Forgotten Line – Don Sickler
Don Sickler: I feel it is important that Joe Henderson's original written and recorded bass line for his classic Recorda-Me is not forgotten, so I've written a new composition on top of it.
- Recording: Don Sickler - Further Explorations Vol. 1
- Recorded on: June 28, 2018
- Label: jazzleadsheets.com (JLS 1034)
- Concert Key: A minor
- Vocal Range: , to
- Style: Latin
- Trumpet - Don Sickler
- Bass - Jack Aylor
Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
Don Sickler: This is my contrafact based on Joe Henderson's chord progression and his fascinating and intriguing original rhythmic bass line. Joe conceived the bass line first, before he wrote the melody for his classic composition Recorda-Me. Check out my Historical Notes for more of the story. I'm determined not to let this bass line be forgotten. That was my primary reason for writing The Forgotten Line.
To further clarify the interaction between melody and bass line, I've recorded it with just trumpet and bass. I hear my
piece a little slower than Joe's recording of his composition. The original intent for both pieces (The Forgotten Line and Recorda-Me) is to continue the same 16-measure Bass part [divided 8-6-2] for the whole performance. Therefore on my duo recording, the 16-measure rhythmic bass line is played during the entire track for the repeating melody, solos, repeating shout chorus, and repeating melody. I find soloing over the line very stimulating and challenging, especially when it's just me and bass.
My melody has no intro. It starts with a whole measure pickup to the A section, setting up the entrance of the unique two-measure bass pattern (which has no downbeat played in each second measure of the pattern) in the whole eight-measure A section. The first six measures of the eight-measure B section has a normal 'bossa" pattern then ending with a different two-measure figure.
To further clarify the interaction between melody and bass line, I've recorded it with just trumpet and bass. I hear my
piece a little slower than Joe's recording of his composition. The original intent for both pieces (The Forgotten Line and Recorda-Me) is to continue the same 16-measure Bass part [divided 8-6-2] for the whole performance. Therefore on my duo recording, the 16-measure rhythmic bass line is played during the entire track for the repeating melody, solos, repeating shout chorus, and repeating melody. I find soloing over the line very stimulating and challenging, especially when it's just me and bass.
My melody has no intro. It starts with a whole measure pickup to the A section, setting up the entrance of the unique two-measure bass pattern (which has no downbeat played in each second measure of the pattern) in the whole eight-measure A section. The first six measures of the eight-measure B section has a normal 'bossa" pattern then ending with a different two-measure figure.
Don Sickler: This is my contrafact based on the chord progression and original bass line from Joe Henderson's recording of his composition Recorda-Me, on his album "Page One" (his first as a leader). See the Historical Notes for Blue Bossa for more information.)
I was very fortunate to be involved with Joe Henderson for many years. One of the most fascinating stories he told me was about how some of the music was written for his first album as a leader, "Page One."
On April 1, 1963, Joe Henderson made his first studio recording as a sideman on Kenny Dorham's classic album "Una Mas." Two months later, on June 3, 1963, Joe was back at Rudy Van Gelder's Englewood Cliffs Studio to record his own first album as a leader. Kenny Dorham was with him in the front line.
Joe told me K.D. came up with an interesting idea when discussing writing music for Joe's "Page One" project. Kenny suggested that each of them come up with an interesting bass line first, then create a composition over it. Not a bad idea! The result: each man created and recorded for the first time their jazz standards: Kenny Dorham's Blue Bossa,, and Joe Henderson's Recorda-Me.
This title and composition have special significance for me. The "forgotten line" is the bass line that, around which, Joe Henderson wrote his classic composition, Recorda-Me. After the original recording, Joe abandoned his bass line, and later even renamed the song to No Me Esqueca when he played and recorded it as a much faster jazz samba, with the bass just doing a standard 2-beat jazz samba pattern.
Of course, I loved to play Recorda-Me, but I also loved his original bass line and the slower tempo. I tried to get Joe to use the bass line again, and several years later, I thought I had my perfect chance when the two of us ended up as the front line for a one selection hit at a late night session at the Mt. Fuji Jazz Festival (which was also a tribute to Blue Note Records). I'm really not sure what exactly happened, but instead of Recorda Me we played Autumn Leaves.
