That's All Right

Though primarily Latin, the groove here also has funk roots. Even though the drummer should stress downbeats using the cross-stick figure, rhythms in the ensemble suggest a 2-3 clave that should be observed by the pianist, guitarist, and bassist in their comping. Rhythms similar to the opening, 2-bar figure could be used effectively. It is important for the rhythm section to make the most of the punctuations at the end of each opening, 8-bar phrase(mm.12,20,28 &37) to propel the ensemble into the next section. The drummer especially needs to 'catch' these without sacrificing energy or momentum. Unison lines at mm.21 and 29 should be played at a moderate volume with relatively smooth articulation so the trombone punctuations will create a more striking contrast. Trombones must understand when their figures should be more out-front as a lead voice (mm.12,20,28,31,36) as opposed to when they're supplying backgrounds (mm.13,22-25). Individual efforts are necessary to make mm.91-92 effective. In the pairings of two to three horns, the descending rhythmic unison will lose dramatic intensity without strong, accented contributions from each group. The figure itself should fit precisely with the rhythm section's punctuation. After a strong ensemble chorus, m. 204 has a dramatic subito piano, bringing the volume way down before the long, gradual build-up through m.208 and ultimately to a very loud m.220. The more that is made of these dynamic changes, the more effective the finish. Medium advanced.