Contact me here if you’d like to use me on a recording. I can record all saxes or even flute remotely. I also teach lessons on line or in person in the Dallas area. I also can help you figure out what I played on this lol. I’ve given clinics, adjudicated and done guest artist appearances throughout the country. I’ve got alerts on so feel free to contact me here. You can search my name for more recordings of me. Thank you, Bruce Bohnstengel.
@@Lucas.Blevins I think it should become a thing. It would be fun to do a presentation on it saying things like “ya I was going for this one thing but I had to bail because I could feel a major fold coming and ended up playing this really cheesy lick.” 😂 It could be quite fun. :)
amazing transcription, a lot to learn. He seems to keep it bluesy and pentatonic at the more open sections with just the drums and transfers into some bebop language when the backgrounds come in.
When it’s just me and drums, it’s about pure rhythmic energy. When the horns come in is also where the harmony gets more interesting too. The tune is really just a blues with a bridge. The blues portion is vamped out and aggressively rhythmic, but the bridge has a more Latin feel with much more interesting harmony thus allowing a tip of the hat to bebop but not so much bebop at all. At least it all has a good beat and easy to dance too. 😅
Amazing job!! This solo is hard to transcribe and you nailed it. Keep looking at fast tempo jazz songs, they are tough to transcribe but so much fun. Kudos!
thanks! -- during this i almost gave up midway bcs i realized i had 4-6 more bars of complete 16th note bebop slop left, but it is definitely rewarding in the end (and for my purpose -- to learn/analyse bebop). slowing down the audio can only make it so much easier (since it can get choppy esp w/ fast runs) so a couple parts of the transcription are interpolated (or completely off ⚰). I'll definitely be posting other jazz/bebop songs to transcribe. i'm glad u enjoyed it!
@@homework_chat I completely understand that. Slowing videos down does not help you just have to rely on intuition and seeing if it sounds right lol. especially with fast runs half of the time it just sounds terrible when its slowed down. But ill keep in loop on your other transcriptions to see the greatness :)
0:35 I believe that A should actually be a pickup, with the phrase ending on the last sixteenth note of the measure. It becomes especially apparent if you slow it down, you can hear the downbeat stressed on the high C after it.
While you guys are here, i also do concert and jazz arrangements -- check them out in my video section! (many of which are free to download) Corrections: 0:14 / bar 5 --- 16th and 8th licks are a bit late 0:35 / bar 17, beat 2-3 --- last sixteenth note should have a grace note after it (@ninjanolan2391) 0:37 / bar 18, beat 4 --- triplet rhythm should be a 16th/8th note later 1:05 / bar 34, beat 3 --- should be a rest rather than a dotted quarter\
Actually I do have a very large lung capacity. Mainly caused from a childhood condition or maybe just having older brothers Hold me under water for longer periods of time. I could hold my breath for 5 minutes at one point in my life. (Did It to show off for girl I liked-it didn’t work:)
My Palm key D key wasn’t always closing for some reason. I always carry rubber bands just because when you play a lot, things like springs can break or keys can bind or bend just from a simple bump sometimes. Anyway fixed in the time of a bathroom break:)
i originally intended to put it in this video, but the organ solo is kinda hard to hear, especially when the saxes come in -- but its def doable lowk im down to transcribe it -- after im done and the current transcription im working on
lowkey i made the video title when i just started discovering bebop and thought it was essentially chord tones on strong beats with chromatics in between. now that a lot of people mentioned this, bebop is so much more than whats on yt -- i stand corrected
1. transcribe the thing on musescore 2. export the sheet music as a PNG 3. in an editing software put the original video in one layer and the transcription above that layer - cropping the PNG so it only shows one row of the staff 5. keyframe out a vertical line that goes across the staff so it looks like the playback scrubber 6. export 7. money
No. There are 3 or 4 lines from bebop (that’s my primary influence). As I hear this again my opening line I actually learned from Michael Brecker in the fall of 1991:) That’s back when I had to play Giant Steps after Him. :) He was so polite:)
@@bbohns-m6ngreat playing, but I wouldn’t call your first line, for instance, bebop. Charlie Parker or dizzy wouldn’t have played that. It’s more like modern or maybe postbop. Michael brecker wasn’t really a bebop musician foremost.
