Salima's Dance – Ronnie Mathews
Named for Ronnie's daughter and her love of dancing, this is a simple, blues-like song with an even-8ths 3/4 groove. Transcriptions are available of Ronnie's solo piano intros on both recordings, plus his Solo Piano Arrangement.
- Recording: Ronnie Mathews - Selena's Dance
- Recorded on: February 1, 1988
- Label: Timeless (CDSJP 304)
- Concert Key: F minor
- Style: 3/4 even 8ths (African feel)
- Piano - Ronnie Mathews
- Bass - Stafford James
- Drums - Tony Reedus
This song is in the Phrygian mode, which differs from natural minor by having a flat second; this is indicated by the key signature, with five instead of four flats. It is a repeating 20-measure AB form; the B section feels like the "turnaround" of a 12-measure blues. There is also a Drum Shout Chorus, which Ronnie used to set up the drum solo; it takes up the A section, leaving B open for the drums.
In performance, Ronnie would always set the tempo and establish the groove himself (solo piano) for eight measures before the rest of the rhythm section came in. This groove, the "African feel," is an even-eighths 3/4 with emphasis on the dotted quarter-note, making it almost like 6/8. The best-known example of this is Afro Blue, as recorded by John Coltrane. It should be noted that the original West African rhythms that this groove comes from are interpreted with measures twice as long, variously as the equivalents of 12/8, 6/4 or a long-meter 3/2.
Pianists should use the Solo Piano Arrangement, whether or not they are playing unaccompanied; these voicings work in an ensemble setting as well. See the Piano Corner tab for details.
In performance, Ronnie would always set the tempo and establish the groove himself (solo piano) for eight measures before the rest of the rhythm section came in. This groove, the "African feel," is an even-eighths 3/4 with emphasis on the dotted quarter-note, making it almost like 6/8. The best-known example of this is Afro Blue, as recorded by John Coltrane. It should be noted that the original West African rhythms that this groove comes from are interpreted with measures twice as long, variously as the equivalents of 12/8, 6/4 or a long-meter 3/2.
Pianists should use the Solo Piano Arrangement, whether or not they are playing unaccompanied; these voicings work in an ensemble setting as well. See the Piano Corner tab for details.
This was a very important composition for Ronnie. Salima is his lovely daughter, and she was a dancer, starting as a little girl. The song was first recorded in 1978 on Ronnie's Bee Hive album "Roots, Branches and Dances," with Frank Foster, Ray Drummond and Al Foster. The 1988 Timeless recording "Selena's Dance" misspelled his daughter's name both in the album title and the song title. Ronnie immediately complained, but unfortunately it has never been corrected. He next recorded it on the "Sterling Place All-Stars" CD, in 1998. In 2005, he recorded it on Roy Hargrove's "Nothing Serious" CD (see both album covers above).
Solo Piano Arrangement: Ronnie's solo piano arrangement is similar to his interpretation of the melody on this trio recording. The longer notes of the melody are voiced mostly in fourths, or combinations of fourths and seconds. The right hand voicings at B contain all the chord extensions. The left hand is mostly supplying a sort of drone with the root and 5th.
The Drum Shout Chorus is a simple riff, voiced again with fourths and seconds. Measures 7 and 8 have more open voicings. Basically the same on all versions.
The Drum Shout Chorus is a simple riff, voiced again with fourths and seconds. Measures 7 and 8 have more open voicings. Basically the same on all versions.
- Recording: Sterling Place All Stars - Sterling Place All Stars
- Recorded on: July 7 & 8, 1998
- Label: Metropolitan (MR 1117)
- Concert Key: F minor
- Style: 3/4 even 8ths (African feel)
- Alto Sax - Vincent Herring
- Piano - Ronnie Mathews
- Bass - Richie Goods
- Drums - Carl Allen
This quartet version is similar to the trio version. The main difference is in the groove; drummer Carl Allen plays a swing-8ths version of the "African feel." The dynamic range is greater, with the B section of the head starting out much softer and crescendoing. Though the saxophone plays the melody, the shout chorus for the drums is played by the rhythm section only.
Pianists should use the Solo Piano Arrangement, whether or not they are playing unaccompanied; these voicings work in an ensemble setting as well. See the Piano Corner tab for details.
Pianists should use the Solo Piano Arrangement, whether or not they are playing unaccompanied; these voicings work in an ensemble setting as well. See the Piano Corner tab for details.
Ronnie Mathews, Vincent Herring, Richie Goods and Carl Allen had all at one time or another lived on the same block in Brooklyn, on Sterling Place, and, as this album's cover implies, near Flatbush Avenue. Incidentally, this is three blocks from a more recently created jazz venue, SEEDS:Brooklyn, run by tenor saxophonist Ohad Talmor. The Tea Lounge, a recently closed venue that was also very close to this block, was home to a weekly jam session and many other jazz performances.
This was the only recording that Ronnie did with either Vincent Herring or Richie Goods. He had recorded previously with Carl Allen in 1991 for three songs on Benny Powell's album "Why Don't You Say "Yes" Sometime?" Vincent, Richie and Carl had all played on Vincent's 1997 album "Change the World."
For another song from this album, check out John Charles.
This was the only recording that Ronnie did with either Vincent Herring or Richie Goods. He had recorded previously with Carl Allen in 1991 for three songs on Benny Powell's album "Why Don't You Say "Yes" Sometime?" Vincent, Richie and Carl had all played on Vincent's 1997 album "Change the World."
