Sometime Ago – Sergio Mihanovich
Sergio Mihanovich's best-known composition (with his own lyric) and an international jazz standard, Sometime Ago has been recorded at a variety of tempos, keys and styles: it works every time!
- Recording: Art Farmer - Interaction
- Recorded on: August 1, 1963
- Label: Atlantic (SD 1412)
- Concert Key: F
- Style: 3/4 swing (medium)
- Flugelhorn - Art Farmer
- Guitar - Jim Hall
- Bass - Steve Swallow
- Drums - Walter Perkins
Video
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BOTH VIDEOS WORK! Click on them.
- Sergio Mihanovich's Sometime Ago performed by Art Farmer, flugelhorn; Jim Hall, guitar; Steve Swallow, bass; Walter Perkins, drums. January 10, 1964.
- Jazz journalist Ralph Gleason interviews Art Farmer about his instrument, his group, how they choose material, and at the end introduces Sometime Ago by a young South American composer.
It is not hard to see why this song has become a jazz standard. The main melodic idea is very simple, an ascending major triad. It gets developed over a logical set of changes, with the mostly diatonic texture broken up by altered chord extensions and, at the end of the B section, a II-V approached by another II-V a half step higher. There is a particularly singable quality to the melody, even without the lyrics; we have included the lyrics in all lead sheets. Many of the best jazz instrumentalists approach a song differently if it has lyrics; keeping the lyrics in mind helps to shape the melody expressively.
Though this first recording is in F, later versions by trombonist Bob Brookmeyer, vocalist Irene Kral and pianist Bill Evans established C as the most common key for this song. We have lead sheets available in F; click on the Brookmeyer and Evans album covers for lead sheets in C. All our lead sheets have Sergio Mihanovich's original tempo marking "slowly with expression"; the song certainly works slowly in either key though Art Farmer plays it at a medium swing tempo. A transcription of Art's melody interpretation for the "in" and "out" heads on this recording is available, as is a transcription of his solo (click on the Solos tab for more information).
Though this first recording is in F, later versions by trombonist Bob Brookmeyer, vocalist Irene Kral and pianist Bill Evans established C as the most common key for this song. We have lead sheets available in F; click on the Brookmeyer and Evans album covers for lead sheets in C. All our lead sheets have Sergio Mihanovich's original tempo marking "slowly with expression"; the song certainly works slowly in either key though Art Farmer plays it at a medium swing tempo. A transcription of Art's melody interpretation for the "in" and "out" heads on this recording is available, as is a transcription of his solo (click on the Solos tab for more information).
Guitarist Jim Hall had met the composer Sergio Mihanovich when Jim traveled to Buenos Aires in 1960 and recorded there with Sergio (piano & vocals) and tenor saxophonist Gato Barbieri. Back in the United States, Jim brought Sometime Ago to Art Farmer, who realized it was a classic and immediately put it into his group's repertoire. Art recorded Sometime Ago with Jim Hall on three occasions. First, in the recording studio in New York, August 1, 1963; then on two television shows, a Jazz Casual performance on January 10, 1964, then in England for the BBC on June 6, 1964.
The next three recordings, from 1964, were by Ray Bryant], guitarist Joe Pass, and Jack Wilson.
The next three recordings, from 1964, were by Ray Bryant], guitarist Joe Pass, and Jack Wilson.
Art Farmer Flugelhorn Solo: Art Farmer's solo clip is the last solo on this recording, following Jim Hall and Steve Swallow. Art begins very simply. His first chorus is a classic example of his style, with some tasteful scalar lines breaking up the motivic development and outlining the chord alterations. The second chorus gets deeper, with simple melodic ideas getting developed and reworked. The triadic structure from the head gets worked into a different shape in the C section of this chorus. Art's only double-time run is in the last measure, leading into a rhythm section interlude to return to the theme.
On this Sergio Mihanovich waltz, Jim Hall's greatest musical qualities, his lush, bell-like sound; his full-bodied, simpatico accompaniment; his flowing, singing melodic style, are all on full and beautiful display. Beneath Art Farmer's statement of the melody, Hall lays down a comfortable and propulsive cushion, tastefully navigating through the range of the guitar and crafting counterlines to frame it.
Taking the first solo (on the studio recording), Hall eschews pyrotechnics in favor of pure and captivating melodic invention, carving out relaxed phrases that capture the essence of Mihanovich's song while being distinctly Hall's. While guitarists had always played a role in the rhythm section (listen to the rhythm guitar brilliance of Freddie Green for example), Hall's performance here, as well as on other contemporary, piano-less albums such as Sonny Rollins' "The Bridge" (1962), cemented the guitar's credentials as a serious, modern comping instrument behind horn players, and cemented Hall's reputation as one of the great musicians of all time. Essential listening for any musician.
