Vintage Guitar - February 2017 - Open - 66

COLUMN Fretprints
her own voice and personality.
Her son once commented that
of the many post-Christian
players, his mother "...had
the strongest link to his style
without being a copycat." Like
many jazz guitarists who used
an electric, she was weaned
on Christian's contributions
and made the transition from
the swing genre to bebop and
modern jazz in the mid '40s,
emerging from his shadow
a fully formed musician in
the '50s.
Like Christian, Osborne
excel led i n si ng le-note
improvisation, doling out
similar strings of swinging
eighth notes and arpeggio
figures rendered with saxinspired tone and phrasing.
She cultivated a smooth,
warm electric tone with
a combination of sensitive picking and right-hand
placement - in archival video
clips she picks over the end of
the fingerboard. Her singlenote lines were augmented
by numerous melodic embellishments and ornaments,
partial-chord bursts, and
octave punctuations. Check
out the short episode in parallel octaves in "Rose Room"
(2:21) or the longer passage
her final chorus of "The
Man I Love" film clip (3:33)
as telling examples. Her
lines evolved from the harmonically simpler swing-era
melodies to more complex
modern phrases containing
harmonic substitutions,
altered-chord references,
and bebop extensions remiBb7#5#9, leading to the Eb6/9 chord. In the cadenza Mary
Mary's take on "These Foolish Things" reveals the effect
niscent of alto saxophonist
of bebop and modern jazz harmony on her evolving
adopts a characteristic jazz approach alternating chords
Charlie Parker.
1950s style. This example offers two short excerpts
with single-note runs. The bop harmony is extant in
Osborne displayed an agfrom the intro and outro respectively. Note the parallel
chords like F13 and E13 - note the half-step motion that
gressive edge and heartfelt
6
suggests E13 as a tritone substitution for the customary
/9 sonorities descending in whole steps and the fluid
soul when tackling the blues.
Bb7. Her runs exploit standard modern-jazz sounds like a
modulatory tonality in measure 1. This is offset by more
She married a swinging
emphatic (though chromaticized) motion in 2. Here, she
mixed extended/altered scale over F13, a decorated E7b5
jump-blues feel (with its
suggests movement to the dominant (Bb7) by moving
arpeggio over E13, and a familiar bebop major pattern
loping eighth-note runs) to
of a major-ninth arpeggio laced with chromaticism.
through Am7b5 (add 11) and B13 to Bb13 and finally
blues-scale melodies, gritty
string bends, and rhythmiShe was also a very capable rhythm guitar- tradition of swing music to the freer and more
cally charged partial chords and double-stops.
These are particularly well demonstrated on ist whose chord work ran the gamut from involved bebop comping style when performing
the Freddie-Green-inspired four-to-the-bar in the trio and combo formats.
her dates as session player with R&B artists.

	

VINTAGE GUITAR	

66	

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Table of Contents for the Digital Edition of Vintage Guitar - February 2017 - Open

Contents
Vintage Guitar - February 2017 - Open - Cover
Vintage Guitar - February 2017 - Open - IFC
Vintage Guitar - February 2017 - Open - 1
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Vintage Guitar - February 2017 - Open - Contents
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