Jazz Dancing – Don Friedman
A bright-toned medium-up swinger in a bebop style. The changes are full of chromatic approach II-V7s and some tritone substitution.
- Recording: Don Friedman - Jazz Dancing
- Recorded on: September 12, 1977
- Label: Progressive (7025)
- Concert Key: F
- Vocal Range: , to
- Style: Swing (medium up)
- Piano - Don Friedman
- Bass - Frank Luther
- Drums - Ronnie Bedford
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Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
A charming bebop-styled song in a "dancing" medium-up swing tempo. The 32-measure form is labeled AABC, but the second half of each A section is different; C is largely the same as the second A. The melody mostly reflects the changes, developing one-measure phrases over sequences of II-V7s. One of these sequences, with a descending arpeggio in triplets, appears in the first A section and again in the bridge.
The changes are all based on II-V7s; though there are a lot of chromatic side-slips and some tritone subs, the key center of F major is obvious throughout. The third and fourth measures of the A sections go to G♭ major, resolving back to F with descending II-V7s. The bridge goes to B♭ major at the beginning, with a tritone sub II-V7 in the second measure; the second half of the bridge starts the same, implying C major, but the equivalent tritone sub II-V7 goes to G♭ major again. There is a break for the first soloist in the last two measures.
There is no intro. The coda fills in the melody for the last two measures of the head, developing the last melodic pattern into a descending line; the piano and bass play this together on the recording. The head has a 2-feel throughout, going to 4-feel on the solos; however, the head could also have a 4-feel.
The last note of the coda in our B♭ lead sheet is below the tenor sax's written range. Tenor players should take the last three, five, or seven notes up an octave. There are a few more places in the melody where tenor saxophonists can experiment with playing an octave higher, for example the last two measures of the first A section and the second through fourth measures of the bridge.
The changes are all based on II-V7s; though there are a lot of chromatic side-slips and some tritone subs, the key center of F major is obvious throughout. The third and fourth measures of the A sections go to G♭ major, resolving back to F with descending II-V7s. The bridge goes to B♭ major at the beginning, with a tritone sub II-V7 in the second measure; the second half of the bridge starts the same, implying C major, but the equivalent tritone sub II-V7 goes to G♭ major again. There is a break for the first soloist in the last two measures.
There is no intro. The coda fills in the melody for the last two measures of the head, developing the last melodic pattern into a descending line; the piano and bass play this together on the recording. The head has a 2-feel throughout, going to 4-feel on the solos; however, the head could also have a 4-feel.
The last note of the coda in our B♭ lead sheet is below the tenor sax's written range. Tenor players should take the last three, five, or seven notes up an octave. There are a few more places in the melody where tenor saxophonists can experiment with playing an octave higher, for example the last two measures of the first A section and the second through fourth measures of the bridge.
"Jazz Dancing" was Don Friedman's only recording of 1977 and his first for Progressive; the following year, he recorded four more albums for this label. Two of these, "The Progressive Don Friedman" and "Love Music," also feature Frank Luther on bass with Billy Hart on drums. Another of Don's Progressive albums, "Gone With The Wind," has Ronnie Bedford on drums with George Mraz on bass; earlier in 1978, this trio appeared on Don's RCA album "Later Circle" and with tenor saxophonist Harold Ashby on the latter's Progressive album "Quickie."
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Don Friedman
May 4, 1935 – June 30, 2016
Don Friedman was only four years old, living in San Francisco, when he started playing his parents' piano. A year later, he started lessons with a private teacher. His love for jazz music was born when he moved to L.A. and heard the likes of Les Brown and Lee Konitz for the first time. Read more...
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