For a long time, there have only been three performances of Sometime Ago with Art Farmer and Jim Hall available. First, in the recording studio in New York, August 1, 1963; then on two television shows, a Jazz Casual performance on January 10, 1964, then in England for the BBC on June 6, 1964, which became more widely available as part of the Jazz Icons DVD series. Recently, two more Art Farmer/Jim Hall performances in Sweden have been made available. We will be exploring the marvelous interplay of these great artist on these newly released performances, as well as the two video performances as we develop our Guitar Corner. For now, as we launch our Guitar Corner, explore Jim Hall's marvelous interplay with Art Farmer on this, their first recording together of Sometime Ago.
Taking the first solo (on the studio recording), Hall eschews pyrotechnics in favor of pure and captivating melodic invention, carving out relaxed phrases that capture the essence of Mihanovich's song while being distinctly Hall's. While guitarists had always played a role in the rhythm section (listen to the rhythm guitar brilliance of Freddie Green for example), Hall's performance here, as well as on other contemporary, piano-less albums such as Sonny Rollins' "The Bridge" (1962), cemented the guitar's credentials as a serious, modern comping instrument behind horn players, and cemented Hall's reputation as one of the great musicians of all time. Essential listening for any musician.
For a long time, there have only been three performances of Sometime Ago with Art Farmer and Jim Hall available. First, in the recording studio in New York, August 1, 1963; then on two television shows, a Jazz Casual performance on January 10, 1964, then in England for the BBC on June 6, 1964, which became more widely available as part of the Jazz Icons DVD series. Recently, two more Art Farmer/Jim Hall performances in Sweden have been made available. We will be exploring the marvelous interplay of these great artist on these newly released performances, as well as the two video performances as we develop our Guitar Corner. For now, as we launch our Guitar Corner, explore Jim Hall's marvelous interplay with Art Farmer on this, their first recording together of Sometime Ago.
- Recording: Bob Brookmeyer - Bob Brookmeyer And Friends
- Recorded on: May 27, 1964
- Label: Columbia (CL 2237)
- Concert Key: C
- Style: 3/4 swing (medium)
- Valve Trombone - Bob Brookmeyer
- Tenor Sax - Stan Getz
- Piano - Herbie Hancock
- Bass - Ron Carter
- Drums - Elvin Jones
Video
- Art Farmer, flugelhorn; Jim Hall, guitar, Steve Swallow, bass; Pete LaRoca, drums. London, England, June 1964.
- Sergio Mihanovich and his niece, Sandra Mihanovich, perform Sometime Ago together.
In contrast to the quiet, contemplative mood on the original Art Farmer recording, there is a "snap, crackle, and pop" here coming mostly from Elvin Jones' drums. The key of C lays well for this song on trombone and tenor sax. Brookmeyer and Getz split the melody up, alternating sections; Bob plays some harmonies behind Stan's melody on the D section.
minus you An accompaniment-only MP3 is available, in C concert. This is a one chorus ballad treatment, the way the composition was originally conceived. Great for instrumentalists and vocalists. The melody chorus is set up with a four-measure introduction by pianist Cecilia Coleman and here's a clip clip.
minus you An accompaniment-only MP3 is available, in C concert. This is a one chorus ballad treatment, the way the composition was originally conceived. Great for instrumentalists and vocalists. The melody chorus is set up with a four-measure introduction by pianist Cecilia Coleman and here's a clip clip.
This was recorded within a year of Art Farmer's premiere recording. Because of Stan Getz's popularity, you will also find this listed under Getz as a leader instead of Brookmeyer.
The rhythm section of Herbie Hancock, Ron Carter, and Elvin Jones, a combination from Miles Davis' and John Coltrane's rhythm sections of the time, recorded together only in 1964. Besides the Brookmeyer album, they accompanied vocalist Tony Bennett (with Getz) for one song recorded two days before this session; they got back together to record more with Bennett in October. On Christmas Eve of that year, they recorded on Wayne Shorter's classic album "Speak No Evil," also featuring Freddie Hubbard.
The rhythm section of Herbie Hancock, Ron Carter, and Elvin Jones, a combination from Miles Davis' and John Coltrane's rhythm sections of the time, recorded together only in 1964. Besides the Brookmeyer album, they accompanied vocalist Tony Bennett (with Getz) for one song recorded two days before this session; they got back together to record more with Bennett in October. On Christmas Eve of that year, they recorded on Wayne Shorter's classic album "Speak No Evil," also featuring Freddie Hubbard.
