Thanks very much!

I could do, but for the vast majority of that recording Bill Evans is just comping so I'm not sure it'd make a particularly interesting transcription.

@@rhtranscriptions9665 I agree, but I’ve been trying to figure out the notes for the first few bars and can’t seem to get it.

I'm still working on them. Generally I have a few lined up and I'm working on transcriptions to post a few weeks ahead.

I'll definitely consider it. Thanks for the suggestion.

1. Software can be used to slown down the track so they disappear slower. 2. The more you transcribe a particular artist, the easier it is to identify their voicings. Everyone has their own style that you can pick apart. 3. Identify the notes you know are there with 100% certainty, then see if the chord sounds too thick or thin. Then test various likely chord tones and test each possibility. This is something you'd do when you're desperate or working on a very tricky voicing. 4. The three note voicings aren't really axiomatic to bebop but good spotting. This is just McCoy's left hand style in this straight ahead context. I've done my own transcription of a McCoy solo recorded on the same day as this one and the left hand voicings are very similar.

@@UkuleleAversion Thank you! Every single bit of that (apart from using software, for I am a bit of a disbeliever/ refusnik) was sound, procedural advice. I find transcribing incredibly hard and have never managed to developed a knack for it.

@@UkuleleAversion This is pretty much exactly what I would have said, and a very good summary of how those sorts of things can be heard. The only thing I would add is that certain voicings have distinct characteristics that you can hear before you've worked out any individual notes. For example if it's a stack of fourths, or an upper structure, etc. those things tend to be pretty obvious to begin with so they give you a general idea of what you're aiming for. Also, I won't pretend technology isn't part of it. I use Transcribe to slow things down if they're really hard to hear at full speed. Generally I try to work out everything in real time, but slowing things down definitely helps a lot.

Thanks very much. I'm not actually sure where this recording came from. It was released as a bonus track with a re-issue of Inception and Reaching Fourth, but wasn't recorded during the same sessions of either album. I did notice though that this take was recorded on the same day as one of the sessions for My Favourite Things (the Coltrane album), so I guess they recorded a couple of trio things on that date too.

@@rhtranscriptions9665 Yes, I remember of having this track on Atlantic LP titled "Jazz Masters of the 60's" or something like that with other unreleased tracks by Chick Corea, Keith Jarrett and someone else. But I've lost that album along with most of my collection to a house fire.

Yep, I think you're right. Well spotted.