something...that youve spent time

working on?

DB: Uh, no. Uh, and I dont even realise that I do that. Other than, but when you

say it, that makes sense to me. Like, I could understand that oh yeah, I probably do that.

But I dont...I didnt know that (laughs) until you just told me right now.

SL: Ah.

DB: Yeah. But that makes sense.

SL: Yeah, I can see that when you did your Doron Orenstein interview, you said

that its a way to ground the listeners ear, or your ear into what your playing.

Particularly if you are on a certain chord change, and youre starting to go out of it, if

you want to come back to it that is a device you can use. Encircle a target note and

really hone in on it.

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 DB: I dont remember saying that, but...yeah, that seems like something I would

do. I mean, I think I do that a lot, actually. I just dont remember ever verbalising it. I

guess I must have. Obviously, if you heard it in that interview, but I didnt remember

that.

SL: You talked about grounding...your ear. Or, youre talking in more reference to

the listener, if you wanna bring them back to a point of consonance or what have

you...to the chord change...

DB: Yeah...I think Im talking about, I think thats different. I think Im talking

about letting myself go and play, not worrying about anything, any notes that Im

playing. Uh, in a way, Im...just thinking of the shape of everything, and whatever.

But, if Im really feel like Im getting to far away from something, or Im not

connecting with the audience, or with the band, or whatever, then...Ill return to the-one

of the strong tones of a chord. Like, cause Im always knowing where I am in a form, if

were playing a form, and...Ill ground myself that way. But thats different to me than

what you said. That I would have agreed, of course, Ive said that many, many times.

But, I thought you said during a solo I might pick a note and build something around it.

Thats a different thing.

SL: Okay.

DB: You know what Im saying? You see the difference, in a way.

SL: Yeah, one of them is more of, like a motivic, conceptual thing.

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 DB: Yeah, one is Im consciously picking a note, and then playing something

around it and returning to that note as a grounding thing. The other thing is just playing

over a set of changes or something and just letting myself go harmonically, and where

ever I am in that form, if I want to bring it back, resolving into a strong tone of a chord

change. Not a specific note, but maybe itll be a C sharp on an A Major chord. And itll

be, later on, itll be the, you know, A on a, you know, whatever, on an F Major chord.

You know, uh, whatever....So thats a different thing to me, theyre two different things.

The first...the thing you are talking about now, where I ground the listeners ear by

dipping in and out of the strong harmony of a tune, Ive said that a million times. But

the first thing that you said seems different to me, and I dont remember ever saying

that.

SL: Oh, ah...

DB: But...thats also something I would do, probably. It doesnt sound like

something I wouldnt do, it definitely does sound like something I would do. I just

dont think Ive ever talked about it, cause Ive never really thought about it that way.

SL: How would you think about it?

DB: Oh, I just never thought...I dont think about doing it. I think I just maybe in

the moment that I...forget that I do it.

SL: Ah, okay.

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 DB: Now that you say that maybe I do that, or maybe...I can go yeah, I probably

do do that. But its not something that I (pauses) No, I dont remember. Yeah, Im sure

I did it, I dont remember, I do it probably a lot. I dont remember any specifics of

when Ive done that. So, I never really think about it. But then, I dont think much

about the gig. And most everyone I play with, after we play, we dont talk about the

music. You know what I mean? Its not...we go and we have a beer and we talk about

some other random shit.

SL: Yeah.

DB: It has nothing to do with the gig, I mean, we might say, ah nice gig, or, aaah

that gig was okay, the audience was weird or whatever. But the minute after we say

that, were off into something else. Completely something else. I never really think of-

its behind me.

SL: Yeah.

DB: Um...at the same time, the feeling of the gig may still be there. If I feel like it

was a good gig, and how I played, thatll stay with me. Even if its subconsciously to

an extent. But, um, in the next gig, or the next gig, Im learning from those things. Um,

so the feeling is always there in my head, but Im not...thinking about those things, Im

not talking about those things, were not talking about those things.

SL: No.

DB: ...After the gig...its just not something that we do, you know?

SL: Yeah. Could you talk a little bit about your choices of standards? Your

aesthetic of-is there any criteria you have, or anything that affects your decisions on

choosing the standards that you play, or practice?

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 DB: Ah, no. Only if theyre kind of comfortable for me. Like, they feel nice to

play over. You know, theyre not awkward. Or maybe sometimes even if theyre

awkward Ill try to make them feel more comfortable. But, some tunes just arent as

strong as others. And, you know, there are certain tunes that people play. And the

reason they play them, is that theyre basically comfortable. Theyre kinda fun to play,

you know....I mean, thats why I pick standards. Or a lot of times I like the melody.