@@bbohns-m6n Do you think your solo was lick practice-based or more improv practiced? There were some licks u played that just sounded so heavenly i find it hard to believe it that you produced this from 1 or 2 takes. I play tenor sax and piano in highschool senior jazz and one of my goals is to get better at soloing without using the yucky blues scale (The blues scale isnt bad but theres so much more solo language beyond it) Do you have any bebop tips or exercises to share that can help with sax improvising? -- or anything jazz. Absolutely loved your solo and definitely loved transcribing it! (Kind of)
@@nathanielvito5684 no I didn’t say my first line was bebop. I said I learned it from Mike Brecker meaning he wouldn’t have played bebop over it either. He would have said something like it would be like speaking Yiddish at a Japanese Market. 😅
No hate but I wouldn’t call this bebop, definitely not putting as much bebop in as you can. Mostly pentatonic with some chromaticism, which isn’t bebop per se. There’s some bebop language but not a lot
Ya thats fair. Ive just recently been going through bebop -- and pentatonic, chord tones and chromaticism is basically my whole view of the style. It's definitely a fraction of bebop but i really havent exposed myself to the language that much. Will def look into other players. (And if u have any recommendations lmk!)
Straight eighth tunes aren’t bebop especially those with an underlying 16th note subdivision. The tune itself isn’t. This is what was literally asked for by John W. the arranger, and so Confirmation of Bebop could only Perhaps come from another Merry-Go Round in Barbados or a Diverse Steeple Chase taking us to our Cardboard Yardbird Suite with extra Cosmic Rays specific to our Constellation. Bebop happens only with positive Chi-Chi through Cosmic Rays from the Constellation of Moose (the Mooch). This answer is dedicated to all the Beboppers out there:) I play plenty of bebop in the plethora of recordings playing Cherokee w/ RAJE. There is a recording of me playing with Phil Woods out there somewhere. That’s got plenty of Bop. But just go to Bird the Bebop King or Sonny Stitt the Bebop Encyclopedia. Even early Lou Donaldson playing alongside Clifford Brown. That’s where I got my chops to play things like Cherokee at 340+ And in multiple keys (Stitt would announce the key in the count off (freaking out many bass and piano players:) One of my Students was given the assignment of playing Cherokee in all 12 keys and a minimum tempo of 280. He ended up at 340 before his UNT audition as a freshman. He’s in the 4 as a freshman. Not too shabby. :) Gotta love and live the bop If that’s what you want to do. Charlie Parker Omni book was my jumping off point. But Stitt is the encyclopedia. He just never is devoid of bebop. One can try to play bebop over cowboy bebop but it just sounds forced and weird. One has to play the style and I do have a couple of nods in there to it. I’ve played the horn now for 50 years next to some of the people who actually played w Bird. It’s definitely in there just not in an extremely energized straight 16th note subdivision.
crucify me if you want but this kind of soloing just isnt very enjoyable to listen to unless youre a musician and can appreciate how impressive it is. even then, its more interesting rather than pleasant
You’re being very professional and polite and you hit on my own thoughts so I’ll delve into the process. When I solo I try to keep it in perspective of what the writer wants. In big band there isn’t a lot of time for developing so I have to take you on a journey that is already at the highest point in the chart. Kinda a punch in the gut, now react…..and I have to win:) So immediately I put the energy into the harmonic aspect then bring it down to the more grounded blues sound so I have someplace to go. To do anything else is absurd:) But there is all this energy leading to a seeming final battle with the last villain, the drummer where I go more rhythmic and use a more intense sound. Finally I defeat the enemy and tell society to carry on yet there is an amazing organ solo that’s like a cheerleader reflecting the events and saying keep up the good fight. Then more high intensity energy with me yelling “keep it up.” This is the kind of talk that goes on with the writer. John is very specific about what he needs but has an ability to nurture your thinking and help you guide it. You’re only hearing part of a chapter here or a small preview which just so happens to be one of the most intense levels of the piece. I played to the chart and since the norm would be to go all out balls to the wall the whole time, I thought brining it down and exploring a bit more would help make it more interesting. I have to respect the music as insane as it might seem. :) This isn’t my forte-this is just a view through a microscope in a sea of my playing. You sound like a great person and I thought I’d take the opportunity to explain what’s going on to people who don’t have the experience at being as insightful as yourself. Thank you. Here is another solo off of this that was also done live without punching or anything-just a clean performance. It’s on the tune “Maria” from West Side Story. I manage to quote another tune from the show on the spot. Luck was with me that day. 😂. Thank you for your very professional and polite response. I so enjoyed this. This is how we all are meant to be. Would be nice to meet you some day. Thanks again! Bruce Bohnstengel ruclips.net/video/QREeh0D_I6U/видео.htmlsi=SHlzwpziVvDEuk0p
@@lucasbradley7074I’ve been fortunate enough to play and solo with Phil Woods, Michael Brecker, Wayne Bergeron, James Morrison, Lee Konitz, I can’t even remember the hundreds of artists. Went to UNT have a Master’s in Jazz studies, have played int the One O’ Clock taught the 3 O’ Clock band and play in most of the Dallas Area Big Bands. I’m on recordings I’ve forgotten about lol. I’ve been very fortunate and love sharing what I do. I love taking the mystery out of improvisation. I love teaching saxophone and taking the mystery out of playing and expression. Those two never separate. You have to me proficient enough on your instrument to play the shapes and ideas you hear. Doing this is my happy place. I’m happy to answer any questions anyone has. Thanks for checking it out.
