Alter Ego – James Williams
A simple but subtle modern bossa with an open-ended sound. It's been recorded many times with different arrangements. We now have an exclusive "Further Explorations" version in a different key, with Minus You tracks for all instruments.
- Recording: James Williams - Alter Ego
- Recorded on: July 19 & 20, 1984
- Label: Sunnyside (SSC 1007)
- Concert Key: No key center
- Style: Latin (medium)
- Flute - Bill Easley
- Soprano Sax - Bill Pierce
- Guitar - Kevin Eubanks
- Piano - James Williams
- Bass - Ray Drummond
- Drums - Tony Reedus
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Video
- Miki Yamanaka and her trio performed a set of music by composer/pianist James Williams in their weekly Miki's Mood video, here featuring ALTER EGO, one of James' most loved compositions.
- Tyreek McDole Quintet Live at Chris' Jazz Cafe, 11/25/23: Tyreek McDole (vocals), Dylan Band (tenor sax), Joe Block (piano), Madison Rast (bass), Byron Landham (drums)
This is possibly the most popular James Williams composition. For a song without a definite key center, it's quite simple. The simplicity and open-endedness both come from the use of the fourth, a good interval for pivoting between tonalities. In fact, almost every chord in the form of this song is a fourth away from the preceding and following chords, either up or down. The two exceptions are at the ends of the two B sections of this AABB form, with half-step motion to the G chords - tritone substitutions for fourths. The chords also all contain their own fourths (same as 11ths).
The melody is not as obviously based on fourths, but after developing one phrase for five measures, the phrase repeats on the sixth measure down a fourth. The E section is an eight-measure phrase that in this version appears three times as a coda. It is a variation of the A section, with each chord preceded by a passing chord a half-step above. The piano and bass figures in the head are not written out in the lead sheet; pianists and bassists will find them in the Solo Piano Arrangement (see the Piano Corner tab).
James' quintet/sextet arrangement from the original recording is available as a printed publication.
The melody is not as obviously based on fourths, but after developing one phrase for five measures, the phrase repeats on the sixth measure down a fourth. The E section is an eight-measure phrase that in this version appears three times as a coda. It is a variation of the A section, with each chord preceded by a passing chord a half-step above. The piano and bass figures in the head are not written out in the lead sheet; pianists and bassists will find them in the Solo Piano Arrangement (see the Piano Corner tab).
James' quintet/sextet arrangement from the original recording is available as a printed publication.
This album was James' fifth as a leader. Both Bill Easley and Billy Pierce had played on the first one, "Flying Colors". The next recording of Alter Ego was on Donald Byrd's 1987 album "Harlem Blues," followed by a Roy Hargrove version from 1992 on the album "The Vibe." The next two recordings both come from the legendary New York jazz club Bradley's; one by Kevin Eubanks (with Williams) from 1994 and another by Kenny Barron in April of 1996, the year Bradley's closed.
Solo Piano Arrangement Here you can listen to a clip of James' Solo Piano Arrangement, as played by Kenny Drew, Jr. [clip]. This arrangement puts the melody in octaves for most of the A section, with a flowing left hand part; there is more harmony and counterpoint in the B section. C (the coda on most recordings) is played in parallel voicings, with the same structure for every chord: three notes each a fifth apart in each hand. With the melody on top and the root on the bottom, the right hand has the 11th, 7th and 3rd while the left has the 9th, 5th and the root. The bass figures alluded to in the lead sheets, in the last two measures of the A section, are written out in the left hand in this arrangement. The similar figures in the rest of the head do not appear in most recordings, with the notable exception of Larry Willis'.
Check out other solo piano arrangements recorded by Kenny Drew, Jr.
Check out other solo piano arrangements recorded by Kenny Drew, Jr.
- Recording: Victor Lewis - Eeeyyess!
