Blue Spring Shuffle – Kenny Dorham
This is Kenny Dorham's third transformation of his simple seemingly minor riff blues, which was each time recorded under a different title. Here he adds a two-chorus secondary blues line theme which ingeniously sets up then continues after the bass solo. We've expanded Kenny's quartet arrangement to a quintet setting for our "K.D. Challenge" version.
- Recording: Kenny Dorham - Quiet Kenny
- Recorded on: November 13, 1959
- Label: New Jazz (NKLP 8225)
- Concert Key: F
- Style: Swing (medium)
- Trumpet - Kenny Dorham
- Piano - Tommy Flanagan
- Bass - Paul Chambers
- Drums - Art Taylor
This is a simple, medium-tempo blues head by Kenny Dorham, repeating a two-measure riff with just a couple of variations, only four different notes in the whole head—there must be a catch somewhere! And indeed there is, in this case relating to the arrangement, for this version is essentially, though subtly, a bass feature.
Our audio excerpt fades in at the end of a one chorus F blues walking bass solo (major) that is K.D.'s set up for the melody. After an opening minor chord, the melody immediately is converted to major again by Kenny's written bass line. On the head, the bass alternates one measure of half notes with one measure of quarter notes throughout; the drum feel here is 2-feel.
There is a second melody chorus, a sort of shout chorus appearing before and after the bass solo. Based on a repeated one-measure riff, it contains a subtle "call and response" with one piano/drum hit on the "and" of beat 4 between each riff phrase. This chorus is played first by the trumpet, with the bass walking [>],; the bass doubles the trumpet melody the second time [>] before soloing. After the bass solo, the first of these choruses has the bass alone on the melody, with the trumpet responding on the hits with piano and drums; the second has trumpet melody and bass walking again.
Despite the minor-key qualities of the head, which uses a minor pentatonic scale exclusively and is notated with Fm6 as the tonic chord, the score and parts use F major as the key signature. The solo changes and second melody choruses are standard F blues, not F minor blues. This arrangement, fleshed out to a two-horn quintet, is used on our "K.D. Challenge" version. Click on the album cover above, right, for details on the Minus You parts and audio available.
Our lead sheets are applicable for both recordings. The Concert Condensed Score is recommended for piano and drums.
Our audio excerpt fades in at the end of a one chorus F blues walking bass solo (major) that is K.D.'s set up for the melody. After an opening minor chord, the melody immediately is converted to major again by Kenny's written bass line. On the head, the bass alternates one measure of half notes with one measure of quarter notes throughout; the drum feel here is 2-feel.
There is a second melody chorus, a sort of shout chorus appearing before and after the bass solo. Based on a repeated one-measure riff, it contains a subtle "call and response" with one piano/drum hit on the "and" of beat 4 between each riff phrase. This chorus is played first by the trumpet, with the bass walking [>],; the bass doubles the trumpet melody the second time [>] before soloing. After the bass solo, the first of these choruses has the bass alone on the melody, with the trumpet responding on the hits with piano and drums; the second has trumpet melody and bass walking again.
Despite the minor-key qualities of the head, which uses a minor pentatonic scale exclusively and is notated with Fm6 as the tonic chord, the score and parts use F major as the key signature. The solo changes and second melody choruses are standard F blues, not F minor blues. This arrangement, fleshed out to a two-horn quintet, is used on our "K.D. Challenge" version. Click on the album cover above, right, for details on the Minus You parts and audio available.
Our lead sheets are applicable for both recordings. The Concert Condensed Score is recommended for piano and drums.
"Quiet Kenny" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Blue Spring Shuffle was recorded on Kenny Dorham's first trip to Rudy Van Gelder's new Englewood Cliffs studio. Rudy had just done the first recording in his new studio a few months earlier, on July 20, 1959.
Don Sickler: Knowing this incredible studio well, but only since multitrack recording required Rudy to add isolation booths , I can only imagine how exciting it must have been for Kenny to play in this spacious studio in a quartet session. The natural acoustics in this room are stunning; the experience is enhanced by the architecture. Here's the view from the entrance to the room (photo by Rudy Van Gelder).
Kenny Dorham recorded this blues head three times, with different titles and arrangements. The first was in October, 1958, on a Cecil Taylor quintet session with John Coltrane, Chuck Israels and Louis Hayes. Shifting Down is the title of the song on this album, which coincidentally has been released with several different titles: "Stereo Drive," "Hard Driving Jazz," or under 'Trane's leadership as "Coltrane Time."
