Tali – Tom McIntosh

Way more than just a head, Tali is a detailed composition that tells a complete story with its changes of tempo and feel. There are three recordings of Tali, each in a different key and arrangement though all have the same basic format. It begins as a haunting ballad, with that beautiful simplicity that characterizes the Tom McIntosh style. This ballad section has a 20-measure AABC form, with four-measure A and C sections and an eight-measure bridge. This is followed by a medium to medium-up swing section which includes a second theme and solos. The out melody returns to ballad tempo, starting from the bridge though usually with slightly different changes.

A Condensed Score is available which reflects the original quartet recording by James Moody, in the key of A minor. This arrangement begins with solo flute for the first A section; the rhythm section comes in on the second A. The guitar starts with half-note rolled chords and switches to a countermelody starting on the bridge; our score shows the top notes of the chords.

After the ballad melody chorus, the tempo goes to medium swing for a long-meter variation of the A section melody. This melody is filled in with rhythm section hits, with different changes implying C major though the melody is largely the same. Next is a 16-measure section with a flute solo, on a variation of the bridge changes. A break in the last measure leads back to the ballad tempo for the bridge out; on the first half of this bridge the guitar takes over the melody with flute on the countermelody. The ending extends the last phrase one measure longer.

Click on the second album cover for lead sheets, based on Leo Wright’s recording.

A Condensed Score and lead sheets are available for the arrangement from this recording, which is quite different from the original James Moody version despite the same instrumentation. The key is changed to G minor, and there are several subtle differences in melody phrasing and changes. The melody in this version begins with solo guitar. The second A section starts with flute and guitar, adding bass in the 4th measure and drums at B. As with the Condensed Score for Moody’s version, this score shows the guitar countermelody and top line of the chords.

An additional theme is added after the melody chorus, at a medium up swing tempo: a 12-measure D section which begins with flute and guitar hits answered by bass and drums. This is followed by an eight-measure Latin section with a tricky rhythmic bass line, setting up a break into the solos. The solo form is 40 measures long; it starts with a variation of B♭ “rhythm changes” A sections followed by a 16-measure section like the solo section from the Moody version. The end of the solo chorus goes to Latin again with a pedal point, finishing with a break which is used to launch the next solo.

After solos, there is a Latin variation of the A section from the in head, with the rhythm section vamping on F7sus throughout. This leads back to ballad with the out melody from the bridge; as in the Moody version, it begins with guitar melody and flute countermelody.

Our lead sheets mostly show the flute melody line, with notable rhythm section figures below the staff. The solo guitar melody at the top is included; the out bridge shows the guitar melody as a cue below the countermelody. Rhythm section players should read the Condensed Score; the guitar lines work for piano as well.

Dave Burns’ recording has a similar format to Leo Wright’s, though in a quintet setting in D minor—a better key for trumpet. This arrangement is available as a Condensed Score, as well as “as recorded” trumpet 1st and tenor sax 2nd parts. Again a solo instrument takes the first A section—this time the bass (arco). The ballad tempo at the beginning is much slower than in the other versions, though the out melody is not quite so slow. Dave Burns’ distinctive melody phrasing is shown in our score and trumpet 1st part. The tenor 2nd part is largely similar to the guitar lines in the Leo Wright version. Some dynamic drama is added to the bridge, with a build-up into the sixth measure.

In the medium-up second theme, the bass joins the piano and horns for the melody, with only the drums answering. In the Latin section that sets up the solos, the piano doubles the bass line. The last eight measures of the solo chorus feature a slightly different bass line than in Leo Wright’s version; the break at the end concludes each solo rather than launching the next solo.

The section after the solos, based on the melody A section, is the most different from the Leo Wright version. It is swinging rather than Latin, but with a bass line similar to the Latin section from the solo chorus; there are changes here rather than a vamp. Returning to the ballad tempo, the tenor takes over the melody at the start of the bridge.

Our 1st and 2nd parts show some rhythm section hits but no cues from the other horn part; for reference, horn players can look at the Condensed Score.