JGBE Virtual Jam (Round 8) - Work Song

**TOMMO** · 03-10-2021, 08:03 AM

Both Village Vanguard live albums plus one from '83 at the Village Gate - great stuff!

**DonEsteban** · 03-10-2021, 08:41 AM

Originally Posted by Alter

I kind of see 4 basic parts and movements in this song, that I enjoy practicing separately also.

First 6 bars tonic F-7
Bars 7-8 moving from tonic to target dominant C7
Bars 9-12 tonic F-7 again.
Bars 13-14 are about targeting the Bb7 (classic 4 chord on blues)
And the last two bars are a movement back to the tonic (using some variation of subdom-dom-tonic or just dom-tonic sounds).

Your post made me check back the "original" recordings by Cannonball.

The first 12 bars seem obvious, just like you write.

Then, on the studio version I have (Them Dirty Blues) they play the chords you wrote before:

| F7 | Bb7 | Db7 C7 | Fm7 |

But if you check this live recording from Youtube - some footage from an Oscar Brown Jr. TV show (Jazz Scene 1962) - if my ears are don't fool me, there is no F7 to Bb7 anywhere. They seem to play:

| Db7 | C7 | Db7 C7 | Fm7 |

So there are at least 2 different versions by the Adderleys themself out there.

This is the video:

**djg** · 03-10-2021, 08:49 AM

Originally Posted by DonEsteban

Your post made me check back the "original" recordings by Cannonball.

The first 12 bars seem obvious, just like you write.

Then, on the studio version I have (Them Dirty Blues) they play the chords you wrote before:

| F7 | Bb7 | Db7 C7 | Fm7 |

But if you check this live recording from Youtube - some footage from an Oscar Brown Jr. TV show (Jazz Scene 1962) - if my ears are don't fool me, there is no F7 to Bb7 anywhere. They seem to play:

| Db7 | C7 | Db7 C7 | Fm7 |

So there are at least 2 different versions by the Adderleys themself out there.

This is the video:

i hear the F7 to Bb7 loud and clear. the solos acknowledge that too.

**TOMMO** · 03-10-2021, 08:52 AM

Originally Posted by djg

i hear the F7 to Bb7 loud and clear. the solos acknowledge that too.

Yes.

**DonEsteban** · 03-10-2021, 09:09 AM

Originally Posted by djg

i hear the F7 to Bb7 loud and clear. the solos acknowledge that too.

Yes, I agree, don't know where my ears where this morning.. Also I didn't check the solos just the head...

**lawson-stone** · 03-10-2021, 09:15 AM

Originally Posted by grahambop

I first learned this tune years ago from Kenny Burrell's solo version on his 'Live at the Village Vanguard' record, so here's my solo take inspired by KB.

That's just wonderful. Love the energy and as always, I love the lines!

**lawson-stone** · 03-10-2021, 09:17 AM

Originally Posted by djg

i'll make a vid if i find the time. the Db7 is basically there to harmonize the b5 in the blues scale. so the B (Cb if you must) is the most important note there. also note that Db7 is non-altered while the C7 is altered so the symmetry thing has to be handled with care. my personal concept is derived from wes and martino. for Db7 i think Bmaj7 (like wes) or Abm7 (like pat).

The lead sheet I'm using, from the Hal Leonard 2nd edition Real Book, has a G7 instead of Db7, which of course I under stand as a tritone.

**djg** · 03-10-2021, 09:38 AM

Originally Posted by lawson-stone

The lead sheet I'm using, from the Hal Leonard 2nd edition Real Book, has a G7 instead of Db7, which of course I under stand as a tritone.

JGBE Virtual Jam (Round 8) - Work Song-cubepng-png

**kris** · 03-10-2021, 09:57 AM

Originally Posted by DonEsteban

Your post made me check back the "original" recordings by Cannonball.

The first 12 bars seem obvious, just like you write.

Then, on the studio version I have (Them Dirty Blues) they play the chords you wrote before:

| F7 | Bb7 | Db7 C7 | Fm7 |

But if you check this live recording from Youtube - some footage from an Oscar Brown Jr. TV show (Jazz Scene 1962) - if my ears are don't fool me, there is no F7 to Bb7 anywhere. They seem to play:

| Db7 | C7 | Db7 C7 | Fm7 |

So there are at least 2 different versions by the Adderleys themself out there.

This is the video:

solos:
Fm7 IDb7 C 7IFm7 I Db7C7IFm7 I Db7 C7I Gm7I C7 I
Fm7 I Db7 C7I Fm7 I Db7 C7IF7 I Bb7I Db7 C7I Fm7 II

**djg** · 03-10-2021, 10:00 AM

Originally Posted by kris

solos:
Fm7 IDb7 C 7IFm7 I Db7C7IFm7 I Db7 C7I Gm7I C7 I
Fm7 I Db7 C7I Fm7 I Db7 C7IF7 I Bb7I Db7 C7I Fm7 II

they dont play it that strict.

sometimes they play Fm7 to C7, sometimes Fm7 to Bb7. sometimes the milestones idea, Fm Gm Ab Gm. i hear it all at various points in that live recording

**kris** · 03-10-2021, 10:06 AM

Originally Posted by grahambop

I first learned this tune years ago from Kenny Burrell's solo version on his 'Live at the Village Vanguard' record, so here's my solo take inspired by KB.

