Shape Shifting – Steve Nelson
A melodic medium-up song based on descending series of II-V7s, with a pedal-point Latin groove on the bridge. Steve has recorded it three times at slightly different tempos.
- Recording: Steve Nelson - New Beginnings
- Recorded on: December 1-2, 1997
- Label: TCB (99302)
- Concert Key: No key center
- Style: Swing (medium up)
- Vibes - Steve Nelson
- Piano - Mulgrew Miller
- Bass - Peter Washington
- Drums - Kenny Washington
This song's title probably refers to the nature of its harmonic structure. It's based on descending series of II-V7s; though they eventually resolve to major tonics, this song has no single key center. Each II-V7 is a four-measure phrase, with the II chord stretched out over the first three of these measures. The first 16-measure A section has these II-V7s descending in whole steps from Gm7, eventually landing in D♭ major like a stretched-out Woody'n You.
The melody is quite simple and based on the chords' upper extensions. The second A section is up a fourth from the first A section, leading to a 16-measure bridge with a Latin groove. The bass pedals B♭ for much of the first half of the bridge (B1), and D♭ on the second half (B2). The C section begins like the A section, but goes to F♯m7 in the fifth measure instead of Fm7, continuing the descent a half step higher; this section is 12 measures long and leads to a D section (another 16) that winds through a few more key centers before settling in F major. The last two measures of the form have a couple of II-V7s descending in half steps, which appear earlier at the end of the bridge. These are extended in the coda to lead to an unexpected Dmaj7. Solos are on the entire 76-measure form.
Note: lead sheets under all three album covers are identical.
The melody is quite simple and based on the chords' upper extensions. The second A section is up a fourth from the first A section, leading to a 16-measure bridge with a Latin groove. The bass pedals B♭ for much of the first half of the bridge (B1), and D♭ on the second half (B2). The C section begins like the A section, but goes to F♯m7 in the fifth measure instead of Fm7, continuing the descent a half step higher; this section is 12 measures long and leads to a D section (another 16) that winds through a few more key centers before settling in F major. The last two measures of the form have a couple of II-V7s descending in half steps, which appear earlier at the end of the bridge. These are extended in the coda to lead to an unexpected Dmaj7. Solos are on the entire 76-measure form.
Note: lead sheets under all three album covers are identical.
"New Beginnings" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Steve Nelson has recorded four quartet albums as a leader, one every decade since the '80s. All but the first have Peter Washington on bass; pianist Mulgrew Miller was also on the first one, "Communications" from 1987-89, and the third, "Sound Effect" from 2007. The combination of Peter Washington and the unrelated Kenny Washington has graced a vast variety of recordings since 1988, including our own "Gigi Gryce Project."
When asked about the title, Steve remarked that he thought the term "Shape Shifting" first came to his attention in a book, and that it seemed right for this composition.
Steve Nelson has recorded four quartet albums as a leader, one every decade since the '80s. All but the first have Peter Washington on bass; pianist Mulgrew Miller was also on the first one, "Communications" from 1987-89, and the third, "Sound Effect" from 2007. The combination of Peter Washington and the unrelated Kenny Washington has graced a vast variety of recordings since 1988, including our own "Gigi Gryce Project."
When asked about the title, Steve remarked that he thought the term "Shape Shifting" first came to his attention in a book, and that it seemed right for this composition.
- Recording: Curtis Lundy - Purpose
- Recorded on: October 1-2, 2001
- Label: Justin Time (JUST 175-2)
- Concert Key: No key center
- Style: Swing (medium up)
- Tenor Sax - Mark Shim
- Vibes - Steve Nelson
- Piano - Anthony Wonsey
- Bass - Curtis Lundy
- Drums - Billy Hart
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This quintet version is slightly faster than the original recording. The tenor sax doubles the melody in unison on the first A section, switching to an octave below the vibes for the second A and B sections. The two melody instruments are in unison again for C, with only tenor on the melody at D until the last four measures. In the eighth measure of D the tenor avoids the octave leap and continues an octave lower for the rest of the head. A few rhythms of the melody are different, and the note on the fourth beat of the fourth measure in each II-V7 phrase in the A sections (and the eighth and twelfth measures of C) is the third of the chord instead of the root. For example, the fourth measure has E on the fourth beat instead of C.