- Recorded on: July 21, 1996
- Label: Enja (ENJ 9311-2)
- Concert Key: No key center
- Style: Latin (medium)
- Trumpet - Terell Stafford
- Soprano Sax, Electronic Effects - Seamus Blake
- Piano - Stephen Scott
- Bass - Ed Howard
- Drums - Victor Lewis
- Percussion - Don Alias
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This version begins quite differently from Williams' original recording. The eight-measure section that Williams used as a coda appears here as an intro, played first by the rhythm section and then a second time adding the horns. The trumpet is voiced a fourth above the soprano sax melody in this part; Seamus Blake uses a harmonizer effect to add a second soprano part a fourth below. The horns play in unison on the head.
The out head is not played all the way through: the melody is only played on the second A section and second B section as backgrounds for the piano solo. After that, the coda returns, repeated four times and building up with the horns playing throughout. Blake adds the harmonizer the third and fourth time; trumpeter Terell Stafford moves to the higher harmony part on the last time only.
James' quintet/sextet arrangement from the original recording is available as a printed publication.
The out head is not played all the way through: the melody is only played on the second A section and second B section as backgrounds for the piano solo. After that, the coda returns, repeated four times and building up with the horns playing throughout. Blake adds the harmonizer the third and fourth time; trumpeter Terell Stafford moves to the higher harmony part on the last time only.
James' quintet/sextet arrangement from the original recording is available as a printed publication.
This and the next two recordings of Alter Ego were all on albums led by drummers. In March 1999 Louis Hayes recorded it on "Quintessential Lou," with a quintet including David Hazeltine and Santi Debriano as well as Riley Mullins on trumpet and Abraham Burton on tenor sax. A very different version appeared on Billy Cobham's live album from 2001, "The Art of Four," with Williams at the piano, Ron Carter on bass and Donald Harrison on alto sax. Here the song is considerably faster, and, as in Lewis' version, the coda is also used as an intro.
Solo Piano Arrangement Here you can listen to a clip of James' Solo Piano Arrangement, as played by Kenny Drew Jr. [clip]. This arrangement puts the melody in octaves for most of the A section, with a flowing left hand part; there is more harmony and counterpoint in the B section. C (the coda on most recordings) is played in parallel voicings, with the same structure for every chord: three notes each a fifth apart in each hand. With the melody on top and the root on the bottom, the right hand has the 11th, 7th and 3rd while the left has the 9th, 5th and the root. The bass figures alluded to in the lead sheets, in the last two measures of the A section, are written out in the left hand in this arrangement. The similar figures in the rest of the head do not appear in most recordings, with the notable exception of Larry Willis'.
- Recording: James Williams & Bobby Watson - Soulful Serendipity
- Recorded on: June 14, 2003
- Label: We Always Swing (6-14-2003)
- Concert Key: No key center
- Style: Latin (medium)
- Alto Sax - Bobby Watson
- Piano - James Williams
This duo version, from a concert in Columbia, Missouri, explores this song in ways that larger instrumentations cannot. The time is occasionally stretched, and saxophonist Bobby Watson embellishes the melody in his own way. Before the head, James plays a long intro that is mostly rubato [clip], setting up the time for two B sections to set up the melody. During Bobby's solo, a double-time feel starts to develop; James hints at a swing-8ths, reggae-like groove for part of the out head. The coda is played three times, as in the original version.
James' quintet/sextet arrangement from the original recording is available as a printed publication.
James' quintet/sextet arrangement from the original recording is available as a printed publication.
"We Always Swing" is a community-based organization that has been producing jazz concerts in Columbia, Missouri, since 1995. This recording from a "We Always Swing" concert is the only album that features both Watson and Williams throughout. James had previously played on some of Bobby's 1992 big band album "Tailor Made."
"Soulful Serendipity" was the second-to-last album James Williams played on. The last was vocalist Frank Jackson's "New York After Dark," also featuring Bill Pierce, Ron Carter and Kenny Washington.
