Well, since I transcribed Peter Bernstein’s solo, I might as well do Ryan Kisor’s as well, so below is my transcription of Ryan Kisor’s trumpet solo on the Lee Morgan tune “Ceora” as played on Kisor’s 2003 album “The Sidewinder.” I basically transcribed it for measures 29-30. It’s interesting, because Peter Bernstein’s solo reminded me of Kenny Barron’s solo on “I Should Care” for his use of melody and triads, and Ryan Kisor’s solo reminds me of Barron’s solo for the substitution Kisor uses in measure 29-30. In measures 15 and 47 of Barron’s solo, over the ii-V-I progression, Barron substitutes the ii of the tritone substitution, so the progression becomes minor ii to minor bvi [the relative minor ii chord to the tritone sub of bII7] to I. Similarly, in measures 29-30 of Kisor’s solo, he substitutes the minor bvi, but jumps right into the sound instead of first preparing it with the minor ii (which would be Bbmin7 in this case). The resulting effect is startling, pleasantly so to me, especially in the context of the surrounding solo. Looking backward at the rest of the first chorus of Kisor’s solo, everything else is relatively “in” the key, so this sudden jump to an Emin7 sound is shocking.
Another notable point in Kisor’s solo is the figure in measures 45-46. Kisor uses descending diatonic triads in D Dorian, but by playing triads in a 16th note figure, the resulting effect creates an interesting accent pattern over every third 16th note. The entire figure is a great example of how to take something like a scale study and make it musical, incorporating it into your improvisational vocabulary. Beats 2 and 3 of measure 46 show Kisor seamlessly transitioning out of the triadic figure into an arpeggio-based line, clearly outlining the ii-V harmony.
I also really enjoy measures 51-52. Kisor treats the ii-V progression as just a V7alt, but by starting the progression two beats early, on beat 3 of measure 51, the anticipation seemingly comes out of nowhere, and the clash of Ab7alt over what would usually be AbMaj7 combined with the sudden register leap has a surprising effect.
The solo starts at 0:49. Enjoy!