Nope it sure isn’t. I was confused by it when John wanted to record this. Even though cowboys and beboppers had a similarity in an appreciation for freedom and deeper thoughts the styles are not similar. Musical tastes between cowboys and bebop musicians are quite opposite. Now playing bebop on Western swing that’s very similar. Roy Clark, Chet Atkins, and Glenn Campbell weren’t shabby bebop players. I remember seeing the 3 of them play Donna Lee whoa, what an amazing part of the wrecking crew! I played a few gigs on Janna Jay’s band (country fiddle player that went to Juliard majoring on violin) and her book contained quite a few Charlie Parker tunes-it’s all American music. But cowboy bebop, no. Playing bebop on this would be like riding the mechanical bull and trying to play Hot House at 300bpm! Both the rider and mechanical bull would die 😂
Am I sweating? Playing is fairly effortless for me. Or is a sweat a type of note like a 16th note. Please educate me about this comment. I don’t understand what “too many sweats” means.
@somebody9033 It's not derogatory term. It can be taken as a compliment. It means you work very hard too build up skill of that level. I was merely joking and you took it a little south calling me jealous. I don't appreciate that. I'm trying very hard to build up my skill on my tenor saxophone. @bbohns-m6n asked me to explain what the term meant, he did not ask you.
Because John sat in the back of the Woody Hernan bus writing tunes with no piano for the next gig and writes on the level that has his writing in Movies, orchestra halls and even churches around the world. The mission for this was to produce a marketable arrangement for Hal Leonard to publish. He’s perfectly capable of producing anything pretty much without limits. Editors and publishers will reign things in-as a friend who was Gordon Goodwin’s editor would tell you. :)
Contact me here if you’d like to use me on a recording. I can record all saxes or even flute remotely. I also teach lessons on line or in person in the Dallas area. I also can help you figure out what I played on this lol. I’ve given clinics, adjudicated and done guest artist appearances throughout the country. I’ve got alerts on so feel free to contact me here. You can search my name for more recordings of me.
Thank you,
Bruce Bohnstengel.
Hope you've been doing well Bruce!
Wow! Great to see the original player comment here.
@@Lucas.Blevins I think it should become a thing. It would be fun to do a presentation on it saying things like “ya I was going for this one thing but I had to bail because I could feel a major fold coming and ended up playing this really cheesy lick.” 😂
It could be quite fun. :)
@@bbohns-m6n Heck yeah I do the same thing XD
absolute legend :O
Excellent transcription dude! Transcribing jazz tunes are no easy feat, especially at that tempo!
jazz
@@platedpenTrue
Technology allows us to make it easier
Squidz where the hell did you come from bro XD
@ Where did YOU come from XD
amazing transcription, a lot to learn. He seems to keep it bluesy and pentatonic at the more open sections with just the drums and transfers into some bebop language when the backgrounds come in.
