Chuck-A-Luck – Charles McPherson
Charles McPherson’s tribute to his son, Chuck-A-Luck combines a singsong melody with a funky groove and plenty of drum breaks.
- Recording: Charles McPherson - Free Bop!
- Recorded on: October 23, 1978
- Label: Xanadu (170)
- Concert Key: D-flat
- Vocal Range: , to
- Style: Funky 2-feel (medium)
- Tenor Sax - Charles McPherson
- Guitar - Peter Sprague
- Piano - Lou Levy
- Bass - Monty Budwig
- Drums - Chuck McPherson
- Congas - Kevin Jones
Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
Equal parts bebop and funk, Chuck-A-Luck is a song you can really have fun with. The singsong rhythms of the melody give it a very happy sound, enhanced by the 2-feel groove. This song could certainly work with a swing 4-feel, but the funky groove really makes it special. Further interest is provided by two-measure drum breaks at the end of each section of the head, extending these sections to 10 measures.
The form is ABCD, with B having the same changes as A but a different melody (the melodic rhythm is also the same). C is A up a major 3rd in the key of F, while the D section returns to D♭ and is a repeat of the B section. The changes are quite simple, a relative of “rhythm changes” throughout. Solos are on a 32-measure version of the head form, without the drum breaks.
On the recording, the out head is simply A and B, with a vamp and fade replacing the B section drum break. As the B and D sections are the same, the entire head can also work going into the same ending. Our C lead sheet includes piano pickups that set up the C and D sections in the second measure of the drum breaks.
The first phrase of the A section has a very wide range, rising nearly two octaves. Our B♭ trumpet and C bass clef lead sheets have the first four notes an octave higher to keep the rest of the melody in a manageable range for trumpet and trombone.
The form is ABCD, with B having the same changes as A but a different melody (the melodic rhythm is also the same). C is A up a major 3rd in the key of F, while the D section returns to D♭ and is a repeat of the B section. The changes are quite simple, a relative of “rhythm changes” throughout. Solos are on a 32-measure version of the head form, without the drum breaks.
On the recording, the out head is simply A and B, with a vamp and fade replacing the B section drum break. As the B and D sections are the same, the entire head can also work going into the same ending. Our C lead sheet includes piano pickups that set up the C and D sections in the second measure of the drum breaks.
The first phrase of the A section has a very wide range, rising nearly two octaves. Our B♭ trumpet and C bass clef lead sheets have the first four notes an octave higher to keep the rest of the melody in a manageable range for trumpet and trombone.
Charles McPherson wrote this song for his son Chuck (Charles Jr.), a drummer. “Free Bop" was Chuck’s first recording; he has since played on three more of his father’s studio albums. For a live recording of the two playing together check out Charles’ 2016 version of Bud Like.
This track and one other on “Free Bop” are also notable for being Charles McPherson’s only recordings on tenor sax so far as a leader. Another album on which Charles played both alto and tenor was Barry Harris’ classic 1968 album “Bull’s Eye.”
This track and one other on “Free Bop” are also notable for being Charles McPherson’s only recordings on tenor sax so far as a leader. Another album on which Charles played both alto and tenor was Barry Harris’ classic 1968 album “Bull’s Eye.”
Related Songs
Email Send Chuck-A-Luck to a friend
Send this page to a friend via email. Add your name or email in the first field. In the second, add one or more email addresses, separated by a comma.

Charles McPherson
born on July 24, 1939
Charles McPherson's new CD, "Jazz Dance Suites" is available. A product of his love and admiration for his daughter Camille, Charles wrote two suites of new music for the CD. Read more...
There was a problem.
...