the unpiblished works - herbie nichols

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TheBeckoningPorometers f HerbieNichols portOne)

AnotherFriend

The Bebop Woltz

BusyBeover

Delights

Chonge of Seoson

DreomTime*

Enropture

FreudionFrolics*

Forest loor*

TheHoppenings

I Never Loved or Cored for Love

In Honorof Gorner

Ino*

Jomoico*

KornoKongi.

MomentsMusicol

One Twilight.

Old 52ndSt.Rog*

Possingshoughts*SomeWonderingBushmen*

StrongeCity.

Supplicotions

ProncingPrettyWomon*

Te-dum,Te-dee*

TwelveBors

Vocotion Blues*

VolseMocobre*

}e BeckoningPorometers f HerbieNichols portTwo)Discogrophy

RoswellRudd:ShortBioof o Jozz mproviser

Thble of Contents48

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-Recordedby the Roswell uddTrio n ClMpRecoros



The Beckoning Parametersof Herbie Nichols

(Part One)by Roswell Rudd

In the last 50 years at least, t has been

possible o reachan overviewof u'hat remains

of the classical ystemsof the u'orld'smusics-

vest igesof raga, dastgah, ax im' makom,flamenco,griot, tango,discantussuper ibrum,

figuredbass, ree antasia, 'oluntan'.etc.,etc'

All of theseare orms n rvhich t\IPROVISATION

(especially mong the performers hemselves)

is fundamental to the act of acoustic realiza-

t ion. Theseclassicalsvstems \'ere ln iact,

pioneered y all-timegenius mprovlserplay-

ers,andby now it shouldbe ob'i'louso an-\'one

with earsto hear (asrvell as eves o see' that

North America'scontribution o :hls r" 'orld

tradition of performanceart-rnus:; :r'r'olvlng

improvisation s the domain of s'ha'. :s gener-

ally referred o as the blues and lazz Yes l: s

beena halfcenturyat eastof creativeconsir¡c-

tive,andrewardingarchiüsm: thepresen'a::onof soundrecordingsand their subseque:'':ral -

scription;scores;oral histories,plus t-llmsa:''d

video tape.All give ndispensable roof o:"i'':s

l i febloodmusic...whichhas penetrateC h'e

Americaneducationalnstitution or some ::''e

now to the point where high schoolsand

colleges yeagrammarschoolsand middle

schools) anpoint proudly o theirvariousen-

sembles ealingwith themusicofHandy,Oliver,

Armstrong,Ellington,Miller,Strayhom,Monk,

Tristanoand so forth. Now it is possible n

America o find sourcemusicnot just in the

departments f anthropologybut erymuch n

the conservatories nd citadelsof "serious

music"aswell.

And thus the works of HerbertHoratio

Nichols 1919-196$, significant omposer,creativepianist,poet,üsionaryand,without a

doubt,one of the most prolific and original

tunesmithsof mid 20th centuryAmericaare

thankfullyseeing he ight of publicexposure.

HerbieNicholswasa quietgenius.Youhad

to be the kind of listenerwhoseearsreached

out. If you were, henhis musichad an inexo-

rableway of creeping nto you. Once his

happened,ouwerehooked.heremaybe olks

¡hen and now who have been mpactedby

Herbie's layingand mmediatelydispatched

to paradise yit, buton me,he grewgradually



and only after a while becamea permanent

residentof my mind'sear.

In 1960, was just beginning o open up

beyond wingmusic-Herbie'sunes,especially

the recordedones,were really extensiveand

dimcult. when hesawhow blown out I was by

the big ones (TheGig, Terpsichore, eyond

Rrcall, HousePaU, Spinning Song,The Third

World,etc.)he startedgiüng meOld52ndSteet

Rag, TWelveBars, Dream Time, Change of

Season and Tee-Dum, Tee-Dee. 4lith his

encouragement found thesemore manage-able.Herbiemay have beengentleand unas-

zuming,but he drew he ine n the sense hat I

had o be able oplay he melodybefore could

goon to improüse.That's what these outlines

havebeenandare ome:gentleparameters ut

parameters evertheless, ncompromisingn a

way. Thus the title of this introduction, "The

BeckoningParameters f HerbieNichols."

Thecompositionshe avemewereHerbie

way of indoctrinatingme to his approach o

compositionwith an eye owards mproüsation

whenwegottogether.Hewouldwouldgiveme

a bunchof freshlywritten leadsheetsandpo-

ems n his own hand,and we wouldstart rom

there. The ideawas that I would keep these,practicehem,and eam hem,so hat f we ever

gottoperformhis musicpublicly wouldbepre-

pared.We did performsome of thesepieces

beforehis demise ut a ot morehasdeveloped

since. SeeDiscography] syouknow the ronv

of much ine art is that t outlivesus all.

In the fall of 1985, oe lNichols,Herbie's

father, who was then 93 yearsold and still

climbing up 8 flights (l) becauseof a broken

elevator, ent me the catalogof Herbie's itles.

Everythingwas meticulouslydescribedand

dated.From t I concluded hat he had written

over 200 pieces n all kinds of idioms from

military marches,waltzes, rags, Caribbean

dance orms o elaborate howpieces, abaret

material,piano etudes,a lot of songs withlyrics and of course he ürtuoso jazz tunesof

his recordings. put down datesfor all the

manuscripts hat I had but for somereason

missed he one for Bryond Recall.

The ead sheet s a phenomenonhat ha-<

its roots way back n the earliestextemalized

forms of people'sabstract hinking.The leac

sheet omes ightaftersigning.Forme, he :.::

prerequisiteof a lead sheet s brevitt'

same ime, it is somehow nclusive

signer's or composer's intentions and t€:s:i

ality. This is a tough call: to have u:.it:s¡

outlines without excluding he auihcr s ,:,,-si-

crasies and nuances.There are sc.'-c * rt?

ful examples of lead sheets ::^. :escores of composer,/impror':s€- :i

lSth century Europesuch a-q.9:rir.-: '--.

-

===

=

=======

=

==

=

===

==

=

=

=

====

===

{

F. J. Haydn. Herbie Nichols :.'s€¡-'-:r:



phenomenan his own time and so his lead

sheetsmeetthe prerequisites:melodyspelled

out (in nk)bassor inversionndicatedbycapi-

tal letter,and nnervoices ndicatedwith Ara-

bic numbers in pencil).Herbiedifferentiated

between beat pat terns as fol lows:

4 / 4= l Z 3 4

C (witha line hrought cut ime)L2 J4

Hiswaltzpattemgenerally 2 3

5 / 4 = L 2 3 4 5

Herbiewas equal$fluent n all 24 + keys

and felt his music, ike the cardinalvirtueof

equal emperament, as arbitrarilv ranspos-

able.A few of thesesheets r¡ere ailored o

where t sounded etteron trombone or his

needs,not withstandingm,r' imitations t

the ime.

Herbiewasalsoa copyist nddidhisdrafts

theold ashioned ayusing nkn'ellandmanu-

scriptpen. he esults rehandsome.lear, nd

personalized,nd they all suggest n airv,

linearsweepmoving o the right,emphasizing

theobliquehorizontal hrustof thecomposer's

style. If my own manuscripthas enabledm_r'

works to be performedwith anv degreeoiaccuracyt is becauseheseeadsheets etsuch

a highstandard.

