Weird Knack – David Berkman
A mixed-meter workout that develops a simple theme through alternations of 3/4 and 4/4. The quintet arrangement on the first recording is available, as well as a solo piano arrangement.
- Recording: David Berkman - Communication Theory
- Recorded on: January 7, 2000
- Label: Palmetto (PM 2059)
- Concert Key: No key center
- Style: Even 8ths (medium up)
- Alto Sax - Steve Wilson
- Tenor Sax - Chris Cheek
- Piano - David Berkman
- Bass - Ugonna Okegwo
- Drums - Brian Blade
Titled Wierd Knock on the "Communication Theory" album, this quirky mixed-meter song has a non-repeating form based on a single motive. The first measure is a three-note rhythmic cell voiced with close position chords in 3/4 followed by a simple answering bass figure in 4/4. As the song develops, sometimes the answering phrase is left out, or the first phrase is expanded upon and the intervals become larger. The changes in meter create an unpredictable feeling. The form totals 28 measures, with 12-measure A section, 6-measure B, and 10-measure C. There is no key center, but the beginnings of the three sections imply F major, G minor, and F minor.
The solo section is a very open 16-measure progression in 6/4, 4 measures each of A♭m7, G♭dim7, Gm7, and Fdim7. These 6/4 measures use a two-note bass figure based on the 4/4 measures of the head; they are felt as a funky 4 + 2 or a "big 3" (3 half notes) rather than dividing the measures evenly in groups of 3 beats. The bass line can be doubled by the piano to start or end solos.
Second parts are available for this quintet arrangement, as well as a separate bass part. On this recording, the horns are harmonized almost throughout except the last measure of the A section.
The solo section is a very open 16-measure progression in 6/4, 4 measures each of A♭m7, G♭dim7, Gm7, and Fdim7. These 6/4 measures use a two-note bass figure based on the 4/4 measures of the head; they are felt as a funky 4 + 2 or a "big 3" (3 half notes) rather than dividing the measures evenly in groups of 3 beats. The bass line can be doubled by the piano to start or end solos.
Second parts are available for this quintet arrangement, as well as a separate bass part. On this recording, the horns are harmonized almost throughout except the last measure of the A section.
"Communication Theory" is David Berkman's second album as a leader. The personnel on this song is almost the same as his debut album, "Handmade" from 1998, but with Chris Cheek on tenor replacing trumpeter Tom Harrell. On other songs on "Communication Theory," soprano saxophonist Sam Newsome is added. This album features a lot of songs that were created by transforming motives through various repetitive rhythmic ideas. Weird Knack was recorded again on "Live at Smoke" in 2009 (click on the second album cover for this recording) which shows how long this tune was in the Berkman quartet book.
A Solo Piano Arrangement is available. It features the voicings that David plays on the recordings, with mostly 4- or 5-note voicings on the melody figures, and the bass answering measures in octaves in the left hand. This arrangement shows another articulation of the melody; unlike in the two recordings, the third note of the opening phrase is a short eighth note, not tied to a quarter note.
- Recording: David Berkman - Live At Smoke: David Berkman Quartet
- Recorded on: August 11-12, 2006
- Label: Challenge (CHR 73282)
- Concert Key: No key center
- Style: Even 8ths (medium up)
- Tenor Sax - Jimmy Greene
- Piano - David Berkman
- Bass - Ed Howard
- Drums - Ted Poor
This quartet version is similar to the original quintet recording (album cover left). The tempo is about the same, and Berkman plays similar voicings on the melody. In the solos on this version, the rhythm section accentuates the "big 3" or 3/2 feel, opening up the groove away from the repeated two-note bass figure.
In the early 2000s, Berkman toured a lot as a leader in Europe and the United States at colleges, clubs and festivals. Chris Cheek was the first saxist with the band but later the quartet featured Dick Oatts and eventually Jimmy Greene. Ugonna Okegwo and Ed Howard were usually the bassists in the band and Brian Blade, Gene Jackson, Nasheet Waits, Ted Poor and Gerald Cleaver were some of the drummers who played with the group.
David Berkman: "We often started the set with Weird Knack because it's easy to get loose on that one. We travelled from gig to gig by mini-van and when we'd pull into the hotel Ugonna would ask what the start time was for that night's gig by saying, 'When time do we go Bum-ba-dum' (the rhythm of the first measure). While I don't play this song as often as I used to, I will occasionally pull it out again because it is an easy vehicle for each group of musicians to interpret in their own individual way."
David Berkman: "We often started the set with Weird Knack because it's easy to get loose on that one. We travelled from gig to gig by mini-van and when we'd pull into the hotel Ugonna would ask what the start time was for that night's gig by saying, 'When time do we go Bum-ba-dum' (the rhythm of the first measure). While I don't play this song as often as I used to, I will occasionally pull it out again because it is an easy vehicle for each group of musicians to interpret in their own individual way."
A Solo Piano Arrangement is available. It features the voicings that David plays on the recordings, with mostly 4- or 5-note voicings on the melody figures, and the bass answering measures in octaves in the left hand. This arrangement shows another articulation of the melody; unlike in the two recordings, the third note of the opening phrase is a short 8th note, not tied to a quarter note.
David Berkman
born on December 28, 1958
Since moving to New York in 1985, David Berkman has been an important part of the jazz community. He is an award-winning composer/bandleader (2000 Doris Duke/Chamber Music America New Works Creation and Presentation Grant), a recording artist whose nine recordings as a leader have appeared on numerous best records of the year critic’s lists (the New York Times, the Village Voice, Downbeat, JazzIz, Jazz Times and others) and an award-winning jazz clinician who has performed and taught at numerous jazz camps, universities and conservatories around the United States, South America, Asia and Europe. Read more...