Night At Nalen – Freddie Redd
Freddie's uptempo "burner"! In addition to the original trio recording, we have exclusive audio of a quintet arrangement by jazzleadsheets.com's Don Sickler. Minus You tracks for this quintet recording are also available for all instruments—see if you can keep up at this tempo!
- Recording: Freddie Redd - Freddie Redd
- Recorded on: September 7, 1956
- Label: Metropolitan (MEP 218)
- Concert Key: B-flat
- Style: Swing (uptempo)
- Piano - Freddie Redd
- Bass - Tommy Potter
- Drums - Joe Harris
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This is Freddie's trio recording, with Freddie playing the melody on piano. In addition to the C lead sheet, there's a separate Piano edition for the trio version (see the Minus You tab).
The head of this uptempo song is a workout for the rhythm section, with hits throughout the A sections. The changes are a rewarding challenge to blow on, containing a lot of chromatic approaches. There are several different types of chromatic approaches here: consecutive rising II-V7s at the beginning of the A and C sections (sections D and F in the solos), descending minor chords in the seventh through eleventh measures of these 16-measure sections, and II-V7-I progressions in G, G♭, and F in the 8-measure bridge. Freddie's songs frequently feature clever modulations to transition from the bridge to the last A section. In this one, the last measure of the bridge has F♯m7 to B7, the next II-V7 in the descending series heard in the rest of the bridge; instead of resolving directly to E major, it becomes a V-of-V back to Bm7-E7 at the start of the next section. The coda is based on the end of the second A section, with yet another chromatic motion added at the very end: descending dominant sevenths from the tonic to the fifth.
When Freddie's 1956 recording was released, this title was shown as A Night At Nalen on the album cover and label. Recent reissues are showing the title as A Night In Nalen.
The head of this uptempo song is a workout for the rhythm section, with hits throughout the A sections. The changes are a rewarding challenge to blow on, containing a lot of chromatic approaches. There are several different types of chromatic approaches here: consecutive rising II-V7s at the beginning of the A and C sections (sections D and F in the solos), descending minor chords in the seventh through eleventh measures of these 16-measure sections, and II-V7-I progressions in G, G♭, and F in the 8-measure bridge. Freddie's songs frequently feature clever modulations to transition from the bridge to the last A section. In this one, the last measure of the bridge has F♯m7 to B7, the next II-V7 in the descending series heard in the rest of the bridge; instead of resolving directly to E major, it becomes a V-of-V back to Bm7-E7 at the start of the next section. The coda is based on the end of the second A section, with yet another chromatic motion added at the very end: descending dominant sevenths from the tonic to the fifth.
When Freddie's 1956 recording was released, this title was shown as A Night At Nalen on the album cover and label. Recent reissues are showing the title as A Night In Nalen.
This trio recording, the only known recording of this song before jazzleadsheets.com's quintet version (see next album cover), was made in Stockholm, Sweden; Nalen is a restaurant and music venue there. September 7 was the third of four sessions this trio made in Stockholm in that month; these sessions included eight other Redd originals.
The trio was originally invited to Sweden by Swedish trumpet artist Rolf Ericson, when he was commissioned to find American musicians to travel to Stockholm for a series of modern jazz concerts. The first recording with this trio was on July 31, 1956, a Rolf Ericson session which also featured singer Ernestine Anderson and Lars Gullin (baritone sax); the last session was on September 18.
Here's a brief rundown of the trio's September sessions:
September 5 -- trio
September 6 -- trio
September 7 -- trio
September 10 -- released as Tommy Potter's date (also with Rolf Ericson and three other local horn players)
September 13 -- Rolf Ericson sextet session
September 16 -- Rolf Ericsson/Benny Bailey
September 18 -- trio (with Freddie's original, aptly titled Farewell To Sweden)
The trio was originally invited to Sweden by Swedish trumpet artist Rolf Ericson, when he was commissioned to find American musicians to travel to Stockholm for a series of modern jazz concerts. The first recording with this trio was on July 31, 1956, a Rolf Ericson session which also featured singer Ernestine Anderson and Lars Gullin (baritone sax); the last session was on September 18.