When it’s just me and drums, it’s about pure rhythmic energy. When the horns come in is also where the harmony gets more interesting too. The tune is really just a blues with a bridge. The blues portion is vamped out and aggressively rhythmic, but the bridge has a more Latin feel with much more interesting harmony thus allowing a tip of the hat to bebop but not so much bebop at all. At least it all has a good beat and easy to dance too. 😅
Wonderful solo and excellent transcription. First time I've ever heard of Bruce Boenstengel. Great player.
got to work with Bruce he is a fantastic guy and a great player!
ive been wait for some1 to transcribe this your the goat
I thought I recognized the soloist! That's Bruce Bohnstangle! I went to his summer jazz camp all through middle and high school.
I thought i saw this before... saw this performance 2 years ago, still amazing stuff! Thanks for reminding me of it!
Amazing job!! This solo is hard to transcribe and you nailed it. Keep looking at fast tempo jazz songs, they are tough to transcribe but so much fun. Kudos!
thanks! -- during this i almost gave up midway bcs i realized i had 4-6 more bars of complete 16th note bebop slop left, but it is definitely rewarding in the end (and for my purpose -- to learn/analyse bebop). slowing down the audio can only make it so much easier (since it can get choppy esp w/ fast runs) so a couple parts of the transcription are interpolated (or completely off ⚰). I'll definitely be posting other jazz/bebop songs to transcribe. i'm glad u enjoyed it!
@@homework_chat I completely understand that. Slowing videos down does not help you just have to rely on intuition and seeing if it sounds right lol. especially with fast runs half of the time it just sounds terrible when its slowed down. But ill keep in loop on your other transcriptions to see the greatness :)
Best solo I ever heard
I’ve been trying to find this solo transcription, thank you so much!!!
out of 330k people seeing it on hal leonard idk how some hasnt. glad you enjoyed it!
also nice chromakopia pfp
0:35 I believe that A should actually be a pickup, with the phrase ending on the last sixteenth note of the measure. It becomes especially apparent if you slow it down, you can hear the downbeat stressed on the high C after it.
oh now that u point it out i can't unhear it
added to corrections -- thanks!
While you guys are here, i also do concert and jazz arrangements -- check them out in my video section! (many of which are free to download)
Corrections:
0:14 / bar 5 --- 16th and 8th licks are a bit late
0:35 / bar 17, beat 2-3 --- last sixteenth note should have a grace note after it (@ninjanolan2391)
0:37 / bar 18, beat 4 --- triplet rhythm should be a 16th/8th note later
1:05 / bar 34, beat 3 --- should be a rest rather than a dotted quarter\
He's like mix of Maceo Parker and Vincent Herring. awesome!
Wow! Great transcription
yes king 👑
5π
5π = 900°
Good sound
Bruce on fire 🔥
He popped a lung capacity potion
@ I believe it. I also believe he just has the chops. 🎷
Actually I do have a very large lung capacity. Mainly caused from a childhood condition or maybe just having older brothers
Hold me under water for longer periods of time. I could hold my breath for 5 minutes at one point in my life. (Did
It to show off for girl I liked-it didn’t work:)
@@OrcaTrumpetthere is that whole 46 years of playing thing. 😂 50 currently
THIS GUY USES THE SAME HEADPHONES I DO :DDDDDDDDDD
crazy
I’d like to hear the story of that rubber band around his horn - it works!!
My Palm key D key wasn’t always closing for some reason. I always carry rubber bands just because when you play a lot, things like springs can break or keys can bind or bend just from a simple bump sometimes. Anyway fixed in the time of a bathroom break:)
0:35 it gets to measure 19 early
it's now listed in corrections
Who knew Norm from Cheer's little brother could shred!
you can see the guy's face tomatoing
finally!!!
if you could can you do the organ solo from the same song?
no worries if you don't
i originally intended to put it in this video, but the organ solo is kinda hard to hear, especially when the saxes come in -- but its def doable
lowk im down to transcribe it -- after im done and the current transcription im working on
Como eu gostaria de ver isto ao vivo ❤
Cool transription but this there's not that much bebop in here?
lowkey i made the video title when i just started discovering bebop and thought it was essentially chord tones on strong beats with chromatics in between. now that a lot of people mentioned this, bebop is so much more than whats on yt -- i stand corrected
Cool
I like trumpets
the first time i watched this it was at 1.5 speed and i was really worried T-T
How much bebop can you put in a solo? A whole lot, if you’re that guy….👍
brah i need to start doing these videos can you teach me
1. transcribe the thing on musescore
2. export the sheet music as a PNG
3. in an editing software put the original video in one layer and the transcription above that layer - cropping the PNG so it only shows one row of the staff
5. keyframe out a vertical line that goes across the staff so it looks like the playback scrubber
6. export
7. money
It's just not the same without Masato Honda...
