Chez Sez Solo

Bob McChesney's Solo on "Chez Sez"

by Antonio J. García

ITAJ Associate Jazz Editor

Bob McChesney’s solo on his original tune “Chez Sez” (from his album of the same name on the MoCo Jazz label) is but one example as to why he’s one of the most swinging, lyrical, and accomplished jazz trombonists of our time. When I hosted him at Virginia Commonwealth University, the saxophonists kept nodding their heads with appreciative smiles as he improvised with our top band—and that takes some doing.

“Chez Sez” is based on rhythm changes (i.e., Gershwin’s “I Got Rhythm”) and its AABA form. That said, as Ruben Mejia’s excellent transcription notes, there’s no real reason to dictate what chords are being comped in the A-sections, as the sparse texture allows maximum harmonic flexibility from this soloist, who follows tenor saxophonist Bob Mintzer as he collaborates with colleagues Darek Oles (bass) and Bill Stewart (drums).

McChesney Themes

What separates soloing over the tune from merely playing over the changes is the context of the melody, and McChesney has not forgotten his own tune as he solos.

Measures 5, 6, and especially 7 of the melody are based on a classic blues-lick shape topped by chromaticism. He most strongly emphasizes that idea at the end of his first chorus (m. 30), inverting it repeatedly after entering his second chorus (E), mentioning it at m. 45, before its bridge (G). You could say that he arpeggiates a reference to it as he concludes his second bridge (last note of m. 55 into m. 56). And as he concludes that chorus, he insinuates the idea again at m. 63 (while omitting a downbeat Eb). The third chorus’ second A-section pauses with a chromatic reference in m. 76 that capitalizes on the idea for the next three bars. And from m. 91 on, Bob exploits five very direct chromatic events stemming from that melodic shape in the original tune.

He also references half that shape, without the bluesiness, at the top of chorus one’s last A-section (m. 25). You can see him invert that shape back at the end of his second A (m. 16) and even end his solo with an expansion of it across his last few beats (mm. 97-98).

The opening rhythmic motif of the tune—upbeat, arpeggiated eighths—is not referenced in Bob’s solo until mm. 54-55; but then it spills from m. 56 onward into the last A-section (H) of his second chorus as a series of cross-rhythmed 3/4 descending arpeggios that lead to three upbeat chromatic eighths in the fourth bar before issuing one more descending arpeggio in m. 61. And in the pickup at the end of m. 72 into his third chorus’ second A-section (J), he elongates the descending-arpeggio idea to a quarter-rest-spread three-bar exploration.

Measures 7 and 8 of the original melody sit on four long quarter notes. McChesney transforms these to pairs of long-short notes, devoting five of his opening nine solo measures to consecutive quarter notes.

The bridge of the original melody focuses on upbeats on the and of beats four and one; and Bob borrows from this immediately in his own first bridge (C), setting up a 6/4 cross-rhythm for three measures. It’s not a stretch to suggest that the highest pitches of his solo—leading into his second chorus’ second A-section (F) and onwards—are built on displacing those two attacks of the melody into other locales of measures. Certainly his third chorus (I) is derived from the original bridge-melody’s theme. And I’d like to think that his last bridge (K) is a syrupy, elongated twist on the original bridge’s melody.

Rhythms

Clearly McChesney has the technique to be as rhythmically in time as he wishes. And that makes it all the more tasty when he chooses to bend the time. This tradition goes all the way back to Louis Armstrong in such performances as in “Hotter Than That” (i.e., his scatting 1’30-1”35” in the track); and while most any improviser can bend the tempo, few can snap back into the time-feel so confidently and musically as Louis—or Bob.

For example, he evolves from letter B’s quarters to m. 10’s eighths, concluding that bar with quarter-triplets that extend into m. 11 before snapping back into the bebop eighths of m. 12. He stretches the time again at the end of m. 72 and into m. 73 before snapping back into bop eighths. And the first four and a half bars of his last bridge (K) similarly snap from longer tones and glisses right back into tightly grooving time.

While the use of quarter-triplets can be simply that, it’s appropriate to note that such a layer of triple over duple is rooted in the 6/8 (here 6/4) Afro-Cuban feel from which swing emerged. The most-swinging soloists often have a deep command of Afro-Cuban feel.

Aside from the thematic rhythms listed earlier, I’d like to note that McChesney does not fall into the trap possible for many with astounding technique. He realizes that the unpredictability of rests and syncopation create far more excitement for the listeners on- and off-stage than would a constant stream of eighth notes. I would encourage any musician to examine the wide variety in the placement and length of his improvised rests.

Quotes

When musicians quote a thematic fragment within a solo, they’re additionally recognized for their cleverness when the quote appears in an unusual rhythmic location in the measure, atypical pitch-level, inverted shape, or the like. The opening phrase of Prokofiev’s “Peter and the Wolf” theme appears with heft in syncopations in bar 80. Really? That’s just an arpeggio. How is that “Peter”? Well, review the last three eighths of m. 71, where he’d connected those same pitches into a recognizable portion of “Peter” through beat 3 of m. 73.