What these ead sheetsdo not provide:

Tempo: ow fast,how slow,strictor rubato

Dynamic:oud >< soft <Phrasing: reathingplaces, lurred,

connected,eparated,hort, ong

Innervoices: rderandspacing f tones

betweenmelodyandbass overalldensity)

Intros,/segues nd subordinatematerial

around he edgesof thebodyof thepiece

My solution o the "what's eft out" part ofthe eadsheet:playa givenpieceanywayyou

can o startwith; sleepon it; comeback o it at

different imes;eventually t shouldsettle nto

atempo,/dlmamic/density-spacingroove hat

feels ight,zsoundsight oyou.Thiscanchange

from ime o timeandprobablywill. I mayhave

had the advantagef hearing heseplayedbythecomposer t one imea long timeago,but

considermyselfequallyhandicappedwhen it

comes o extrapolatingrom a given.The ead

sheet s a great eveler.Also, isten o Herbie's

playrngon the differentrecordings hat have

survivedandgeta feelfor his style. Listen,as

well, to recordingsand interpretations f

Herbie'smusicbyother olks.Also et the titlessuggest hingscircumstantial, motional,

psvcho-dramatic,tmospheric, tc.Hewasvery

much nto this.But irstand oremostdealwith

n'hat'sgiven.



HerbieNicholshad his own way,his own

>tace.One can only remark,evenabout he

:arliestpieceshere,about he unusualchord

:rogressions,urns of melody,dissonances-

:.odem?...primitive?nd yet there s enough

::at is familiarandevenmore hat is so very

>rulful hatyou canconnectwith thesepieces.

:'lerbie'smusichasservedasa constant ource

:: inspiration,nformationand performance

:leasure.Over healmost40years hat I have

:.ad heseeadsheetsn mypossession,have

-ome back o themtime andagainup to this.ja-r'and till find newplaces n them andnew

'..,'aysto elaborateon them.May the richness

*-'iHerbie'smusicalitycoloryour experience f

rlaying rom hisbook.

RoswellRudd

September,1999

Kerhonkson,N.Y.

Editorial Considerations

Themusic n thisbook wasprepared n the

computer-typesettingrogram, inale 998. n

convertingMr. Nichols'music nto the Finale

format,certaineditorialadjustments eremade

regarding hord ymbols nd hespelling f n-

diüdual notes. n some nstances,heywere

made o reflectcurrentusage.Forexample,he

symbolA7 ("half-diminished th")was chosen

to replacemin7b5. he eader hould eaware

that the differencebetween hese wo chord

descriptionss significantor some olks.But tis hardlyan impasse.On a more subtle evel

the key-oriented pellingof individualnotes

üs-a-vis herelatedchordsymbolmaydifferat

times rom the composer's hen consistenc-"'

with thedirectionof themelodicineoverrcc:

thedictates f hekeysignature.n other ',':::s

I am speaking bout hepractice f usrr'.E,'l'

or naturals or descendingines sh:::'

natural or ascending,egardlessí i: ' ', - .

nature.This s something got tr::' - '-

still makesperfect enseo me .':.'..

anydiscrepanciesetweenhe ^": '.

tationand our own arepurei.' '

In any case, the notesof thr : ,-

endup being hesame' " , i : i - : 'thenote s writtenasB s::::

d i s c r e p a n c i e se l ' o : . J ' -

appreciatenowinga'l:..: ' ' - -

makecorrect ionsn s;: - '



This, TheBebopWaltz, nd other waltzes n this

collectionand his recordings emindus that

Herbiewasvery luent n the diom,and t wasno

big deal o knock out a 32 measure ong n 3,24

But don't dismiss his as trite. because here'sa

compositionalmind at work here. Between he

transpositionsof his first 8-measuresectionand

isorhythmsderived rom it he generates wo more

disguisedlvdifferent8 measuresections,and so

he comes up n ' i th a i ina l fo rm of ABAC.

Ann(sc, f ,'r^Jd^t' ttlL

v

Scptaüc 1954

He phoned me one nSlx r. Xc o2 and askedme to come up

to the Riüera C¡ubard ¡t¡a: rquid I like to play as his swan

song to the place a.-d :rr ctrxe n'asAnotl¡er Friend---exactly

what I happened o bc pra.::cing at the time he called.



AruOTHERFRIEND

A7(bs)

D7 ( bs)

A7 ( hs)

HerbieNichols

G 7 ( , s r

nb

D7 bs)

sbt B

D7( bs)

C 7 +s)

G7 bs)

Ffi dimT

ú

B -

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$^,

This manuscripthas a little more to i: :l-.a:.*-;:

Mary Lou Williams recordedon Atla:l::: R.¡- -::>

in l9Slusing the title Mary'sWaltz ';.:- r,:'*.:

listen to her recording becauseshe rr a-<€3.- ..

influencedby Herbieat thetime.Alsc :3=.. .r Í

writing waltzes from day one. The 1 - j -?-

time waltz feel s shifting to emphas:s ^t:t ¡ I

pickingup into l, with moüng figuress-e¡5: - i

the two dottedquarter-notehemiola ,,.r. --r -i 'j(

conventionalbasic figure of todar-S 3---- .. '.--

S.-.-:-:-.,: - . :'.:::.--:.:. :'--:::$'ith 10and9 mea-'.*-: 3 :c,:. :S :: . : . : : ' .easureinalA SeCtiOn.

: : . : : : - r i r : - \ - - : : : - rLa l hand SpanWh iCh

* rr-i l : : : . : i . : : : . c p;a-r' the assand suspen-

!,...-.Sr ::¿ se :nij endÍngall rvith his left hand

r- :: i :: i :.q:.:handcompletemelodic utonomy.

.-'::: -::::úu;ilon differentiatingetween ied8th- i: ::.:.e:sand I 6thnoteswhichwas something- J ' - - ¡ . ¡ : " r ' d n



frbt

#&I 2l

{6 +

4,Gdt 1 .tL t

4 / t ¿- + s J

March, 1950

del,t-'í t^'^ '

1 l



THnBneopWnrrz

Bbn¡n

HerbieNichols

F zbmin

Brm¡o Grmiq/F Abz

rr-l rr-1

,2

oRdtsü



Abz +sl

E m i n 7 A l

Gbmin/A

G z t b s l

Bh <bs> Abttbg)

Ebmin Abt



+r'ry tt;"t'¡lq"f -b(u{rw 4;hnu

Hb

r-/ ¿

This is mostly a ürctrg-<*-e.::;e: r:-r:E :nvolving

figurative melody in ;-*:¡:s ::rÉ- --¿:::-<i-:3 :o pass-

ing chords. lxattemF=E - H:c¿:3 'i:-< ::l :¡ombone'

I found the 8th noies rr--S-: i :L: ::'3 1"'himsical

nature of the harrnocr fiis ':É '-ái: :;: :" could also

be played an octare *3.*: : : : : : :-:3: 'e ' kept it

interesting for me- \r--€ :tri ¡ :: :3=3C $',ouldbe

improvisation enoug!: l:r*.-::: i ::'3: s aiready so

filled n doesn't eal\'¿d jr I r--t i.-:i::l:s¿tion' But'

who knows?

I 4



¿ofr,.ót'February ,1960



BusvBnaven

Ebt bs¡

Ae l

HerbieNichols

¡ibtlC

r +

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L.

u !

t o



C t <bs¡lGb

Dbmai7

Ebt<bs>3

Dbmaj7 Ab min



Herbie was so goodat extemporizingntros,interludes, egues, tc., hat youwishsuch leet_ing thingswere somehow ncluded n all thesemanuscripts.Fortunately, ere you do havean8-measure ersewhich safinediversionor

the

highlydramatic,unconvenüonal IO_measureho_rusandcadenceof thecoda [markedüne].It maybe enough to play as it stands,without improvi_saüon,but be sureand rideup and offofthat great

i n i t i a l suspens ion o f th e chorus .

