Night Bird – Al Cohn & Kitty Malone
A swinging vocal by saxman Al Cohn, in two different keys. Eminently customizable.
- Recording: Anita O'Day - All The Sad Young Men
- Recorded on: October 16, 1961
- Label: Verve (V 8442)
- Concert Key: C
- Vocal Range: Mezzo Soprano, G3 to A4
- Style: Swing (medium)
- Vocal- Anita O'Day
- Trumpets - Doc Severinsen, Bernie Glow
- Trumpets - Herb Pomeroy
- Trombones - Willie Dennis, Billy Byers
- Trombones - Bob Brookmeyer
- Woodwinds - Phil Woods, Jerome Richardson
- Woodwinds - Zoot Sims
- Piano - Hank Jones
- Guitar - Barry Galbraith
- Bass - George Duvivier
- Drums - Mel Lewis
- Arranger/Director - Gary McFarland
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Night Bird has all the elements of a great standard—a swinging melody, a flowing chord progression and the ability to be totally customized by the vocalist. To illustrate how this song can be transformed by a great arrangement, we have two versions, one featuring Anita O'Day and one featuring Chris Connor.
Gary McFarland's arrangement for Anita O'Day is avant-garde and unusual. It begins with an understated instrumental introduction, setting a dark and mysterious scene that perfectly complements Anita's voice. The A section is very minimalist, with only sparse hints of harmony; instead, Anita sings over moody and dissonant horn riffs. As the song progresses, the harmony of the song becomes more and more apparent. After Anita sings, the tempo picks up into a real swing, while the horns play a shout chorus. Anita comes back in on the out A, now taking more liberties with the melody and rhythm. The arrangement ends with an unsettling cluster chord.
Lyric Description: This allegorical lyric seems to address a shy bird who will only sing at night. The narrator is reassuring, reminding that starlight follows daylight and others also choose to fly by night.
Vocal Transcription: The two vocal transcriptions show the impeccable phrasing of two master vocalists. Both singers stay fairly close to the melody as written the first time through the head, but show off their personal styles on the head out. Comparing the two transcriptions to each other and to the lead sheet is a fantastic learning opportunity for any singer.
Though Anita's rhythms are closer to the written melody the first time through the head, the out head (about twice as fast) is articulated more freely than Chris Connor's interpretation. In particular, many phrases end shorter than they are written, with Anita's signature slight vibrato at the very end of the notes. There is even a brief "scat" passage at the end of the bridge.
If another key would be better for you, send the key you'd like to Don and we'll post the transposition on the website for purchase. If you're not sure which key is best, send us your range and we'll work with you to figure out the best key.
Gary McFarland's arrangement for Anita O'Day is avant-garde and unusual. It begins with an understated instrumental introduction, setting a dark and mysterious scene that perfectly complements Anita's voice. The A section is very minimalist, with only sparse hints of harmony; instead, Anita sings over moody and dissonant horn riffs. As the song progresses, the harmony of the song becomes more and more apparent. After Anita sings, the tempo picks up into a real swing, while the horns play a shout chorus. Anita comes back in on the out A, now taking more liberties with the melody and rhythm. The arrangement ends with an unsettling cluster chord.
Lyric Description: This allegorical lyric seems to address a shy bird who will only sing at night. The narrator is reassuring, reminding that starlight follows daylight and others also choose to fly by night.
Vocal Transcription: The two vocal transcriptions show the impeccable phrasing of two master vocalists. Both singers stay fairly close to the melody as written the first time through the head, but show off their personal styles on the head out. Comparing the two transcriptions to each other and to the lead sheet is a fantastic learning opportunity for any singer.
Though Anita's rhythms are closer to the written melody the first time through the head, the out head (about twice as fast) is articulated more freely than Chris Connor's interpretation. In particular, many phrases end shorter than they are written, with Anita's signature slight vibrato at the very end of the notes. There is even a brief "scat" passage at the end of the bridge.
If another key would be better for you, send the key you'd like to Don and we'll post the transposition on the website for purchase. If you're not sure which key is best, send us your range and we'll work with you to figure out the best key.
Anita O'Day started her recording career in 1944, with the Nat King Cole Trio. Recording several times a year almost every year since then, she has gained the respect and admiration of musicians and fans alike. Although Mel Lewis is credited with playing on the session, drummer Kenny Washington, through his notes on a Mosaic boxed set, thinks it was actually Roy Haynes on drums.
