A fascinating, intricate ballad with no key center. This song has two themes: an in head that is also the form for the solos, and a longer out head with a more complex arrangement.
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Like some other Steve Nelson compositions, this song has mostly II-V7-based harmonies but no key center. The melody of the in head begins with a dramatic two-measure phrase that, in developing over the form, unites the harmonic convolutions. Many of the important melody notes are the upper notes of the chords, especially 7ths and 9ths. The form of the in head is 16 measures long, with the second half (the B section) beginning in a similar way to the first half. Each half of this form begins and ends with a minor chord that has a major 7th: both sections begin with Gm(maj7), with A ending on Em(maj7) and B ending with Bm(maj7).
Solos are on the in head's changes, but after the solos there is separate out head that is not obviously related to the preceding melodic and harmonic material. Beginning in G minor like the in head, it progresses with a slower melody interrupted by some angular bass and piano lines in the second measure. This first section of this out head is nine measures long and contains a lot of stepwise root motion. The following four-measure section begins with another angular piano/bass line, leading to another section with an implied double-time feel (notated as eight measures in double time) on a D pedal point. This leads to the last section, which begins with a fermata on an A♭7sus chord followed by a descending phrase harmonized in minor/major 7th chords as in the in head. The final resolution is in D♭ major, an unlikely yet fitting destination.
On our lead sheets, some of Steve's embellishments from the recording are notated, such as a fill leading from the last measure of the A section into the beginning of the B section. Bass figures are written for the 10th through 13th measures of the out melody in the C treble and bass clef lead sheets.
Vibraphonist Steve Nelson's career began in the early 1970s. His first touring experience was with the legendary guitarist Grant Green. Steve cites Milt Jackson as his first major influence, although in later years he developed a harmonically open sound influenced by Bobby Hutcherson. While attending the State University of New Jersey at Rutgers then-new jazz program, he met pianist Kenny Barron, drummer Freddie Waits, guitarist Ted Dunbar and reedman James Spaulding, who were all faculty members. Through them, he began to perform in New York City. In 1976, at age 22, Steve recorded with James Spaulding ("Plays The Music Of Duke Ellington"), and in 1980 recorded albums with Kenny Barron and Ted Dunbar. Read more...
