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      <image:title>traditional jazz transcriptions - Sidney Bechet</image:title>
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      <image:title>traditional jazz transcriptions - Sidney Bechet</image:title>
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      <image:title>traditional jazz transcriptions - Sidney Bechet</image:title>
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      <image:title>traditional jazz transcriptions - Sidney Bechet</image:title>
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    <loc>https://www.geoffburkemusic.com/traditionaljazztranscriptions/leroy-jones</loc>
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      <image:title>traditional jazz transcriptions - Leroy Jones</image:title>
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      <image:title>traditional jazz transcriptions - Leroy Jones</image:title>
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    <lastmod>2020-04-29</lastmod>
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      <image:title>traditional jazz transcriptions - Louis Ford</image:title>
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      <image:title>traditional jazz transcriptions - Louis Ford</image:title>
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      <image:title>traditional jazz transcriptions - Louis Ford</image:title>
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      <image:title>traditional jazz transcriptions - Louis Ford - This solo comes off Harry Connick, Jr’.s 1991 multi-platinum recording, Blue Light, Red Light. The track, “If I Could Give You More”, features the front line horn section of Leroy Jones, Ford, and Jerry Weldon.</image:title>
      <image:caption>Louis’ solo is only on the bridge of the tune, but it is an excellent study into clarinet tone and outlining chords:</image:caption>
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      <image:title>traditional jazz transcriptions - Louis Ford</image:title>
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    <loc>https://www.geoffburkemusic.com/traditionaljazztranscriptions/wendell-brunious</loc>
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    <lastmod>2020-04-23</lastmod>
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      <image:title>traditional jazz transcriptions - Wendell Brunious</image:title>
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      <image:title>traditional jazz transcriptions - Wendell Brunious</image:title>
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      <image:title>traditional jazz transcriptions - Wendell Brunious</image:title>
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      <image:title>traditional jazz transcriptions - Wendell Brunious</image:title>
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    <loc>https://www.geoffburkemusic.com/traditionaljazztranscriptions/clarence-ford</loc>
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      <image:title>traditional jazz transcriptions - Clarence Ford</image:title>
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      <image:title>traditional jazz transcriptions - Clarence Ford</image:title>
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      <image:title>traditional jazz transcriptions - Clarence Ford</image:title>
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      <image:title>traditional jazz transcriptions - Louis Armstrong</image:title>
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      <image:title>traditional jazz transcriptions - Louis Armstrong</image:title>
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      <image:title>traditional jazz transcriptions - Louis Armstrong</image:title>
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      <image:title>traditional jazz transcriptions - Louis Armstrong</image:title>
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      <image:title>traditional jazz transcriptions - Louis Armstrong</image:title>
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      <image:title>traditional jazz transcriptions - Kid Ory</image:title>
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      <image:title>traditional jazz transcriptions - Kid Ory</image:title>
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      <image:title>traditional jazz transcriptions - Kid Ory</image:title>
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      <image:title>traditional jazz transcriptions - Kid Ory</image:title>
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      <image:title>traditional jazz transcriptions - Kid Ory</image:title>
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      <image:title>traditional jazz transcriptions - Kid Ory</image:title>
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      <image:title>traditional jazz transcriptions - Johnny Dodds</image:title>
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      <image:title>traditional jazz transcriptions - Johnny Dodds</image:title>
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      <image:title>traditional jazz transcriptions - Johnny Dodds</image:title>
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      <image:title>traditional jazz transcriptions - Johnny Dodds</image:title>