clickbait, barely any bebop
facts
No. There are 3 or 4 lines from bebop (that’s my primary influence). As I hear this again my opening line I actually learned from Michael Brecker in the fall of 1991:) That’s back when I had to play Giant Steps after Him. :) He was so polite:)
@@bbohns-m6ngreat playing, but I wouldn’t call your first line, for instance, bebop. Charlie Parker or dizzy wouldn’t have played that. It’s more like modern or maybe postbop. Michael brecker wasn’t really a bebop musician foremost.
@@bbohns-m6n Do you think your solo was lick practice-based or more improv practiced? There were some licks u played that just sounded so heavenly i find it hard to believe it that you produced this from 1 or 2 takes. I play tenor sax and piano in highschool senior jazz and one of my goals is to get better at soloing without using the yucky blues scale (The blues scale isnt bad but theres so much more solo language beyond it) Do you have any bebop tips or exercises to share that can help with sax improvising? -- or anything jazz. Absolutely loved your solo and definitely loved transcribing it! (Kind of)
@@nathanielvito5684 no I didn’t say my first line was bebop. I said I learned it from Mike Brecker meaning he wouldn’t have played bebop over it either. He would have said something like it would be like speaking Yiddish at a Japanese Market. 😅
Lord lol. And I'm a guitarist.
I was thinking what would a guitar player play on this if they were Trying to emulate a saxophone ?:)
No hate but I wouldn’t call this bebop, definitely not putting as much bebop in as you can. Mostly pentatonic with some chromaticism, which isn’t bebop per se. There’s some bebop language but not a lot
Ya thats fair. Ive just recently been going through bebop -- and pentatonic, chord tones and chromaticism is basically my whole view of the style. It's definitely a fraction of bebop but i really havent exposed myself to the language that much. Will def look into other players. (And if u have any recommendations lmk!)
Straight eighth tunes aren’t bebop especially those with an underlying 16th note subdivision. The tune itself isn’t. This is what was literally asked for by John W. the arranger, and so Confirmation of Bebop could only Perhaps come
from another Merry-Go Round in Barbados or a Diverse Steeple Chase taking us to our Cardboard Yardbird Suite with extra Cosmic Rays specific to our Constellation. Bebop happens only with positive Chi-Chi through Cosmic Rays from the Constellation of Moose (the Mooch).
This answer is dedicated to all the Beboppers out there:)
I play plenty of bebop in the plethora of recordings playing Cherokee w/ RAJE. There is a recording of me playing with Phil Woods out there somewhere. That’s got plenty of Bop.
But just go to Bird the Bebop King or Sonny Stitt the Bebop Encyclopedia. Even early Lou Donaldson playing alongside Clifford Brown. That’s where I got my chops to play things like Cherokee at 340+ And in multiple keys (Stitt would announce the key in the count off (freaking out many bass and piano players:) One of my Students was given the assignment of playing Cherokee in all 12 keys and a minimum tempo of 280. He ended up at 340 before his UNT audition as a freshman. He’s in the 4 as a freshman. Not too shabby. :) Gotta love and live the bop
If that’s what you want to do. Charlie Parker Omni book was my jumping off point. But Stitt is the encyclopedia. He just never is devoid of bebop. One can try to play bebop over cowboy bebop but it just sounds forced and weird. One has to play the style and I do have a couple of nods in there to it. I’ve played the horn now for 50 years next to some of the people who actually played w Bird. It’s definitely in there just not in an extremely energized straight 16th note subdivision.
crucify me if you want but this kind of soloing just isnt very enjoyable to listen to unless youre a musician and can appreciate how impressive it is. even then, its more interesting rather than pleasant
that being said, bro shredded and this is crazy impressive
You’re being very professional and polite and you hit on my own thoughts so I’ll delve into the process.
