Example 9 Half-Time funk
cd track 85
Our final example returns to the one- chord static modal side of Jim’s soloing style, although this time we’re in a minor Dorian tonality (R-2-b3- 4-5- 6-b7), Cm6 to be precise (C- Eb- G-A). Again, the Blues scale makes an appearance (C- Eb- F- Gb- G- Bb) and the phrase is full of hammer- ons, pull- offs and slides. Further evidence of Mullen’s hybrid jazz/blues style is found in the bends, albeit semitone – but bends nonetheless.