Honey Did – Sara Cassey
Originally recorded in a vocal scat setting with a big band arrangement, this bebop-style medium swinger certainly works in a smaller ensemble context as well. Our lead sheet is a condensed version of the melody lines from the original Ernie Wilkins arrangement.
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- Recording: Jackie Cain / Roy Kral - Bits And Pieces
- Recorded on: March 22, 1957
- Label: ABC-Paramount (ABC 163)
- Concert Key: E-flat
- Vocal Range: , to
- Style: Swing (medium)
- Vocals - Jackie Cain, Roy Kral
- Trumpet - Bernie Glow, Art Farmer, Clark Terry
- Trombone - Jimmy Cleveland, Urbie Green
- Alto Sax - Phil Woods
- Tenor Sax - Anthony Ortega
- Baritone Sax - Jerome Richardson
- Piano - Roy Kral
- Bass - Milt Hinton
- Drums - Osie Johnson
About the arrangement: Our lead sheet is basically a melodic "thread" of Ernie Wilkins' big band arrangement from the recording. It contains the melody line of the eight-measure tutti intro and the vocal scat melody of the A and C sections. In these sections some of the ensemble hits are shown below the staff. The bridge shows both the brass and saxes' lines for the first five measures, followed by piano melody. There is a shout chorus before the solos which is not shown in our lead sheet; the changes are the same as the solo chorus. Our lead sheet does show the out melody, which starts from the bridge; this bridge is different from that of the in head, with vocals on the melody. The ending is also condensed from the vocal and instrumental melody lines.
The melodic thread of our lead sheet covers quite a wide range for any instrument, as it contains all the different vocal and instrumental lead lines. In playing this song in a small group setting, instrumentalists are encouraged to switch octaves in places—such as the intro—to accommodate their range.
Art Farmer, the trumpet soloist on Honey Did, found time between the sessions for "Bits And Pieces" to record on a Hank Mobley album. Released as "Hank Mobley Quintet," it was the second of six albums Mobley recorded as a leader in 1957.
April 1, 1929 – May 5, 1966
from Don Sickler: I can tell you a few things, but unfortunately only a very few things about Sara Cassey. I know she was from Detroit. She came to New York sometime in the mid '50's. She was a pianist, but not a performing jazz pianist. She wrote her music out in full, through composed, in notation, not melody with chord symbols. While in New York, she worked for Riverside Records and therefore got to meet many of the great jazz musicians who recorded for that label. Many of the Detroit musicians, such as the Jones brothers (Hank, Thad and Elvin), pianists Tommy Flanagan, Barry Harris and Roland Hanna, and bassist Ron Carter, knew she was a talented composer. They passed that knowledge on to other great musicians like trumpeter Clark Terry, saxophonist Johnny Griffin, pianists Billy Taylor, Junior Mance and Marian McPartland, as well as drummer Charli Persip, all of whom recorded her music. Read more...