- Recording: Chris Connor - Free Spirits
- Recorded on: April 30, 1962
- Label: Atlantic (SD 8061)
- Concert Key: B-flat
- Vocal Range: Alto, F3 to A4
- Style: Swing (medium)
- Vocal - Chris Connor
- Trumpet - Joe Newman
- Trumpet/Flugelhorn - Clark Terry
- Alto Sax/Clarinet - Phil Woods
- Tenor Sax/Clarinet - Oliver Nelson
- Baritone Sax - Sol Schlinger
- Piano - Ronnie Ball
- Bass - Ben Tucker
- Drums - Dave Bailey
- Arranger/Conductor - Al Cohn
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Night Bird has all the elements of a great standard a swinging melody, a flowing chord progression, and the ability to be totally customized by the vocalist. To illustrate how this song can be transformed by a great arrangement, we have available two versions, one featuring Anita O'Day and one featuring Chris Connor.
Composer Al Cohn himself wrote the arrangement for Chris Connor, which has a completely different groove from O'Day's recording. This version contrasts a distinctive Latin A section with a swinging B section. The background instrumentals are also far more consonant. After the first time through the head, the two trumpets trade muted phrases, followed by a brilliant alto sax solo. Chris comes back in with a freer version of the melody. Like Anita, she takes numerous liberties with the melody and rhythm, showing off her interpretive skills. The arrangement ends with a Latin vamp, evoking a more mysterious mood.
Lyric Description: This allegorical lyric seems to address a shy bird who will only sing at night. The narrator is reassuring, reminding that starlight follows daylight and others also choose to fly by night.
Vocal Transcription: The two vocal transcriptions show the impeccable phrasing of two master vocalists. Both singers stay fairly close to the melody as written the first time through the head, but show off their personal styles on the head out. Comparing the two transcriptions to each other and to the lead sheet is a fantastic learning opportunity for any singer.
On the out head, Chris embellishes the melody more melodically than rhythmically, though there is plenty of both. The phrases are generally long as in the head in, unlike Anita O'Day's articulation; Chris uses more vibrato. The most prominent distinctive aspect of this interpretation is the melodic variation within notes, as in the downward arpeggio on the word "night" at the beginning of the out head.
If another key would be better for you, send the key you'd like to Don and we'll post the transposition on the website for purchase. If you're not sure which key is best, send us your range and we'll work with you to figure out the best key.
Composer Al Cohn himself wrote the arrangement for Chris Connor, which has a completely different groove from O'Day's recording. This version contrasts a distinctive Latin A section with a swinging B section. The background instrumentals are also far more consonant. After the first time through the head, the two trumpets trade muted phrases, followed by a brilliant alto sax solo. Chris comes back in with a freer version of the melody. Like Anita, she takes numerous liberties with the melody and rhythm, showing off her interpretive skills. The arrangement ends with a Latin vamp, evoking a more mysterious mood.
Lyric Description: This allegorical lyric seems to address a shy bird who will only sing at night. The narrator is reassuring, reminding that starlight follows daylight and others also choose to fly by night.
Vocal Transcription: The two vocal transcriptions show the impeccable phrasing of two master vocalists. Both singers stay fairly close to the melody as written the first time through the head, but show off their personal styles on the head out. Comparing the two transcriptions to each other and to the lead sheet is a fantastic learning opportunity for any singer.
On the out head, Chris embellishes the melody more melodically than rhythmically, though there is plenty of both. The phrases are generally long as in the head in, unlike Anita O'Day's articulation; Chris uses more vibrato. The most prominent distinctive aspect of this interpretation is the melodic variation within notes, as in the downward arpeggio on the word "night" at the beginning of the out head.
If another key would be better for you, send the key you'd like to Don and we'll post the transposition on the website for purchase. If you're not sure which key is best, send us your range and we'll work with you to figure out the best key.
Vocalist Chris Connor first recorded with the Sy Oliver Orchestra in 1953. Her career as a big band vocalist spans decades; she recorded with many small groups as well as big bands, including those of Maynard Ferguson, Jimmy Jones, Ronnie Ball, etc.
Al Cohn
November 24, 1925 – February 15, 1988
Al Cohn, born in Brooklyn, NY, went on to become not only a brilliant jazz tenor saxophonist, but an arranger, leader and sideman par excellence. From the "Al Cohn Memorial Jazz Collection," East Stroudsburg University of Pennsylvania website: "His career in jazz spanned more than 45 years. He performed with the bands of Henry Jerome, Joe Marsala, Georgie Auld, Alvino Rey, Buddy Rich, Woody Herman, Artie Shaw, Elliot Lawrence and others. Many of the arrangements used by these bands were written by Al, and he also arranged for Gerry Mulligan, Quincy Jones, Terry Gibbs and Jimmy Rushing. Read more...
Kitty Malone
born on January 1, 1970
Unfortunately, lyricist Kitty Malone's identity is a complete mystery, even to the son (guitarist Joe Cohn) of the composer of the composition Night Bird, Al Cohn. The name may have been a pen name for someone else or she may have been a lyricist in her own right, but we haven't been able to find any information on her today. Read more...