Like, that Portrait of Jennie tune, I really love the melody. Um, although I havent

played that in a long time....Its not any criteria, really.

SL: No.

DB: No. Just...usually the melody and the harmony and if its nice. And then,

second would be if its fun to play. You know? If it feels natural and you know. There

are some tunes that just dont feel natural, they feel awkward...including my own tunes.

I mean, certain tunes are really fun to play over, and certain tunes are really awkward.

Because I write this certain kind of harmony, and theyre not really fun to play over.

But Ill work...especially if theyre my tunes Ill work on them until I get comfortable

with them. But, theres a lot of tunes that are really hard, and not so comfortable, and

some that are really easy, like a lot of the ones we tend to play over and over. Thats

why the gigs have a lot of the same tunes, theyre really just fun to play over. Like that

tune, PF...its just fun to play over, you know?

SL: Yeah.

DB: And...so weve been playing it for years. And...I guess thats it.

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 SL: And this one is sort of a mundane question. Um, the chord changes...on the

standards that you use, is there any sort of fake book, or do you use the album to get the

changes? Like the ones you work out yourself. Like, for Fuchsia Swing Song,

Portrait of Jennie, Heaven, and Lester Left Town.

DB: I just got those out of the Real Book.

SL: Yeah.

DB: I mean, I just get them out of the Real Book and then...sometimes Ill listen

to...some original versions of tunes if, you know...to see...if theyre pretty similar. But,

you know, its pretty obvious...when we play the tune...which changes are correct, and

which arent. And you know, I leave that up to the rhythm section more than me. Um,

but you know, the Real Book is pretty...good for that most of the time. So...

SL: This is like the hand written version of the Real Book, not the Hal Leonard

printed...

DB: Uh, I dont...you know, I have that disc with all the fake books on it. Its

whatever.

SL: Yeah.

DB: Whatever, where ever the tune is, I just take it and print it out....Usually, I

pick tunes that are, you know, pretty obvious, I dont know what the chords would be.

SL: Yeah.

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 DB: Uh, you know. I dont know, there are certain tunes that we play that where

Jacob will say, I dont know if this chord is right. Then, you know, sometimes well

change it to something else. But, usually the changes are right in those things, basically.

So, we dont really, uh, I dont know, I havent had any trouble so far, with those. You

know?

SL: Yeah. Just you in particular, though. The ones that you would...have taken

the time to learn yourself would be the ones from the Real Book.

DB: Yeah, theyve all been from the Real Book.

SL: Yeah.

DB: I dont think Ive had any tunes (pauses) Ive never transcribed any tunes. I

think all the tunes weve played are from the Real Book, or some fake book.

SL: Yeah.

DB: I mean, nowadays if you want to play a tune, you just type it into Google and

its somewhere, and you download it, you know? Even if its not in the Real Book.

But...yeah, I think theyve all been from those books. That disk.

SL: Yeah...thatll help me to, I guess, justify the chord changes that I put above

the solo, basically. That is the only reason I needed to know that one.

DB: Yeah, Im really just dealing with the Real Book....I mean, probably the best

thing for those...tunes would be to actually put the Real Book changes in there, because

thats what Im playing on all those tunes.

SL: Yeah.

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 DB: So for somebody whos looking at the solo, if you have more correct changes

of what Im playing, or something, or you are analysing it to that level, its actually less

information for the student, because I didnt think of those changes. You know what I

mean? I was thinking of the Real Book changes.

SL: Yeah.

DB: So whatever Im building off of, or playing, is from that Real Book change.

You know?

SL: Yeah. Thats a really good point. Um, and the chromaticism, do you have

any thoughts on chromaticism in general? Do you like to implement it? Um, is there

any composers or musicians that influence your conceptions of chromaticism?

DB: Mmmmm, I dont think about it, really, as chromaticism and non-

chromaticism (laughs). Um, I dont think about it that way, really.

SL: No.

DB: I dont know how to answer that. Thats just not the way I think. I mean, I

dont even really know what the difference is, in a way. Chromaticism would be just

not arpeggiating chords?

SL: Chromaticism, well Ive looked up, because Ive had to define it myself...its

a pretty broad subject, its really big. But, I guess, according to the scale, if youre

thinking of a mode like a Dorian mode, D Dorian, you know, an E flat would be a

chromatic note thats not part of that scale.