Pace

I’ve found that many solos have a peak of some sort some 85-90% of the way through—just like a good book or movie. At letter K, McChesney delivers his unprecedented whole notes and five-beat notes, an anticlimactic energy that provides its own drama to counterbalance the blazing lines preceding. And that’s 84.4% of the way through a three-chorus rhythm-change form.

Harmonies

The melody’s A-sections enjoy the flavor of chromaticism, and so does Bob’s solo. You’ll notice I’ve not once mentioned in this analysis a chord-symbol or what pitch lands over it. For while we could dissect the minutiae of this solo (and enjoy doing so), that’s not what makes this solo (or many others) so appealing. This solo imprints on you because of McChesney’s use of themes (including from the original melody), rhythms, rests, pacing, quoting, blend of blues and bebop colors, and of course his impeccable time and gorgeous tone.

In addition to Bob’s great recordings, you can find countless examples of his jazz and classical performances on YouTube. Check him out!

(Also see the related article "Chez Sez: A Conversation with Bob McChesney," which includes an extensive discography and links to additional YouTube performances.)

Antonio J. García is a Professor Emeritus and former Director of Jazz Studies at Virginia Commonwealth University, where he directed the Jazz Orchestra I; instructed Applied Jazz Trombone, Small Jazz Ensemble, Jazz Pedagogy, Music Industry, and various jazz courses; founded a B.A. Music Business Emphasis (for which he initially served as Coordinator); and directed the Greater Richmond High School Jazz Band. An alumnus of the Eastman School of Music and of Loyola University of the South, he has received commissions for jazz, symphonic, chamber, film, and solo works—instrumental and vocal—including grants from Meet The Composer, The Commission Project, The Thelonious Monk Institute, and regional arts councils. His music has aired internationally and has been performed by such artists as Sheila Jordan, Arturo Sandoval, Jim Pugh, Denis DiBlasio, James Moody, and Nick Brignola. Composition/arrangement honors include IAJE (jazz band), ASCAP (orchestral), and Billboard Magazine (pop songwriting). His works have been published by Kjos Music, Hal Leonard, Kendor Music, Doug Beach Music, ejazzlines, Walrus, UNC Jazz Press, Three-Two Music Publications, Potenza Music, and his own garciamusic.com, with five recorded on CDs by Rob Parton’s JazzTech Big Band (Sea Breeze and ROPA JAZZ). His scores for independent films have screened across the U.S. and in Italy, Macedonia, Uganda, Australia, Colombia, India, Germany, Brazil, Hong Kong, Mexico, Israel, Taiwan, and the United Kingdom. He has fundraised $5.5 million in external gift pledges for the VCU Jazz Program, with hundreds of thousands of dollars already in hand.

A Bach/Selmer trombone clinician, Mr. García serves as the jazz clinician for The Conn-Selmer Institute. He has freelanced as trombonist, bass trombonist, or pianist with over 70 nationally renowned artists, including Ella Fitzgerald, George Shearing, Mel Tormé, Doc Severinsen, Louie Bellson, Dave Brubeck, and Phil Collins—and has performed at the Montreux, Nice, North Sea, Pori (Finland), New Orleans, and Chicago Jazz Festivals. He has produced recordings or broadcasts of such artists as Wynton Marsalis, Jim Pugh, Dave Taylor, Susannah McCorkle, Sir Roland Hanna, and the JazzTech Big Band and is the bass trombonist on Phil Collins’ CD “A Hot Night in Paris” (Atlantic) and DVD “Phil Collins: Finally...The First Farewell Tour” (Warner Music). An avid scat-singer, he has performed vocally with jazz bands, jazz choirs, and computer-generated sounds. He is also a member of the National Academy of Recording Arts & Sciences (NARAS). A New Orleans native, he also performed there with such local artists as Pete Fountain, Ronnie Kole, Irma Thomas, and Al Hirt.

Mr. García is a Research Faculty member at The University of KwaZulu-Natal (Durban, South Africa) and the Associate Jazz Editor of the International Trombone Association Journal. He has served as a Network Expert (for Improvisation Materials), President’s Advisory Council member, and Editorial Advisory Board member for the Jazz Education Network . His newest book, Jazz Improvisation: Practical Approaches to Grading (Meredith Music), explores avenues for creating structures that correspond to course objectives. His book Cutting the Changes: Jazz Improvisation via Key Centers (Kjos Music) offers musicians of all ages the opportunity to improvise over standard tunes using just their major scales. He is Co-Editor and Contributing Author of Teaching Jazz: A Course of Study (published by NAfME), authored a chapter within Rehearsing The Jazz Band and The Jazzer’s Cookbook (published by Meredith Music), and contributed to Peter Erskine and Dave Black’s The Musician's Lifeline (Alfred). Within the International Association for Jazz Education he served as Editor of the Jazz Education Journal, President of IAJE-IL, International Co-Chair for Curriculum and for Vocal/Instrumental Integration, and Chicago Host Coordinator for the 1997 Conference. He served on the Illinois Coalition for Music Education coordinating committee, worked with the Illinois and Chicago Public Schools to develop standards for multi-cultural music education, and received a curricular grant from the Council for Basic Education. He has also served as Director of IMEA’s All-State Jazz Choir and Combo and of similar ensembles outside of Illinois. He is the only individual to have directed all three genres of Illinois All-State jazz ensembles—combo, vocal jazz choir, and big band—and is the recipient of the Illinois Music Educators Association’s 2001 Distinguished Service Award.