- Recording: Clark Terry-Bob Brookmeyer - Tonight
- Recorded on: November 23 & 24, 1964
- Label: Mainstream (M56043)
- Concert Key: C
- Style: 3/4 swing (medium)
- Flugelhorn - Clark Terry
- Valve Trombone - Bob Brookmeyer
- Piano - Roger Kellaway
- Bass - Bill Crow
- Drums - Dave Bailey
This version returns to a quieter feeling, and also a slower tempo, than the Brookmeyer recording from earlier that year. Bob shares the melody with Clark Terry in the same way that he had split it with Stan Getz; there is a particular eloquence in the way Clark states the B and D sections. These men are both master storytellers; the two playing together form one of the great front lines of all time. After the piano solo, Bob and Clark improvise together for the first half of the out-chorus, then trade "2s" on the C section melody and go into harmony for the D section.
minus you An accompaniment-only MP3 is available, in C concert. This is a one chorus ballad treatment, the way the composition was originally conceived. Great for instrumentalists and vocalists. The melody chorus is set up with a four-measure introduction by pianist Cecilia Coleman and here's a clip clip.
minus you An accompaniment-only MP3 is available, in C concert. This is a one chorus ballad treatment, the way the composition was originally conceived. Great for instrumentalists and vocalists. The melody chorus is set up with a four-measure introduction by pianist Cecilia Coleman and here's a clip clip.
This album also includes Bob Brookmeyer's Hum (which is available on jazzleadsheets.com as You, with a lyric by vocalist Judy Niemack).
Lord discography shows Bob and Clark recording together for the first time on an Al Cohn 1960 recording ("Son Of Drum Suite"). Later that year they were an important part of the Gerry Mulligan And The Concert Jazz Band "Live" at the Village Vanguard recording. Lord show that they did at least 20 sessions together in 1961.
In addition to more large-group sessions, they also started working together as a quintet. They did some live recordings and also recorded two other quintet albums after "Tonight." The first was "The Power Of Positive Swinging" from 1965, with the same rhythm section. "Gingerbread Men," from 1966, has Hank Jones and Bob Cranshaw instead of Roger Kellaway and Bill Crow.
Lord discography shows Bob and Clark recording together for the first time on an Al Cohn 1960 recording ("Son Of Drum Suite"). Later that year they were an important part of the Gerry Mulligan And The Concert Jazz Band "Live" at the Village Vanguard recording. Lord show that they did at least 20 sessions together in 1961.
In addition to more large-group sessions, they also started working together as a quintet. They did some live recordings and also recorded two other quintet albums after "Tonight." The first was "The Power Of Positive Swinging" from 1965, with the same rhythm section. "Gingerbread Men," from 1966, has Hank Jones and Bob Cranshaw instead of Roger Kellaway and Bill Crow.
- Recording: Bill Evans - You Must Believe In Spring
- Recorded on: August 23-25, 1977
- Label: Warner Brothers (XHS 3504)
- Concert Key: C
- Style: Swing (medium slow)
- Piano - Bill Evans
- Bass - Eddie Gomez
- Drums - Elliot Zigmund
Video
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Pianist Cooper Lynn prepares for his trip to Argentina by interpreting Sergio Mihanovich's beautiful ballad at the jazzleadsheets.com studio (February 23, 2016).
Our audio excerpt starts at the beginning of the track in another interpretation of this song; not as fast as Farmer or Brookmeyer, but not as slow as Kral. This version is Bill's classic interactive trio treatment, as in original songs of his such as Waltz for Debby. Though Bill plays the in head rubato, the basic tempo is implied throughout. He starts by himself; the bass enters after sixteen measures, and the drums begin on the next chorus. Bill starts the second chorus with the melody, developing it as the start of his improvisation.
There's a minus you accompaniment-only track that is great for instrumentalists and vocalists. Click on the Minus You tab for details.
There's a minus you accompaniment-only track that is great for instrumentalists and vocalists. Click on the Minus You tab for details.
"You Must Believe In Spring" was the first of four studio albums Bill recorded as a leader for Warner Brothers. It was also his last recording with Eddie Gomez, who had been his regular bassist since the late '60s. Though he would often revisit the same songs, there are no other recordings of Bill Evans playing Sometime Ago.
minus you An accompaniment-only MP3 is available, in C concert. This is a one chorus ballad treatment, the way the composition was originally conceived. Great for instrumentalists and vocalists. The melody chorus is set up with a four-measure introduction by pianist Cecilia Coleman and here's a clip clip.
Sergio Mihanovich
May 8, 1937 – May 7, 2012
Sergio Mihanovich was a beloved composer in his native Buenos Aires. In Argentina, Sergio was active in many areas: writing soundtracks for Argentine films and theatrical productions; working in nightclubs; recording in both jazz (performing and recording with saxophonist Gato Barbieri) and pop settings; as an educator; and as a writer of both music and words. In the 1960s Sergio lived in the United States for a time, writing the songs that eventually became part of the Second Floor Music catalog and working as a pianist/vocalist/composer. Read more...