Please note that the lead sheets shown under each album cover are identical. If you select one, the checkmark will appear in all instances of that edition, but you will only buy (and pay for) one.
Please note that the lead sheets shown under each album cover are identical. If you select one, the checkmark will appear in all instances of that edition, but you will only buy (and pay for) one.
"Purpose" is Curtis Lundy's third album as a leader. Pianist John Hicks replaces Anthony Wonsey on some songs; both pianists also played on Lundy's second album, "Against All Odds" from 1999. Steve Nelson first recorded with Lundy on a Bobby Watson album from 1983, "Jewel." The front line of Nelson and Mark Shim is unique to this recording; earlier in 2001, Shim recorded alongside Wonsey and Lundy with the latter's sister, vocalist Carmen Lundy, for her album "This Is Carmen Lundy."
- Recording: Louis Hayes - Return Of The Jazz Communicators
- Recorded on: November 16, 2013
- Label: Smoke Sessions (SSR 1406)
- Concert Key: No key center
- Style: Swing (medium up)
- Tenor Sax - Abraham Burton
- Vibes - Steve Nelson
- Piano - David Bryant
- Bass - Dezron Douglas
- Drums - Louis Hayes
Considerably faster than the other two recordings, this version has the tenor sax doubling the vibes melody an octave lower almost throughout. The tenor shifts up an octave to unison with vibes in the pickup to the fifth measure of D; the octave leap is again avoided and the two melody instruments are in unison for almost the rest of the head. The last two measures of the in head are in octaves again, but the coda is in unison.
The melody is closer to the way it is written, but with one rhythmic difference. Beats 3 and 4 of the second measure in each 4-measure phrase of the A and C sections have three quarter-note triplets in this version, instead of two eighth notes, an eighth rest, and a third eighth note. This makes the melody smoother and lighter in this faster tempo.
The lead sheets available under each album cover are identical—if you select one, the checkmark will be reflected in all the other instances.
The melody is closer to the way it is written, but with one rhythmic difference. Beats 3 and 4 of the second measure in each 4-measure phrase of the A and C sections have three quarter-note triplets in this version, instead of two eighth notes, an eighth rest, and a third eighth note. This makes the melody smoother and lighter in this faster tempo.
The lead sheets available under each album cover are identical—if you select one, the checkmark will be reflected in all the other instances.
Louis Hayes used the name Jazz Communicators originally for the lineup of his 2010 album "Lou's Idea." This was a quintet also featuring Steve Nelson and Abraham Burton along with pianist Mulgrew Miller and bassist Santi Debriano. Tragically, Miller died in May 2013. The players heard on this Smoke Sessions album also recorded on a more recent Hayes album, "Serenade For Horace;" this Horace Silver tribute also features trumpeter Josh Evans and vocalist Gregory Porter.
Steve Nelson
born on August 11, 1954
Vibraphonist Steve Nelson's career began in the early 1970s. His first touring experience was with the legendary guitarist Grant Green. Steve cites Milt Jackson as his first major influence, although in later years he developed a harmonically open sound influenced by Bobby Hutcherson. While attending the State University of New Jersey at Rutgers then-new jazz program, he met pianist Kenny Barron, drummer Freddie Waits, guitarist Ted Dunbar and reedman James Spaulding, who were all faculty members. Through them, he began to perform in New York City. In 1976, at age 22, Steve recorded with James Spaulding ("Plays The Music Of Duke Ellington"), and in 1980 recorded albums with Kenny Barron and Ted Dunbar. Read more...