When I solo I try to keep it in perspective of what the writer wants. In big band there isn’t a lot of time for developing so I have to take you on a journey that is already at the highest point in the chart. Kinda a punch in the gut, now react…..and I have to win:) So immediately I put the energy into the harmonic aspect then bring it down to the more grounded blues sound so I have someplace to go. To do anything else is absurd:) But there is all this energy leading to a seeming final battle with the last villain, the drummer where I go more rhythmic and use a more intense sound. Finally I defeat the enemy and tell society to carry on yet there is an amazing organ solo that’s like a cheerleader reflecting the events and saying keep up the good fight. Then more high intensity energy with me yelling “keep it up.” This is the kind of talk that goes on with the writer. John is very specific about what he needs but has an ability to nurture your thinking and help you guide it. You’re only hearing part of a chapter here or a small preview which just so happens to be one of the most intense levels of the piece. I played to the chart and since the norm would be to go all out balls to the wall the whole time, I thought brining it down and exploring a bit more would help make it more interesting. I have to respect the music as insane as it might seem. :)
This isn’t my forte-this is just a view through a microscope in a sea of my playing. You sound like a great person and I thought I’d take the opportunity to explain what’s going on to people who don’t have the experience at being as insightful as yourself. Thank you.
Here is another solo off of this that was also done live without punching or anything-just a clean performance. It’s on the tune “Maria” from West Side Story. I manage to quote another tune from the show on the spot. Luck was with me that day. 😂.
Thank you for your very professional and polite response. I so enjoyed this. This is how we all are meant to be. Would be nice to meet you some day. Thanks again!
Bruce Bohnstengel
ruclips.net/video/QREeh0D_I6U/видео.htmlsi=SHlzwpziVvDEuk0p
@@bbohns-m6n Thanks a lot for the reply! this helped a lot, you seem to know a lot about this.
@@lucasbradley7074I’ve been fortunate enough to play and solo with Phil Woods, Michael Brecker, Wayne Bergeron, James Morrison, Lee Konitz, I can’t even remember the hundreds of artists. Went to UNT have a Master’s in Jazz studies, have played int the One O’ Clock taught the 3 O’ Clock band and play in most of the Dallas Area Big Bands. I’m on recordings I’ve forgotten about lol. I’ve been very fortunate and love sharing what I do. I love taking the mystery out of improvisation. I love teaching saxophone and taking the mystery out of playing and expression. Those two never separate. You have to me proficient enough on your instrument to play the shapes and ideas you hear. Doing this is my happy place. I’m happy to answer any questions anyone has. Thanks for checking it out.
28/12/2024
That is not Bebop lol
Nope it sure isn’t. I was confused by it when John wanted to record this. Even though cowboys and beboppers had a similarity in an appreciation for freedom and deeper thoughts the styles are not similar. Musical tastes between cowboys and bebop musicians are quite opposite. Now playing bebop on Western swing that’s very similar. Roy Clark, Chet Atkins, and Glenn Campbell weren’t shabby bebop players. I remember seeing the 3 of them play Donna Lee whoa, what an amazing part of the wrecking crew!
I played a few gigs on Janna Jay’s band (country fiddle player that went to Juliard majoring on violin) and her book contained quite a few Charlie Parker tunes-it’s all American music.
But cowboy bebop, no. Playing bebop on this would be like riding the mechanical bull and trying to play Hot House at 300bpm! Both the rider and mechanical bull would die 😂
killer transcription no notes
too many sweats
Am I sweating? Playing is fairly effortless for me. Or is a sweat a type of note like a 16th note. Please educate me about this comment. I don’t understand what “too many sweats” means.
@@bbohns-m6n a "sweat" is a derogatory term for someone who spends a very long time perfecting their skills in one thing. He's just jealous lol
@somebody9033 It's not derogatory term. It can be taken as a compliment. It means you work very hard too build up skill of that level. I was merely joking and you took it a little south calling me jealous. I don't appreciate that. I'm trying very hard to build up my skill on my tenor saxophone. @bbohns-m6n asked me to explain what the term meant, he did not ask you.
Don't know why people play Wasson's arrangement.......meh.....
No highschool trumpeter can pump out a 3 ledger line E 😭🙏
@@homework_chat Give them enough sugar and they can.
Because John sat in the back of the Woody Hernan bus writing tunes with no piano for the next gig and writes on the level that has his writing in Movies, orchestra halls and even churches around the world. The mission for this was to produce a marketable arrangement for Hal Leonard to publish. He’s perfectly capable of producing anything pretty much without limits. Editors and publishers will reign things in-as a friend who was Gordon Goodwin’s editor would tell you. :)