DB: Right.

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 SL: So...when youre playing a line that, in a chord, like A7 chord, and its got a

lot of, maybe non-chord tones, um, are you going for a target? Or is it in the line there,

that sort of texture palette youre going for?

DB: Well...if Im playing the D Dorian, Im only thinking about D Dorian, as far

as, like I think of it as basically the safety zone. Thats what I was talking about to

Doron, I guess, is um, that those are the notes I can come back to, or use, if I want to

sound inside. Um, yeah, I guess the other notes Im playing are outside of that. Its still

Im thinking about the shapes, and the, whatever takes me to those shapes and colours

and things, you know, I use. But Im not thinking like, okay now Im playing this

outside of the key, really, you know?

SL: Yeah.

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 DB: I guess I know when its outside of the key if I really think about it. But

thats not really where my head is when Im playing. Im more like, okay this is, Im

just playing a shape or thing, you know. So, you know what I mean? Its hard to

explain I guess, but uh, Im not thinking about chromaticism in that way. Once in a

great while, I should say, once in a great while Ill think, oh Im gonna play half a step

from this chord, you know? Play this scale a half a step from this scale, uh, or, you

know, whatever. But um, you know, once in a while I think of like, you know, playing

the sharp five, or Im playing the (pauses). You know on the two-five-ones, the only

rule that I ever really dealt with was that Phil Woods thing that he said Play the

Melodic minor a half a step up on a five chord in a two-five-one. And I learned that,

and Ive used that as a base on seven chords a lot, over the course of my life. I still,

even within that, Im still, you know, going between, I mean, just playing shapes and

stuff. Im not really thinking about it so much. So I dont know if that answers your

question, its kind of hard to explain. But uh, Im not thinking to much about

chromaticism, I guess, is what Im saying.

SL: Yeah. Yeah.

DB: You know? Im thinking more about the harmony of the tune. You know,

that this is the harmony of the tune and I can always come back to these like, if I need to

ground myself in some way. Otherwise, anything is good anytime, so Im just playing

what Im hearing. And what Im hearing is not thought of in a technical way. Its more

thought of as a colour, as a sound, as an actual sound, you know?

SL: Yeah.

DB: Thats the way I think of it. That make sense?

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 SL: Well, yeah it does. It totally does. And there is a danger in trying to, you

know...its really easy to do when youre transcribing something, and then you kind of

think, oh, I know where your head-space is when youre doing, or where you are going

this. But thats dangerous territory because, even if the musician tells you, like, what

they were thinking it still may not be the true indication of what went on there. So...

DB: As far as where theyre going with a solo?

SL: Yeah, yeah.

DB: I dont think we, I mean, we dont know where were going with a solo, it

just happens. So, I mean...I think its just a matter of...hoping that something happens

(chuckles), and trying to play something that makes an impact. But I dont think theres

any predetermined thing of where a solo is going to go, thats for sure. Not in what I

do, you know?

SL: Yeah.

DB: Maybe in a certain kind of music, but it is certainly not in the music that I

play. Like, Im going to play tonight, Ive no idea what is going to happen. And I have

no idea what, you know, when I start playing the tune, how the solo is going to go, or

where I going to even start, until I really start.

SL: Do you guys get together to rehearse tunes? Like, you would before an

album, but like something that you havent played before, any of your compositions,

would you guys get together and work it out for a gig?

DB: Well, you know, not really. I mean, with my band that I, 55 [55 Bar] band...I

mean, that band has been together for 12 years maybe, and um, weve probably only

rehearsed five times, Im guessing. In that 12 years.

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 SL: Yeah.

DB: At the start, once or twice, and then, you know, for a couple records that we

did where everyone was there, we rehearsed once, maybe, for a few hours. You know,

if we learn new tunes, were never usually playing the harder tunes on those gigs

because we never do get together and rehearse.

SL: Yeah.

DB: So, I would like to, actually, but I just never get it together. I always feel to

guilty, like, asking them to rehearse just for the (inaudible). But I should, because they

would probably like to play other tunes, too. But, you know, I introduce tunes every

once in a while...that are usually easy enough that we can do them once on the second

set of a gig, and then we have them. I tell everyone to look at stuff before hand, you

know, so nothing too tough that we cant pull off in the gig.

SL: So like, if there was something you wanted to do, youd pass it out and just

say Check this out before, I want to play this tomorrow. Or something...

