Nica Steps Out – Freddie Redd

A lively “rhythm changes” head, full of eighth-note lines that outline the changes. The second A section starts with the same first measure as the first A, but goes in a different direction in the next measure; the last two measures of the two A sections are the same. C is the same as the second A. The bridge in our lead sheets is what Freddie plays on the in head of the recording; the out head has a bass solo on the bridge.

There is an intro which repeats a descending line over an F pedal. This line implies G♭7 to F; the lines and the pedal rhythm have a call and response structure. Eight measures of the pedal are followed by eight measures of stop-time breaks leading into the head. The coda is the same as the first half of the intro, leading to a final B♭13(♯11).

The melody as Freddie plays it has quite a wide range—two full octaves. Tenor saxophonists can play it in the same range as on the recording, but most other melody instrumentalists will have to take some of it up an octave (as shown on our C treble clef, B♭ trumpet, and E♭ lead sheets) or down an octave (as on our C bass clef lead sheet). We also have a single-staff piano part which shows the melody as heard on the recording. This part goes into bass clef for the lower sections of the melody.

For another song from "San Francisco Suite" check out Blue Hour. After the “San Francisco Suite” session, Freddie didn’t record for over two years. His next recordings were two versions of his music for the play “The Connection,” in February and June 1960, followed by “Shades Of Redd,” a Blue Note album recorded in August of the same year.

It’s notable that Nica Steps Out is about the same tempo as Gigi Gryce’s Nica’s Tempo ; check out the Historical Notes for the first version of that song for a possible explanation.