Blue Hour – Freddie Redd
A harmonic workout in the unique Freddie Redd style. Recorded twice by Freddie in a trio format, our exclusive "Freddie Redd Project" quintet recording is available with Minus You tracks for all instruments, plus second parts, bass part & condensed score.
- Recording: Freddie Redd - Freddie Redd
- Recorded on: September 7, 1956
- Label: Metropolitan (MEP 218)
- Concert Key: C
- Style: Swing (medium)
- Piano - Freddie Redd
- Bass - Tommy Potter
- Drums - Joe Harris
This hard bop gem, always melodic and full of harmonic and rhythmic interest, is certainly pure Freddie Redd. And, with our lead sheets in hand, you'll easily see that you can adapt your performance to simulate either of Freddie Redd's two recordings of Blue Hour, or our "Freddie Redd Project" recording. On this trio recording, Freddie's first recording of Blue Hour, Freddie had drummer Joe Harris playing primarily some energetic brushes "time," while bassist Tommy Potter helped explore Freddie's energetic harmonic rhythms that reinforce his melody.
The melody, with interesting rhythmic figure accompaniment, immediately starts delightfully twisting and turning its way into a 12-measure A section. This medium swinger is also a kind of longer-form hard bop harmonic workout. The II-V7-based changes are constantly in motion; in the 12-measure A sections, the tonic C major only appears in the last measure, with a surprising solo piano break setting it up, creating an unexpected ending to the A and C sections of this 44-measure AABA form. The 8-measure bridge goes to E major for four measures, D♭ major for two and then A major for a surprise link back to A minor for the beginning of the C section (the same as the A section). This break is also further explored in the ending coda. The solo form is the same as the melody, but devoid of the rhythmic hits that are notated in the melody.
Note that the lead sheets are the same for all albums, but Bass part, condensed score and second parts, plus Minus You audio tracks, are only available under the "Freddie Redd Project" cover.
The melody, with interesting rhythmic figure accompaniment, immediately starts delightfully twisting and turning its way into a 12-measure A section. This medium swinger is also a kind of longer-form hard bop harmonic workout. The II-V7-based changes are constantly in motion; in the 12-measure A sections, the tonic C major only appears in the last measure, with a surprising solo piano break setting it up, creating an unexpected ending to the A and C sections of this 44-measure AABA form. The 8-measure bridge goes to E major for four measures, D♭ major for two and then A major for a surprise link back to A minor for the beginning of the C section (the same as the A section). This break is also further explored in the ending coda. The solo form is the same as the melody, but devoid of the rhythmic hits that are notated in the melody.
Note that the lead sheets are the same for all albums, but Bass part, condensed score and second parts, plus Minus You audio tracks, are only available under the "Freddie Redd Project" cover.
This recording comes from the same session as A Night At Nalen. It is the third of four trio sessions that Freddie, Tommy Potter and Joe Harris recorded in Stockholm. Freddie did not otherwise record with either Potter or Harris, who had played together in Charlie Parker's quintet in 1949 with pianist Al Haig and trumpeter Kenny Dorham.
For more information about Freddie Redd's Swedish recordings, click on A Night At Nalen and Farewell To Sweden.
For more information about Freddie Redd's Swedish recordings, click on A Night At Nalen and Farewell To Sweden.
- Recording: Freddie Redd - San Francisco Suite
- Recorded on: October 2, 1957
- Label: Riverside (RLP 12-250)
- Concert Key: C
- Style: Swing (medium)
- Piano - Freddie Redd
- Bass - George Tucker
- Drums - Al Dreares
This arrangement is another way Freddie chose to explore Blue Hour. Unfortunately, this recording is not available as a digital download, but by giving you a little excerpt, you'll hear another way Freddie chose to explore it, where he alone keeps the punctuating harmonic drive, while the bass and drums concentrate on building a swinging 4-feel. As with the first recording, the drummer uses brushes throughout; both recordings are three choruses long, at approximately the same tempo. The melody is rhythmically slightly different from the original recording; for example, the downbeats of measures 7 and 8 of the A section are anticipated by an eighth note. There are two chord hits added on the last measure of the first A section (B♭m7 to E♭7).
For a composition analysis, see the Description notes with the original recording (click on the Freddie Redd album cover, above to the left).
