Jung Fu – Kenny Dorham
Related to Lotus Blossom, this song takes the same thematic material in a more modal direction. It comes from Kenny's last recording as a leader, but was released only recently.
- Recording: Kenny Dorham - K.D. Is Here
- Recorded on: February 25, 1966
- Label: Uptown Records (UPCD 27.85)
- Concert Key: D minor
- Style: Even 8ths/Swing (medium up)
- Trumpet - Kenny Dorham
- Alto Sax - Sonny Red
- Piano - Cedar Walton
- Bass - John Ore
- Drums - Hugh Walker
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This later Kenny Dorham composition uses some of the same theme material as Lotus Blossom, but in a modal vein. The intro sets up a repeating two-measure rhythm section figure, a sort of pedal point vamp over which the melody begins. There are two A sections, with an angular melody as an "answer" to the rhythm section figures—a reverse of the horns/rhythm section call and response found in several other K.D. songs. The A section is particularly interesting as the last two measures are the rhythmic figure from Lotus Blossom, but delayed by one beat: the sixth measure is in 5/4, adding a beat of rest to that measure's rhythm section phrase. The B section goes to swing and more II-V7-based changes, with four measures of 4-feel and four measures of rhythm section hits answering the melody. Instead of a return to the A section, the C and D sections vamp on rhythmic figures again related to Lotus Blossom, with staccato even-8ths fills in the C section. The D section's vamp uses the entire rhythm of the intro/A section figure.
The first chorus of each solo continues the feel of the head, with the "theme" figure stretched out in the rhythm section to four-measure phrases. Each solo chorus is a 32-measure AABC form, with the bridge always swinging; after the first chorus the rhythm section swings throughout. There is a sort of shout for the drums; the two-chorus drum solo form from the recording is indicated in our charts. The first of these choruses sets up the drum solo with the same four-measure figures from the other solos; the horns join on the second A and C sections. The second drum solo chorus is drums alone until the last eight measures, where the piano and bass again join with one more of the same figure. The coda consists of a four-measure drum fill followed by the three "theme" chords with fermatas.
Several of the chords consist only of open 5ths. These are indicated in our charts by the letter of the root, as explained in the footnote on the first page of each lead sheet. Because the horns play in rhythmic unison throughout, though often harmonized in 4ths or 3rds, we have decided to make condensed scores available in all transpositions, as we have done with the "2 Horns / 2 Rhythm" arrangement of Lotus Blossom.
The first chorus of each solo continues the feel of the head, with the "theme" figure stretched out in the rhythm section to four-measure phrases. Each solo chorus is a 32-measure AABC form, with the bridge always swinging; after the first chorus the rhythm section swings throughout. There is a sort of shout for the drums; the two-chorus drum solo form from the recording is indicated in our charts. The first of these choruses sets up the drum solo with the same four-measure figures from the other solos; the horns join on the second A and C sections. The second drum solo chorus is drums alone until the last eight measures, where the piano and bass again join with one more of the same figure. The coda consists of a four-measure drum fill followed by the three "theme" chords with fermatas.
Several of the chords consist only of open 5ths. These are indicated in our charts by the letter of the root, as explained in the footnote on the first page of each lead sheet. Because the horns play in rhythmic unison throughout, though often harmonized in 4ths or 3rds, we have decided to make condensed scores available in all transpositions, as we have done with the "2 Horns / 2 Rhythm" arrangement of Lotus Blossom.
Jung Fu is a later example of K.D.'s songs that have a "Chinese" influence. As in Lotus Blossom and Blue Ching, this is almost stereotyped with the melody voiced in parallel 4ths over modal open-5th harmonies.
Kenny's last recording as a leader, this live album was originally a radio broadcast of a set at the Half Note club in New York City. Hugh Walker, the drummer on this recording, did not record much; he played with many soul-jazz musicians of the time including saxophonist Harold Vick, guitarist Grant Green, and "Big" John Patton, organ. Alto saxophonist Sonny Red, also relatively little-recorded, played on another live recording including a Kenny Dorham song a month later: a Blue Mitchell set at the Crystal Ballroom in Baltimore, with a version of Blue Spring Shuffle.
Kenny's last recording as a leader, this live album was originally a radio broadcast of a set at the Half Note club in New York City. Hugh Walker, the drummer on this recording, did not record much; he played with many soul-jazz musicians of the time including saxophonist Harold Vick, guitarist Grant Green, and "Big" John Patton, organ. Alto saxophonist Sonny Red, also relatively little-recorded, played on another live recording including a Kenny Dorham song a month later: a Blue Mitchell set at the Crystal Ballroom in Baltimore, with a version of Blue Spring Shuffle.
Kenny Dorham
August 30, 1924 – December 15, 1972
Trumpeter/composer Kenny Dorham was very much on the jazz scene from the mid-1940s through most of the 1960s. He worked and recorded with all the major figures in the modern jazz movement, which includes the legendary Billy Eckstine big band, Dizzy Gillespie, Art Blakey, Bud Powell, Charlie Parker, Thelonious Monk and Max Roach as well as Kenny Clarke, Sonny Stitt, Fats Navarro, J.J. Johnson and many other giants of that period. Read more...