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Chick´s Tune: Lead Sheet


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Hello friends. I heard that tune live and re-listened to it on Blue Mitchell´s album with Chick. 

Well, the chords is easy cheesy for me, it´s just "You stepped out of a dream", but I´d like to see the lead sheet to check all them breaks and that pedal point section. 
I had googled and found only transcriptions of the solos which is not helpful for me. 
In Realbook or Sheetmusic it seems I couldn´t find it. 

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  • 1 month later...
On 11/22/2022 at 2:18 PM, Jack Pine said:

Glad to be helpful!

Thank´s again. That tune is so great and it´s a typical thing where it is NOT ENOUGH just to know it´s based on "You stepped out of a dream" since the theme is so strong, so hip. You just miss out the essence of it if you just get up on stage and say ok I know the chords. You really must get inside that melody to make good music with it. 

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16 hours ago, Jack Pine said:

Absolutely! I should thank you for encouraging me to look closer at 'You Stepped Out Of A Dream', I never thought much of the song until you brought it to closer attention.

Well, "You Stepped Out of a Dream" is a very common standard I thought. And there are many famous records done by famous musicians who played it. "Sonny Rollins Vo. II" on Blue Note is only one example. By the way it is great with a dream team J.J. Johnson, Horace Silver, Paul Chambers, Art Blakey. 

The renewed interest of the "Stepped Out" - based "Chick´s Tune" might have a certain context with jazz academy studies, since so many advanced jazz students and pro´s play it here and obviously in other countries too, as some you tube videos proove. Maybe it is as a study for the way Chick Corea plays certain lines . Anyway, a lot of Chick Corea´s way of playing and improvising is very interesting. On early Miles Davis records where he replaced Herbie Hancock, it sounds like he is a further developement of Hancock´s style, I mean Hancock´s basics, and a more advanced way to play chords and lines, takin the music  further out, exploring more of it. In my youth Chick Corea just was "RTF" , but listening closer to his solo inputs there, you can learn much.  
Indifferent if I choose to play the original standard "You Stepped Out..." or the Chick Corea line, I may have two different ways of approaching the tune: One more "boppish" and one more "post bop/modal" ...

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It is a fairly widely known standard I think, I was only really familiar with Nat Cole's version though. I've become partial to Shirley Horn's treatment of it, but there are many great versions.

Regarding Chick Corea, I should probably just bite my tongue on this, but I'm not a huge fan. What people often say about Oscar Peterson is how I see Corea(lots of technique, not much to say). I respect and admire him as an artist, and agree there is much that can be learned from him, but he's just not for me. That said I can listen to his early stuff like Chick's Tune or Now He Sings.. and enjoy it much more than his fusion bag.

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Hi Jack ! 
I never had heard vocal versions of it, but I must admit that this doesnt mean much in my case. My wife likes Nat Cole´s voice very much and has an album of him where he sings in Spanish, well that´s music SHE likes. 

Well about Chick Corea and about Fusion in general: 

The fusion bag could be also a generation thing: When I became interested in jazz, the actual style was fusion. Though I loved those 50´s, 60´s Miles, Trane, Mingus etc. , you got to be accquainted with the actual jazz style of my time. And don´t forget it was the time of Electric Miles, Bitches Brew and On the Corner was just out, Herbie Hancocks Headhunters and Chick Coreas RTF were touring.  Some in my high school were Electric Miles and Headhunters fans, and some where RTF fans. 
I must say that the Chick Corea /RTF fans were more the quiet and more philosophical guys, we had those who wanted to "create an ideal world" and stated that RTF had "changed their lives". 
Though "ideal worlds" and "changing my live" never was my bag I had to admit that it is very good music.

One thing I must say so that you can understand me better: Fusion never thrilled me the same way like let´s say Bird or Miles or Trane or Ornette and all of ´em , but it was THERE . Now aged 63 I can say I´m lucky I didn´t have to play fusion for more then a few years since it was harder to get back to acoustic, but you still learned something from it. And though I don´t think I would like to go back to that stuff, it was good years with international jazz festival gigs, studio recording and composing and I was proud when some compositon of mine got "radio play"....tell me one young guy who wouldn´t be proud of that.....

About Chick Corea´s acoustic piano style: You say it, if it does not move you there is enough other artists that you like. I also have music styles that don´t move me. For example, most of the typical West Coast stuff of the 50´s just doesn´t reach me, so it´s more than natural that each musician or music lover has his own tastes. 

P.S. I had sent you a message a few days ago....

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Indeed, no accounting for taste as they say. I'm a huge fan of 50s West Coast! No doubt these are generational and probably geographical differences that push us in the different directions. I guess in some ways I was fortunate to grow up in a time when there was no real single defining genera in jazz, excepting the 1990s "swing revival" which I guess I was the prime target demographic for.

Now that I consider it, maybe I should credit the Big Bad Voodoo Daddies or Brian Setzer for my present love of Jimmy Lunceford or Billy Eckstine.

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Great treatment of "You Stepped Out" here !

It´s such a nice tune to improvise on it. That Anthony Braxton version really sound great. It´s interesting that some of his phrasing (not his sound) reminds me of Lee Konitz. For me it would be a 100 stars record if there had been a drummer added. You know, a really good drummer, but it really swings. 

@Jack Pine: Yes that´s a fine thing that jazz is such a huge field that one can enjoy so many different styles. About "Cool Jazz" I think the most I heard besides "Birth of the Cool" was some Lennie Tristano stuff, if it was not too cerebral and not with those annoying gimmicks of overdubbing his piano lines. 
But especially those units with Billie Bauer on guitar and Lee Konitz on as are very nice. 
Maybe that the later 50´s records, I think they call them the "Pacific Jazz" was not so much available here in Austria during "my time". At least I fear this kind of music was not very much taught at the jazz institutes then. 

I fear I had "slept" when there was a "swing revival". I had thought this was the time of the "young lions" in jazz, who now are established masters. I fear I must admit that at some point in the 90s I became tired of all that touring, all that driving home in the small hours, all them terrible bean soups and coffees at Gas - Stations on highways...., all that carrying around them amps and tubs , that I decided to do leave it there and concentrate more on my anyway demanding day job. 
But you are right. Easy swing dancing was there and in the "non musical" period of my live I enjoyed very much dancing with my wife. 

Billy Eckstine is also a favourite of mine. I would like to find such a singer of that kind of stuff and play a gig, I mean to add such a guy to a good jazz combo, but there is much more female singers those days....

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Yes no one sings a good baritone these days, not like B or Johnny Hartman. I don't know that you missed much by sleeping through The Squirrel Nut Zippers or The Cherry Poppin' Daddies in the 90s, not to disrespect those bands, but they do kind of pale in comparison to stuff they imitate.

I enjoyed the above version as well. Not being that familiar with Braxton I thought now I can 'unbuckle' and enjoy the rest of this swingin' album after that great opening track... I guess the formula song titles do serve as a sort of 'warning label' for people like me 🙂

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Jack, you said it. I´d like to find one good baritone singer. You find a lot of female singers but it´s hard with male singers. But anyway I think working with vocalists is my weakest point. I even caught advice here some years ago when I had to do a gig with a female singer, I was a bit afraid of doing it, since I always have been the guy around them hot and fast players in the neo bop, post bop styles, playing strong instrumental music, and singers was quite an unusual thing for me and I was afraid that I wouldn´t please them if my comping is used to soloists on trumpet, trombone, saxophone. 
Very often when after the gig there was a jam and different players got up on stage, if I spotted a singer I´d get up to take a break....

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