Happy Feet – Tom McIntosh
An uptempo song with a happy sound. There's a lot of information packed in under the simple melody, with several changes of rhythm section feel and a quintet arrangement, for which second parts are available.
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- Recording: Art Farmer - The Many Faces Of Art Farmer
- Recorded on: 1964
- Label: Scepter (SLP 521)
- Concert Key: C
- Vocal Range: , to
- Style: Swing (uptempo)
- Flugelhorn - Art Farmer
- Alto Sax - Charles McPherson
- Piano - Tommy Flanagan
- Bass - Steve Swallow
- Drums - Bobby Thomas
There is a lot of subtle rhythm section activity in the head. In all A and C sections, the rhythm section tacets for the first measure, coming in with hits on the second. Measures 3 and 4 have a Latin groove, while the rest of these sections swing with a 2-feel. The bridge goes to a 4-feel. In the solos the changes are simplified, especially in the bridge; the rhythm section plays a 2-feel on the A sections and 4-feel on the bridge, which on the recording is kept up throughout all the solos. There is a coda which repeats the beginning of the last phrase three times, followed by a IV-I cadence.
About the arrangement: The head begins with trumpet (on the recording, flugelhorn) alone. The alto sax joins in harmony on the second measure. In most places the horns are harmonized, occasionally going to unison or octaves. Several passages, such as the seventh measure, are harmonized in contrary motion. On the third and fourth measures of the bridge, the alto harmony note is above the trumpet melody.
An album titled "Group Therapy" from 1966, credited to the New York Jazz Sextet, also has both Farmer and McIntosh alongside Tommy Flanagan, James Moody, Richard Davis, and Tootie Heath. Tootie also played on the three aforementioned Jazztet albums.
February 6, 1927 – July 26, 2017
Born and raised in Baltimore, Maryland, trombonist and arranger/composer Tom McIntosh studied voice at the Peabody Conservatory in 1944. In 1950 he was stationed in Germany with an Army band, where he first encountered reedman James Moody, who was touring Europe with Coleman Hawkins. Nine years later, after graduating from the Juillard School in NYC, Mac was hired by Moody to play in his sextet. The sextet became a septet for the first Moody recording, simply titled "James Moody," recorded in Chicago in August, 1959, for the Argo label. This album also contained Tom's first recorded composition With Malice Toward None, which Tom arranged as well. Read more...