I've always been hipping musicians to the original bass line, and the story behind it. Now that I've created my own melody (and shout chorus), you can either play The Forgotten Line or (if you know it), Recorda Me with the minus you track for The Forgotten Line.
I was deeply involved with Joe Henderson, his music and his recordings for many years. He is a very important jazz artist with a very distinctive voice. The first jazz artist publication I ever produced (for United Artists in the late 1970s) was "The Artistry Of Joe Henderson" which focused on his solos for his four original compositions on his "Page One" album, and his three originals on his "In 'N Out" album. Kenny Dorham was on both of these albums, and contributed all of the other compositions to these two recordings.
I was very fortunate to be involved with Joe Henderson for many years. One of the most fascinating stories he told me was about how some of the music was written for his first album as a leader, "Page One."
On April 1, 1963, Joe Henderson made his first studio recording as a sideman on Kenny Dorham's classic album "Una Mas." Two months later, on June 3, 1963, Joe was back at Rudy Van Gelder's Englewood Cliffs Studio to record his own first album as a leader. Kenny Dorham was with him in the front line.
Joe told me K.D. came up with an interesting idea when discussing writing music for Joe's "Page One" project. Kenny suggested that each of them come up with an interesting bass line first, then create a composition over it. Not a bad idea! The result: each man created and recorded for the first time their jazz standards: Kenny Dorham's Blue Bossa,, and Joe Henderson's Recorda-Me.
This title and composition have special significance for me. The "forgotten line" is the bass line that, around which, Joe Henderson wrote his classic composition, Recorda-Me. After the original recording, Joe abandoned his bass line, and later even renamed the song to No Me Esqueca when he played and recorded it as a much faster jazz samba, with the bass just doing a standard 2-beat jazz samba pattern.
Of course, I loved to play Recorda-Me, but I also loved his original bass line and the slower tempo. I tried to get Joe to use the bass line again, and several years later, I thought I had my perfect chance when the two of us ended up as the front line for a one selection hit at a late night session at the Mt. Fuji Jazz Festival (which was also a tribute to Blue Note Records). I'm really not sure what exactly happened, but instead of Recorda Me we played Autumn Leaves.
I've always been hipping musicians to the original bass line, and the story behind it. Now that I've created my own melody (and shout chorus), you can either play The Forgotten Line or (if you know it), Recorda Me with the minus you track for The Forgotten Line.
I was deeply involved with Joe Henderson, his music and his recordings for many years. He is a very important jazz artist with a very distinctive voice. The first jazz artist publication I ever produced (for United Artists in the late 1970s) was "The Artistry Of Joe Henderson" which focused on his solos for his four original compositions on his "Page One" album, and his three originals on his "In 'N Out" album. Kenny Dorham was on both of these albums, and contributed all of the other compositions to these two recordings.
CLIP Exclusive Minus You audio track -- the minus melody track is played by bass alone
There is a two measure count off that sets up the one measure melody pickup.
-- count off into 1 measure melody pickup
-- play melody twice,with 1st then 2nd ending
-- solo for 4 choruses
-- play shout chorus with 1st and 2nd ending to out melody
-- play out melody with 1st and 2nd ending last time
There is a two measure count off that sets up the one measure melody pickup.
-- count off into 1 measure melody pickup
-- play melody twice,with 1st then 2nd ending
-- solo for 4 choruses
-- play shout chorus with 1st and 2nd ending to out melody
-- play out melody with 1st and 2nd ending last time
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Don Sickler
born on January 6, 1944
Don Sickler, founder of jazzleadsheets.com, was born on January 6, 1944, in Spokane, Washington. Don took up the trumpet at the age of ten and two years later formed his own jazz combo. Don received his Bachelor’s Degree from Gonzaga University, then decided to further his career and studies in New York City at the Manhattan School of Music, where he received his Master’s Degree in Trumpet Performance in 1970. During this time, he also played commercially, subbing on Broadway and playing in show bands and commercial jobs. Read more...
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