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      <image:title>traditional jazz transcriptions - Johnny Dodds</image:title>
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    <lastmod>2020-05-28</lastmod>
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      <image:title>traditional jazz transcriptions - Edmond Hall</image:title>
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      <image:title>traditional jazz transcriptions - Edmond Hall</image:title>
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      <image:title>traditional jazz transcriptions - Edmond Hall</image:title>
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      <image:title>traditional jazz transcriptions - Edmond Hall</image:title>
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      <image:title>traditional jazz transcriptions - Edmond Hall - This track comes from a new 2020 reissue called Say Something, on the Nagel Heyer label. I’m guessing the tracks were pulled from some of the Blue Note sessions Hall recorded in the mid-40’s with Paris on trumpet and James P. Johnson on piano, but I’m not certain. Regardless, this recording instantly became one of my favorites, with its joyful renditions of classic New Orleans songs and high sound quality.</image:title>
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    <lastmod>2020-06-04</lastmod>
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      <image:title>traditional jazz transcriptions - Doc Cheatham</image:title>
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      <image:title>traditional jazz transcriptions - Doc Cheatham</image:title>
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      <image:title>traditional jazz transcriptions - Doc Cheatham</image:title>
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      <image:title>traditional jazz transcriptions - Doc Cheatham</image:title>
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      <image:title>traditional jazz transcriptions - Doc Cheatham</image:title>
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      <image:title>traditional jazz transcriptions - Doc Cheatham - “Sheik of Araby” is historically important because it marks nearly the beginning of this breakout phase. Recorded in 1976 for the album, Doc &amp; Sammy, Cheatham was 71 years old at the time of the recording. Presented in a duo setting with Price on piano, it’s immediately evident how supremely lyrical Cheatham has developed as a soloist, gracefully playing through chord changes economically with precision and beauty. His note choices are matched by a tone that is full of warmth and breath. This solo is extraordinary for its melodic brilliance without resorting to double time. Cheatham’s melodic vision was so powerful he didn’t need flash to muddle the message.</image:title>
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      <image:title>traditional jazz transcriptions - Doc Cheatham</image:title>
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      <image:title>traditional jazz transcriptions - Doc Cheatham</image:title>
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      <image:title>traditional jazz transcriptions - Doc Cheatham</image:title>
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      <image:title>traditional jazz transcriptions - Doc Cheatham</image:title>
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    <lastmod>2020-06-11</lastmod>
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      <image:title>traditional jazz transcriptions - Branford Marsalis</image:title>
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      <image:title>traditional jazz transcriptions - Branford Marsalis</image:title>
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      <image:title>traditional jazz transcriptions - Branford Marsalis</image:title>
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      <image:title>traditional jazz transcriptions - Branford Marsalis</image:title>
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      <image:title>traditional jazz transcriptions - Branford Marsalis</image:title>
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      <image:title>traditional jazz transcriptions - Branford Marsalis</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e703a10dfd3ed6c63e064aa/1591161531484-NKXRF40KQT1RQOQK0J6P/Bearden.jpg</image:loc>
      <image:title>traditional jazz transcriptions - Branford Marsalis - By the time the track “ Carolina Shout,” was recorded in 2003, Branford had created his own record label, Marsalis Music, and was actively balancing a classical career alongside his quartet work. This track is the closing number on the album, Romare Bearden Revealed, dedicated to the painter whose works had been influenced by jazz. Originally written as a solo rag by the great pianist James P. Johnson, Marsalis reimagines “Carolina Shout” as a soprano sax - piano duet with his childhood friend, Harry Connick, Jr. The performance is fiery and joyful, indicative of their playing styles, and trades off melody and accompaniment roles between the two.</image:title>
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      <image:title>traditional jazz transcriptions - Branford Marsalis</image:title>