Under the title Blue Spring, a septet arrangement was recorded on Kenny's album "Blue Spring" in February 1959; that version is also a subtle bass feature for Paul Chambers. The "Blue Spring" album is notable for being the second full album with Cedar Walton on piano; the first was a K.D. vocal album, "This Is The Moment" from '58.
Blue Spring Shuffle was recorded on Kenny Dorham's first trip to Rudy Van Gelder's new Englewood Cliffs studio. Rudy had just done the first recording in his new studio a few months earlier, on July 20, 1959.
Don Sickler: Knowing this incredible studio well, but only since multitrack recording required Rudy to add isolation booths , I can only imagine how exciting it must have been for Kenny to play in this spacious studio in a quartet session. The natural acoustics in this room are stunning; the experience is enhanced by the architecture. Here's the view from the entrance to the room (photo by Rudy Van Gelder).
Kenny Dorham recorded this blues head three times, with different titles and arrangements. The first was in October, 1958, on a Cecil Taylor quintet session with John Coltrane, Chuck Israels and Louis Hayes. Shifting Down is the title of the song on this album, which coincidentally has been released with several different titles: "Stereo Drive," "Hard Driving Jazz," or under 'Trane's leadership as "Coltrane Time."
Under the title Blue Spring, a septet arrangement was recorded on Kenny's album "Blue Spring" in February 1959; that version is also a subtle bass feature for Paul Chambers. The "Blue Spring" album is notable for being the second full album with Cedar Walton on piano; the first was a K.D. vocal album, "This Is The Moment" from '58.
Paul Chambers' Transcribed Bass Solo Chambers begins his solo by referencing the rhythm of the shout chorus, which blends seamlessly into the rest of his solo. This solo is a perfect example of his understanding of bebop vocabulary, which is often described as "horn-like."
Fingerings have been provided for this transcription in places where younger or less experienced bass players may need help in deciding how to use their left hand. In many cases, there will be different possible fingerings from the ones written on the transcription, and it can be a great exercise to look for different ways to play a line in different spots on the bass.
Fingerings have been provided for this transcription in places where younger or less experienced bass players may need help in deciding how to use their left hand. In many cases, there will be different possible fingerings from the ones written on the transcription, and it can be a great exercise to look for different ways to play a line in different spots on the bass.
Paul Chambers' Bass Line Transcription In the Bass Line Transcription, you'll see that Paul enhances drummer Art Taylor's 2-feel by alternating his first measure of 2-feel with a measure of 4-feel, and any listener will immediately notice the ease with which this alternating pulse locks up with A.T. on this recording. Chambers also often chooses not to hold out a note for the full length of the half-note, giving his line an even more swinging feel. A master of space, Chambers picks the perfect spaces to fill in order to provide momentum to the tune without stepping on anyone else's notes. Each chorus of his walking is a lesson in how to play the blues. This is a great way to pick up some of Paul Chambers' classic vocabulary.
Fingerings have been provided for this transcription in places where younger or less experienced bass players may need help in deciding how to use their left hand. In many cases, there will be different possible fingerings from the ones written on the transcription, and it can be a great exercise to look for different ways to play a line in different spots on the bass.
Paul Chambers opens up Blue Spring Shuffle with a solo walking chorus in which he chooses impeccable notes, artfully navigating through the changes in a way that is totally his own while making every note harmonically clear. While Chambers always provides a powerful groove, it is especially notable that he brings the same consistency in the absence of a drummer, sounding just as comfortable by himself as he does when Art Taylor comes in a chorus later.
Don Sickler: Getting to record "solo" bass to start this track in Rudy Van Gelder's incredible new studio must have been quite a thrill for Paul. My first thought was, was this Paul's first session in Rudy's new Englewood Cliffs studio? My research shows he was on at least two earlier sessions since the studio's opening in late July, 1959. On August 25, 1959, he made his first trip there for Curtis Fuller's "Arabia" session for Savoy Records, locking up with Charli Persip on drums and Wynton Kelly on piano. Three days later (August 28) he was back again with Curtis Fuller, but this time Art Blakey was on drums with Ray Bryant on piano for Benny Golson's "Gone With Golson" session for New Jazz Records.
Studying this transcription would certainly help any bass player looking to build a greater independence on their instrument.
