Why Indianapolis, Why Not Indianapolis? – J.J. Johnson

Very simple, this modal song is based on two two-measure rhythm section figures. The first, a line that rises and falls mostly in fourths, is the ostinato for the A and C sections, in D minor (dorian). The B section, 16 measures long in contrast to the eight measures of the other sections, has a different rhythm section figure first on C7sus (mixolydian) and then E♭7sus. These B section figures are also played during the solos. The A section ostinato is also essentially the melody; the B section melody, on which the horns harmonize, is also based on the rhythm section figures.

About the arrangement: Full score and parts are available for the recorded quintet arrangement, which is quite spare but clever in the classic J.J. Johnson style. The first A section is played by the rhythm section alone; the second A adds tenor sax trills. The trombone joins the tenor for B, and C starts with trombone and rhythm section for four measures followed by four with just the rhythm section. After solos, instead of playing the entire melody out, the rhythm section vamps and fades on the A section figure. The tenor comes in with trills again in the second eight measures of this vamp. Starting in the third eight measures, the horns improvise together over the vamp until a final cue of two fermatas: a G7 chord and a unison G.

On this recording, J. J. begins with a cadenza, setting up the rhythm section with eight measures of the D minor ostinato which is where our audio excerpt starts.

Our drum part shows a simple groove, with cross stick on beat 4 of the second measure in each two-measure phrase. On the recording, Victor Lewis plays a more active pattern; we indicate "time with optional fills." In addition to the piano, bass and drum parts, we have a guitar rhythm section part; the single-line A section figures work well with guitar instead of piano.

This Minus You recording is a great opportunity to explore a modal setting. The arrangement here is largely taken from J.J.'s original version. The intro is eight measures of the A section vamp—solo trumpet on the full track and minus rhythm section tracks. The minus melody track adds piano unison on the intro as a guide for the tempo.

This is a quintet recording, keeping the two-horn arrangement on the head though there is only one minus melody track. When playing with this track, the first part rests for the two A sections (A1 rhythm section alone, A2 adding tenor sax trills) and come in on the melody at B with the tenor. The melody continues into the first four measures of C.

There are trumpet and tenor sax backgrounds on the bridge of the 3rd and 6th solo choruses, as well as a line in the last measure of the 3rd chorus that sets up the tenor solo. These backgrounds are included in all parts. The solo form shows multiple endings, reflecting what happens at the end of all six solo choruses.

The vamp out is 32 measures long, followed by the last two fermatas. The first eight measures are rhythm section alone, while the tenor comes in with trills for the following 16 measures. On the full track the flugelhorn solos over the vamp starting when the tenor comes in and continuing until the fermatas; if you're playing with the minus melody track you could also start soloing at the beginning of the vamp.

Click on Minus You for more details. For Don Sickler's flugelhorn solo, click on Solos.