Here's a brief rundown of the trio's September sessions:
September 5 -- trio
September 6 -- trio
September 7 -- trio
September 10 -- released as Tommy Potter's date (also with Rolf Ericson and three other local horn players)
September 13 -- Rolf Ericson sextet session
September 16 -- Rolf Ericsson/Benny Bailey
September 18 -- trio (with Freddie's original, aptly titled Farewell To Sweden)
- Recording: Don Sickler - Freddie Redd Project
- Recorded on: January 4, 2015
- Label: jazzleadsheets.com (JLS 1021)
- Concert Key: B-flat
- Style: Swing (uptempo)
- Trumpet - Don Sickler
- Alto Sax - Elijah Shiffer
- Piano - Julius Rodriguez
- Bass - Nick Dunston
- Drums - Jeff Brillinger
Don Sickler: From the time Freddie first played this one for me, I immediately thought it would also sound great as a horn melody feature (quartet), or as in this case, a quintet arrangement. The last four measures of the first A section I always heard as just piano, so I let the pianist prepare for it with a little harmony line with the horns. This piece provides a lot of fire for horn players. It makes a great set or performance closer!
This complete recording is available, plus Minus You audio for settings both with and without horns; click on the Minus You tab for more information.
Bassists and drummers should get the Concert Condensed Score.
For more melody description, see Freddie's trio recording (click on album cover at left). For more from the "Freddie Redd Project," see Farewell To Sweden.
This complete recording is available, plus Minus You audio for settings both with and without horns; click on the Minus You tab for more information.
Bassists and drummers should get the Concert Condensed Score.
For more melody description, see Freddie's trio recording (click on album cover at left). For more from the "Freddie Redd Project," see Farewell To Sweden.
"The Freddie Redd Project" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Don Sickler: This recording was made at Rudy Van Gelder's studio in Englewood Cliffs, New Jersey. Night At Nalen is one of nine Freddie Redd compositions that we recorded over the two-day session. The Freddie Redd Project originated in this way: I have a rehearsal studio as part of my NYC loft, and fortunately several musicians close to me have the interest and time to organize rehearsals. I definitely need to try to keep my performing trumpet chops up, so it's great for me.
Drummer Jeff Brillinger has made some of these sessions over the years. At the start of one of these get-togethers a couple of years ago, I remember Jeff asking if I had any more Freddie Redd charts; he had really liked the one that we played at his last rehearsal with me. So I pulled out a whole bunch Freddie's charts, and Jeff liked them all. Then, at another rehearsal, Jeff played with bassist Nick Dunston, then in high school. The hook up was immediate!
Pianist Julius Rodriguez is also a fine drummer; that's the way I'd usually been playing with him. Check out the video on A Little Busy (Bobby Timmons) to hear Julius on drums (also with Nick Dunston). I wanted to give Julius a piano project with me, and thought he'd like Freddie's music. He said he loved what I showed him.
As an arranger, I heard some of it in a quintet format with alto sax, and some with tenor sax. Saxophonist Elijah Shiffer started with me as an intern (learning the music business) and I soon realized he was also an excellent transcriber and could play all the saxes. He also jumped at the chance to play Freddie's music. That's the way this band and this project came about. Thank you, Jeff, for making it happen.
Don Sickler: This recording was made at Rudy Van Gelder's studio in Englewood Cliffs, New Jersey. Night At Nalen is one of nine Freddie Redd compositions that we recorded over the two-day session. The Freddie Redd Project originated in this way: I have a rehearsal studio as part of my NYC loft, and fortunately several musicians close to me have the interest and time to organize rehearsals. I definitely need to try to keep my performing trumpet chops up, so it's great for me.
Drummer Jeff Brillinger has made some of these sessions over the years. At the start of one of these get-togethers a couple of years ago, I remember Jeff asking if I had any more Freddie Redd charts; he had really liked the one that we played at his last rehearsal with me. So I pulled out a whole bunch Freddie's charts, and Jeff liked them all. Then, at another rehearsal, Jeff played with bassist Nick Dunston, then in high school. The hook up was immediate!
Pianist Julius Rodriguez is also a fine drummer; that's the way I'd usually been playing with him. Check out the video on A Little Busy (Bobby Timmons) to hear Julius on drums (also with Nick Dunston). I wanted to give Julius a piano project with me, and thought he'd like Freddie's music. He said he loved what I showed him.