If you want to see what Paul would have seen looking up in Rudy's studio, check out the Historical Notes for our session. In talking about the early days at the studio, Rudy told us that the room was fragrant with the scent of cedar from the roof planking. The floor, which is cherokee red, was burnished to a soft glow.
Paul Chambers' Transcribed Bass Solo Chambers begins his solo by referencing the rhythm of the shout chorus, which blends seamlessly into the rest of his solo. This solo is a perfect example of his understanding of bebop vocabulary, which is often described as "horn-like."
Fingerings have been provided for this transcription in places where younger or less experienced bass players may need help in deciding how to use their left hand. In many cases, there will be different possible fingerings from the ones written on the transcription, and it can be a great exercise to look for different ways to play a line in different spots on the bass.
Fingerings have been provided for this transcription in places where younger or less experienced bass players may need help in deciding how to use their left hand. In many cases, there will be different possible fingerings from the ones written on the transcription, and it can be a great exercise to look for different ways to play a line in different spots on the bass.
Paul Chambers opens up Blue Spring Shuffle with a solo walking chorus in which he chooses impeccable notes, artfully navigating through the changes in a way that is totally his own while making every note harmonically clear. While Chambers always provides a powerful groove, it is especially notable that he brings the same consistency in the absence of a drummer, sounding just as comfortable by himself as he does when Art Taylor comes in a chorus later.
Don Sickler: Getting to record "solo" bass to start this track in Rudy Van Gelder's incredible new studio must have been quite a thrill for Paul. My first thought was, was this Paul's first session in Rudy's new Englewood Cliffs studio? My research shows he was on at least two earlier sessions since the studio's opening in late July, 1959. On August 25, 1959, he made his first trip there for Curtis Fuller's "Arabia" session for Savoy Records, locking up with Charli Persip on drums and Wynton Kelly on piano. Three days later (August 28) he was back again with Curtis Fuller, but this time Art Blakey was on drums with Ray Bryant on piano for Benny Golson's "Gone With Golson" session for New Jazz Records.
Studying this transcription would certainly help any bass player looking to build a greater independence on their instrument.
If you want to see what Paul would have seen looking up in Rudy's studio, check out the Historical Notes for our session. In talking about the early days at the studio, Rudy told us that the room was fragrant with the scent of cedar from the roof planking. The floor, which is cherokee red, was burnished to a soft glow.
Paul Chambers' Transcribed Bass Solo Chambers begins his solo by referencing the rhythm of the shout chorus, which blends seamlessly into the rest of his solo. This solo is a perfect example of his understanding of bebop vocabulary, which is often described as "horn-like."
Fingerings have been provided for this transcription in places where younger or less experienced bass players may need help in deciding how to use their left hand. In many cases, there will be different possible fingerings from the ones written on the transcription, and it can be a great exercise to look for different ways to play a line in different spots on the bass.
- Recording: Don Sickler - The K.D. Challenge
- Recorded on: October 6, 2001
- Label: jazzleadsheets.com (JLS 1033)
- Concert Key: F
- Style: Swing (medium)
- Trumpet - Don Sickler
- Alto Sax - Bobby Porcelli
- Piano - Cecilia Coleman
- Bass - Tim Givens
- Drums - Vince Cherico
This quintet arrangement, by Don Sickler, is an expansion of K.D.'s quartet arrangement. The out head is played twice as opposed to the original recording's once. The horns are harmonized mostly in thirds for the second time through the head; the first time through the in head has the trumpet alone on the melody, while both horns play unison on the first time of the out head. The horns are also harmonized in thirds on the last four measures of the "shout" or second melody chorus, and on the "response" hits the third time through this chorus, where the bass has the melody.
The Concert Condensed Score also serves as a part for both piano and drums. Second parts are also available for this quintet arrangement to be used with a combo. In all parts, the solo changes are not written out; any variation of blues changes can be used at any time.
Two complete MP3 mixes are available: one with Don Sickler and Bobby Porcelli (trumpet and alto sax) playing the melody, the second is a quartet version with trumpet melody (Don).
See the Minus You tab for details about the Minus You audio format.
To learn why we think Kenny Dorham's music is so important, click About The K.D. Challenge.
The Concert Condensed Score also serves as a part for both piano and drums. Second parts are also available for this quintet arrangement to be used with a combo. In all parts, the solo changes are not written out; any variation of blues changes can be used at any time.