"Soulful Serendipity" was the second-to-last album James Williams played on. The last was vocalist Frank Jackson's "New York After Dark," also featuring Bill Pierce, Ron Carter and Kenny Washington.
Solo Piano Arrangement Here you can listen to a clip of James' Solo Piano Arrangement, as played by Kenny Drew Jr. [clip]. This arrangement puts the melody in octaves for most of the A section, with a flowing left hand part; there is more harmony and counterpoint in the B section. C (the coda on most recordings) is played in parallel voicings, with the same structure for every chord: three notes each a fifth apart in each hand. With the melody on top and the root on the bottom, the right hand has the 11th, 7th and 3rd while the left has the 9th, 5th and the root. The bass figures alluded to in the lead sheets, in the last two measures of the A section, are written out in the left hand in this arrangement. The similar figures in the rest of the head do not appear in most recordings, with the notable exception of Larry Willis'.
- Recording: Larry Willis - The Offering
- Recorded on: October 9, 2007
- Label: HighNote (HCD 7178)
- Concert Key: No key center
- Style: Latin (medium)
- Piano - Larry Willis
- Bass - Eddie Gomez
- Drums - Billy Drummond
Pianist Larry Willis sees yet another possibility with this song. Taking the bass line from the last two measures of the A section (see the Solo Piano arrangement), he vamps on this figure on B minor for eight measures as an intro, playing an A minor chord on the second, fourth, sixth and eighth measures but keeping the same B minor bass line. Then bassist Eddie Gomez plays the same figure, transposed for the changes, throughout the two A-sections of the head. The intro vamp returns before the out head. The coda is played twice.
James' quintet/sextet arrangement from the original recording is available as a printed publication.
James' quintet/sextet arrangement from the original recording is available as a printed publication.
"The Offering" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Since James Williams' death in July 2004, recordings of Alter Ego have kept coming: from guitarist Paul Bollenback (with Victor Lewis), drummer Ferit Odman and several others. This is the second Larry Willis recording; the first was in a duo setting with fellow pianist Tony Pancella in September of 2004, on an album also titled "Alter Ego."
On the album "The Offering," Eric Alexander sits in for three songs. Larry, Eddie and Billy had recorded together almost exactly a year earlier (plus one week), for Larry's album "Blue Fable" with alto saxophonist Joe Ford and trombonist Steve Davis.
Since James Williams' death in July 2004, recordings of Alter Ego have kept coming: from guitarist Paul Bollenback (with Victor Lewis), drummer Ferit Odman and several others. This is the second Larry Willis recording; the first was in a duo setting with fellow pianist Tony Pancella in September of 2004, on an album also titled "Alter Ego."
On the album "The Offering," Eric Alexander sits in for three songs. Larry, Eddie and Billy had recorded together almost exactly a year earlier (plus one week), for Larry's album "Blue Fable" with alto saxophonist Joe Ford and trombonist Steve Davis.
Solo Piano Arrangement Here you can listen to a clip of James' Solo Piano Arrangement, as played by Kenny Drew Jr. [clip]. This arrangement puts the melody in octaves for most of the A section, with a flowing left hand part; there is more harmony and counterpoint in the B section. C (the coda on most recordings) is played in parallel voicings, with the same structure for every chord: three notes each a fifth apart in each hand. With the melody on top and the root on the bottom, the right hand has the 11th, 7th and 3rd while the left has the 9th, 5th and the root. The bass figures alluded to in the lead sheets, in the last two measures of the A section, are written out in the left hand in this arrangement. The similar figures in the rest of the head do not appear in most recordings, with the notable exception of Larry Willis'.
