Roy Allan – Roy Hargrove

This laid-back, funky song has a lot in common with some of the classic modal jazz compositions of the '60s and '70s, while still being distinctly more modern. The melody is very simple and can be interpreted freely, floating over the groove. There is no obvious key center; the changes are mostly minor sevenths moving in thirds, with a few more tonal motions such as D7 at the end of the first A section and C section to return to G minor. The last two measures of the bridge have rhythm section hits on a II-V7 also to G minor, with both the V and I chords approached from a half step above. These resolutions do not distract much from the modal framework. There is a bass line running through the whole song, which is more active than the melody and fills the space created by the long melody notes. Like the bass line of Kenny Dorham's Blue Bossa, you can play this song without the bass line but it wouldn't be quite complete.

The form is AABBC, with the C section differing from A by a different last note of the melody. On this recording, there is an intro vamp on the first A section, building up from solo bass. The ending vamps the last four measures, which are all on Cm7, leaving out the D7 that would go back to the top of the form. The horns play in octaves on the A and C sections and in thirds on the B sections; the last melody note is harmonized with a seventh. The long notes of the B section are used as a background for the piano solo.

Instead of having separate second parts for the quintet arrangement, we have included the two-horn harmonies in our lead sheets—any two horn players can just use the lead sheets and play the harmonies. Tenor saxophonists reading the B♭ lead sheet should play the lower harmony notes an octave higher. The Concert Condensed Score is for rhythm section players, and includes the bass line and all rhythm section hits.

The lead sheets under each album cover are identical.

On this arrangement, the funk on the bass line is turned up even more! Our audio clip starts on the melody. This recording has far less emphasis on the bass, which you can hear from the clip. In this arrangement, the bass line adds more funk to the composition but is merely one element in a cacophony. While our lead sheet is based on "Family," this recording shows how Roy Allan can go from a laid-back groove to a show-stopper with the right arrangement.

The lead sheets under each album cover are identical.