Here is the last of my transcriptions of Kid Ory, this time from 1953. In many ways this is similar to the others but it does represent a difference in style from the other Kid Ory solos that I have transcribed.Harmonically the solo remains very simple – for example the 1st and 3rd bars simply outline the 3rd and fifth of a Bb chord. In the main he still sticks to chord tones (aside from that rather daring 6th in the 5th bar!!). Simple rhythms and repetitions are again the order of the day.Whilst this solo does retain some trademark smears & growls it also presents a new side to Ory’s playing. The tone is much softer and rounder – a gentler approach all round. There is also a more refined vibrato in play on the long notes – gone is the wide, uncontrolled sound from previously transcribed solos. Having heard this solo I can’t help wondering why he didn’t use this sound more often as I certainly find this more appealing than the brighter/brasher approach.

So what have I learned from transcribing these 4 solos by Kid Ory? Well from a technical trombone point of view – not a lot. Harmonically also these do not present a challenge. However the benefits are there to be seen. My training/experience does give me a better technical grasp of the instrument and harmony than Ory perhaps had but this is not neccesarily a good thing. I have learned that when playing this style of dixie/trad jazz I am far too busy in what I am trying to play – and also further outside of the harmony than I need to be – simplicity in both seems to be the key. I’ve also taken on board some ideas on sound and approach – those little smears and growls which crop up so often for Ory maybe something that I introduce in future for jazz of this style.