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      <image:title>traditional jazz transcriptions - Branford Marsalis</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e703a10dfd3ed6c63e064aa/1591256928036-548O5ZVJQCBXVOA4VFYJ/carolina+shout+-+CONCERT+3.jpg</image:loc>
      <image:title>traditional jazz transcriptions - Branford Marsalis</image:title>
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  <url>
    <loc>https://www.geoffburkemusic.com/traditionaljazztranscriptions/louis-armstrong-dbzk7-7j8d2-7xym9-xl372-pthz8-3e4xa</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-06-18</lastmod>
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      <image:title>traditional jazz transcriptions - Joseph “Brother Cornbread” Thomas</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e703a10dfd3ed6c63e064aa/1591864569008-545EA06OSJUD4JIUL1SQ/Screen+Shot+2020-06-11+at+3.43.11+AM.png</image:loc>
      <image:title>traditional jazz transcriptions - Joseph “Brother Cornbread” Thomas</image:title>
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      <image:title>traditional jazz transcriptions - Joseph “Brother Cornbread” Thomas</image:title>
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      <image:title>traditional jazz transcriptions - Joseph “Brother Cornbread” Thomas</image:title>
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      <image:title>traditional jazz transcriptions - Joseph “Brother Cornbread” Thomas</image:title>
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      <image:title>traditional jazz transcriptions - Joseph “Brother Cornbread” Thomas</image:title>
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      <image:title>traditional jazz transcriptions - Joseph “Brother Cornbread” Thomas</image:title>
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      <image:title>traditional jazz transcriptions - Joseph “Brother Cornbread” Thomas</image:title>
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  </url>
  <url>
    <loc>https://www.geoffburkemusic.com/traditionaljazztranscriptions/louis-armstrong-dbzk7-7j8d2-7xym9-xl372-pthz8-3e4xa-2r3hy</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-06-25</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e703a10dfd3ed6c63e064aa/1592456133028-Z7DKLT4AIPJ8OSBSRE5P/rue+conti+-+CONCERT.jpg</image:loc>
      <image:title>traditional jazz transcriptions - Mark Braud</image:title>
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      <image:title>traditional jazz transcriptions - Mark Braud - True to the album name, all twelve tracks evoke the sound and spirit of New Orleans jazz. The solo featured today comes from the tune “Rue Conti,” a mid tempo swing number with a colorful backstory. As Braud describes, the song is about his memories as a teenager routinely running into a man on Conti Street who “dressed like a vampire and claimed to be one.” This man apparently told so many imaginative and apocryphal stories of New Orleans that Braud “decided that a song should be named in honor of the street where we met.”</image:title>
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      <image:title>traditional jazz transcriptions - Mark Braud</image:title>
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      <image:title>traditional jazz transcriptions - Mark Braud</image:title>
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      <image:title>traditional jazz transcriptions - Mark Braud</image:title>
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      <image:title>traditional jazz transcriptions - Mark Braud</image:title>
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      <image:title>traditional jazz transcriptions - Mark Braud</image:title>
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  <url>
    <loc>https://www.geoffburkemusic.com/traditionaljazztranscriptions/louis-armstrong-dbzk7-7j8d2-7xym9-xl372-pthz8-3e4xa-2r3hy-amyg7</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-07-02</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e703a10dfd3ed6c63e064aa/1593113775659-1DMRAY3KKMXRS8VKAE14/panama+-+CONCERT+3.jpg</image:loc>
      <image:title>traditional jazz transcriptions - Albert Burbank</image:title>
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      <image:title>traditional jazz transcriptions - Albert Burbank - “Panama” comes from this excellent mid 50’s recording by Paul Barbarin entitled, Streets of the City. It is a collection of tracks from three different sessions, all done during the 50’s with local New Orleans musicians. “Panama” is a wonderful tune notable for its multiple sections, an artifact of many of these early traditional numbers. It has in fact four discreet sections, of which the first three are each repeated twice before the solo section arrives. The solo section is essentially the last section opened up for improvisation. It should be noted that this last section is a modulation, as the tune moves from Eb to Ab Major. Modulations were common in ragtime and early jazz, evidence of classical music’s influence on the emerging art form. We’ve seen it at least once on this blog on James P. Johnson’s “Carolina Shout.”</image:title>
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      <image:title>traditional jazz transcriptions - Albert Burbank - Burbank’s style is unmistakingly New Orleans jazz at its core, his sound and inflections heavily Bechet influenced yet distinct at the same time. His work is particularly important for carrying the tradition at a time in the 1950’s to 70’s when New Orleans jazz may not have been as popular yet was still thriving in the city that made it all possible.</image:title>