Al;"A+'-t'F-

V" ú' l:lr{-G^.

r . Vr { '

A¡¡Fs : ¡*5

t8



"Theazzsound s surelya iving hingandasapianoplayer

I find it mostly in old uprights. Sometimes hesefaded

pianoswith mutedstrings, trangewoodwork,anduneven

innardshave a way of giüng up fast and resonantover-

tones.Eachnote shootsback at you like a bassdrum.In

suchsituations, ssoonas find I am not financially iable,

I letmyselfgoanduseanykindof unorthodoxtouch eeded

to dig out the strangesoundswhich I know are in the

instrument." HerbieNichols



DnucHTS

nbr- 3-l

HerbieNichols

G m i n

Abm¡¡

fr

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C ¿i-/Bb



A personalavoriteof mine.This sagoodmodel

of a form hatHerbiewas nnovating owards he

end of his life, where a song beginswith a

recognizable hrase hat thenplays tselfout in

subsequent easuresA ) The nitialphrasehenreappears,maybe n a different egisterbut

recognizable,nd t plays tselfout in a slightlv

Cgb

different way (A2) It pops up again in perhaps a

further disguisedway and plays itself out again

perhapsdifferently (A3),and it may even reap-

pear four or more times in other compositions

geeDreomTime,pp. 24-5). n the caseof Changeqtse;-.cn and Llei\e furs,7t comesback 2 more

:i: : .es: i, -{2.A3.

tré,,,.a

easo4

.=;,,,¿

=:?- =: -J

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! * - ; - :

fr-

f,^-ñ--

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Cnnxcn or SeASoN

t rBb

F z t b s i

D m i n t G t

Fzrbsrh tr C

F m i n E

Abs tbs i s

Fztbsl Bbtrb, Ebtrbs¡ Abqr¡sl

C z tbs l

Fz<bsl D min Bbt

Ct tbs> F min Bbt

Herbie NicholsFmin E

Ebt sf rEe¡

C t tbs¡ F min Bbt

e .

. - ;ll> '

á

G C z t b s l

Dt<bs>lAb q

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v

Straight-aheadbluesbut I can'thelp think-

ing about TWelve ars.Boü tunes have a

recurringAphrase wiü differentendings'

-?recnG.,lolafzl,1,

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24



DnEnu Tlnne

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F ttr

t l A

Herbie Nichols

BbtlF Et

Bb-ir,,/Eb Ct F AilE DminE On

E t ,

AilEt -3 - l

B h 8 . ,

Bb/Dt -3 - l

Bb*i'lDb

t

GtlB

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V.ry veryemotional, eaming,oadedwith all

kinds of suspensions. stronglysuggest ou

focusyour mproüsationalskills on extemporiz-

ing ntroand nterludeetc.,decorating round he

outside f thispiece.Thesong tselfs repletewith

eiy;;, t, "ni1

+

7i? ¿

)-t #G> tt

#^ tt tll,'[.t"

e&r,

b4. , ¡ ^

,4,j r - {¡^

9rt

composed ariation. recallat le* *r üb'

ent groovesgoing on in the cq¡s d ¡ qFchorus: he A section'smelodyempñxan¡ fÉ

note ripletswasconventionallycorrpo4 €

emphasizing uarternote tripletsw6 püq¡aü

lockedhands,/block hord,/unisonhy{ntr Cf*

Everything lse,andespeciallyhe elease. EtÉ

26

! ^ ; t ' l

É'{ + to themeasure. hiswasoneof themore

ii$craie pieces ndmysolutionwasoplayheret* Jrre. do the call and response hing with

|rr-i e . he would play measures and2 and

* rcrlid bothplaymeasures -8, etc.Hismusic

rt rr:a" generoushis way:plentyof opportunity

fra"ir:,ng backandforth.



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February9, 1960



EunnPTuRE

E o o

Ebmai Abtf-T3-1 r

C/D D.

D - Po,-r

HerbieNichols

. D z

Dbmaj7

Dzrbsl6

P*¡ G m a j T

Gbt

B m a j T

t r A a Aor¡l-r

At Dz bsl

DbmaiT

Gt tbstlD>

28

C txl * 'ci- Bltl



Gt <bstlDbt

Bh Eh@s) D z ( + > l A b

P,

D tttt

E e ,

D m a j T G maj t Dbmajt Filt

Dz(+s>/Ab D t G m a j T



As you might imagine, could only play the

melodyvery slowly n 1961"'and orgetabout

improvising.Today can almostplay the lvhole

melodyup to tempo,but I feelnow asI did then

that this is an incredibledrum escapade'A is a

seriesof accentsor "kicks;" B is a brief fast walk;

C is a l¡tin feel with triplets; D, a sequence of

horvlingbop chords;E, he samehom fanfare our

different wa)4s;F, 7 measuresof fast kicks'

9trrul,t^ fJ'"' {"1" t/;-A,L

g:' l

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v gá,'") ',F'¡

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"l've alwaysmaintained hat anyonewho playsor even

contemplates layinga song of Herbie's s making this

planetabetterplace.Thismusic eachesmany hings,but

most mportantly he sanctityof our mindsand magina-

tions-the Third World that lives in each of us'"

- RoswellRudd



FnnUDIANFnortcs

F z tbs l

HerbieNichols

B b i Efi rbs)

E mai7 B O

C¡ - Fto. - Cto EGb'u¡z

Bbz<bsl

E t ' F . A tt

C u r s l

Gb st lC

E m a j T

Bbztbs),i, Fl Arnin/G

3i

€-r:::gl n;si( :¡'r*



A min/G

G maj7(b3) G z bsXle)m a j T

Gbztbs l

Ah <bs> G ztbs l

Gzrbs \ ¡ r iEC

B zrbslEbt

F z hs l



Herbie ovedgettingnto longdiscussions nd ustas

much loved to observepeopleplayingaroundwith

found objects n the room.Heplayed he melodyon

theslow sideand verydeliberately...straightths.

Forc f F *,----é-' fi^n,zhls

P-¿

8¿?íttij-

.-- ̂ ,- l1t4b¡

úr

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31

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Fonnsr FlooR

Fa Bbt

Abz tbs l

Et AtAh Abt

F tlc

HerbieNichols

BhlAbEbmrn BhlD

Dbmin

Abzrbs l

Bbt!

_ - * *-

*

FtlC

BhID

Dbt Gbt

O RoswellMusic,/BMI



Ttris is a l2-bar bluesvariationwith a beautiful

call and response attern n measures -8. The

way thatheperformedhiswas to use he first8

measures f Prokofiev'sLoveof ThreeOranga

(MarchTheme)as an introductionand an

occasionalnterludebetweenchoruses. oucan

see how this dovetailsbeautifully nto Ifte

Happerungsf played n the samekey.

lta¡¡e^in/eI

A

F€?ru:.

-ü



THn HnppENINGS

F min Dbmln F min Dbmin F min Gb7

Abma¡ bi Db7 F majTlA Eb7

G m i n T

Cz +s)

HerbieNichols

C t

(-

.-+

O RoswellMusic,/BMI



This hasaverbal ndicatorof balladand s avery

straightforwardA A B A 32measure iece'But I

compensateby playing like L¿wrenceBrown:

tastefulembellishments nd somerubato iber-

ties over strict time. Meanwhile'Herbiewould

tb'

pour out his sentimentsof unrequited ove in

a way that would make all the ladies

presentdeeplyconcerned'Simpleconventional

structuresike this oftenlendthemselveseadily

to imProvisation.

f fl"te, Ltr"J:@ F" Lov*-

drl" tf;-l"l*

It

Fc¡nr-r 19*ó



I NEvrn Lovno On CnnepFon Love

HerbieNichols

t r n b

t r e b

F min Bbt

F min Bbt

Eb"i" Abt

€>

F tg E b

n

EbmaiT Dbmaj7

F min Bbt



Herbie'ssalute o one of his heroes,poking un

at Erroll's (andhis own) quixoticsides'Oneof

Gamer's echniquess what I call a rocking eft

hand: the left-hand pinky finger hits the bass

note immediatelybefore the beat' followed by

the rest of the left-handfingersplairng di¡ectry

on thebeat.