Note that the lead sheets are the same for all albums, but Bass part, condensed score and second parts, plus Minus You audio tracks, are only available under the "Freddie Redd Project" cover.
For a composition analysis, see the Description notes with the original recording (click on the Freddie Redd album cover, above to the left).
Note that the lead sheets are the same for all albums, but Bass part, condensed score and second parts, plus Minus You audio tracks, are only available under the "Freddie Redd Project" cover.
"San Francisco Suite" is the only recording Freddie made in 1957. At the time of this session, bassist George Tucker was quite active; in late 1957 and early '58 he recorded with trombonists Curtis Fuller and Bennie Green, trumpeter Art Farmer and tubist Ray Draper. Tucker and drummer Al Dreares recorded together both with Green and with pianist Mal Waldron. Relatively obscure, Dreares also played with Frank Strozier, Lionel Hampton and saxophonist Lucky Thompson.
- Recording: Don Sickler - Freddie Redd Project
- Recorded on: January 25, 2015
- Label: jazzleadsheets.com (JLS 1021)
- Concert Key: C
- Style: Swing (medium)
- Trumpet - Don Sickler
- Alto Sax - Elijah Shiffer
- Piano - Julius Rodriguez
- Bass - Nick Dunston
- Drums - Jeff Brillinger
The quintet arrangement for this "Freddie Redd Project" version by jazzleadsheets.com's Don Sickler has the horns in harmony (and some counterpoint) for most of the head. The piano has the melody for the two-measure breaks at the end of the A and C sections. The sax doubles the chromatically descending bass line in the fifth measure. The tag coda, with the 2-measure break figure repeated three times, has the horns playing the melody for only the second of these breaks.
Minus You tracks are available for all instruments, taken from two different takes; click on the Minus You tab for more details. There is a Bass part, and pianists and drummers should get the Concert Condensed Score.
Note that the lead sheets are the same for all albums, but Bass part, condensed score and second parts, plus Minus You audio tracks, are only available under the "Freddie Redd Project" cover.
Don Sickler: Knowing Freddie's two trio recordings, I could also hear this piece with a horn melody, either in a quartet or quintet setting. Adding a second horn let me further emphasize the stop-and-go rhythmic character that has always excited me about this composition. Our Minus You track edition could also be played in a quintet format, adding one of our second parts.
For a composition analysis, see the Description notes with the original recording (click on the Freddie Redd album cover, above, far left).
Minus You tracks are available for all instruments, taken from two different takes; click on the Minus You tab for more details. There is a Bass part, and pianists and drummers should get the Concert Condensed Score.
Note that the lead sheets are the same for all albums, but Bass part, condensed score and second parts, plus Minus You audio tracks, are only available under the "Freddie Redd Project" cover.
Don Sickler: Knowing Freddie's two trio recordings, I could also hear this piece with a horn melody, either in a quartet or quintet setting. Adding a second horn let me further emphasize the stop-and-go rhythmic character that has always excited me about this composition. Our Minus You track edition could also be played in a quintet format, adding one of our second parts.
For a composition analysis, see the Description notes with the original recording (click on the Freddie Redd album cover, above, far left).
"The Freddie Redd Project" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
On the Freddie Redd Project sessions, several songs were recorded in two different formats for Minus You purposes. With the setup in Rudy Van Gelder's studio, having the horns in the main space and the rhythm section in isolation booths, it was not possible to edit the horns out of the quintet takes. Thus for Minus Melody and Minus Piano (trio) a quartet take was recorded with saxophonist Elijah Shiffer playing the melody and the only solos in what is traditionally the studio's percussion isolation booth.
On the Freddie Redd Project sessions, several songs were recorded in two different formats for Minus You purposes. With the setup in Rudy Van Gelder's studio, having the horns in the main space and the rhythm section in isolation booths, it was not possible to edit the horns out of the quintet takes. Thus for Minus Melody and Minus Piano (trio) a quartet take was recorded with saxophonist Elijah Shiffer playing the melody and the only solos in what is traditionally the studio's percussion isolation booth.