As an arranger, I heard some of it in a quintet format with alto sax, and some with tenor sax. Saxophonist Elijah Shiffer started with me as an intern (learning the music business) and I soon realized he was also an excellent transcriber and could play all the saxes. He also jumped at the chance to play Freddie's music. That's the way this band and this project came about. Thank you, Jeff, for making it happen.
Minus You audio: These are tracks from the quintet recording. The rhythm section editions are simply explained: minus either piano, bass or drums. The minus melody edition has additional solo space, because the original track had a piano solo and the piano also was involved in the exchanges with the drums. The piano has been eliminated in these sections, giving the melody instrument a chance to solo with just bass and drums. The Trio version for piano is also taken from the quintet recording, with only bass and drums throughout. For this setting there is a separate Piano part. The following shows a breakdown of each track edition. There are five Minus You MP3s, with different combinations of instruments.
This is the format of the recording: SFMclip
-- melody [1 chorus] - solo break for piano at end (the drummer fills in a little in the solo break to make it easier to keep the time)
-- piano solo [2 choruses]
-- instrumental solo [2 choruses] (alto sax on recording)
-- trading with drums: sections of the form (16, 16, 8, and 16 measures) - [2 choruses]:
1 chorus of piano trading with drums
1 chorus of instrumental soloist trading with drums
-- out melody [1 chorus]
-- Coda
MP3 minus melody [clip] - this track works for any solo instrument, Minus You for the entire original track
-- count off sets up the melody
-- melody
-- melody instrument break and solo:
2 choruses with only bass and drums
2 choruses with full rhythm section
-- trading sections of the form with drums:
1 chorus with only bass and drums, trading with drums
1 chorus with full rhythm section, trading with drums
-- out melody and Coda
MP3 minus piano - Quintet version [clip]
-- count off sets up the melody
-- comp for the melody (with hits) and play solo break
-- solo accompanied by bass and drums [2 choruses]
-- comp for the alto sax solo
-- trade sections of the form with drums for a chorus
-- comp for trading between alto sax and drums for a chorus
-- comp for the out melody and Coda (with hits)
MP3 minus bass [clip] Get the C Condensed Score. An unquestionable burner, A Night At Nalen is a bebop tune at a tempo so high that the gods can barely reach it! Ok, maybe not that high, but it sure is blazing. As anyone who has picked up a bass and tried to play a few notes for more than a couple of minutes knows, this is not the easiest and certainly not the lightest instrument to undertake. Combining its size and weight with a fast tempo equals a sum that is not so easy. Consequently, that's why we've chosen to feature this song, for playing fast tempos is a required skill if one wants to succeed in this music. In addition to having to walk a solid, consistent and penetrating line at such a pace, this piece also requires precise rhythmic accuracy in a different way, because there are hits in the melody. The bassist must nail the figures, especially the pedal on two and four. And, since the B section of the melody goes to walking, the skill of transitioning between different feels is highlighted. It's safe to say that this piece will do major damage to any unsuspecting victims if they're not prepared for its demands!
-- count off sets up the melody
-- hits and other figures for the melody - walking on the bridge
-- walk for piano solo [2 choruses] and alto sax solo [2 choruses]
-- walk for trading sections of the form - piano and drums trading for a chorus, alto sax and drums trading for a chorus
-- hits and other figures for the out melody - walking on the bridge
-- figures/hits on the Coda
MP3 minus drums [clip] Get the C Condensed Score - sticks throughout
-- count off sets up melody
-- hits and other figures for the melody - time on the bridge
-- comp for piano solo [2 choruses] and alto sax solo [2 choruses]
-- trade sections of the form with piano [1 chorus] and alto sax [1 chorus] (clicks have been added on beat 1 of each measure of the drum solo sections)
-- hits and other figures for the melody - time on the bridge
-- figures/hits on the Coda Pianists can now try this in a trio context, hearing just bass and drums. Freddie's original trio tempo was challenging enough (ca. 296). Our version is at a brisker (ca. 320) tempo. Get the special piano part to go along with the Minus You audio.