Startsoft but let the raisedoctaves,maior 7th

againstdominant7th,poco ococadencesingout;

alternatea rocking eft hand (measures and2)

with light stride (measures and 4) ' At the

releaseuse a rocking eft hand for 4 measurestlrenstartcrescendoing.Wo-handhemelodyin

parallelmotion with five-fingered hords'

l* lÉr

grace-pedalinghebas. Plry-Hh¡rnotes with tremelos,building

toadoubleforte,thendrqnyhafrtherepriseofA.Improüseby

doingal lofyourErrol lC¡arrg*onüesechangesandhavefun.

$



Iu Hoxon Or Gnnxnn

t r n bHerbieNichols

Bbt

'' Bb, Ebt +bt Dbztbs l

E min A't

- *

Dbz bsl

Ab-,/cbBh tr nb

Bbt

F tbt

il

, F { m i n 7

Ebminz

O RoswellMus:: :l'1



Pronounced Eye-nuh." riginallyplayedslowly

andhauntinglywith he"suncomingout"on the

bridge.Heneversaidwho shewas,but he used

to writesongsespeciallyor ladiesaffiliatedwith

places e worked n. Soplaying hesongwas ikesendingapersonalovegreeting.Because f the

longishnotes,deepharmonies nd hebeautiful

way t lieson the hom, t wasn't ongbefore was

tr¡¡ng to double t up, andtoday t's more ike a

merengue han a ballad.Same onality as

RichardRodgers' over:he A sectionbegins n

Db,üe bridgestarts n F.

du64't/'"4g-

9b€1

t2

oü 1950



INn

tr Abt A t A t

HerbieNichols

Abt bsl

Abt A tt

D min G m i nC z

A t A t

Abtrbs¡

F D m i n T G m i n i C :

Ab.

Abt

Gb

A t

Gb

A t

il

F m i n T

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Real-lifepsychodrama ncapsulatedntoperfectcircular om: A A B B C C B B A. Depending nhowyou ookedat t, theJamaicanrgwaseitherboonorbane. Mhichever,ecouldn,t top hink_ingabout t. Themerementionof t brought orth

the opening fanfare of the name itself:

'la..maiiüiiiiiii..ca,,,ollowedbyexotic caleswithblurred onesservingasflashbacksnto rhumbapassages. hatCsectionwith chromatical$ is_ing minor,/majorZthswouldbe thestormor thepainfulpart...then nd

with the nitial fanfareandan -Amen-"

Jt^tru ltr lr;zf;.loL

' -?'-2>'t

----AFf|2e rsox



)nurucA

E c ,p, HerbieNichols

C -

Bz bs l

EqminZ

A m a j T

j3l n maj b3) At

F m a j T Eg minT

Ec,

E c , F t I ' : t ;* =

* F-

*

Cfimin

ls2lntt-3-]l-:-l

E O m a j T ( b 3 ) D +

Dz +s)

B u ' o s l



Researchpaysoff. On onevisit, he gaveme some unesalongwith a sheetuponwhichhe hadcarefullycopiedout a couple dozenexotic scales.He was alwaysreading,always ooking forreferencematerials o supplement is enryclopedic nowledge, lwaysotting downremindersofwhathedidn't know andshould eam. Youshould ry someof these,Roz," eferring o the scales.

fo'Ún¿' {t l" '/;-Anbgú.r' -7e) --¿

o K '

February,196l

"Lookwhat I got from this one.- lylttl Jlr *started o play a tune he had written rG ¡

scale dentifiedas Kama Kangi.The resr.* s ¡

\ichols AABA riff tune with the Karna f.Ggl:sng upat heendingofeachA secüon. hesÉ*

:s* is kind of interesting,but the timing -S

#

-s:r'al relationshipsof the opening phrase€Erst the irstchordcreatea ight n space fterrn¡á anythingwould sound good.yeah,I just

hnc :his ixedpicturen mymindof him leaning

rt¡ Jut beginningand my delightat the sound

lcr::ng out.

I



I(nnxn l(aucI

Gbo

Absr ¡ s t

Bbztbsr

Herbie lc: : -s

BrlF

BLzl/tb Eb

AIE Bbo<o-i,sl

AIE Bb (wnoterone) Bb Ortot. ,="

AIE $!6 lomit:¡ Bb 6 to-,r

C m a j T ,

Ct[E

t

Knñ; ia . : ' .

CilE

CilE

BbtlA>

F m a j T

D ¿m Ct rbs t

B' - .\r Ez

@RoswellMusic,/BMI



Two-beat moderato, a little song with magi-

cal touches-a subtle modulation in the 2nd

ending, grüng the bridge the effect of a true

release.The whole-tonedescending hordsat

the end of the bridge are a respectful bow toEllingtonianadventurousness.

flforr*,ca{ lan!;.hh

(T u,v?

e b*,, l€



MovrENTs MnclcAL

Ebr-t1

HerbieNichols

A s

| r ' o

1 2 .I F a

t r o b C g B m i n t B b

E,--'.--1

G t- . ¡

f--rl--

w IC

-r--, !+

Ah t+s¡

I RoswellMu,s:: ::.1:



One of the ongwaltzes. do his solo rombone.

It's ow on thehom andchromatic,which makes

for a slushysituation. find if I slow it down a

little and heareachnoteseparatelyn my mind's

earbefore externalizet, the subtledirectionsnthe line come out clearer.After 45 secondsof

setting he tonality I go into the actualmelody.

I've never been able to figure it out, but right

before he endhe establishes tonality slightly

above he restof the piece.Whetheryou endat

thefne orwhetheryou repeat o the beginning-eitherway, t's harmonically resh.

one-*¡' {^l,r; -|,-.hL

| , t ^ ib,i,r¡f{¿,/

{ v r t " ) l

t

Febl:a:.' 1960



A NewLove

A twinkle in her eye that bespeaks-a

A sparkle n her sighs that suggest-a

But two weeks ater, I find, that I am- HerbieNichols

deepyearning?

deep onging?

still learningl

::



Oun TwltcHT

HerbieNichols

D ¿i*

fu{ '

:

DbIAb

CIAb

EbIAb

L i i : r ;F-, g_:.



Bb ¿i*/Ab

Dbrni 7

Bb"i"z

Bb ¿i"/Ab

Eb*i,'/Gb BbtE

Abtrbs>

Ebnaj



New Orleans rDixieland, syouprefer.Thiswasthe composer's 96l Christmas ard o me andseveral therassociates.hevarious opies ,veseenwere all painstakinglydone from hls orrrrhand. think he played his

once or me on re_

quest,but he thoughtof it as a joke so it nevercameunderscrutiny.When firstmetHerbie,hiswas hekindofmusic wasplaying, eriod.Herbieplayed t beautifullyand he would alsoslip in

"anachronisms."

