Escapade – Kenny Dorham
A relaxed-tempo swinger with subtle, diverse rhythm section activity. Our "K.D. Challenge" version is also available with Minus You tracks for all instruments.
- Recording: Joe Henderson - Our Thing
- Recorded on: September 9, 1963
- Label: Blue Note (BLP 4152)
- Concert Key: C minor, No key center
- Style: Swing (medium)
- Trumpet - Kenny Dorham
- Tenor Sax - Joe Henderson
- Piano - Andrew Hill
- Bass - Eddie Khan
- Drums - Pete La Roca
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- Miki Yamanaka (p), Benny Bennack III (tpt), Mark Lewandowski (b), Jimmy Macbride (d), 5/5/21.
Melodic but with intricate rhythm section activity, this Dorham composition is a masterpiece. Every element of the composition, from the precise counter line movement to the interplay between piano, bass and drums, is exquisitely balanced. To help everyone relate to the intricacies of this composition, each part includes cues so you can always be aware of the bigger picture.
The key of this song is not obvious; while the intro pedals around C minor, also the first chord of the head, there are two B♭ pedal point sections that imply B♭ minor. The form is a 20-measure repeating melody with 20-measure solo choruses. All choruses have the same chord progression.
Escapade has many of Kenny's characteristic and intriguing rhythmic compositional elements. The melody is divided into four-measure sections. After four measures of stop time where the melody is answered by the rhythm section, the second four-measure section (which ends in a break) introduces a rhythm section syncopation that is developed further in the next four measures (also ending in a break) when a 4th beat pulse is added to the figure. The next four measures are 2-feel, with orchestrated piano hits against the melody, followed by the previous four-measure section that again ends on the 4th beat of each measure, this time orchestrated differently for the piano without a break in the 4th measure.
The solo choruses start with eight measures of 4-feel, followed by the next three four-measure sections from the melody with no breaks, except the 2-feel section is now 4-feel.
All rhythm section activity is indicated clearly in the piano, bass, and drum parts. Note that the lead sheets and rhythm section parts for all four albums shown above are identical. The second parts are labeled by album. Of course, the Minus You audio tracks are only under "The K.D. Challenge" album cover.
The key of this song is not obvious; while the intro pedals around C minor, also the first chord of the head, there are two B♭ pedal point sections that imply B♭ minor. The form is a 20-measure repeating melody with 20-measure solo choruses. All choruses have the same chord progression.
Escapade has many of Kenny's characteristic and intriguing rhythmic compositional elements. The melody is divided into four-measure sections. After four measures of stop time where the melody is answered by the rhythm section, the second four-measure section (which ends in a break) introduces a rhythm section syncopation that is developed further in the next four measures (also ending in a break) when a 4th beat pulse is added to the figure. The next four measures are 2-feel, with orchestrated piano hits against the melody, followed by the previous four-measure section that again ends on the 4th beat of each measure, this time orchestrated differently for the piano without a break in the 4th measure.
The solo choruses start with eight measures of 4-feel, followed by the next three four-measure sections from the melody with no breaks, except the 2-feel section is now 4-feel.
All rhythm section activity is indicated clearly in the piano, bass, and drum parts. Note that the lead sheets and rhythm section parts for all four albums shown above are identical. The second parts are labeled by album. Of course, the Minus You audio tracks are only under "The K.D. Challenge" album cover.
"Our Thing" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Don Sickler: This important Kenny Dorham composition requires all members of the ensemble to know how their own parts fit into the whole. I've tried to notate the intricacies of the rhythm section parts since they are also important compositional elements. The Minus You tracks, especially for rhythm section players, let each musician concentrate on their own parts and learn how to complement the other rhythm section players. Of course, some artists will want to explore this gem in their own way, but first becoming aware of Kenny's rhythm section intricacies is a good place to start.
I'm elated to see that at least ten artists have recorded their own versions of Escapade on albums already in this new century (since 2000). If the Lord Discography is correct, I may have been the first one to record it after Kenny, on my tribute album in 1983, twenty years after the original recording. Fortunately, I got to arrange and record it twice more before the turn of the last century, first in 1995 with Fleurine on her lyric version (My Heart's Escapade CLIP), and then with James Spaulding in 1999, on his album named "Escapade" (see album cover above right).
