aren saiINTRODUCTION The majority of the solos in this book are transcribed from three relatively recent Phil Woods albums, the single exception being his solo on Just The Way You Are from Billy Joel's album The Stranger. The solos were selected on the basis of their quality (which wasn't too difficult), variety, and the fact that all of the recordings are readily available. Please note that I made no attempt to indicate phrasing or other stylistic nuances. It is therefore imperative that whoever uses this material has access to the recordings. Along these lines it seems painfully obvious that no matter how nice it is to see what is being played, it is much more important to hear how it is played. Also be aware that for the most part, the chord changes given are those that Phil plays and not necessarily what the rhythm section is playing, although they are usually the same Following are some special notes on some of the solos: THE LAST PAGE Phil's Tune begins with a long, slow rubato section. This is followed by a rather modal up tempo section in which sets the harmonic sequence for the solo section. The solo section moves to straight ahead jazz with four bars of a quasi funk-rock section (half-time) at the end of each chorus. The changes have been indicated with pedal extensions (je. F m7/B), but could just as well have been written as minor seventh ‘sus. 4 chords (ie. F m7(sus.4). THE SUMMER KNOWS Although the tune is played very slowly (d= 52), the solo utilizes a double time feel throughout and has been transcribed in that fashion for ease of reading. RAIN DANSE AG Written by Harry Leahey, this minor blues utilizes alternating 4 “9 time signaturesin the tune (except at the tuaround) while the solos stick to throughout. Phil plays soprano on this one. Please note that measures 32 and 33 represent an approximation of what is played. DJANGO'S CASTLE Diango Rienhardt's original title was Manoir de mes Reves (literal translation - Mansion of my Dreams), but Diango's Castle says it all. The original tune is made up of mostly whole notes highlighting the beautiful chord progressions. Here, Leahey adds just a little movement to the melody line and sets the atmosphere for one of Phil's great solos - simple, elegant, beautifully flowing. For me, this one is in the same league as Parker's Embraceable you. CHEEK TO CHEEK Phil's opening cadenza brings together a number of interesting elements: 1) it is thematically built off material from the bridge of the tune; 2) stylistically he plays light and airy, with a fast (sweet) vibrato (he is poking fun at the French classical saxophonists). He furthers the effort by inserting the opening few bars of Jacques Ibert’s Concertino da Camera for alto saxophone and chamber orchestra as a transition to the second half of the bridge material - up a half step ala Rollins. The piano enters and Melillo and Woods finish the tune in a rubato duet. A “Coltrane” turnaround sets the tempo (,J= 264) and they're off. The tune is followed by two incredible choruses, and yet a third with bass following the guitar and piano solos. Good luck with this one. HALLUCINATIONS Pure be-bop al ils best. Watch the changes fly by as the ideas flow effortlessly out. When one considers Phil Woods’ incredible technique, flawless intonation, total sound concept, harmonic and melodic creativity, sense of time and use of jazz history as abstract essence, the true meaning of musicianship comes into sharp focus. For these performances, and all the others Phil | tip my hat -and drop my jaw!PHIL WOODS solo on Willow Weep For Me Musique du bois, Muse records #5037 dem Be’