![]() ![]() The solo simply feels as if Armstrong is speaking to me rather than playing and his ideas follow a stream of continuity that show that. I love this end of the line and I would say that Satchmo wholly “got me with that one”.Īnother thing I love about this solo is its sheer melodicism, much of which I attribute to how it imitates speech in many ways. My ear personally would hear that line ending right there with that confident resolution but instead the line continues and suddenly changes direction, now moving upwards and ends the measure on an E, the fifth which drives a forward motion in the harmony and scooping beautifully into an A on beat one of the next measure. By beat three the line has very firmly resolved with the C# and A eighth notes that are the third and root of the A dominant chord at that point in the form. The line at the beginning of measure 12 starts off relatively tense utilizing a pattern of ascending chromatic approach tones that lead and resolve to chord tones. ![]() Louis Armstrong’s solo on Basin Street Blues provides one of the best examples of one of these moments in measures 12 and 13. This idea resonates with me so strongly because I feel that these kinds of moments are more or less my favorite in experiencing music and are a lot of what drew me to jazz when I first started listening to it. Roughly I believe he conveyed these moments as lines which you hear and think “ooh, you got me with that one”. There is a quote in one of Chris Potter’s interviews that really resonates with me in which he describes moments in music, particularly in the context of improvised solos, in which you, the listener, are caught off guard and are surprised relative to what you expected to hear in the best way possible. Bb Transcription of Louis Armstrong’s recorded solo on “Basin Street Blues” ![]()
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