You'd Be Frantic Too – Oran "Hot Lips" Page
A slow blues in Hot Lips Page's distinctive style. Since his blues with lyrics are so personal, we don't have a lead sheet, instead a set of melody and solo transcriptions. Our Hot Lips Page vocal and trumpet melody and Lucky Thompson tenor sax solo transcriptions show the melodic thread of the alternate take; the closing trumpet chorus transcription is available for the both takes as well.
- Recording: Hot Lips Page - Commodore 571A
- Recorded on: March 8, 1944
- Label: Commodore (571A)
- Concert Key: B-flat minor
- Vocal Range: Tenor, B-flat3 to A-flat4 written 8va
- Style: Swing (slow)
- Trumpet, Vocal - Hot Lips Page
- Tenor Sax - Lucky Thompson, Lem Johnson
- Piano - Ace Harris
- Bass - John Simmons
- Drums - Sid Catlett
Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
For a more detailed description, click on the second album cover to check out the alternate take. This master take is quite similar; the lyrics are slightly different but the sentiment is the same. A trumpet transcription is available for this take; Hot Lips Page's trumpet chorus is a bit simpler here than on the alternate take. Having transcriptions from both takes of this song is a great way to explore different possibilities on the blues at this tempo.
Click on the next album cover for a vocal melody transcription from the alternate take.
Click on the next album cover for a vocal melody transcription from the alternate take.
Lucky Thompson's first two studio combo recordings were both with Hot Lips Page. After this session in March 1944, Lucky played on Hot Lips' session for the Continental label on November 30 of the same year. This latter session was also the first recording of pianist Hank Jones, who also recorded with Hot Lips on a September 1945 session alongside drummer Sid Catlett.
CLIP Here is Hot Lips' closing plunger trumpet chorus on the master take. A comparison of this solo with his solo on the alternate take shows his great plunger storytelling ability.
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- Recording: Oran "Hot Lips" Page - Complete Commodore Jazz Recordings, Vol. II
- Recorded on: March 8, 1944
- Label: Mosaic (MD23-128)
- Concert Key: B-flat minor
- Vocal Range: Tenor, B-flat3 to A-flat4 written 8va
- Style: Swing (slow)
- Trumpet, Vocal - Hot Lips Page
- Tenor Sax - Lucky Thompson, Lem Johnson
- Piano - Ace Harris
- Bass - John Simmons
- Drums - Sid Catlett
Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
A great example of the deep, heartfelt slow blues that Hot Lips Page was especially known for. This kind of blues is so personal that it wouldn't make sense to write this song as a lead sheet. Instead, we have melody transcriptions of Page for both vocal and trumpet. In addition, a transcription is available for Lucky Thompson's tenor sax solo on this take; click on Solos for more details about both the tenor and trumpet transcriptions.
After a four-measure intro, Page sings three choruses. Thompson solos for a chorus, and then Page plays a final chorus in his iconic growling plunger trumpet style. Having transcriptions of all three means that we present the full melodic thread of this track.
Our Hot Lips Page vocal melody transcription shows detailed rhythms, but it must be remembered that any jazz vocal transcription, and specifically transcriptions of older blues such as this, is an approximation in both rhythm and pitch. There is really no substitute for listening to the recordings to get a feel for this music.
After a four-measure intro, Page sings three choruses. Thompson solos for a chorus, and then Page plays a final chorus in his iconic growling plunger trumpet style. Having transcriptions of all three means that we present the full melodic thread of this track.
Our Hot Lips Page vocal melody transcription shows detailed rhythms, but it must be remembered that any jazz vocal transcription, and specifically transcriptions of older blues such as this, is an approximation in both rhythm and pitch. There is really no substitute for listening to the recordings to get a feel for this music.
The alternate takes from this session were issued on a Mosaic box set documenting the Commodore label. Hot Lips Page recorded on four sessions for Commodore. The first, a March 1941 trio session led by pianist Joe Bushkin, was unissued until the Mosaic release. In August of that year, Page played on a Commodore session by legendary tenor saxophonist Chu Berry. Page also recorded for the label as a leader in September 1944.
CLIP Lucky Thompson plays one chorus between Hot Lips Page's vocal and trumpet choruses. Lucky fills his chorus with intricate 16th-note lines that cover nearly the saxophone's entire range. Even at this early point in his career, his distinctive phrasing is certainly recognizable, as are the unpredictable directions of his lines.
CLIP Our Hot Lips Page trumpet transcription is only available in a B♭ transposition, as it's very specific for trumpet. Detailed articulation markings show where the plunger is opened and closed. A trumpet transcription is also available for the other take of this song; click on the first album cover for more details. Our audio excerpt starts with the last two measures of Lucky Thompson's solo before Hot Lips' chorus starts. Comparing Hot Lips' unique plunger storytelling with the other take shows his great versatility.
CLIP Our Hot Lips Page trumpet transcription is only available in a B♭ transposition, as it's very specific for trumpet. Detailed articulation markings show where the plunger is opened and closed. A trumpet transcription is also available for the other take of this song; click on the first album cover for more details. Our audio excerpt starts with the last two measures of Lucky Thompson's solo before Hot Lips' chorus starts. Comparing Hot Lips' unique plunger storytelling with the other take shows his great versatility.
Related Songs
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Oran "Hot Lips" Page
January 27, 1908 – November 5, 1954
Oran “Hot Lips” Page is remembered as one of the most exciting soloists of the swing era. His trumpet and vocal styles were both strongly influenced by Louis Armstrong, but with plenty of his own personal flair. He is particularly associated with the Kansas City scene of the early to mid-1930s. Read more...
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