in these bars nigel demonstrates the use of double-time feel by playing 16th notes. it’s remarkable how he maintains control over the phrases and he still manages to land on chord tones. also we can see how nigel has coBmpletely assim1i3lated jaz1z3artic1u1lation into h1i1s phrasing. i1t2still comes ou1t3– even at double sp1e2ed! Cha1r2lie Pa1r0ker would b1e0proud.
EJsome very interesting lines in this section. Bars 37 and 38 go from an almost Chuck-Berry-meet-George-Benson line into a minor Pentatonic played in fourths in McCoy Tyner style. Then in bars 41-43 there’s a lovely leg1a3to id1e2a wh1i3ch is definitely going1t8o test1o5ur sta1m5ina1.2