A line that
remembers.
Ruth's original guitar. A new complete solo built around the tune's falling-third-and-recovery figure: remembered, answered, changed in colour, then brought home. The existing bass gets four reply spaces.
These players start at the solo. A is the untouched original—not the preceding experiment. B changes the written melody, rhythm, gates and touch, with the same original instrument and backing. No claim of Pat-level playing or a listening winner.
A · Original solo
The exact original performance, preserved for comparison.
B · Remember and answer
Uneven sentences, held colour, one gathered run and an answer to the bass.
What changes—and what stays
B remembers the actual head's Bb/G/A shape. It crosses changes without a fresh attack at every bar, changes major thirds into minor colour, makes room for actual bass replies, and settles in the lower register. Those are writing choices, not a numerical measure of soul.
The original guitar source, excitation, release, highpass, pan and source gain are fixed. Its inherited per-note physics remains unchanged; no new finger, pickup or amplifier model is introduced. One constant matches only the complete new solo's playback level.
The full new take preserves exact accepted theme/ring-out/closing PCM and the original backing. Every older version, source and URL stays intact. No samples or paid review.
Preservation measurements · Actual written choices · Unchanged original guitar source · Study notes