An exciting uptempo swinger in a modern, modal style. Though the key center is obvious, this song has an open-ended sound: the rhythm section plays pedal points with no chords through most of the head. The melody begins simply but continues to evolve as it unfolds through the form.
In the first 24 measures (A, B, and C), a four-measure rhythm section figure in open 5ths accompanies the melody, mostly on F and C but switching to D♭ and A♭ for the first half of B and again in the second half of C. The D section, again eight measures, features a descending rhythm section line (still without chords), while E ascends both in harmony and melody with a rushing 8th-note line over chords—triads a whole step below the bass note—which rise in whole steps. This E section is four measures long the first time through the head, followed by eight measures of pedal point (F) to set up the repeat of the head. On this second chorus the E section is extended to six measures, landing on a D triad over E with a hit on beat 4 of the last measure to lead into the solos.
On the recording, pianist Kevin Hays solos on a simplified modal version of the head, 34 measures long. This solo chorus starts with 16 measures of F7sus (F Mixolydian) followed by eight measures of D♭maj7(♯11) (D♭ Lydian); the last 10 measures start with F7sus for four and then the six-measure E section from the repeat of the head, landing on E7sus. These are essentially the modes implied in the melody over the pedal point sections. Jon Gordon’s alto sax solo (indicated as “last solo” in our lead sheet) is over a vamp featuring the four-measure pedal figure from the start of the head. The out melody is played once, taking the second ending.
Our audio excerpt starts at the head. Jon begins the recording with an open solo, initially duo with drums and later adding the four-measure pedal figure in the piano and bass.
The melody of this song covers a very wide range, rising into the alto sax’s altissimo register. Our E♭ lead sheet is in the recorded octave, but alto players could also play the first phrase of C and second ending of E an octave lower. Our tenor sax lead sheet is in the same octave as the E♭ whenever possible, with a few altissimo notes labeled “optional 8vb”.
Jon Gordon dedicates
One For Charles to fellow alto saxophonist
Charles McPherson. It’s the opening track of “
Jon Gordon Quartet”, Jon’s second album as a leader. Four tracks on this album also feature another master alto player, Phil Woods. This is Jon’s only recording so far with bassist Scott Colley. For more of Jon’s songs recorded with pianist Kevin Hays and/or drummer Bill Stewart, check out
Along The Way,
Joe Said So, and
Veil.
