Smoke Signal – John Webber
A modern blues with a lot of rhythm section hits and passing chords in the head.
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- Recording: Ryan Kisor - Point Of Arrival
- Recorded on: December 21, 1998
- Label: Criss Cross Jazz (1180)
- Concert Key: F
- Vocal Range: , to
- Style: Swing (medium)
- Trumpet - Ryan Kisor
- Piano - Peter Zak
- Bass - John Webber
- Drums - Willie Jones III
There is a four-measure send off starting the first solo chorus after the head which leads to the IV chord of the blues for the solos; it combines a pentatonic even-eighth-note melody with a set of hits in a 2-over-3 rhythm, moving from F7 to B7 by a combination of fourths and tritones. The send off is also used for the second chorus of the first soloist (Ryan Kisor) on the recording. After Ryan's solo he plays the send off again to set up the piano solo. This send off is also used as an ending.
See John playing Smoke Signal solo bass here.
Check out more of Ryan's compositions from another album with this rhythm section, "The Dream."
-- everything Jones plays on the in and out melodies
-- horn melodies written above drum staff
-- Jones' time and comping for the first eight bars of Ryan Kisor's trumpet solo
-- Jones' intricate approach to the interlude CLIP and his ending CLIP
As of August 2018, Willie Jones III is the only drummer to have recorded Webber's Smoke Signal, not to be confused with Gigi Gryce's song by the same title. Jones primarily plays a 2-feel for the melody, switching to four for the solo section (a quick comparison of the notation of Jones' ride cymbal at each spot should clue you into this). The interlude is one of the most intricate moments in the transcription and Jones' approach is truly exemplary. The transcription was done by Evan Hughes.
Check out our Drum Corner for more transcriptions of Willie Jones III and other masters.
born on August 5, 1965
John Webber continues the tradition of strong bass players, hailing from the Midwest with his strong but relaxed and melodic style. Born in St. Louis, Missouri, John grew up in the Chicago suburb of Wheaton, Illinois, where he took up electric bass at age 10; by 15, he was playing contra bass. During his time in Chicago, he steadily built a reputation as one of the strongest young bass players on the scene and worked paid gigs as early as high school with musicians like Jodie Christian and Von Freeman. Read more...