+"y 0l¿ t!/ Sf Er,'d"t¿'ltJ'rL

,r;,;,\€*g g g

lsq¡n 4.S

54

a- ,



Orp 52NDSr. Rnc

Herbie i ; : : - -q

Bb¿i*z B, -

Bbzt*sr

i = * ;

rI RoswellMusic,/BMI



Musing out loud. Startwith a provocative2-bar hrase;ollowit with a slightvariationof itself;do

the same hing againwith a slightlydifferent2-barphrase;ntroducea "new" 4-barphrase; omple-

ment t with a slightlydifferent4-barphrase.Nowbring n a totallycontrasting jocular,/skipping)-

bar phrase ollowedby a 2-barcomplement;ound hewholethingoff with a 2-barphrasewhich

says n tones:whatever hatwas, t5 gone.-.ftimeo moveon).Heplayed his rightup to tempo,and

although was reading he notes,I reallywasnt hearinghe ntervals.The chromaticisms ere ike

A¡¡..r' -1'Frroi+>a-- o d"ltrt1,..t*

quicksand ndkeptunderminirg4yC*pectations. ere againslowdon-l-I

"OneTWilight,"o makesureeachmffiql

comes hroughclearly. spendsflE l-f toutset ust mining he first 6 notesdFg

around...their ound has alwa¡s irUiÉ -

Aftera while I transpose own and go iDt

cunposition itself. I use pretty much th -

pmcedure the second time around, bf ñ

3t

February1960

ilenng a shorter fragment of melody to

nprovise with at the beginning and a

Gcending chromaticscale to get into the

rtnposition itself.Herbieson asublimeevelof¡reosiüonal influencen thispiece,as closeas

ry humanbeing can come to mirroring the

rxls ea¡with thetempered ystem.Hehad suchr¡cnrte pitch; it was no problem for him to

H-sing-play suchsensitivemelodicshifts.



PnssINGTHoucHTs

Abztbs l

Ebt

Abztbs l

b b 7JC ztbs l

Abzrbs lAb*u¡

b3)

B bm i n

G - t b s l G ztbs l



Beautiftrlhumor.This s oneo¡ *re *¡si *ner*r-rlungslveplayedand t was unflnished(hesaid)at the

time.But distinctly emember'Jr h¡slrscr rrznderingaway(A1-A2),urningaround B)andwan-

deringback(A3). couldbarel)-ead n5 { :rc!.et much ess eel t enough o attemptan mprov.But

one hing s for sure: hateryencrre ea.:.d rr intodealingwith the complexmeternemesis.A

great oping piece...Herbie's¿:'-<c ias-c :rom a dreamand "it's funny as all get out."

In the middle (B)you have thosebrüü ffi

the bushmen uddenly topl Enter tt G*

torychords,whichseem o beasking fi:

we, where are we?"Answeredby a deso+t

flat 5 glissando:(the leader) "l dotrtüür:

58

ür¡lr}}cow." Herbiehad a deep respect or

rfta:. culture(oneof his heaviest ines of re-

xr:: andhis humorhere spurelyout of revqr-

rs{r He's at his programmatic est here.



'Jc

F1 t1

(O t ¿ :

A¡")ÉúG

November,96 l



SonaEWervoERrNGusHMEN

A b T D b I C n IC ? B ? E z ¡btoh cbtHerbieNichols

C 7 8 7 E 7

E"l

cz bSl

D t , r $

@ n b t

ob D m a j ? DI^'

cz r hD

fr

t - - r" _ :---

C|n l l f r . ! . :



nbzbD

Db7

B z ?

G 7 C 7 t 5 , F-r ¡5)

B > - ' 1 1

¿lhobz cb l c7 B7 E7

G 7 ( b D

C7 bS)

D 7 ( b 9

c 7 ( b 9

Eebz

¡rh/D

ebzbD Ez-



Long, howling ballad. Somehou.. hs gor pr¡: onthe side.Oneof the ast thingshe gare:re arj scI never heard him do it. I got in:o p;.Í.üg :: 3L-\..eand more in the early g0s as an mtr{*rga*odtrombone ballad. Those long ca-s rti _:a._:::¡,

off phrasesare masterfui :n:e=e-¡:: :¡_s ::

blueseelingntoaballadormat,andheextendsüe long calls over into the bridge or furtherdevelopment. stiil play t frequentlyafterwork'outdoors)across he AshokanReservoir.\en'soothing.

-91n, cc

4,e) -?Í

{r* f,: \-r-'7-'¿-

ale*t* tt¿lrsls

oC."hurEU)

c-t€'I

v*&ir1'1 *_-'lt'{G}

o *

+.

o¿



a"rl

March,1958



SrnaruceCrry

HerbieNichols

Ct <bsilGb

.{ r Dz bs¡/tr1,

61

e*l*-sn



Fmin/C

Fmin/C

AbTlC G maj7(b3)

Gz bsl

D m i n T Gz bsl

Dt<bs>lfub

C m l r G

G majT(¡3)

Dz bsl Dr bsl D z ( , :



Here,aswith EnraPtwelq¡ are presentedvithaltemativegrooveswithin a singlesong' It seems o me thd ttusbE sbghth'faster hanEnrapture. remember heintrobeing n üe ke1'ofB He rÉ re rcpsukring,using Oths nder8thnote riplets.Hehalf-noted hecontPard ¡¡5d ¡*¡scred octavesn the righthand on measures

st49

-l i :*il

5-l l. I would come in strongon th rEn,ending interpolating winging n a *t ñ |downfromthere o the astg measu¡et*¡tinto my B-flat pedal tone. Over h¡s r {¡:¡ncredible iligree/arabesques. he hx

&

ffi at the very beginning-the flat VI chord

lrcg io the flat II under the Lydianscaleffi'4'-still sendsanelectricshock hroughme.

rye by now I can elaborate t but then I*u i only be stunned.What a lucky dayl

r,,7{ll ;



SuppLIcATIoNs

C m i n F l

HerbieNichols

3 3

Ebzt lsr

C ma j Ab t Gbt Bt E t

F rein /f,b Bbmin Fjbt Dbma¡ G,bt3

G; Cs Fz F min7/B¡ F "

AlBb A,lBb

E t

E tt

Cs

e RoswellMusic,/BMI



Abo known asprettltWottwz*or,.g On ¡nanr.of his üüd, proganmatic preces r nq;d berappingdialogueor appropriatcnerr r*bhe played,although never¡enrc*üerFe óft¡t

ihis on a glg. I especial$ ike the snapshimmyigure at the end of the bridge.perfectsegue,perfectntro:It,s heprancel

ftn.t f-t uonln---é

k¡¡-r-

Hl l tó&



PnaucINGPnnrrv WonnAN

t r c

CtlBbF Fmin/AbC/G

HerbieNichols

A t D t G ;

' ' D t G t c

' ' D',Gz *s) c

@ c

f

G t E m i n T

Dzt bsl

Dzrbsl

F min/Ab

i RoswellMusic,/BMI



It's a rant. Couldn,t find it in h¡s.z+logtr hr Irememberthetime of that parüc¡*aSlÍ_rogc$!Ér

He said he wrote it that da),m Jt r_cr-ftr:: ¡my place. The subwav rurnbi:ngt ¡.rj :!:cgrumblingsbehind the cordlaj farr¿r ¡13 ¡5:t¿r

-4

io me now as hen.Hewrote t low,,likedt thatx'ayandgroanedout the chromaticgracingsasheplayed,eering,ellingme oslide em,run em

:ogetherlThiswasasideof him I,dneverexperi_enced efore:12barsof puremadness.

I - - lF, ic- oeL

J

lQ!* :

7A



Tn-ouM,Tn-oee

C m i n

Abmln

F m i n T

B min

C min

Bhz rbs l

HerbieNichols

F+lGb

F+lGb

! ¡ :- a F

-r:rr¡d;

F z

D z - Gb¿m C t tbsl

F-!E, Abmin

D ztbs l

A r 5

t

0 RoswellMusic,/BMI



I usuallyspeak f Tlsrfie8arsandCt¡r€ú rrg.l;.

son n thesamebreath n terrts of n& íce

AI A2A3.

