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Dorham's Epitaph / Extension – Kenny Dorham
Extension is an important new discovery for Kenny Dorham's catalog. This recently released live recording, from a concert in Sweden in 1964, is an expanded version of Dorham's Epitaph. The original Dorham's Epitaph from K.D.'s "Whistle Stop" is that album's powerful closing statement. It's only eight measures long with a repeat—no solos. With Extension we finally have a version that can be extended for soloing: this song adds a bridge to those eight measures, creating an AAB form which Kenny solos on. Our lead sheet reflects this recording; a quintet condensed score and solo piano arrangement are also available for the original Dorham's Epitaph.
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- Recording: Kenny Dorham - Whistle Stop
- Recorded on: January 15, 1961
- Label: Blue Note (BLP 4063)
- Concert Key: D-flat
- Style: Ballad
- Trumpet - Kenny Dorham
- Tenor Sax - Hank Mobley
- Piano - Kenny Drew
- Bass - Paul Chambers
- Drums - Philly Joe Jones
In its original form on this recording, Dorham's Epitaph consists of an eight-measure melody repeated twice. In this short space, the song perfectly encapsulates Dorham's eloquent writing style. Kenny plays the melody an octave higher the second time, before a two-measure coda that ends in the unexpected key of F minor.
There are no solos on this recording. However, a later live version has a longer form used for solos; as this extended form is more interesting for soloing, our lead sheet is based on this latter version. The original quintet arrangement is available as a Condensed Score, including the tenor sax countermelody which outlines smooth voice leading throughout. Click on the second album cover for more details.
There are no solos on this recording. However, a later live version has a longer form used for solos; as this extended form is more interesting for soloing, our lead sheet is based on this latter version. The original quintet arrangement is available as a Condensed Score, including the tenor sax countermelody which outlines smooth voice leading throughout. Click on the second album cover for more details.
Dorham's Epitaph is the last song of "Whistle Stop". Ending an album with a ballad was a bold decision, but it makes sense in this setting. "Whistle Stop" is in fact a concept album—in this case inspired by Dorham's origin and memories of the Southwest—and the songs relate to each other almost as a suite, a journey through varying tempos and feels with this ballad as its final destination.
Dorham had plans to expand this song in an orchestral arrangement, as indicated in this album's liner notes: "Other trumpeteters have had identifying songs and memorials like I Remember Clifford." Ira Gitler continues "So Kenny, like some in literature before him, wrote his own epitaph. Now he has expanded the work for 60 or 70 pieces (40 to be strings) and, at his wife's suggestion, has named the larger work Fairy Tale." If this was ever played, unfortunately no recording exists.
Dorham had plans to expand this song in an orchestral arrangement, as indicated in this album's liner notes: "Other trumpeteters have had identifying songs and memorials like I Remember Clifford." Ira Gitler continues "So Kenny, like some in literature before him, wrote his own epitaph. Now he has expanded the work for 60 or 70 pieces (40 to be strings) and, at his wife's suggestion, has named the larger work Fairy Tale." If this was ever played, unfortunately no recording exists.
A solo piano arrangement by Walter Davis, Jr. is available. It is closely based on the original quintet recording, and includes almost all of the tenor sax countermelody from the quintet arrangement within the voicings accompanying the melody. This arrangement, along with 29 others, is available in a printed book, K.D.: 30 Compositions by Kenny Dorham.
- Leadsheets $1.99 /ea
- In Basket
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- Piano $2.99 /ea
- In Basket
- Extras $1.99 /ea
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- Recording: Kenny Dorham - Swedish Sessions 1964
- Recorded on: January 6, 1964
- Label: Dragon (DRCD 482)
- Concert Key: D-flat
- Style: Ballad
- Trumpet - Kenny Dorham
- Piano- Lars Sjosten
- Bass- Bjorn Alke
- Drums- Bosse Skoglund
On our audio clip, check out Kenny introducing the song. He gives us valuable insight into the song's history. The new title on this live version is Extension, which is a good description of how this version differs from the original recording. The form is extended to 21 measures: two eight-measure A sections (the original version's form) followed by a five-measure bridge. Our lead sheet reflects this version with its extended form.
Though the A section melody is the same as on the first recording, it is considerably reharmonized especially in the first and seventh measures. The first measure here has G7 and C7 for two beats each, leading to F7 in the second measure more obviously than the original A♭7 does. The seventh measure has a G♭ triad with the third in the bass, where the first recording had B minor. The new bridge begins in G minor and works its way back to the tonic—only to conclude with a D major 7th for the tonic melody note at the end. There are rhythm section figures and hits in each section, a bit different from the original; several imply a double-time swing feel, especially bass figures that fill in around the melody.
Solos are on this AAB form, with some of the same rhythm section figures as in the head; there is no separate intro or coda, and the song concludes with the last chord of the B section.
Though the A section melody is the same as on the first recording, it is considerably reharmonized especially in the first and seventh measures. The first measure here has G7 and C7 for two beats each, leading to F7 in the second measure more obviously than the original A♭7 does. The seventh measure has a G♭ triad with the third in the bass, where the first recording had B minor. The new bridge begins in G minor and works its way back to the tonic—only to conclude with a D major 7th for the tonic melody note at the end. There are rhythm section figures and hits in each section, a bit different from the original; several imply a double-time swing feel, especially bass figures that fill in around the melody.
Solos are on this AAB form, with some of the same rhythm section figures as in the head; there is no separate intro or coda, and the song concludes with the last chord of the B section.
We were first made aware of this recording by tenor saxophonist/composer Grant Stewart, who was well aware of Don Sickler's interest in K.D. Kenny Dorham was in Europe in late 1963 and early '64; live recordings from this trip have been widely issued that were done in Denmark and Norway, but this one, from the Golden Circle in Stockholm, Sweden, was not released until 2019.
A solo piano arrangement by Walter Davis, Jr. is available. It is closely based on the original quintet recording, and includes almost all of the tenor sax countermelody from the quintet arrangement within the voicings accompanying the melody. This arrangement, along with 29 others, is available in a printed book, K.D.: 30 Compositions by Kenny Dorham.
Kenny Dorham
Aug 30, 1924 – Dec 15, 1972
August 30, 2024, was Kenny Dorham's 100th birthday: jazzleadsheets.com has added 10 new K.D. compositions: K.D.News! Check them out! Kenny was inducted into the Lincoln Center Ertegun Jazz Hall of Fame On October 16, 2024, with a Tribute Concert at Dizzy's Club. Four of Kenny's daughters were in attendance. Read more...