Artists who have recorded Escapade since 2000: Yoshiro Okazaki, Ari Ambrose, Gidon Nunes Vaz, Ben van den Dungen, Fabien Mary, Tim Mayer, Harold Danko, Peter Sommer, Joe Chambers and Anthony Braxton.
Don Sickler: This important Kenny Dorham composition requires all members of the ensemble to know how their own parts fit into the whole. I've tried to notate the intricacies of the rhythm section parts since they are also important compositional elements. The Minus You tracks, especially for rhythm section players, let each musician concentrate on their own parts and learn how to complement the other rhythm section players. Of course, some artists will want to explore this gem in their own way, but first becoming aware of Kenny's rhythm section intricacies is a good place to start.
I'm elated to see that at least ten artists have recorded their own versions of Escapade on albums already in this new century (since 2000). If the Lord Discography is correct, I may have been the first one to record it after Kenny, on my tribute album in 1983, twenty years after the original recording. Fortunately, I got to arrange and record it twice more before the turn of the last century, first in 1995 with Fleurine on her lyric version (My Heart's Escapade CLIP), and then with James Spaulding in 1999, on his album named "Escapade" (see album cover above right).
Artists who have recorded Escapade since 2000: Yoshiro Okazaki, Ari Ambrose, Gidon Nunes Vaz, Ben van den Dungen, Fabien Mary, Tim Mayer, Harold Danko, Peter Sommer, Joe Chambers and Anthony Braxton.
Transcriptions are now available for Joe Henderson's tenor sax solo CLIP and Kenny Dorham's trumpet solo CLIP; both play three choruses. Henderson's solo is very detailed throughout, with every phrase having a different length and rhythmic structure. Dorham's lines are often simpler and more direct; in several places he gets a lot of meaning out of just a few long notes. In both solos, the sections of the form (8-, 4-, 4-, and 4-measures phrases) are always clearly delineated.
Note that in all our tenor sax solo transcriptions, the C edition is transposed down a whole step from the Bâ™—written an octave above where it sounds.
Note that in all our tenor sax solo transcriptions, the C edition is transposed down a whole step from the Bâ™—written an octave above where it sounds.
- Recording: Don Sickler - The Music Of Kenny Dorham
- Recorded on: November 12, 1983
- Label: Uptown (UP27.17)
- Concert Key: C minor, No key center
- Style: Swing (medium)
- Trumpet - Don Sickler
- Tenor Sax - Jimmy Heath
- Piano - Cedar Walton
- Bass - Ron Carter
- Drums - Billy Higgins
Don Sickler: This was my 20th anniversary recording tribute to this Kenny Dorham masterpiece. I loved the melodic simplicity of Kenny's original recording with Joe Henderson (horns first in unison, then moving to octaves until the last four measures of the melody, where the tenor moves into harmony and adds syncopation with the rhythm section). On my recording, I made a few alterations from the original Joe Henderson recording.
I heard it at a slower tempo (ca. 116) as opposed to the original which was at ca. 136. Great artists sometimes come up with positive new ideas, especially when they're confronted with a new tempo. This 20-bar repeating melody is built over changing four-measure underlying rhythmic sections. At my slower tempo, drummer Billy Higgins heard the 2nd, 3rd, and 5th sections in a light 12/8 Latin feel as opposed to the original, where Pete LaRoca enhanced the bass and piano figures with a swing feel.
Another change in my version is bassist Ron Carter's occasional "low Cs," starting with the last note of the intro (this couldn't have been considered on the original recording, since Eddie Kahn's bass didn't have a low C extension). Both Ron Carter and pianist Cedar Walton were given my transcription of the original piano and bass parts for this recording session. They're also what I also used for the Minus You parts on "The K.D. Challenge" version.
All the parts listed here are identical to the parts shown under the "Our Thing" album cover above left.