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 DB: Yeah, or maybe well try this tomorrow. Then, a lot of times we dont try

it...if its too hard. But you know, sometimes therell be not that many people there in

the second set, and you know, well try it. And if it works pretty easily, well try and do

it again the next week, and maybe try to incorporate it if it works well. Like theres a

couple things were playing now that are, well, one thing that is off the new record

thats coming out in a couple weeks. Its super simple, its like a two bar vamp, or four

bar vamp or something. We did a couple other tunes recently but, with Eivind. But,

then Eivind is not here, like, this week. A lot of times...the same people arent there, I

cant really always do them. And then you kind of forget, I dont know. I need to

probably do a rehearsal, is what I need to do, and get new material together. Cause Id

like to start playing some different stuff. But um, you know, its hard to do in New

York, to get everyone to do a rehearsal, especially when...we have it, its automatic for

us to go in there and we have a whole repertoire of tunes we can play.

SL: Yeah.

DB: And its always a cool gig, you know, we can stretch out. And its kind of,

there is an aspect of having played some of the tunes for years, and years, and trying to

make something new out of it every time. You know?

SL: Mmhmm.

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 DB: Thats kind of fun, actually. But, yeah, Id like to play some of the new

material, I guess, to make that comfortable. But...that slowly happens. We play a

couple, we play one or two tunes from Barefooted Town, and we play one tune from this

new record, and ah, we used to play one tune from Graylen Epicenter, but we havent

done that in a long time. Yeah, we play something from Aliso. But, yeah...most of the

stuff is from like, Bastion of Sanity or Cities and Desire.

SL: Yeah.

DB: Its just that those, somehow, those records provided a bunch of tunes we

could keep playing for years, you know?

SL: Yeah, I like that album Aliso. Ive been listening to that a lot lately.

DB: Oh yeah?

SL: Yeah.

DB: Yeah, its a strange record, cause we didnt rehearse for it. So, we just

showed up at the studio, and I had sent people the music. And so...thats...another

reason why we did some standards, because ah, we didnt rehearse. So, I didnt want to

overburden them with stuff that was hard. And then we did standards...which is kind of

fun to do anyway, you know?

SL: Yeah.

DB: But yeah, that record actually turned out amazingly well, considering we

didnt rehearse. And people were in Europe until the day before, different tours.

We...just got together, it was old school. We got into the studio and here are the tunes,

lets try it once or twice, and then record it, you know?

SL: Yeah.

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 DB: Thats the way that record happened. But, you know, I like it. And then,

even the standards, I mean, I hadnt played any of those standards before. I picked

them, like, the night before.

SL: Really?

DB: Yeah. I thought, maybe this tune, maybe this tune. I just looked through the

Real Book and kind of played them and was like, oh thisll be kind of fun, and then this

would be kind of fun. And then, you know...thats how those standards came to happen.

I had never played them before and really, to be honest with you, Ive never played

them since. We recorded them and that was it.

SL: (Laughs)

DB: Yeah.

SL: Toy Tune is kind of a tricky tune.

DB: Toy Tune, we played, not before that recording, but we played after it

for...like at least a year. Um, cause thats a great tune, actually.

SL: Yeah.

DB: Thats a fun tune to play. Um, we havent done that in a long time, but we

used to play it. Actually, maybe Ill bring that tonight, thatd be fun to play. Toy Tune.

SL: Yeah, so thats pretty much it. Thanks for that, I really appreciate that. Thats

going to hone some things really well.

At this point we talk about some unrelated things for a few minutes.

SL: When you are playing Portrait of Jennie, or Heaven...a ballad of the

standards, you use sub-tone and pitch-bending. Is that a bit of a nod to the old guys?

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 DB: Yeah. Yeah, I like that. I grew up with that, and its nice to sometimes just

go into that zone, you know?

SL: Yeah.

DB: I like it. I can do it. Like, you know, its something I really enjoy. So, yeah,

its a nod to the history of that stuff, actually, yeah. Thats exactly what it is.

SL: Some of the lines that you play, like adding a triplet (sings phrase) or doing

flourishes, like little ornaments (sings phrase) or something like that, which is maybe

more swing. Would that be fair to say that thats a bit of a nod to the...older generation.

DB: Yeah. I mean, Im just playing in that style.

SL: Yeah.

DB: More in that style, you know? Cause its fun for me, and, yeah, I have a

long history with that music. So, its kind of just like having fun and relaxing, you

know? Thats what it is.

SL: Sweet. Thanks a lot.

198