Gilad Analyanalysis=s

Ishmael Zghoul Jazz Styles: Analysis-Gilad Hekselman Due 5/1/12 This is an analysis of a Gilad Hekselman solo on the tune ‘When Will the Blues Leave’. The recording is on the album Splitlife album Splitlife released in 2006. It features Ari Hoenig on drums, Joe Martin on Bass, and Gilad on guitar. The tune is composed by Ornette Coleman and can be heard on the 1958 album Something album Something Else. Gilad takes 8 choruses. The solo is a mix a plethora of styles. The interactive style is particularly  prevalent throughout. This can be heard initially during the head when the guitar begins a statement then the drums respond. Because of a lack of a comping instrument, and Gilad’s sparse comping, the tune has a transparent transparent nature reminiscent of the cool style.  What comping comping is there sounds influenced influenced by pianists, pianists, where they will play a line and and respond with a voicing in the left hand (measures 6, 55-56,74-76). During the first section, Gilad initially begins with short, one and two bar phrases. He mostly stays diatonic to the harmony or implied harmonies. In measure 8 he substitutes an Ab, which is b2 to GMI7 in the next measure. He uses that in sequence implying a G in the next measure (II dominant), and a Gb in the next (b2). He then references the melody, but plays it all syncopated. During the second chorus he initially plays altered tones (F# and B) implying a tritone sub for the F7. While this is a response to the ending of the previous phrase, he continues this idea by playing a B major pentatonic (triton sub) in the next couple measures. He plays a similar phrase in the next measure implying an FMI (ii sub), and

plays that same phrase a whole step down which superimposes altered tones. In the next measure, over the GMI7 and C7, he plays a ii-V lick a triton away implying a DbMI7 and Gb7 respectively.  After releasing tension he immediately builds it again by playing consistent quarter notes in syncopation which is matched by the drums (C). He further builds tension by playing in F# major, a half step away from the expected harmony, F7. He continues with a syncopated figure for the rest of this chorus. This is something that Jim Hall would do frequently. Here at D, he plays a couple of short phrases, then responds with chords. He then plays a tritone sub (b2 of Bb7) before playing a figure that references the melody  (measure 41). After mostly playing short phrases throughout, he finally plays a longer phrase starting at measure 43 consisting of mostly 8 th notes.  At E, he uses pedal point and plays that high F alternating with fourthy voicings ascending chromatically. He breaks this pace and then plays a line over the Bb7 ascending to a similar figure to the pedal point. He then releases this tension by playing a longer 8th note figure that descends. Gilad then ends this phrase with descending triads implying an F, Eb, and Db. In the next few measures starting at F, Gilad outlines an F7(#11) chord, arpeggiating it ascending, then playing it in broken fashion descending. He then plays a line in Bb Lydian dominant, then plays a really interesting quarter note triplet figure displaced a beat (measure 68).

During G, he plays with that pedal F again while implying a triton sub (B) for the F7. He then references the melody again in 78 before playing a line that leads to an F  blues lick.  At H he plays more fourthy voicings that lead in to a longer 8th note line. This leads to more syncopated quarter notes which then lead to an F blues lick again.  After transcribing this there are a few observations I had. The solo also sounds  very Jim Hall-esque in quite a few ways. In terms of phrasing, he starts with shorter phrases; sometimes responding with chords like a pianist would with the left hand. He then builds up to longer phrases during the course of the solo. In terms of range, he starts at the low register for the most part, and then gradually builds it up to the higher register. That particularly is something Jim Hall liked to do. The harmony was also very  interesting. He would frequently use tritone subs, but what I noticed is that when he did use substitutions, his lines would be very simple and fluid from one harmonic center to another. Among other techniques he would use are pedal point, sequencing, and syncopation. Great solo.