I heard it at a slower tempo (ca. 116) as opposed to the original which was at ca. 136. Great artists sometimes come up with positive new ideas, especially when they're confronted with a new tempo. This 20-bar repeating melody is built over changing four-measure underlying rhythmic sections. At my slower tempo, drummer Billy Higgins heard the 2nd, 3rd, and 5th sections in a light 12/8 Latin feel as opposed to the original, where Pete LaRoca enhanced the bass and piano figures with a swing feel.
Another change in my version is bassist Ron Carter's occasional "low Cs," starting with the last note of the intro (this couldn't have been considered on the original recording, since Eddie Kahn's bass didn't have a low C extension). Both Ron Carter and pianist Cedar Walton were given my transcription of the original piano and bass parts for this recording session. They're also what I also used for the Minus You parts on "The K.D. Challenge" version.
All the parts listed here are identical to the parts shown under the "Our Thing" album cover above left.
"The Music Of Kenny Dorham" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Don Sickler: Billy Higgins (the legendary drummer and another K. D. scholar I was blessed to have on my recording), asked me if he could approach the intro in a light Latin way, at the slower tempo I was hearing, instead of the swing way Pete LaRoca played on the original recording. Of course, that was great with me. Bassist Ron Carter took advantage of the low C extension on his bass to enhance the bass line.
I remember not being surprised that all of the incredible artists on my recording also loved Escapade and were glad that it was one of my choices. In later years, I produced and performed in several Kenny Dorham Festivals at the Jazz Standard in New York City, as well as other K.D. performance tributes, so I got to revisit Escapade again with Ron Carter, Cedar Walton and Jimmy Heath.
Don Sickler: Billy Higgins (the legendary drummer and another K. D. scholar I was blessed to have on my recording), asked me if he could approach the intro in a light Latin way, at the slower tempo I was hearing, instead of the swing way Pete LaRoca played on the original recording. Of course, that was great with me. Bassist Ron Carter took advantage of the low C extension on his bass to enhance the bass line.
I remember not being surprised that all of the incredible artists on my recording also loved Escapade and were glad that it was one of my choices. In later years, I produced and performed in several Kenny Dorham Festivals at the Jazz Standard in New York City, as well as other K.D. performance tributes, so I got to revisit Escapade again with Ron Carter, Cedar Walton and Jimmy Heath.
- Recording: James Spaulding - Escapade
- Recorded on: April 28, 1999
- Label: HighNote (HCD 7039)
- Concert Key: C minor, No key center
- Style: Swing (medium)
- Flugelhorn - Don Sickler
- Flute - James Spaulding
- Piano - John Hicks
- Bass - Ray Drummond
- Drums - Kenny Washington
The two-horn arrangement by jazzleadsheets.com's Don Sickler on this recording features a countermelody that can be used with the original arrangement. Don plays this line on flugelhorn under the flute melody. The rhythm section plays the same figures as on the original version, but with a 12/8 Latin feel on the intro and most of the head/solo form; the feel changes to swing in the first and fourth 4-measure phrases.
Lead sheets and rhythm section parts are the same under all album covers, but the second parts are labeled by album.
Lead sheets and rhythm section parts are the same under all album covers, but the second parts are labeled by album.
"Escapade" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Don Sickler: I had the honor of producing and writing the arrangement for this James Spaulding album. James also honored me by asking me to play on the album. His great rhythm section of John Hicks, Ray Drummond and Kenny Washington were all sensitive musicians who loved Kenny Dorham's music. James wanted to play the melody on flute, an octave higher, and that gave me a lot of room to write myself a flugelhorn part that would basically answer the melody, while letting the rhythm section play Kenny's parts. Like drummer Billy Higgins on my recording, Kenny Washington heard all the four-measure "Charleston" figures Latin instead of swing.
"Escapade" was Spaulding's second High Note album produced by Sickler; the first, "The Smile Of The Snake," includes Donald Brown's Havana Days and Richard Wyand's Yes It Is.