TWelvears:Al A2,\]

4 { a

Change f Seann:At A2A]

r o 9 :

Then there's George Gershwin'sMine which

\ichols reallydug:

AI A2 AI A3

8 8 8 8

nen there'sall kind of world music-for example,{::an griots-where the melody is basically

:!r same at the beginning of each phrase each

::=e but there can be all manner of variations

i:* rridpoint through ending of each phrase

t¡:i ime.

dr----

ffi

72



TwnrvnBnns

E " u

Ah Eo¡u

Bz bs l

HerbieNichols

Azrbsr bzElco

Dz bsizt bs)

€ RoswellMusic,/BMI



^A p r e s e n t t o m e f r o r n i i e = - : s : : : - - : : - - e - . - - : : : . : s t h e o n l y p i e c e o f n o t a t e d m a n u s c r i p t t h a t

survived he flood u,hici. ,' ,-tc-i "..-'. 'r.-:- ., : . .:,::.:.3 Herbie eft behind in the way of personal

effects.VacaüonBIuaa::. ' r - ¡ .: I -: - ' .-: I rr ' -: '=nelodicsketchwithwords,andithadsuch

adeepe f fec tonmetha is : . - - : . : ; a : : ' : , *1 j - . : ' s l : . : h e l y r i cs :fee l thesameway lJus twhen l

geta good ine going n r.', :i:: :i - - :l 'r i ' ' -::. ',,,'orlddoesn't ntemrptl Herbienever really

\l 3 r----------_4tt

a...

t . . - -f ? ) r A 6 - 7

t 3<.J- r 3u" t

- +-! r -

i

l* ¡ - ir. í¿n- t'et- nt I

-{>.--

¡ra

' -

.* - e1

:r¡=

fe

?*{

E

v l

t l= -

jrtQc' l '

t i rC:Ez_!::e*¡rü

. * -- a

Uine-.. Uc'*

I r 3 __ :_ra *. l+

hadhis ownworkplace to compcsc -il r:-*':* -

The kindnessof family and friencsL3.tr ri-"** :

the "dreaming into being" part pos*<:'r: -.¡: 'r

'¡.'asable to accomplishwhat he d:c ,r'-- a'r.a.-

-.- i.s,but if thereexistsanykind of expla-- :--: hepresence f a HerbieNichols ere

+

-r.-,---:: into being"...an rtistagainstall oddsl



VncarloN BI-uEs

You are spe - cial fan

Ebmin7

HerbieNichols

F min BbtlE Eb*i" t l+LzlD Abmi" Gt, brlr-

Gb

ta - sies

AbilD

Dreamed

Bbmin7

ect - sta

Ab min7

I n - t o

Ebt lA

Dbt

ours

Ebmin 7

comes for - sak

Eb E ¿i.nz

to de sigr...

Bbt

mt one

F - r u , ¿ F z

Comes a - wake-n: : : ¡

F Tsusbtl-3-l

BbtfE

t

r

*

rale: Therewere no chord changes,¡c:- :r:¡:.¿ sketch. wlote these n. (RR)

I RoswellMusic,/BMI



Herbiewrotenunerousrrzltzesbegnn:ng¡ Jr1940s ndrightupuntil úreerrd HcS,4!d.$cr,:with a "classical" ?) eel \-er!-F& g€.ü-flectingmore n thedirectiona ChaF ¡ SE:.¡¡ssthan azz;no 8th-note+rrcopaoms I ücr¡glt r

wasaparodywhen I first erpc-rgrt |r .s*

it: he'd be hummingalongwith a glazed_overlook, nterjectingastrunsoverdeftswellsof thes¡stainpedal.Buthe was veryseriouswith thisgrooveand t reallyworked or him.-{ 38-bargem,whether mprovised

n or not.-t¡eni thesecond eatof eachmeasure: 2 3.

A[t

l

m. It76

Mt*



Vnt-sn MncnBREHerbieNichols

Abt Db Ebt

t* /* t

G o C t.2

F t F tlBb Bbt

D, lAb

E, ¿i-/Ab Ab

Bbnint lBb

B + B b +

E .: , t t >

<;7b

A b * G -

IrhlC

Gbmaj

6: RoswellMusic,/BMI

- m ¡. u t t t l l I

3 f l



The Beckoning Parametersof Herbie Nichols

(Part TWo)

by Rswell Rudd

In the fall of 1960, *'h€n {cth ** **#

teachingme someof his t¡ri6, E-rffiCltt

Keil, hena seniorat YaleUnirtamf! *f :n

round up a coupleof otherPt46 - ñl h

for an eveningof amming n tl: ffiCtütFfdining hall. I wantedthe best - r I nt

HerbieandTina Brooks o goafq

We picked Tina up at thc dtfl|rF. r|:,

Thesewere especially ard i¡rs b h, F*

run-downand he didn'teven ¡arlh fh

Herbiesaw his,hegaveme hÉ ¡fl**

you-solook followed by his faa -¡rn

for all occasions, is self-styled --{}fr*

cry sound(hereaftereferred o ¡s tr S

thought or arnoment, hen usts¡il;flf

driving directions.An hour lats * m

ourselvessomewheren the deÉpHil, lh

got out and disappeared nto r lfi,

reappeared fterwhat seemed n r.fl+rt'Ff

a tenor saxophone. nd we went ü r¡} r nHavenwithout a word, savefor an ff

repriseof The Sound.

It was gleat to hearHerbieon a god ¡I

for a changeandplayingwith Tina,urhq {l

* shapehe was in, couldreallygiveHerbiea

nr: íor hismoney, armonicallyspeaking.erbie

*o playedsolo, performeda few of his own

Éts. and wassoon surrounded y a small but

tts.-:ns€rowdof mesmerizedmusic overs.After* cü¡certhewas bombardedwith questions nd

*t offinto the night n deepdiscussionwith a

F¡¡p of adoringundergraduates. neof them,

r lsror student n philosophy, ameup to me

*:ut day, qazy look n his eye, haking is

H srdisbelief: Wheren Helldidyouever ind

lb gtn->-

*. 'Jr€wayback o NewYorkHerbie old me

* eEeat time he hadpartyingon through he

t!!: *'ith his newly acquired entourage,

ffirging poems, hessmoves, oliticalviews,

* cryeriences,etc. Prefacedwith several

ffigs of TheSound,he summed t up: "ln

+$pcct.I didn'tknowabunchof crazy ollege

* ;cr¡ld be such stimulating companyl" He-t;a ieave.Hewas ready o settle n.

rtücr.*six months later we went back up to

* :; garticipaten a benefit concert for the

¡ffre lohn Lee Hooker,Paul Bley and Cecil

78



Taylor were also on the bill. Herbie's segment

consisted of two of his tunes: Changeof Season

and The Happeningsas played by the composer

on piano, Royal Blue on sax, Steve Swallow on

bass, Billy Higgins on drums and yours truly.Herbie was given an acetate recording of this

performance by the producers of the concert. I

didn't hear from him for about a month after that.

Then hepopped n one da¡'lmking betterthan

I had ever seenhim. Said he'd beenrestingout at

the Baroness's Pannonicade Kcn€swatter). He

felt great. 'Just listen to this recorÉrngwe did up

at Yalel" That record was \¡'orrr or¡t he had

obviouslyplayed t to death.hr tr *a ecstatic

while we sat listening.Wheners Rqralor I got

clumsyand stumbled over tfr üa€es t would

cringe, but Herbie only bearnedad madeThe

Sound. t was hosehomsplarq cr r least rying

to play his melodiesand :: ras a: ¡rrefutable

documentation f this,prob$f fcr $É firsttimein his ife. At anyrate,hera dr+'':a+i'on a roll.

