Reminiscing – Gigi Gryce

Here is a ballad that really deserves to be better known! It is very singable, and in fact Jon Hendricks wrote lyrics to it; it was first recorded by vocalist Earl Coleman. The melody has a passionate and tense quality due to its outlining of upper extensions and unexpected passing chords. For example, the first phrase lands on F♭ (E natural), the flat 9th of E♭7, with the next one using D natural in a G major chord instead of the expected A♭ major. The bridge modulates down to E major, moving through A and D major to return to the tonic through stepwise root motion.

This song was recorded five times in the late '50s and early '60s. Our lead sheet has the basic melody and chord progression with some substitute chords and alterations used in many of these recordings. Art Farmer's recording begins with B♭m7♭5 instead of E♭7(♭9), with the latter chord appearing on beats 3 and 4 of the first measure. This version has no intro, and a brief rubato "tag" at the end. The A and C sections of the in head are played rubato, without drums; the bridge is in time.

All lead sheets for Reminiscing are identical, regardless of the album covers above. So if you click on the B-flat lead sheet, for example, all will show checkmarks, but you'll only purchase one.

Dizzy Gillespie's octet version features an arrangement by Gigi, somewhat similar to his own sextet recording. Both begin the head slightly rubato, with trumpet melody and bass fills. Dizzy's version adds celeste (taking the place of vibes) on the first A section, going to piano and arco bass accompaniment in the second A. Dizzy continues the melody through this section (which is still rubato) and the bridge, in time, and Gigi solos on the C section. This is followed by a double-time swing interlude largely different from the one in Gigi's sextet arrangement, but like the latter version it leads to a rubato solo piano bridge. Dizzy takes the melody out two measures before the C section, and the ending is essentially the same as on Gigi's version.

There is an intro added CLIP which, like the ending of both arrangements, features a steady beat on woodblock and triangle like a clock ticking and ringing. Harmonically, the one difference Dizzy's recording has from our lead sheet is A♭maj7 at the beginning of the last measure of the bridge (in the ensemble figures) instead of A♭7. It is A♭7 in Gigi's own recording as well as Art Farmer's version; in the latter, the first chord of the previous measure is Amaj7 instead of A7 as in all other recordings.

Gigi's own recording has a subtle and very effective arrangement, as shown in our Concert Condensed Score. The trumpet and alto sax alternate sections of the in head. The two A sections contrast in texture: the first has trumpet melody, accompanied by vibes and an active pizzicato bass line, while the second A section's alto melody is backed by piano comping and bowed bass mostly in half notes. Both these sections are only slightly rubato. Gigi embellishes the second A section freely and improvises on the C section.

After the head there is a double-time swing interlude full of rhythmic hits. This interlude features mostly dominant seventh chords with ♯9ths, and leads back to the bridge. This second bridge starts with solo piano, entirely rubato until the pickup to the seventh measure, where the trumpet takes over the melody in time. The last C section begins with the alto soloing for four measures, after which the trumpet finishes the melody. There is a four-measure coda with descending changes; it features a pedal-like bass line and steady eighth notes on triangle and woodblock—like a clock ticking and ringing.

A Concert Condensed Score is available for this version, in addition to lead sheets for the composition as shown on the other albums.