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SOLO<br />
KEYBOARD SCHOOL Woodshed | By jIMI DURSO<br />
Joey DeFrancesco’s Groovin’ Organ<br />
Solo On ‘Down The Hatch’<br />
Jazz organists are amazing. Whereas most of<br />
us are content when we play a great solo or<br />
provide a groovin’ bass line, it’s in the organist’s<br />
job description to do both simultaneously.<br />
On his 2006 release Organic Vibes (Concord),<br />
Joey DeFracesco demonstrates an abundance<br />
of this skill. Presented here are both hands for<br />
the first three solo choruses of DeFrancesco’s<br />
blues “Down The Hatch.”<br />
To start with the left hand, organists may be<br />
amused to note that the first six measures of<br />
each chorus are identical. Maybe these lines<br />
were prepared so that they could be played<br />
almost habitually, allowing DeFrancesco to<br />
concentrate more fully on his right hand. Or<br />
maybe he just wanted to start his solo with a<br />
consistency in its underpinning.<br />
Regardless, his bass support is even, steady<br />
quarter notes. You’ll also notice that there is<br />
somewhat of a formula to them: Each measure<br />
starts with a chord tone, usually the root,<br />
then with few exceptions another chord tone,<br />
and then two notes that lead to the first note of<br />
the next measure. In this way the lines not only<br />
help define the chords but create an impetus<br />
toward the next measure. In the turnarounds,<br />
where there are two chords per measure (bars<br />
11–12 and 35–36), DeFrancesco plays chord<br />
tones exclusively, making the harmony abundantly<br />
clear.<br />
Some curious oddities in his bass line<br />
occur at measures 7, 19 and 31, where the IV<br />
chord resolves back to the I. In all three choruses<br />
DeFrancesco plays the fifth on the downbeat<br />
(the only instances where a chord change<br />
is not initiated on the root). In measure 19, playing<br />
the Bb on beat two makes it still sound like<br />
an inverted I chord, but in the other measures<br />
(7 and 31) his line appears to be more like an F<br />
chord than a Bb . He seems to be implying a V<br />
resolving to I in the place in a blues where we<br />
usually have just the I. It’s especially intriguing<br />
since in measures 9–10, 21–22 and 33–34<br />
DeFrancesco is playing a V–IV (like an urban<br />
blues) where normally there would be a ii–V<br />
(in a typical jazz blues). Having the IV move<br />
up to V and resolve to I makes the V–IV that<br />
comes a bar later sound like we’re coming back<br />
down the path we ascended.<br />
As to the right hand, first notice how even<br />
these three introductory choruses are constructed<br />
in a way that builds: simple eighthnote<br />
licks with lots of space in the first chorus;<br />
less space and some trills in the second,<br />
with the introduction of a triplet at the beginning<br />
of the final phrase; and in the third chorus<br />
much less space, lots of triplets (and even 16th<br />
notes) and expanding the range upward. And<br />
Joey DeFrancesco<br />
DeFrancesco accomplishes this while his right<br />
hand remains solid.<br />
There is another curious discrepancy<br />
between his hands. Sometimes the chords outlined<br />
in the right hand aren’t those that are in<br />
the left hand. The first instance occurs at the<br />
beginning of measure 4, where he plays a G<br />
diminished triad (which could be heard as the<br />
top of an Eb7 chord) on top, but in the bottom<br />
we hear F and A, implying an F chord. One<br />
could argue that the first half of the measure<br />
makes up an F9+, but with the intervals separated<br />
the way they are, it sounds more like an<br />
Eb7 lick over an F chord.<br />
DeFrancesco uses this polychordal concept<br />
multiple times. We next hear it at the end of<br />
bar 9, where there is an A7 chord over an E (its<br />
fifth), but the lower part resolves to an Eb , and<br />
the upper part resolves to an A natural, making<br />
the A7 sound linger over the Eb7. Again in<br />
measure 14 there is an Eb7 chord, but it’s played<br />
over the G# and A in the bass, which aren’t<br />
part of the Eb7 and only serve to resolve to the<br />
Bb7 in the next measure. It’s as if his hands are<br />
thinking in two different ways—the bottom<br />
moving chromatically to the next chord, but the<br />
top harmonically resolving from IV to I—but<br />
both converge on the Bb7.<br />
Similarly, measure 22 ends with chromatic<br />
motion in the bass line leading to Bb , but in the<br />
lead there is an Am7 arpeggio resolving to the<br />
same chord. In bars 25 and 26 he takes this idea<br />
a little further. Though the harmony is basical-<br />
hyou vielz<br />
64 DOWNBEAT SEPTEMBER 2011