Stop – Don Lanphere
This Latin-bebop song on the changes of Pennies From Heaven was recorded on two Lanphere sessions, 37 years apart! Transcriptions of Fats Navarro's trumpet solos on both the master and alternate takes of the original version are available.
- Recording: Don Lanphere - Prestige First Sessions, vol. 1
- Recorded on: September 20, 1949
- Label: Prestige (P 24081)
- Concert Key: C
- Style: Latin (medium)
- Trumpet - Fats Navarro
- Tenor Sax - Don Lanphere
- Piano - Al Haig
- Bass - Tommy Potter
- Drums - Max Roach
A classic bebop head with a Latin feel. The melody is fitted to the changes of Pennies From Heaven in a similar way to how Fats Navarro's classic Nostalgia works with Out Of Nowhere. Like Nostalgia, there is space for a soloist within the head; in this case it is the second four measures of C and the first four of D, opened up for tenor and trumpet respectively. The solos are swung.
The codas from both this version and the 1986 remake are notated in the lead sheet. In both, the horns lay out while the rhythm section descends to the tonic—in this version with a two-measure figure descending from the IV (Fmaj7).
Transcriptions of Don's and Fats' fills in the in head on both the master and alternate takes are available with the Fats Navarro solo transcriptions; click on the Solos tab for more details.
The codas from both this version and the 1986 remake are notated in the lead sheet. In both, the horns lay out while the rhythm section descends to the tonic—in this version with a two-measure figure descending from the IV (Fmaj7).
Transcriptions of Don's and Fats' fills in the in head on both the master and alternate takes are available with the Fats Navarro solo transcriptions; click on the Solos tab for more details.
This session was evidently a very high point of Don Lanphere's early career. With a crack team of beboppers, he recorded four originals including another called Go. Don had previously recorded with Fats Navarro and Max Roach in November 1948, mostly accompanying vocalist Earl Coleman.
This Lanphere-led session was actually Fats Navarro's last studio recording. Transcriptions of his solos on both the master and alternate takes are available (click on the Solos tab); these are the final solos he ever played in a recording studio.
This Lanphere-led session was actually Fats Navarro's last studio recording. Transcriptions of his solos on both the master and alternate takes are available (click on the Solos tab); these are the final solos he ever played in a recording studio.
Transcribed Trumpet Solos Fats Navarro's solos on the master [clip] and alternate takes [clip] have some similarities with each other in overall form and vocabulary, but do not have any phrases that are exactly the same. On both takes he starts out relatively simple, going into sixteenth-note passages at the B section. The solo on the master take is more virtuosic, staying in sixteenth notes through the end of the C section before relaxing the pace for the last eight measures. In the alternate take he returns to single-time two measures before the C section and does not double up again until the last two measures. In this more laid-back solo you can hear how much he influenced Miles Davis.
The precision of these solos is particularly remarkable; the clarity of Fats' articulation recalls later trumpeters such as the equally short-lived Clifford Brown and Booker Little.
Both transcriptions also contain the in and out heads of the take, with Don's and Fats' fills notated in the C and D sections. In the master take C transcription all fills are notated at the sounding pitch, but on the alternate take Don uses the tenor's lower register more; the transcription for this take has Don's fills written an octave higher. The B♭ transcriptions are notated in the tenor and trumpet's written ranges.
The precision of these solos is particularly remarkable; the clarity of Fats' articulation recalls later trumpeters such as the equally short-lived Clifford Brown and Booker Little.
Both transcriptions also contain the in and out heads of the take, with Don's and Fats' fills notated in the C and D sections. In the master take C transcription all fills are notated at the sounding pitch, but on the alternate take Don uses the tenor's lower register more; the transcription for this take has Don's fills written an octave higher. The B♭ transcriptions are notated in the tenor and trumpet's written ranges.
- Recording: Don Lanphere - Stop
- Recorded on: January 4, 1986
- Label: Hep Jazz (2034)
- Concert Key: C
- Style: Latin (medium)
- Trumpet - Jon Pugh
- Tenor Sax - Don Lanphere
- Piano - Marc Seales
- Bass - Chuck Deardorf
- Drums - Dean Hodges
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This remake is similar in its arrangement to the original. The main difference is in the coda, which still features a rhythm section figure with descending chords; here, the descent is longer, in half notes, and takes up four measures instead of two. Instead of Fmaj7, these figures descend from F♯m7♭5.
Note: the lead sheets are the same as the ones available under the Prestige album cover.
Note: the lead sheets are the same as the ones available under the Prestige album cover.
Stop is the only early Lanphere composition to appear again on a later album.
In the early days of Second Floor Music, Don would occasionally stop by our offices on his trips to the East Coast. One one such trip, he brought us carved wooden panels that had been made for his father's music store. You can see one of the panels in the background of videos made here.
In the early days of Second Floor Music, Don would occasionally stop by our offices on his trips to the East Coast. One one such trip, he brought us carved wooden panels that had been made for his father's music store. You can see one of the panels in the background of videos made here.
Don Lanphere
June 26, 1928 – October 9, 2003
Adept at tenor saxophone, alto saxophone, and alto clarinet, Don Lanphere was a prominent saxophonist and educator with two distinct phases of his career. A young prodigy, Lanphere began playing professionally at age 13. At 17, he sat in with Jimmie Lunceford's Orchestra when they came through his hometown. Read more...