A few weeks ater he*as hxt again.This

time he made a beeline s f,r F-p 'Roz,see

whatyouthinkof this? t ras r:ffidbf a dream

about African nomads' ntl. * Sniliar big

frame swaying over the and long

tendrils effortlessly licf=g f *. peculiar

flashes f melody heah¡qsss:-*rGÉa relaxed,

offhand delivery in coa:lrf :c :he heavy

concentrationand stal.i:ÉqüH.rfr sr muchof

hismusic)he started rto scr¡fng r. odd meter

with sliding chords. ¡ogs¡S*rt absolutely

spellbinding. omewhere long he ine t turned

aroundol itselfand ustmagicallywoundts way

back. "I had you in mind for this, I hope t will

sound,good or the trombone."Leaningback,

lookingskyward,puttingon hisbestWebeseechTheeO lord face,we embarkedon this exotic

opusnwhat hadbythenbecome urusualmode

of rehearsal: erbie laytngn two or moreplaces

at the same ime;oné,where was; two, where

the'musicwas; hree,etc.,wherehe eventuallv

wanted t to go. t'sa'hard eeling o describe, ot

becauset was26yearsago,,butbecauset rvas

so unusual: wrack my.brain in vain for a

comparison.He neverforcedanything and '.-{

therewas this enormousbut gentle93i,.r:

pervading he átmosphere, oaxingme Cr ir:J

accommodatingll thedisparity. hen re:rr-ilr

somegreatmoments f complemenar i-¡- r*':::{

out of the struggle:Mé'dgo along or h:,';i -¡..:

th is sometimes: inal lyhe pause: - : , : { f , :skyward,madethe sound,put on :,-s :*.q ,rLt

Thank TheeO Lord face:"Well :: ,.-: "j+: r

thought...it"sot finished etanc: :,r:r: i. *,-rr

on t somemore:..butyou ereg:¿: i-;: " -Lrrr

hepulledoutanothernewonec¿-*: -'"r.*r*r:I:-*r

combinationblues and lullali l*: {'f; ,L*$

sweetand rocking,real-dalrt r;:L'-,r * -:i--.

chords....Whatarelief,thoug:: * :rr " ¿:

reallycookon.Herbiewasa:- {jrf"trirff:r--€

player.Thosesideswith Ch.x":r¿¿r i:::^¡rs and

ShadowWilsoñ, or exar,-.:,É -;r ¿dkeep t

right in the sameplaceBr.i rln r :trr¿ lot just

79



droningandriffing,or tumarul¡ ag cü¡dxzcthe hell out of it by pla¡rirg r: ¡rro c =ct kqssimultaneously ndpustung:he r kres ¡i o¡,erkingdom come. He did rh:s qxr-! hf rx!:absolutecommand/delibera¡r¡".Frcc:s¡E

¡devastatingabsenceof violcrrr rFlFtÉ!É -rlrt

chargedwith intelligencearf r!* ¡X }rrrAnd there I was, groping Í* rtc rar! ryscream, ranticallyl

I always came away frron t$ {¡t+Grtlcomplete$overwhelmed nd¡fru qr¡landwaydown, otallytraLEr¡*d Frlt*; *

sameway he came n: frienür ry r:; *modelof restraintand aste.fi-qpüI

expect rom a masterof his m H X.[Note:TheThird World s sr d H r:well-known compositions. hrr q* -with the often pejorativeOesry fn Icertaincountriesandpopulabmr llf !H}AmericaandEurope.n Hertier¡ÉCr

lÜ*Thirdworld is theEngrishrarda f*Organum,"a term devisedby tfr tF ; IOuspensky.l

Evenwhenhis healthwasf:ihttran

see hathewasweakand n pain- rffif:

walk,andashewalkedheslippedmedanceswith a lope. t justall weru qffi¡

conversation r whateverwash+q**setting. This particular day we y* tBatteryPark o theLowerEastSide-a¡rrrtnof Brook$n, the river and all. Thinhl r ;ithinking a hip thought I ventured: ¡Gfl tF

ffi

BrmklynBridge ure saworkofart.,,His areful$consideredeplywentsomethingike: ,,yes,thatr:.ightbe true,but now takethat one next to 1t,,,pocrting o theManhattanBridge,,,that,s much

becerbridge.',Hewassettingmeup for his own¡qson of thedozens, ut I hada choice: couldsg¡' -rrah,uh huh, and ust let it lay,or I could:¡¡c :hebaitand ry to run with it, whichmeant¡rcoihting a debateabout the relativemeritsf bridges or whatever) o seewho could out_}{strii rvhomand or how long.He oved o run!¡s rumber on people. t could start out veryq're of factandyou,dbe hinkingafterawhile,:$¡ass hat ustaboutexhaustshistopic.But hen* gke€paddinghings oprolong hediscussion,l{ f wouldstart o getmoreandmore ictional:r }ch sides.Tocompensateor this he wouldp¡Fcl!5 facialexpressionndtoneofvoicemoreE sre serious.Firstperson o crackwas the

* I'oumightstartout a littlemiffed,but he,d*rr ¡cu in stitchesbefore t was over.HewasiltAGs the gentlegiantof the put_on,or at thern *asr oneof its greatest ractitioners.

r 5e Failof '62,Herbiegot a call to go on affir¡s gigconsideredheworstby a few wholÍ ar.:aged to retumunscathed: laying n the{krs Clubof a h¡perboreanair forcebase.*¡rtr;rdland? Joel seemed o think it was*¡l¡and Themandatorystipulation:heremust* ¡ ta!'-¿le ocalist(for obvious easons).As IlHt 3rl "Bama,,Warwick was leader.Alsotn*.n': lou were there or a month.Herbie



cameback from this thing with a terrible cold

(whichhe carriedwith him for the next four

months and then into the hospital)and he

described t as being completelyundersnoq

everything onnected ytunnelsandcold!Hedid

it for the bread,period.

Then t was back to his old niche,at the

Riviera.Hecalled rom hereonenightand nüted

me to come and sit in; that mav havebeenhis

swan song o that place.Wepla-red coupleof

his tunes whichhe rarelydidpublid¡r to a noiSy

andcompletely bliüous audierre

Then,a month beforehe rras :o go into thehospital,wewerepartyingn a oñdorntorvn and

Herbiehad veryonenthralledÍh adssertation

ononeof his avorite opics: l¡egrc o¡ Nikolai

Gogol.When hehushwas at i:s he€¡f thatwas

his cue o saygoodnight.As henas iearrnghe

took measideand casuall-var¡dc¡::rr a pieceof

music: This s for you.--it ilg: '¡t nr¡ worked

out on ayearor soago, oure¡rgig 5 { iime...l

think it's finishednow and nat.¡q¡:c travet.

It turnedout to be SomeWa*avg *:sc¡:ler¡ and

itbecamea themesong or&-q¡ bmrls that

had n the 60s.ForanotherünE * :n¡L a great

vehicle for the unusual sopras sar.cphone

playingof CharlesDavis.

On he othersideof thesanÉ .-r¡s:tpt wasanew revisedandextendedq.s a 7c kbop

Waltz(recordedby Mary Lou \rtibms 6 ttary's

Waltz).Next thing I knew I was 1rs€g him in

Kingsbridge .A.Hospital.Hewx !Érr:E he was

getting ransfusions, ndhe seemedo begetting

hisstrengthback.Andof coursehewas reading,

writing poetry music and seekingout chess

playersand other in-patientswith whom he

couldconverse.

Thena few days ater I got the call: "Come

quick, t doesn't ook good." He had been

transferred o the "vegetableward," and that's

when they informed him about his terminal

leukemia. was two hourstoo late, aswas the

restof theworld.