bass & drums only [clip]
-- count off sets up the melody
-- play melody with chords
-- solo break
-- solo accompanied by bass and drums [4 choruses]
-- trade sections of the form with drums [2 choruses]
-- play out melody and Coda, with chords
This is the format of the recording: SFMclip
-- melody [1 chorus] - solo break for piano at end (the drummer fills in a little in the solo break to make it easier to keep the time)
-- piano solo [2 choruses]
-- instrumental solo [2 choruses] (alto sax on recording)
-- trading with drums: sections of the form (16, 16, 8, and 16 measures) - [2 choruses]:
1 chorus of piano trading with drums
1 chorus of instrumental soloist trading with drums
-- out melody [1 chorus]
-- Coda
MP3 minus melody [clip] - this track works for any solo instrument, Minus You for the entire original track
-- count off sets up the melody
-- melody
-- melody instrument break and solo:
2 choruses with only bass and drums
2 choruses with full rhythm section
-- trading sections of the form with drums:
1 chorus with only bass and drums, trading with drums
1 chorus with full rhythm section, trading with drums
-- out melody and Coda
MP3 minus piano - Quintet version [clip]
-- count off sets up the melody
-- comp for the melody (with hits) and play solo break
-- solo accompanied by bass and drums [2 choruses]
-- comp for the alto sax solo
-- trade sections of the form with drums for a chorus
-- comp for trading between alto sax and drums for a chorus
-- comp for the out melody and Coda (with hits)
MP3 minus bass [clip] Get the C Condensed Score. An unquestionable burner, A Night At Nalen is a bebop tune at a tempo so high that the gods can barely reach it! Ok, maybe not that high, but it sure is blazing. As anyone who has picked up a bass and tried to play a few notes for more than a couple of minutes knows, this is not the easiest and certainly not the lightest instrument to undertake. Combining its size and weight with a fast tempo equals a sum that is not so easy. Consequently, that's why we've chosen to feature this song, for playing fast tempos is a required skill if one wants to succeed in this music. In addition to having to walk a solid, consistent and penetrating line at such a pace, this piece also requires precise rhythmic accuracy in a different way, because there are hits in the melody. The bassist must nail the figures, especially the pedal on two and four. And, since the B section of the melody goes to walking, the skill of transitioning between different feels is highlighted. It's safe to say that this piece will do major damage to any unsuspecting victims if they're not prepared for its demands!
-- count off sets up the melody
-- hits and other figures for the melody - walking on the bridge
-- walk for piano solo [2 choruses] and alto sax solo [2 choruses]
-- walk for trading sections of the form - piano and drums trading for a chorus, alto sax and drums trading for a chorus
-- hits and other figures for the out melody - walking on the bridge
-- figures/hits on the Coda
MP3 minus drums [clip] Get the C Condensed Score - sticks throughout
-- count off sets up melody
-- hits and other figures for the melody - time on the bridge
-- comp for piano solo [2 choruses] and alto sax solo [2 choruses]
-- trade sections of the form with piano [1 chorus] and alto sax [1 chorus] (clicks have been added on beat 1 of each measure of the drum solo sections)
-- hits and other figures for the melody - time on the bridge
-- figures/hits on the Coda Pianists can now try this in a trio context, hearing just bass and drums. Freddie's original trio tempo was challenging enough (ca. 296). Our version is at a brisker (ca. 320) tempo. Get the special piano part to go along with the Minus You audio.
bass & drums only [clip]
-- count off sets up the melody
-- play melody with chords
-- solo break
-- solo accompanied by bass and drums [4 choruses]
-- trade sections of the form with drums [2 choruses]
-- play out melody and Coda, with chords
Freddie Redd
May 29, 1928 – March 17, 2021
Pianist Freddie Redd, best known for his role as composer and actor in the play and movie "The Connection," started playing the piano when he was in the Army. Mostly self-taught, he learned while performing in clubs with other musicians. According to Nat Hentoff's liner notes to "Shades Of Redd," Freddie says he's "been influenced by many things I've heard on a lot of instruments. What I do is try to piece together what stimulates me into my own way of feeling things musically." Redd's music is simultaneously optimistic and knowing—it makes you want to play along with it, to join in the experience. Read more...