- Recording: Don Sickler - Further Explorations Vol. 1
- Recorded on: April 4, 2003
- Label: jazzleadsheets.com (JLS 1034)
- Concert Key: E minor
- Style: Latin (medium)
- Flugelhorn - Don Sickler
- Piano - Cecilia Coleman
- Bass - Tim Givens
- Drums - Vince Cherico
Our "Further Explorations" version is in a different key from the original recording, a fourth lower. As there is no key center, the lead sheets and parts for this version are labeled "E minor" after the first chord. Minus You tracks are available for all instruments. Our piano and bass parts show the bass line on the last two measures of each A section. The piano part also contains voicings for the same measures.
There is no drum part; drummers playing with the Minus You track should read the C lead sheet.
Click on the Minus You tab for more information about the audio tracks and the format
There is no drum part; drummers playing with the Minus You track should read the C lead sheet.
Click on the Minus You tab for more information about the audio tracks and the format
"Further Explorations" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
The original tracks were recorded in 2003, as part of an effort to promote Second Floor Music's Sing JAZZ! folio. Recently, Don Sickler decided to add instrumental melody tracks to expose the music to more musicians. In this case, the Minus You tracks give everyone a chance to play and enjoy one of James Williams' most well-known songs.
The original tracks were recorded in 2003, as part of an effort to promote Second Floor Music's Sing JAZZ! folio. Recently, Don Sickler decided to add instrumental melody tracks to expose the music to more musicians. In this case, the Minus You tracks give everyone a chance to play and enjoy one of James Williams' most well-known songs.
This Minus You track gives you the opportunity to play one of James William's most well-known compositions, Alter Ego, a relaxed Latin piece. Drummer Vince Cherico plays a groove consisting of straight (not swung) 8th-notes on the ride cymbal with some light tom and cross-stick comping, which suits the feeling of the piece nicely. Try to recreate his groove or experiment with the other Latin grooves in your arsenal. We know you will enjoy playing this minus you track with its catch melody and great solos. Drummers should buy the C lead sheet part.
Exclusive Minus You audio tracks
Our Minus You lead sheets and parts have the four-measure piano intro notated as a cue. The coda is repeated three times; the first two times are notated as E, with the third repeat as a separate section, F, with different dynamics.
CLIP The form is as follows:
-- intro
-- melody
-- flugelhorn solo 2 choruses
-- out melody
-- coda (E E F)
clip minus melody
-- no count off; tacet for the intro
-- play the melody
-- solo 2 choruses
-- play the out melody and coda
[clip] minus Piano
-- count off sets up the intro
-- play the intro: as written or improvise
-- comp and play figures for the melody
-- comp for the flugelhorn solo 2 choruses
-- comp and play figures for the out melody and coda
[clip] minus Bass
-- count off sets up the intro
-- play 2-feel for the intro
-- 2-feel and play figures for the melody
-- 2-feel for the flugelhorn solo 2 choruses
-- 2-feel and play figures for the out melody and coda
[clip] minus Drums (sticks throughout). Drummers should read the C lead sheet.
-- count off sets up the intro
-- comp for the intro
-- comp and play figures for the melody
-- comp for the flugelhorn solo 2 choruses
-- comp and play figures for the out melody and coda
mp3 Bass & Drums only - to feature piano, guitar, vibes, or any melodic instrument that likes to play without harmonic accompaniment
-- count off sets up the intro
-- play the intro
-- play the melody
-- solo 2 choruses
-- play the out melody and coda
Our Minus You lead sheets and parts have the four-measure piano intro notated as a cue. The coda is repeated three times; the first two times are notated as E, with the third repeat as a separate section, F, with different dynamics.
CLIP The form is as follows:
-- intro
-- melody
-- flugelhorn solo 2 choruses
-- out melody
-- coda (E E F)
clip minus melody
-- no count off; tacet for the intro
-- play the melody
-- solo 2 choruses
-- play the out melody and coda
[clip] minus Piano
-- count off sets up the intro
-- play the intro: as written or improvise
-- comp and play figures for the melody
-- comp for the flugelhorn solo 2 choruses
-- comp and play figures for the out melody and coda
[clip] minus Bass
-- count off sets up the intro
-- play 2-feel for the intro
-- 2-feel and play figures for the melody
-- 2-feel for the flugelhorn solo 2 choruses
-- 2-feel and play figures for the out melody and coda
[clip] minus Drums (sticks throughout). Drummers should read the C lead sheet.