Don Sickler: I had the honor of producing and writing the arrangement for this James Spaulding album. James also honored me by asking me to play on the album. His great rhythm section of John Hicks, Ray Drummond and Kenny Washington were all sensitive musicians who loved Kenny Dorham's music. James wanted to play the melody on flute, an octave higher, and that gave me a lot of room to write myself a flugelhorn part that would basically answer the melody, while letting the rhythm section play Kenny's parts. Like drummer Billy Higgins on my recording, Kenny Washington heard all the four-measure "Charleston" figures Latin instead of swing.
"Escapade" was Spaulding's second High Note album produced by Sickler; the first, "The Smile Of The Snake," includes Donald Brown's Havana Days and Richard Wyand's Yes It Is.
- Recording: Don Sickler - The K.D. Challenge
- Recorded on: October 7, 2001
- Label: jazzleadsheets.com (JLS 1033)
- Concert Key: C minor, No key center
- Style: Swing (medium)
- Trumpet - Don Sickler
- Piano - Cecilia Coleman
- Bass - Tim Givens
- Drums - Vince Cherico
Our "K.D. Challenge" recording is arranged the same way as the original Joe Henderson version, but in a quartet setting. This version swings throughout, without the Latin 12/8 groove of the Spaulding version. Due to the rhythm section stop-time activity in the head, we consider it important for the pianist, bassist and drummer to know what else is going on around their parts. Accordingly, in all three rhythm section parts we have included the melody on a separate upper staff. In the melody parts, rhythm section figures are also notated under the staff; this is particularly important for this song as the rhythm section is not playing on the downbeat of the melody's first measure. Minus You tracks are available for all instruments (click on the Minus You tab for details).
Note that the lead sheets and parts under all the album covers are the same, except for the second parts, which are labeled by album. Ordering one part puts a check mark by that part in all albums, so you won't buy the same part twice.
To learn why we think Kenny Dorham's music is so important, click About The K.D. Challenge.
IMPORTANT NOTE FOR DRUMMERS and others:
First listen to the piano and bass Intro rhythmic figure.
[>] Now listen to the four-measure rhythm section pattern played by bass and piano starting in the fifth measure (the break is only in the melody section.)
[>] Now listen to the four-measure syncopated pattern starting in measure 9 (the break is in the melody choruses only).
[>] Next, four measures of swing (2-feel for the melody and 4-feel for solos), followed by the last four-measure syncopated rhythm pattern (no break in the 4th measure.)
What do you think? Should you play the sections with figures swing or Latin? Couldn't you do them either way? Check out how our four drummers played them, then see the Description notes for each to see why.
Note that the lead sheets and parts under all the album covers are the same, except for the second parts, which are labeled by album. Ordering one part puts a check mark by that part in all albums, so you won't buy the same part twice.
To learn why we think Kenny Dorham's music is so important, click About The K.D. Challenge.
IMPORTANT NOTE FOR DRUMMERS and others:
First listen to the piano and bass Intro rhythmic figure.
[>] Now listen to the four-measure rhythm section pattern played by bass and piano starting in the fifth measure (the break is only in the melody section.)
[>] Now listen to the four-measure syncopated pattern starting in measure 9 (the break is in the melody choruses only).
[>] Next, four measures of swing (2-feel for the melody and 4-feel for solos), followed by the last four-measure syncopated rhythm pattern (no break in the 4th measure.)
What do you think? Should you play the sections with figures swing or Latin? Couldn't you do them either way? Check out how our four drummers played them, then see the Description notes for each to see why.
"The K.D. Challenge" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
The quartet featured here spent months rehearsing Kenny Dorham's music at the Second Floor Music/jazzleadsheets.com studio during 2001. Don had challenged the musicians, and they spent two days at Rudy Van Gelder's studio in Englewood Cliffs, NJ, proving they could play it.
The quartet featured here spent months rehearsing Kenny Dorham's music at the Second Floor Music/jazzleadsheets.com studio during 2001. Don had challenged the musicians, and they spent two days at Rudy Van Gelder's studio in Englewood Cliffs, NJ, proving they could play it.