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      <image:title>traditional jazz transcriptions - Albert Burbank</image:title>
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      <image:title>traditional jazz transcriptions - Albert Burbank</image:title>
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      <image:title>traditional jazz transcriptions - Albert Burbank</image:title>
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      <image:title>traditional jazz transcriptions - Albert Burbank</image:title>
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      <image:title>traditional jazz transcriptions - Albert Burbank</image:title>
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  <url>
    <loc>https://www.geoffburkemusic.com/traditionaljazztranscriptions/louis-armstrong-dbzk7-7j8d2-7xym9-xl372-pthz8-3e4xa-2r3hy-amyg7-5e5ra</loc>
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    <lastmod>2024-06-20</lastmod>
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      <image:title>traditional jazz transcriptions - Lucien Barbarin</image:title>
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      <image:title>traditional jazz transcriptions - Lucien Barbarin</image:title>
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      <image:title>traditional jazz transcriptions - Lucien Barbarin - Today’s solo comes from Lucien’s record, Little Becomes Much, that had just come out when I joined Harry’s group in 2000. It features Lu’s band from the Palm Court Cafe, one of the long standing residencies he had in New Orleans. I recall sitting in the back lounge of the tour bus listening along with Lu. He was so proud of it, and for good reason, it’s an amazing record. The featured track, “I’ve Found a New Baby,” is a classic up tempo number. Lu plays two choruses and crushes it, displaying his magnificent rhythmic style and huge tone that made him a legend.</image:title>
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      <image:title>traditional jazz transcriptions - Lucien Barbarin</image:title>
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      <image:title>traditional jazz transcriptions - Lucien Barbarin - I don't have much to add in terms of analysis. Lu was so lyrical it defies explanation. I’d rather you listen and let his performance stand on its own. I will say that whenever I was in New Orleans, and I mean whenever, Lu would always invite me to play, without exceptions. He was incredibly generous and wanted to pass the tradition along to younger musicians. He encouraged me to learn the clarinet and work on some of the traditional repertoire, so that’s where I’m at today. Thanks Lu, I’m on it. It’s a slow process but a rewarding one. Miss you Lu.</image:title>
    </image:image>
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  <url>
    <loc>https://www.geoffburkemusic.com/home</loc>
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    <priority>1.0</priority>
    <lastmod>2024-06-24</lastmod>
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      <image:title>Home</image:title>
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    <lastmod>2024-06-20</lastmod>
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  <url>
    <loc>https://www.geoffburkemusic.com/bio</loc>
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    <lastmod>2024-06-20</lastmod>
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      <image:title>bio - Bio</image:title>
      <image:caption>Saxophonist Geoff Burke has performed with Harry Connick, Jr., Ben Harper, the Lincoln Center Jazz Orchestra, Dispatch, Strange Majik, and the Artie Shaw Orchestra, among others.  As a member of the Connick orchestra, he has appeared on the NBC nationally syndicated talked show HARRY for two seasons, performing alongside Gloria Gaynor, Gladys Knight, Leslie Odom, Jr., Billy Ray Cyrus, Marilyn Maye, Natalie Merchant, Michael McDonald, and Aaron Neville. Geoff graduated Duke University in 1999 with a bachelor’s degree in Public Policy and a minor in Music, where he studied saxophone and arranging with Paul Jeffrey.  In the Fall of 1999, he moved to New York to continue his studies at Queens College with Michael Mossman, Sir Roland Hanna, and Todd Williams. In 2022, Geoff collaborated on two tracks for Ben Harper’s Bloodline Maintenance, which would receive a Grammy nomination for Best Contemporary Blues Album. He also can be heard on Harry Connick, Jr.’s 2019 debut for Verve Records, True Love: A Celebration of Cole Porter. Geoff continues to tour regularly with the Harry Connick, Jr. band and can be heard in NYC on Broadway and in various ensembles throughout the city.</image:caption>
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    <loc>https://www.geoffburkemusic.com/discography</loc>
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    <lastmod>2024-06-20</lastmod>
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    <loc>https://www.geoffburkemusic.com/contact</loc>
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    <lastmod>2020-04-04</lastmod>
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