Two complete MP3 mixes are available: one with Don Sickler and Bobby Porcelli (trumpet and alto sax) playing the melody, the second is a quartet version with trumpet melody (Don).
See the Minus You tab for details about the Minus You audio format.
To learn why we think Kenny Dorham's music is so important, click About The K.D. Challenge.
"The K.D. Challenge" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Many hours of the early years of the 21st century were occupied by rehearsals of Kenny Dorham's music at the Second Floor Music/jazzleadsheets.com studio. The music is very challenging, but it's extremely satisfying to play it in a group, working until each musician gets their part to fit with the other parts.
Many hours of the early years of the 21st century were occupied by rehearsals of Kenny Dorham's music at the Second Floor Music/jazzleadsheets.com studio. The music is very challenging, but it's extremely satisfying to play it in a group, working until each musician gets their part to fit with the other parts.
Our Bass Part shows the basic line for the head. It is based on what Paul Chambers played, with slight variations, on both "in" heads on the original recording. Tim Givens on our "K.D. Challenge" tracks also takes some liberties with the part, but preserves the same linear directions. The melody is notated above the staff on the head.
Blue Spring Shuffle is comprised of a repetitive catchy melody over a blues form (12 bars). With its relaxed medium tempo and simple melody and form, this Minus You track is perfect for less experienced drummers trying to get the sound of the music in their ears and develop basic jazz vocabulary. It's also great for any drummer to practice their ride cymbal time and how it locks in with the soloist and the rhythm section. Drummer Vince Cherico plays time on the hi-hat for the melody and transitions to the ride cymbal for the top of the first solo chorus; an effective decision.
This Minus You track also gives you, the drummer, the opportunity to trade 4s with the bass.
Click here to learn more about "The K.D. Challenge" recordings and be sure to check out the rest!
This Minus You track also gives you, the drummer, the opportunity to trade 4s with the bass.
Click here to learn more about "The K.D. Challenge" recordings and be sure to check out the rest!
Exclusive Minus You audio tracks
CLIP Here's an excerpt of the full recorded audio track.Minus You tracks are available for all instruments. Individual parts are available for each rhythm section member. All Minus You tracks except Minus Melody use this format:
-- intro (a chorus of solo bass)
-- melody 2 choruses
-- alto sax solo 3 choruses
-- piano solo 4 choruses
-- 2nd melody (notated as "melody 2") (horns melody)
-- 2nd melody [2] (horns and bass melody)
-- bass solo 2 choruses
-- bass and drums trading 4s 2 choruses
-- 2nd melody [3] (bass melody, horns hits)
-- 2nd melody [4] (horns melody)
-- out melody 2 choruses
-- coda
mp3 minus Melody - this version comes from a separate quartet track
-- tacet for solo bass intro 1 chorus
-- play the melody 2 choruses
-- solo 2 choruses
-- play 2nd melody [1] and [2]
-- solo 2 more choruses
-- play "hits" for the bass 2nd melody [3]
-- play 2nd melody [4]
-- play the out melody 2 choruses and coda
mp3 minus Piano - pianists should read the Concert Condensed Score
-- tacet for solo bass intro 1 chorus
-- comp for the melody 2 choruses
-- comp for the alto sax solo 3 choruses
-- solo 4 choruses
-- play figures for 2nd melody [1] and [2]
-- comp for the bass solo 2 choruses and bass/drums trading 2 choruses (optional)
-- play figures for 2nd melody [3] and [4]
-- comp for the out melody 2 choruses and coda
mp3 minus Bass - bassist should get the Bass part
-- count off sets up the intro
-- walk for the intro 1 chorus (cymbal hits have been added on beats 2 and 4)
-- play the line for the melody 2 choruses
-- walk for the alto sax solo 3 choruses and piano solo 4 choruses
-- walk for 2nd melody [1]
-- play 2nd melody [2] with the horns
-- solo 2 choruses
-- trade 4s with the drums (bass first) 2 choruses
-- play 2nd melody [3]
-- walk for 2nd melody [4]
-- play the line for the out melody 2 choruses and coda
mp3 minus Drums - drummers should read the Concert Condensed Score. Sticks or brushes can be used throughout; on this track Vince Cherico starts with sticks, goes to brushes for the bass solo, and returns to sticks at the end of the trading.