-- count off sets up the intro
-- comp for the intro
-- comp and play figures for the melody
-- comp for the flugelhorn solo 2 choruses
-- comp and play figures for the out melody and coda
mp3 Bass & Drums only - to feature piano, guitar, vibes, or any melodic instrument that likes to play without harmonic accompaniment
-- count off sets up the intro
-- play the intro
-- play the melody
-- solo 2 choruses
-- play the out melody and coda
- Recording: Roy Hargrove - The Vibe
- Recorded on: January, 1992
- Label: Novus (63132-2)
- Concert Key: No key center
- Style: Latin (medium)
- Trumpet - Roy Hargrove
- Alto Sax - Antonio Hart
- Tenor Sax - David "Fathead" Newman
- Piano - Marc Cary
- Bass - Rodney Whitaker
- Drums - Gregory Hutchinson
Roy Hargrove's recording of Alter Ego is faster than the original James Williams version. Drummer Greg Hutchinson plays a tighter groove, with steady cross stick quarter notes. The sextet arrangement is the same as on James' original recording.
Don Sickler: Composer/pianist James Williams originally recorded Alter Ego ten years earlier than this Hargrove album. I knew Roy liked Alter Ego and Roy also knew I was James' publisher. I'm sure Roy knew I had James' sextet arrangement ( in print. I remember giving Roy a copy of the printed arrangement and telling him that trumpeter Donald Byrd had recorded it as quintet in 1987, but no trumpet player had as of yet recorded it in James' sextet format.
This version of Alter Ego is the second recording of Roy Hargrove with David "Fathead" Newman. The previous year, both were guests on saxophonist James Clay's last album as a leader, "Cookin' At The Continental." Fathead played on two later Roy Hargrove albums: ""Family" in 1995 and "Distraction" in 2005.
This version was the third recording of Alter Ego, after James Williams' in 1984 and Donald Byrd's in 1987. Notably, Roy's is the first to feature the original 3-horn arrangement with trumpet, alto sax, and tenor sax.
For more songs from "The Vibe", check out Roy Hargrove's Blues For Booty Green's, Caryisms, The Thang, and Where Were You?.
This version of Alter Ego is the second recording of Roy Hargrove with David "Fathead" Newman. The previous year, both were guests on saxophonist James Clay's last album as a leader, "Cookin' At The Continental." Fathead played on two later Roy Hargrove albums: ""Family" in 1995 and "Distraction" in 2005.
This version was the third recording of Alter Ego, after James Williams' in 1984 and Donald Byrd's in 1987. Notably, Roy's is the first to feature the original 3-horn arrangement with trumpet, alto sax, and tenor sax.
For more songs from "The Vibe", check out Roy Hargrove's Blues For Booty Green's, Caryisms, The Thang, and Where Were You?.
James Williams
March 8, 1951 – July 20, 2004
James Williams' distinguished career began in the city in which he was raised: Memphis, Tennessee. Having taken up piano at the age of thirteen, he graduated from Memphis State University in the early seventies and threw himself into his city's jazz community. Only a year after attaining his degree, Williams was hired as a professor at Berklee College of Music in Boston, Massachusetts. Coming to a new city opened up an entirely new scene for the young pianist, who began to play as a sideman for visiting artists like Red Norvo, Art Farmer, Sonny Stitt and Milt Jackson. When Art Blakey met him in 1977, he convinced the then-26 year-old Williams to resign from Berklee and go on tour with the Jazz Messengers, a post he held for the next four years and with whom he would win a Grammy Award nomination for the album "Straight Ahead." Read more...