Farewell To Sweden – Freddie Redd
Freddie's tribute to his 1956 trip to Sweden is a laid-back, bittersweet medium swinger. In addition to the original trio recording, a new quintet version is available with Minus You tracks so instrumentalists (both melody and rhythm section players) can play with the group.
- Recording: Freddie Redd - Freddie Redd Trio
- Recorded on: September 18, 1956
- Label: Metropolitan (MEP 217)
- Concert Key: E-flat
- Style: Swing (medium)
- Piano - Freddie Redd
- Bass - Tommy Potter
- Drums - Joe Harris
This song is a classic example of Freddie's refined sense of melody—and harmony. The melody is eminently singable, and the changes are very rewarding to blow on. Though certain motions of the changes recall some of the classic standards, there are some classic Reddian twists such as the chromatic motion in the last eight measures. Like many of Freddie's songs, the form is slightly different from the standard 32-measure form—here with a four-measure tag.
In addition to this trio version, a new quintet version is available with an arrangement by jazzleadsheets.com's Don Sickler. Click on the "Freddie Redd Project" album cover above to check it out. Clicking here, on "Freddie Redd Project," shows you all of the songs currently in this project.
Note that the lead sheets are the same for both albums, however second parts and Minus You audio tracks are only available under the "Freddie Redd Project" cover.
For more about Freddie's trip to Sweden, check out A Night At Nalen and Blue Hour.
In addition to this trio version, a new quintet version is available with an arrangement by jazzleadsheets.com's Don Sickler. Click on the "Freddie Redd Project" album cover above to check it out. Clicking here, on "Freddie Redd Project," shows you all of the songs currently in this project.
Note that the lead sheets are the same for both albums, however second parts and Minus You audio tracks are only available under the "Freddie Redd Project" cover.
For more about Freddie's trip to Sweden, check out A Night At Nalen and Blue Hour.
Farewell To Sweden was the only song recorded at the last session Freddie Redd did in Stockholm in 1956. There had been seven previous sessions, all featuring the same rhythm section as a trio or with horn players and/or vocalists. Trumpeters Rolf Ericson and Benny Bailey played on many of these sessions; the second to last featured the two of them in a quintet setting.
For more about Freddie's trip to Sweden, check out A Night At Nalen and Blue Hour.
For more about Freddie's trip to Sweden, check out A Night At Nalen and Blue Hour.
- Recording: Don Sickler - Freddie Redd Project
- Recorded on: January 4, 2015
- Label: jazzleadsheets.com (JLS 1021)
- Concert Key: E-flat
- Style: Swing (medium)
- Trumpet - Don Sickler
- Alto Sax - Elijah Shiffer
- Piano - Julius Rodriguez
- Bass - Nick Dunston
- Drums - Jeff Brillinger
This quintet arrangement has the second part (alto sax on the recording) mostly playing "pads" and catching hits with the rhythm section. In a few instances the horns are in harmony together; the eighth measure of the C section has some more active horn counterpoint.
This track is also available with different instruments removed so any instrumentalist can play along; click on the Minus You tab for more details. And check out "Freddie Redd Project" for more titles from the same album.
Note that the lead sheets are the same for both albums, however second parts and Minus You audio tracks are only available under the Freddie Redd Project" cover.
This track is also available with different instruments removed so any instrumentalist can play along; click on the Minus You tab for more details. And check out "Freddie Redd Project" for more titles from the same album.
Note that the lead sheets are the same for both albums, however second parts and Minus You audio tracks are only available under the Freddie Redd Project" cover.
"The Freddie Redd Project" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Pianist/composer Freddie Redd came to New York in early 1985 to record an album for the Uptown label, "Lonely City." It was a septet session, with arrangements by Don Sickler. On his way into town, from Washington, D,C., Freddie's car caught fire, leaving Freddie, his companion Val and their cat stranded. For a few weeks they all stayed in the rehearsal room at what is now the jazzleadsheets.com studio, where Freddie and Don took the opportunity to document a lot of Freddie's music.
Don references those manuscripts and recordings when working on the "Freddie Redd Project."
Pianist/composer Freddie Redd came to New York in early 1985 to record an album for the Uptown label, "Lonely City." It was a septet session, with arrangements by Don Sickler. On his way into town, from Washington, D,C., Freddie's car caught fire, leaving Freddie, his companion Val and their cat stranded. For a few weeks they all stayed in the rehearsal room at what is now the jazzleadsheets.com studio, where Freddie and Don took the opportunity to document a lot of Freddie's music.
Don references those manuscripts and recordings when working on the "Freddie Redd Project."