Regarding Jazz Improvisation: Practical Approaches to Grading, Darius Brubeck says, "How one grades turns out to be a contentious philosophical problem with a surprisingly wide spectrum of responses. García has produced a lucidly written, probing, analytical, and ultimately practical resource for professional jazz educators, replete with valuable ideas, advice, and copious references." Jamey Aebersold offers, "This book should be mandatory reading for all graduating music ed students." Janis Stockhouse states, "Groundbreaking. The comprehensive amount of material García has gathered from leaders in jazz education is impressive in itself. Plus, the veteran educator then presents his own synthesis of the material into a method of teaching and evaluating jazz improvisation that is fresh, practical, and inspiring!" And Dr. Ron McCurdy suggests, "This method will aid in the quality of teaching and learning of jazz improvisation worldwide."

About Cutting the Changes, saxophonist David Liebman states, “This book is perfect for the beginning to intermediate improviser who may be daunted by the multitude of chord changes found in most standard material. Here is a path through the technical chord-change jungle.” Says vocalist Sunny Wilkinson, “The concept is simple, the explanation detailed, the rewards immediate. It’s very singer-friendly.” Adds jazz-education legend Jamey Aebersold, “Tony’s wealth of jazz knowledge allows you to understand and apply his concepts without having to know a lot of theory and harmony. Cutting the Changes allows music educators to present jazz improvisation to many students who would normally be scared of trying.”

Of his jazz curricular work, Standard of Excellence states: “Antonio García has developed a series of Scope and Sequence of Instruction charts to provide a structure that will ensure academic integrity in jazz education.” Wynton Marsalis emphasizes: “Eight key categories meet the challenge of teaching what is historically an oral and aural tradition. All are important ingredients in the recipe.” The Chicago Tribune has highlighted García’s “splendid solos...virtuosity and musicianship...ingenious scoring...shrewd arrangements...exotic orchestral colors, witty riffs, and gloriously uninhibited splashes of dissonance...translucent textures and elegant voicing” and cited him as “a nationally noted jazz artist/educator...one of the most prominent young music educators in the country.” Down Beat has recognized his “knowing solo work on trombone” and “first-class writing of special interest.” The Jazz Report has written about the “talented trombonist,” and Cadence noted his “hauntingly lovely” composing as well as CD production “recommended without any qualifications whatsoever.” Phil Collins has said simply, “He can be in my band whenever he wants.” García is also the subject of an extensive interview within Bonanza: Insights and Wisdom from Professional Jazz Trombonists (Advance Music), profiled along with such artists as Bill Watrous, Mike Davis, Bill Reichenbach, Wayne Andre, John Fedchock, Conrad Herwig, Steve Turre, Jim Pugh, and Ed Neumeister.

The Secretary of the Board of The Midwest Clinic and a past Advisory Board member of the Brubeck Institute, Mr. García has adjudicated festivals and presented clinics in Canada, Europe, Australia, The Middle East, and South Africa, including creativity workshops for Motorola, Inc.’s international management executives. The partnership he created between VCU Jazz and the Centre for Jazz and Popular Music at the University of KwaZulu-Natal merited the 2013 VCU Community Engagement Award for Research. He has served as adjudicator for the International Trombone Association’s Frank Rosolino, Carl Fontana, and Rath Jazz Trombone Scholarship competitions and the Kai Winding Jazz Trombone Ensemble competition and has been asked to serve on Arts Midwest’s “Midwest Jazz Masters” panel and the Virginia Commission for the Arts “Artist Fellowship in Music Composition” panel. He was published within the inaugural edition of Jazz Education in Research and Practice and has been repeatedly published in Down Beat; JAZZed; Jazz Improv; Music, Inc.; The International Musician; The Instrumentalist; and the journals of NAfME, IAJE, ITA, American Orff-Schulwerk Association, Percussive Arts Society, Arts Midwest, Illinois Music Educators Association, and Illinois Association of School Boards. Previous to VCU, he served as Associate Professor and Coordinator of Combos at Northwestern University, where he taught jazz and integrated arts, was Jazz Coordinator for the National High School Music Institute, and for four years directed the Vocal Jazz Ensemble. Formerly the Coordinator of Jazz Studies at Northern Illinois University, he was selected by students and faculty there as the recipient of a 1992 “Excellence in Undergraduate Teaching” award and nominated as its candidate for 1992 CASE “U.S. Professor of the Year” (one of 434 nationwide). He is recipient of the VCU School of the Arts’ 2015 Faculty Award of Excellence for his teaching, research, and service and in 2021 was inducted into the Conn-Selmer Institute Hall of Fame. Visit his web site at <www.garciamusic.com>.

| Top |

If you entered this page via a search engine and would like to visit more of this site, please click | Home |.

For further information on the International Trombone Association Journal, see Selected Links.