For another song from this album, check out John Charles.
Piano Intro
On this recording, Ronnie plays a 16-measure intro clip. The bass and drums come in after eight measures. His right hand voicings combine fourths and seconds, while the left hand alternates between low fifths and higher stacks of fourths; there is a lot of independence between the two hands.
The Drum Shout Chorus clip is a simple riff, voiced again with fourths and seconds. Measures 7 and 8 have more open voicings. Basically the same on all versions.
Solo Piano Arrangement: Ronnie's solo piano arrangement is similar to his interpretation of the melody on this trio recording. The longer notes of the melody are voiced mostly in fourths, or combinations of fourths and seconds. The right hand voicings at B contain all the chord extensions. The left hand is mostly supplying a sort of drone with the root and 5th.
On this recording, Ronnie plays a 16-measure intro clip. The bass and drums come in after eight measures. His right hand voicings combine fourths and seconds, while the left hand alternates between low fifths and higher stacks of fourths; there is a lot of independence between the two hands.
The Drum Shout Chorus clip is a simple riff, voiced again with fourths and seconds. Measures 7 and 8 have more open voicings. Basically the same on all versions.
Solo Piano Arrangement: Ronnie's solo piano arrangement is similar to his interpretation of the melody on this trio recording. The longer notes of the melody are voiced mostly in fourths, or combinations of fourths and seconds. The right hand voicings at B contain all the chord extensions. The left hand is mostly supplying a sort of drone with the root and 5th.
- Recording: Roy Hargrove - Nothing Serious
- Recorded on: September, 2005
- Label: Verve (621102)
- Concert Key: F minor
- Style: 3/4 even 8ths (African feel)
- Trumpet - Roy Hargrove
- Trombone - Slide Hampton
- Alto Sax - Justin Robinson
- Piano - Ronnie Mathews
- Bass - Dwayne Burno
- Drums - Willie Jones, III
The groove on this sextet version is again more swinging than on the original trio recording. However, as on the quartet version, the horns play the melody with even eighths. Some passages of the melody are harmonized, but in general the arrangement is the same as in the other two recordings.
Pianists should use the Solo Piano Arrangement, whether or not they are playing unaccompanied; these voicings work in an ensemble setting as well. See the Piano Corner tab for details.
Pianists should use the Solo Piano Arrangement, whether or not they are playing unaccompanied; these voicings work in an ensemble setting as well. See the Piano Corner tab for details.
Roy Hargrove had recorded with Ronnie Mathews three times before "Nothing Serious." Ronnie played on some of Roy's 1995 album "Family", and both were on T.S. Monk's 1997 tribute to his father, "Monk On Monk," which was arranged by jazzleadsheets.com's Don Sickler. Ronnie and Roy also played on Jimmy Cobb's album "Cobb's Corner" in 2006.
Piano Intro
Ronnie's intro on this version clip begins rubato, almost establishing a slow tempo followed by a slightly faster one. In the first part of the intro he plays two-handed voicings in fourths, while the second part introduces staccato rhythmic figures in the right hand over a left hand ostinato. After this he sets up the tempo, with fourths in both hands, and the bass and drums come in together as on the Sterling Place All-Stars recording.
The Drum Shout Chorus clip is a simple riff, voiced again with fourths and seconds. Measures 7 and 8 have more open voicings. Basically the same on all recordings.
Solo Piano Arrangement: Ronnie's solo piano arrangement is similar to his interpretation of the melody on this trio recording. The longer notes of the melody are voiced mostly in fourths, or combinations of fourths and seconds. The right hand voicings at B contain all the chord extensions. The left hand is mostly supplying a sort of drone with the root and 5th.
Ronnie's intro on this version clip begins rubato, almost establishing a slow tempo followed by a slightly faster one. In the first part of the intro he plays two-handed voicings in fourths, while the second part introduces staccato rhythmic figures in the right hand over a left hand ostinato. After this he sets up the tempo, with fourths in both hands, and the bass and drums come in together as on the Sterling Place All-Stars recording.
The Drum Shout Chorus clip is a simple riff, voiced again with fourths and seconds. Measures 7 and 8 have more open voicings. Basically the same on all recordings.
Solo Piano Arrangement: Ronnie's solo piano arrangement is similar to his interpretation of the melody on this trio recording. The longer notes of the melody are voiced mostly in fourths, or combinations of fourths and seconds. The right hand voicings at B contain all the chord extensions. The left hand is mostly supplying a sort of drone with the root and 5th.
Ronnie Mathews
December 2, 1935 – June 28, 2008
Ronnie Mathews was born in Brooklyn, NY. He studied at Brooklyn College, and also with pianist/composer/arranger Hall Overton starting in 1953, then continuing his music education at Manhattan School Of Music from 1955-1958. He played with Gloria Lynne (1958-1960) and started his small group jazz recording career with Charles Persip And The Jazz Statesmen for Bethlehem records on April 2, 1960. He also performed with Kenny Dorham in 1960 and 1961, as well as recording in 1961 on sessions with leaders Clifford Jordan (February 14), Roland Alexander (June 17), his own trio session for Savoy (June 19, unissued), Bill Hardman (October 18), and Junior Cook (December 4). Read more...