On Don Sickler's version of Escapade (above left), drummer Billy Higgins accompanies the intro and melody with an Afro-Cuban 12/8 groove, transitioning to swing for letter C. Kenny Washington takes the same approach on James Spaulding's recording of the piece (also above left). Vince Cherico on our Minus You recording and Pete La Roca on the original Joe Henderson recording play swing throughout, a simpler yet just as effective approach. Listen to both approaches and decide which you prefer.
Click here to learn more about the "K.D. Challenge" recordings and be sure to check out the rest!
Click here to learn more about the "K.D. Challenge" recordings and be sure to check out the rest!
Exclusive audio Minus You tracks are available for all instruments. Individual parts are available for each rhythm section member.
[clip] Here's a clip of the track. The form of these Minus You tracks is quite simple:
-- intro
-- melody twice
-- trumpet solo 3 choruses
-- out melody twice
-- coda
[clip] minus melody
-- count off sets up the intro
-- wait for the intro and play the melody twice
-- solo 3 choruses
-- play the out melody twice then the coda
[clip] minus piano - there is a separate piano part
-- count off sets up the intro
-- play figures for the intro
-- play figures/comp for the melody twice
-- comp/play figures for the trumpet solo 3 choruses
-- play figures/comp for the out melody twice then the coda
[clip] minus bass - there is a separate bass part
-- count off sets up the intro
-- play figures for the intro
-- play figures/walk for the melody twice
-- walk/play figures for the trumpet solo 3 choruses
-- play figures/walk for the out melody twice then the coda
[clip] minus drums - sticks throughout - there is a separate drum part
-- count off sets up the intro
-- play figures/comp for the intro
-- play figures/comp for the melody twice
-- comp/play figures for the trumpet solo 3 choruses
-- play figures/comp for the out melody twice then the coda
[clip] bass & drums only
By eliminating the comping piano track from the minus melody track, we made a track where the pianist can play the melody and be featured throughout. This bass & drums only track also works great as a feature for guitar or any other instrument (tenor saxophonist Sonny Rollins loved to play with just bass and drums, for example). Perfect for an audition tape.
-- count off sets up the intro
-- wait for the intro and play the melody twice
-- solo 3 choruses
-- play the out melody twice then the coda
[clip] Here's a clip of the track. The form of these Minus You tracks is quite simple:
-- intro
-- melody twice
-- trumpet solo 3 choruses
-- out melody twice
-- coda
[clip] minus melody
-- count off sets up the intro
-- wait for the intro and play the melody twice
-- solo 3 choruses
-- play the out melody twice then the coda
[clip] minus piano - there is a separate piano part
-- count off sets up the intro
-- play figures for the intro
-- play figures/comp for the melody twice
-- comp/play figures for the trumpet solo 3 choruses
-- play figures/comp for the out melody twice then the coda
[clip] minus bass - there is a separate bass part
-- count off sets up the intro
-- play figures for the intro
-- play figures/walk for the melody twice
-- walk/play figures for the trumpet solo 3 choruses
-- play figures/walk for the out melody twice then the coda
[clip] minus drums - sticks throughout - there is a separate drum part
-- count off sets up the intro
-- play figures/comp for the intro
-- play figures/comp for the melody twice
-- comp/play figures for the trumpet solo 3 choruses
-- play figures/comp for the out melody twice then the coda
[clip] bass & drums only
By eliminating the comping piano track from the minus melody track, we made a track where the pianist can play the melody and be featured throughout. This bass & drums only track also works great as a feature for guitar or any other instrument (tenor saxophonist Sonny Rollins loved to play with just bass and drums, for example). Perfect for an audition tape.
-- count off sets up the intro
-- wait for the intro and play the melody twice
-- solo 3 choruses
-- play the out melody twice then the coda
Kenny Dorham
August 30, 1924 – December 15, 1972
August 30, 2025, is Kenny Dorham's 101st birthday: jazzleadsheets.com has added many new K.D. compositions. Jazz At Lincoln Center has dedicated three late-night sets to Kenny's music, played with love by young musicians who want his music to live on. Join in, play K.D. music! Read more...