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52 DOWNBEAT April 2009 Dizzy Gillespie Max Roach Woodshed Dizzy Gillespie and Max Roach’s Live Duet on ‘Bastille Day’ Trumpeter Dizzy Gillespie and drummer Max Roach’s improvised duet “Bastille Day” can be heard on their live album, Paris 1989 (A&M Records), a concert recording from the only occasion when the two bebop pioneers performed together as a duo. The transcription is written in concert pitch. Roach begins the track by setting up a hiphop groove with a strong backbeat and swung 16th notes. Entering after the opening vamp, Gillespie begins his trumpet solo with a series of two-bar phrases. During the first eight bars he almost exclusively uses notes from the F-minor pentatonic scale, except for some prominent half-valved A-naturals on the upbeats to bars 5, 7 and 9. In the next four bars, measures 13–16, he highlights a new bent blue note: the flattened fifth, C-flat. Then, four bars later, he introduces another new pitch, D, as a whole note in measure 21. This gradual expansion of his melodic palette creates a progressive intensification over the course of the solo. Roach, meanwhile, uses just three elements of his drum kit throughout the excerpt shown SOLO by Ben Givan here: a closed hi-hat cymbal struck with sticks (notated above the staff’s top line), bass drum (bottom space) and snare drum (next-to-highest space). At its simplest, his main repeating rhythmic pattern consists of the bass drum on the downbeat and the and-of-three, plus the snare on two and four; it’s heard most clearly in bars 5–7. Roach continually varies this basic pattern, though, sometimes by reducing it down to a bare minimum, as in bars 13 and 14, and more often by adding embellishments. His most intricate embellishments appear during the fills toward the end of each four-bar section. One especially recurrent motive, consisting of six 16th notes—snare/bass/rest/snare/bass/snare— occurs at the end of bars 4, 10, 15, 22 and 26. In measure 18, Roach displaces this same motive an eighth note earlier in the bar, and in measure 28 he begins it on the and-of-two. Featuring a small number of simple musical ideas, “Bastille Day” is a case study in spontaneous interplay, with Gillespie and Roach sometimes exchanging short fragmentary motives in close succession (measures 25–28) JAN PERSSON HYOU VIELZ
and elsewhere superimposing syncopated figures to produce dynamic polyrhythms (measures 18 and 23). DB Ben Givan teaches music at Skidmore College. He can be reached at bgivan@skidmore.edu.
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