Cohn On The Cob – Joe Cohn

This song is a window into the world of melodic and harmonic trickery that is Joe Cohn. Based on blues changes, it travels to many unexpected places within the 12-measure form, with two chords in each measure. Though the melody doesn't go outside the changes, there is a lot of contrary and contrasting motion between the melodic and harmonic elements. The melody begins with an arpeggiated sequence, descending from a C major triad to B and the tonic B♭, followed by a simple chromatic ascent. While this is happening, the changes move mostly in fourths and then descend in whole steps while the melody is rising in half steps. The fifth measure melody is repeated down a half step in the following measure, but the changes (again moving in fourths) transpose a major third down instead. This modulates the key to A in the seventh measure replacing the expected B♭. Cm7 in the ninth measure is reached by chromatic descending root motion: E♭7 to Dmaj7, followed by the latter chord with C♯ in the bass—an unexpected substitute for the function of a VII chord. The last four measures are more recognizably bebop-ish, though again contrasting chromatic descending melodic motion with fourth-based harmonic motion. The last two measures are a variant of the "Tadd Dameron" turnaround. Despite all this complexity, there's plenty of breathing space in the melody, and it really swings. It's obvious a lot of thought went into writing this song. The solo changes are the head changes.

This recording begins with only tenor sax and guitar, playing the melody in unison. The drums fill in the last two measures, and the second chorus brings in the piano and bass. Everyone plays both choruses of the head out. In this version, trills are added to the ascending notes in the third and fourth measures.

Cohn On The Cob may be Joe Cohn's only recorded composition. He's recorded it three times. The second version, in 2004, is on Grant Stewart's album "+4" with pianist Bill Charlap, bassist Paul Gill and drummer Willie Jones III. This recording again begins with tenor and guitar alone on the melody, but with a bass fill instead of a drum fill into the second chorus. Backgrounds are added for the bass solo, consisting of the 1st, 5th, and 9th measure of the head on one chorus, followed by the 2nd, 6th, and 10th measures on the next chorus. Joe's most recent version, "Marathon Man" in 2007, featured Joe on guitar, Joe Bagg on organ and Akira Tana on drums.

This version of Joe Cohn's Cohn On The Cob features the guitar and tenor sax playing in unison, sans the rhythm section, the first time through the melody. During the bass solo, guitar and tenor backgrounds hint at the angular melody. After the band plays the out head once, the piano and bass drop out, with the drums providing sparse fills for the final time. In addition to working on phrasing together with a horn player, intermediate to advanced guitarists will find the formidable changes to be a great soloing exercise.

Don Sickler: I think this is still Joe's only original composition. I know he felt compositionally intimidated having a great composer/arranger for his father. I hope we can inspire him to write more originals, because he is such a marvelous musician and guitarist.
He has recorded Cohn On The Cob three times himself. It is tricky to play, but well worth the effort to learn.