Minus You audio: These are tracks from the quintet recording. The rhythm section editions are simply explained: minus either piano, bass or drums. The minus melody edition has additional solo space, because the original track had a piano solo; the piano solo is eliminated, giving the melody instrument a chance to solo with just bass and drums.
The following shows a breakdown of each track edition. There are five Minus You tracks, with different combinations of instruments.
clip This is the format of the full recording:
-- melody [1 chorus]
-- horn solos [2 choruses]
1 chorus alto sax
1 chorus trumpet
-- piano solo [1 chorus]
-- out melody
[clip] minus melody - this track works for any solo instrument, Minus You for the entire original track
-- count off sets up the melody
-- melody
-- melody instrument solo:
2 choruses with full rhythm section
1 chorus with only bass and drums
-- out melody
[clip] minus piano - get the concert condensed score
-- count off sets up the melody
-- comp for the melody (with hits) -- comp for the alto sax solo [1 chorus]
-- comp for the trumpet solo [1 chorus]
-- solo accompanied by bass and drums [1 chorus]
-- comp for the out melody (with hits)
[clip] minus bass - there is a separate bass part
-- count off sets up the melody
-- melody
2-feel for A
walk for first four measures of B
2-feel for second four measures of B (with hits)
walk for C and first four measures of D
2-feel for last eight measures (with hits)
-- walk for the alto sax solo [1 chorus]
-- walk for the trumpet solo [1 chorus]
-- walk for the piano solo [1 chorus]
-- out melody - same pattern as in melody
[clip] minus drums - sticks throughout, get the concert condensed score
-- count off sets up the melody
-- melody
2-feel for A
4-feel for first four measures of B
2-feel for second four measures of B (with hits)
4-feel for C and first four measures of D
2-feel for last eight measures (with hits) -- comp for the alto sax solo [1 chorus]
-- comp for the trumpet solo [1 chorus]
-- comp for the piano solo [1 chorus]
-- out melody - same pattern as in melody
[clip] bass & drums only - to feature piano, guitar, vibes, or any melodic instrument that likes to play without harmonic accompaniment (this version has only bass and drums)
-- count off sets up the melody
-- melody
-- solo accompanied by bass and drums [3 choruses]
-- out melody
The following shows a breakdown of each track edition. There are five Minus You tracks, with different combinations of instruments.
clip This is the format of the full recording:
-- melody [1 chorus]
-- horn solos [2 choruses]
1 chorus alto sax
1 chorus trumpet
-- piano solo [1 chorus]
-- out melody
[clip] minus melody - this track works for any solo instrument, Minus You for the entire original track
-- count off sets up the melody
-- melody
-- melody instrument solo:
2 choruses with full rhythm section
1 chorus with only bass and drums
-- out melody
[clip] minus piano - get the concert condensed score
-- count off sets up the melody
-- comp for the melody (with hits) -- comp for the alto sax solo [1 chorus]
-- comp for the trumpet solo [1 chorus]
-- solo accompanied by bass and drums [1 chorus]
-- comp for the out melody (with hits)
[clip] minus bass - there is a separate bass part
-- count off sets up the melody
-- melody
2-feel for A
walk for first four measures of B
2-feel for second four measures of B (with hits)
walk for C and first four measures of D
2-feel for last eight measures (with hits)
-- walk for the alto sax solo [1 chorus]
-- walk for the trumpet solo [1 chorus]
-- walk for the piano solo [1 chorus]
-- out melody - same pattern as in melody
[clip] minus drums - sticks throughout, get the concert condensed score
-- count off sets up the melody
-- melody
2-feel for A
4-feel for first four measures of B
2-feel for second four measures of B (with hits)
4-feel for C and first four measures of D
2-feel for last eight measures (with hits) -- comp for the alto sax solo [1 chorus]
-- comp for the trumpet solo [1 chorus]
-- comp for the piano solo [1 chorus]
-- out melody - same pattern as in melody
[clip] bass & drums only - to feature piano, guitar, vibes, or any melodic instrument that likes to play without harmonic accompaniment (this version has only bass and drums)
-- count off sets up the melody
-- melody
-- solo accompanied by bass and drums [3 choruses]
-- out melody
Freddie Redd
May 29, 1928 – March 17, 2021
Pianist Freddie Redd, best known for his role as composer and actor in the play and movie "The Connection," started playing the piano when he was in the Army. Mostly self-taught, he learned while performing in clubs with other musicians. According to Nat Hentoff's liner notes to "Shades Of Redd," Freddie says he's "been influenced by many things I've heard on a lot of instruments. What I do is try to piece together what stimulates me into my own way of feeling things musically." Redd's music is simultaneously optimistic and knowing—it makes you want to play along with it, to join in the experience. Read more...