As with several other songs on the Freddie Redd Project recording, two takes were used for Blue Hour's Minus You tracks. The quintet take is available in Minus You format for piano, bass, and drums; the minus melody and minus piano (trio) tracks come from a different, quartet take.
mp3 Exclusive audio Minus You quintet version form:
-- melody
-- 1 chorus piano solo
-- 1 chorus trumpet solo
-- 1 chorus alto sax solo
-- 1 chorus horns trading with drums: trumpet 4 measures - drums 8 measures - sax 4 - drums 8 - trumpet 4 - drums 4 - sax 4 - drums 8
-- out melody and coda
Form of the quartet version:
-- melody
-- 3 choruses solo
-- out melody and coda
mp3 minus melody - this track comes from the quartet version, Minus You for any melody instrument. (get the lead sheet for your instrument).
-- count off sets up the melody
-- play the melody
-- solo 3 choruses
-- play the out melody and coda
mp3 minus piano - get the concert condensed score
-- count off sets up the melody
-- comp for the melody (play the melody in the breaks)
-- solo 1 chorus
-- comp for the trumpet and sax solos (1 chorus each)
-- comp for the trading: 4 measures - drums 8 measures - comp 4 - drums 8 - comp 4 - drums 4 - comp 4 - drums 8
-- comp for the out melody and coda (play the melody in the breaks)
mp3 minus bass- there is a separate Bass part
-- count off sets up the melody
-- play figures and walk for the melody
-- walk for the piano, trumpet, and sax solos (1 chorus each)
-- walk for the trading: 4 measures - drums 8 measures - walk 4 - drums 8 - walk 4 - drums 4 - walk 4 - drums 8
-- play figures and walk for the out melody and coda
mp3 minus drums - snaps have been added n the trading section. Get the concert condensed score.
-- count off sets up the melody
-- play figures and comp for the melody (sticks throughout)
-- comp for the piano, trumpet, and sax solos (1 chorus each)
-- trading: comp 4 measures - solo 8 measures - comp 4 - solo 8 - comp 4 - solo 4 - comp 4 - solo 8
-- play figures and comp for the out melody and coda
mp3 bass & drums only - this track comes from the quartet version and can feature piano, guitar, vibes, or any melodic instrument that likes to play without harmonic accompaniment
-- count off sets up the melody
-- play the melody
-- solo 3 choruses
-- play the out melody and coda
mp3 Exclusive audio Minus You quintet version form:
-- melody
-- 1 chorus piano solo
-- 1 chorus trumpet solo
-- 1 chorus alto sax solo
-- 1 chorus horns trading with drums: trumpet 4 measures - drums 8 measures - sax 4 - drums 8 - trumpet 4 - drums 4 - sax 4 - drums 8
-- out melody and coda
Form of the quartet version:
-- melody
-- 3 choruses solo
-- out melody and coda
mp3 minus melody - this track comes from the quartet version, Minus You for any melody instrument. (get the lead sheet for your instrument).
-- count off sets up the melody
-- play the melody
-- solo 3 choruses
-- play the out melody and coda
mp3 minus piano - get the concert condensed score
-- count off sets up the melody
-- comp for the melody (play the melody in the breaks)
-- solo 1 chorus
-- comp for the trumpet and sax solos (1 chorus each)
-- comp for the trading: 4 measures - drums 8 measures - comp 4 - drums 8 - comp 4 - drums 4 - comp 4 - drums 8
-- comp for the out melody and coda (play the melody in the breaks)
mp3 minus bass- there is a separate Bass part
-- count off sets up the melody
-- play figures and walk for the melody
-- walk for the piano, trumpet, and sax solos (1 chorus each)
-- walk for the trading: 4 measures - drums 8 measures - walk 4 - drums 8 - walk 4 - drums 4 - walk 4 - drums 8
-- play figures and walk for the out melody and coda
mp3 minus drums - snaps have been added n the trading section. Get the concert condensed score.
-- count off sets up the melody
-- play figures and comp for the melody (sticks throughout)
-- comp for the piano, trumpet, and sax solos (1 chorus each)
-- trading: comp 4 measures - solo 8 measures - comp 4 - solo 8 - comp 4 - solo 4 - comp 4 - solo 8
-- play figures and comp for the out melody and coda
mp3 bass & drums only - this track comes from the quartet version and can feature piano, guitar, vibes, or any melodic instrument that likes to play without harmonic accompaniment
-- count off sets up the melody
-- play the melody
-- solo 3 choruses
-- play the out melody and coda
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...