You chose the most difficult options for this piece.
Keeping time until the end is a really big challenge.
I hear minimal time hesitation but I know that playing like this without backing is very difficult.
Best
Kris

**mr. beaumont** · 03-10-2021, 10:11 AM

The big takeaway of course, is that it's a non 12 bar blues...there's i, there's IV, and there's V. Target accordingly.

**kris** · 03-10-2021, 10:12 AM

Originally Posted by djg

they dont play it that strict.

sometimes they play Fm7 to C7, sometimes Fm7 to Bb7. sometimes the milestones idea, Fm Gm Ab Gm. i hear it all at various points in that live recording

You are right.When the piano start solo they play what I wrote...I think...

**mr. beaumont** · 03-10-2021, 10:17 AM

Originally Posted by grahambop

I first learned this tune years ago from Kenny Burrell's solo version on his 'Live at the Village Vanguard' record, so here's my solo take inspired by KB.

So tough to do a tune like this in this style, and you pull it off! Sounds great. If your is the last version we hear this week, what a great capper.

Hope everybody had fun with this tune. I just picked this week's...its a doozy

**grahambop** · 03-10-2021, 10:32 AM

Originally Posted by kris

You chose the most difficult options for this piece.
Keeping time until the end is a really big challenge.
I hear minimal time hesitation but I know that playing like this without backing is very difficult.
Best
Kris

thanks, yes I nearly came unstuck a few times but I think I managed to hold on to the form in my head, somehow!

**grahambop** · 03-10-2021, 10:37 AM

Originally Posted by mr. beaumont

So tough to do a tune like this in this style, and you pull it off! Sounds great. If your is the last version we hear this week, what a great capper.

Hope everybody had fun with this tune. I just picked this week's...its a doozy

Thanks Jeff, I’ve been practising a lot of solo guitar stuff this past year, that probably helped.

**PickingMyEars** · 03-10-2021, 12:27 PM

Originally Posted by lawson-stone

This is more of a journal entry... trying to get this TUNE learned. I find the last 4 measures are hard to feel. Maybe it's the backing track, but it's likely my own lack of some basic natural rhythm!

Advice and counsel welcome, especially on how to tackle that last 4 measures. Please don't say "just feel it" I sorta already know that.

Also: Attempted more of a chordal chorus at the end. Didn't go very well.

Very laid back. Maybe it was the cowboy hat

The chordal chorus sounded good as well. I mean... I can't do that chordal stuff to save my life, but I do love comping for others. Another thing to practice

For that last bit, I think it's easiest to look at all the parts that stay the same. Target the notes that change. That A natural in the F7 is a key note, because--at least the way I hear it--it falls out of the Fm tonality. Oddly enough, Wes sure plays the heck outta that major third...

Db7 is "outside the key"... but the key note there is the B natural (b5 of the key). I am a fan of thinking key based and then layering in the harmony to catch that harmonic movement. B natural ain't that "outside" for F minor and neither is Db (the b6th). I practice isolating those sounds against the key--here and in any other tune I practice. I can access things faster with my ears than with my brain when I improvise... I think that is common with a lot of jazz musicians--but they do it WAY better than I

Oh... and we need one more take. We are all missing key source material for our adventures into Hardbop. Hopefully I don't get stricken down if I post the missing ingredient. As Cannonball says, "I dun mean Bach CHOOORALLLLS, you know what I mean...?"

If my work doesn't get ahead of me... you know, "Nobody knows the work I do around here..."--they really don't at my job, but that's gotta be a common refrain for many of us.

Anyway, if I can--I wanna try quoting some of the source material for all this

**christianm77** · 03-10-2021, 02:39 PM

Originally Posted by djg

yeah, but Db7 C7 Fm is a hard-bop move, similar to tunes like full house etc. we need the blues scale here, which BH is not a big fan of. the beboppers made everything II-V, which imo actually trivializes the progression at hand.

edit: i'm reminded of this. this is pure hardbop, a quite different place from the BH realm.

what like this you mean?

**christianm77** · 03-10-2021, 02:42 PM

Anyway I have no beef with bVI7. Just suggesting possibilities. bVI7 has been a common chord in the minor key for a few hundred years. It’s good to learn to deal with it.

(Although playing B-Bb and not B-C on Db7 Fm is a definite Blues thing. Classical would go up.)

**christianm77** · 03-10-2021, 02:47 PM

Originally Posted by mr. beaumont

So tough to do a tune like this in this style, and you pull it off! Sounds great. If your is the last version we hear this week, what a great capper.

Hope everybody had fun with this tune. I just picked this week's...its a doozy

Just wish I had more time to actually play atm. There’s a lot of stuff going on right now. Lots music related, all good, but not much time to actually sit down and play.