Yes Staffay ! Thats what I am talking about man, great stuff. Keep working on this one on your own time, we will analyze it in depth of course and brake down parts. I am just very happy to see and hear you are not opposed to transcribing this sort of thing and applying it in your own style. Great stuff one more time and I will try to give you your REC tomorrow along with another assignment!
Thx. Pedja! Of course I'm not opposed to transcribing Michael Brecker, it just can't get any better!!! Imo. he's the only one that managed really to pick up where Coltrane left, he was a true genious and I have listened to his music since the end of the 70's I believe. And transcribing in general are fun, I used to do that a lot back in the old day's, as well as playing to records. It was in fact the method I practiced from the very start, since there was no books, no teachers, kinda nothing except of records.
By analyzing the first part here, which is pretty "clean" from outside playnig, I recognized the following:
a) He picks up a motif and repeats it in the beginning. He plays over a G9 rather than a Dminor in the first bars. Thats why the B-note are there, even that it is also D-minor pentatonic.
In bar 12 there is a broken C-major followed by a broken D-minor7 seven and some standard be-bop chromatism.
c) In bar 15 and 16 , I dont really know, the best guess is that he plays over a B7 and then slides back to D-minor for the last notes.
d) At the Eb-minor chord he returns to the opening phrase with a sligth variation followed by a long note.
e) It is then followed by "trade-mark" Brecker blues lick that keeps on moving down chromatically towards the low Eb-note, which he targets.
f) The Eb part is concluded with a broken Eb-minor maj7 and then resolves into D-minor.
g) In the beginning of the last 8 bars, again a G9 is implied - in fact I dont know what this pentatonic is called, but Robben Ford uses it a lot on the I-chord of a blues progression. It is a D-minor pentatonic with a sixth instead of the 7'th.
h) The chorus is ended by playing nearly the same phrase as in the ending of the Eb-minor part - eg. a broken D-minor maj7, which adds a touch of the dominant (A7). Also some notes before can be treated as notes belonging to A7, a common way to play on minor chords, at least I think so.
Well, thats what I think.... The second chorus is far more interesting, I dont know if You downloaded the second GP5-file I posted, but there are the second chorus as well.
Looking forward to the next assignment and the REC !!!
//Staffay