-- tacet for solo bass intro 1 chorus
-- 2-feel for the melody 2 choruses
-- comp 4-feel for the alto sax solo 3 choruses and piano solo 4 choruses
-- play figures and comp for 2nd melody [1] and [2]
-- comp for the bass solo 2 choruses
-- CLIP trade 4s with the bass (bass first) 2 choruses (snaps added)
-- play figures and comp for 2nd melody [3] and [4]
-- 2-feel for the out melody 2 choruses and coda
mp3 Bass & Drums only - to feature piano, guitar, vibes, or any melodic instrument that likes to play without harmonic accompaniment
-- pianists must read the Concert Condensed Score
-- tacet for solo bass intro 1 chorus
-- play the melody 2 choruses
-- solo 2 choruses
-- play 2nd melody [1] and [2]
-- solo 2 more choruses
-- play "hits" for the bass 2nd melody [3]
-- play 2nd melody [4]
-- play the out melody 2 choruses and coda
CLIP Here's an excerpt of the full recorded audio track.Minus You tracks are available for all instruments. Individual parts are available for each rhythm section member. All Minus You tracks except Minus Melody use this format:
-- intro (a chorus of solo bass)
-- melody 2 choruses
-- alto sax solo 3 choruses
-- piano solo 4 choruses
-- 2nd melody (notated as "melody 2") (horns melody)
-- 2nd melody [2] (horns and bass melody)
-- bass solo 2 choruses
-- bass and drums trading 4s 2 choruses
-- 2nd melody [3] (bass melody, horns hits)
-- 2nd melody [4] (horns melody)
-- out melody 2 choruses
-- coda
mp3 minus Melody - this version comes from a separate quartet track
-- tacet for solo bass intro 1 chorus
-- play the melody 2 choruses
-- solo 2 choruses
-- play 2nd melody [1] and [2]
-- solo 2 more choruses
-- play "hits" for the bass 2nd melody [3]
-- play 2nd melody [4]
-- play the out melody 2 choruses and coda
mp3 minus Piano - pianists should read the Concert Condensed Score
-- tacet for solo bass intro 1 chorus
-- comp for the melody 2 choruses
-- comp for the alto sax solo 3 choruses
-- solo 4 choruses
-- play figures for 2nd melody [1] and [2]
-- comp for the bass solo 2 choruses and bass/drums trading 2 choruses (optional)
-- play figures for 2nd melody [3] and [4]
-- comp for the out melody 2 choruses and coda
mp3 minus Bass - bassist should get the Bass part
-- count off sets up the intro
-- walk for the intro 1 chorus (cymbal hits have been added on beats 2 and 4)
-- play the line for the melody 2 choruses
-- walk for the alto sax solo 3 choruses and piano solo 4 choruses
-- walk for 2nd melody [1]
-- play 2nd melody [2] with the horns
-- solo 2 choruses
-- trade 4s with the drums (bass first) 2 choruses
-- play 2nd melody [3]
-- walk for 2nd melody [4]
-- play the line for the out melody 2 choruses and coda
mp3 minus Drums - drummers should read the Concert Condensed Score. Sticks or brushes can be used throughout; on this track Vince Cherico starts with sticks, goes to brushes for the bass solo, and returns to sticks at the end of the trading.
-- tacet for solo bass intro 1 chorus
-- 2-feel for the melody 2 choruses
-- comp 4-feel for the alto sax solo 3 choruses and piano solo 4 choruses
-- play figures and comp for 2nd melody [1] and [2]
-- comp for the bass solo 2 choruses
-- CLIP trade 4s with the bass (bass first) 2 choruses (snaps added)
-- play figures and comp for 2nd melody [3] and [4]
-- 2-feel for the out melody 2 choruses and coda
mp3 Bass & Drums only - to feature piano, guitar, vibes, or any melodic instrument that likes to play without harmonic accompaniment
-- pianists must read the Concert Condensed Score
-- tacet for solo bass intro 1 chorus
-- play the melody 2 choruses
-- solo 2 choruses
-- play 2nd melody [1] and [2]
-- solo 2 more choruses
-- play "hits" for the bass 2nd melody [3]
-- play 2nd melody [4]
-- play the out melody 2 choruses and coda
Kenny Dorham
August 30, 1924 – December 15, 1972
August 30, 2025, is Kenny Dorham's 101st birthday: jazzleadsheets.com has added many new K.D. compositions. Jazz At Lincoln Center has dedicated three late-night sets to Kenny's music, played with love by young musicians who want his music to live on. Join in, play K.D. music! Read more...