It was a military funeral.That struck me as

beingprettybizaneat thetime...uniformed urswith helmets, iflesand flags lankingHerb:e

coffin. n life he had been he quintesse:-.ce:

peaceand calm but, after all, he did p'u::: -':-<

t ime and he was ent i t led.But the cei: :s;

followingof family, riendsand musica.as-r¡r:¿:#

was well represented,o, if üewed ::':.a: ¡ ,

that finalscenewas a truepicture.u¡.*:s":r*:{

the juxtapositionof raw forces so 3:f,i i-,rr.l --

American ife. Filtered hrough :.:: ¡rr::-i

glasses,hemadness,ncongruin'a:.: -:a:---trr

it all stransformedo a stateof m::; *rc:: ::Ér?

is harmony,welcome, ntelligb."-:r¿:1:¿- :e

crazinessakeson a humorous *<;ñ: 'é'¡? t¡-l

trouble envisioningHerbies€¿:í; -,-rir"¡éri rÉ

piano, the personificationo: tra* s-d r*s.{integfity,surroundedby a rarx:¡*5,3;' :r :.-J3as,

banjos,armed orces, trippe:s :ú $si: -earing

collegekids chanting, Oh1t'.É. :r i¿:rts Go

Marching In," because . '¿: * . is is the

B1



commonplace eality. Through Hcrb¡c l: ali

makessense.

Herbie always spoke ior-:nglyabot¡: !::s

brother,Austin. You'vegotto rrf,!Ét rs gttr bz

he's crazy like you, aw mai T?r So¡r:3' ::couldn'thavebeenmoreü¡ar ¡ É & *

funeral that therewas a knoú - il- ffi rc

dayand herestooda ven'ercfnd rffir rHir

Austinwasa smallerHerbÉ oct**' * *

outwardlyanimatedandefi¡s¡rc :ü- * FF

Coincidentallyhe was inruh*d G ffi¡ #

photo oumalismat El Diarb ú{rí! ür {F :r

the cornerfrom whereI livedr iF *

It seems hat before tler* t - *

hospital,he and Austinhadptrxf D lF r

party for someof the PeoPle* 5 ft

wantedto bring together.And ff * C r

the hospital, he madeAustinPtffi ll *

would follow through regarúÉf rf *

happened.t went off exactl.v ¡H* *might havebeen a sad and súq lil:'

Herbie'spartywithout He¡bie.uril * * *

somegood aughs.Wegot to r€ffitül

Herbie, boutsomeofhisclasskpr'c nt*

all just crackedup.

But therewas a private side!o ttl: f ¡

wonder f anyoneknew. t wasthn F-É *[

where the process of ameliorauc üt: {:

between is nner(TheThird)wortd l:Ü

world. Severaldecadesafter Hertli H ft

turned up one of Herbie's ast silt

manuscripts, songcalledVacaüon fE I

82

1957n hiscatalog;t comesclosesto anything

know in words concerning he inner Herbie

\ichols: 'Youarespecialantasies dreamednto

being...Pleasantriesnd ecstasies re ours to

design .Comes wakening, omesorsakingones* d:rine...We'reot meant o be...Seel"

Ttpre's a lot I'll neverbe able o write'down,

md l"m not sure how I was able to commit to

SFer the stuff that appearshere. But certain

Srgs stuck in my mind. Whytheseparticular

s¿rlections? And are they relevantenoughto

lc -tuded? Idon'tknow.Youdecide.You'llhave

:r Ftre this whole'thing together or yourself

riñcrr,' It's better that way.

My ownrnusic ravels eallybegan ome-

E = themid-60s:U,S. A., Canada ndWest-

iE Esope. n the courseof this25yearsor so,at

lprn a hundredpeoplehavecomeup tome want-

q - know anything I could tell them aboutffi Sichols,he composer. otHerbieNichols

* mel.. he raconteur, he humorist, hebon vi-

rmt : hismind);not HerbieNichols he world-

.*;{¿nist, the aceaccompanistat home n all

* :i music"who workedwith á wholerange

rf ¡rtd playersand singers--butHerbieNichols

*:r¡oser.

rl.'e many of his contemporariesdanced

lltr rav into people'sheartsunder cover of

mrt¡:ds (otherpeople'shits) or expressed

SsCves in simplistic ermswith bold-faced

¡r r*rbie Nichols,age 36,devotedhis first,



biggest and only break to the documentation of

his own music, to the exclusion of everything

else.The ustification for Herbie,scommitment to

his own musicat all costsbecomesevenclearer

from looking at the personal catalogof his works(courtesyofjoelNichols).The ea¡liestentries, our

loveballads,date rom 1939, he final entriesare

dated 1961.The whole bod,i'of n'ork spans22

years and contains approximaielv l i0 different

titles.I'm only able o accouni for at¡oui 0 of them

inc lud ing29 recordedon Blue \c ie , t2 on

Bethlehem of which 7 were re.ea_:e¿ ¡.e Í,Vhose

Blueswith ChocolateWillians a:.: :'cu¡others,

including the dist inct ive J:-_< J S:ennell)

recordedby Mary Lou Willia::-s .r.=-,r -.-earsago,

membersof the HerbieNichc's :"=.:: :.-=overed

that the composerhad me';:;:,.*r--. :::..-righted

many of his works wiü üe I :l:a-1. :: -:ngress.

But these,plus the manrl-{:::.*r _::: :e .eft me,

add up to far less than ha.: :: ;.,:i: --: a:iuallywrote. The rest are ost an;. :: irsi--:ir:

Thecatalog lso ists : $r-.: :: :¿::. entry:ballad,march, tomp, huls t.¡rs .,, -z (3/4

&9/4), cal¡pso,mambo,a:,¡: r,rr.trr s1,,-ing,,rag,Caribe asha?I, tc..e: : -:,- ; ¡i_:i a nidevariety fapproaches.hea: o, .i _r,: ¡::s rand

Delilah, eaturingmixedvoicesandAfricanneeorchestrations, ut that,sall I remember.

During he time I knew him (the ast tn,o ::three earsofhis ife)Herbiewasseeking utu.ini

playersikeme.Hisconceptionor he ealizatic:"of his musicwas beyond he piano trio forrr,a:represented y his recorded egacyand r,,.asprobablyhisway all along.Muchof the mus;¡which inspiredhim from the beginning_b.,

Bartok,Prokofiev ndHindemith,n particula:_

wasorchestraln scope.Hehadstudied ndk¡e,,r.theirworks intimately n the contextof its or.,.:"realization:he Westernorchestra. hus ¡-. ..sown mind'searhe heardmanyof hiscrea:.::played ystrings ndwoodwinds. econ:.::: :me that he had beenscoringhis ptr--:,: l"classical"nstrumentsor some ime :.-:r: ., rtrail gets eallycold: hereareno iu::::. , :relating o anyof this n his persor.:. . . .i

elsewhere.Thankfully here are ii:.. i: . . -recordings anda very few oii.::: . -

surviving oems noscenarios : . :" , .,-","¡of) and hemusicmanuscripts

D¡rnamicsListenlDeeply ndspec:i:::

nuanceevelof hearing.f .

will meet you more tha:.

perhaps he biggestprc:.

appreciationfhismusic :

hiskindof quietand h:-,.

thisknowledgereallyhurts,l¿ : ^r - :i.::alf of headphonesf necessary, r.: :, .".hiscompositions,ncluding .:.c *-,:

lyricsl 'm embarrassedosa-\-.,_-_,

Herbie'snics: tady SingsheE.;:

Blues.Weoncesatand istene¿:

acetateof two 'cal¡psos',Crack;:



but masked out. He never Ero:i:.ce: :,e :a:r-, -:

ever, orced.The thrills in l::s :-a-,::.¡ 3:r a-'(-. .

the result of a masterful res::a::-: it¡:€:f -:,--::i

of words (so to speak) s a.:i ::¡: --:lJr::-:-

than the size(o r

color)ofüe::::: :

i i.r¡t.

..1i n t e n s i t ymuch more ak : : : - - : - : - - ¡ Í r : . :

tradition of "chamber mus:; e: : :,:s . r.-r:--"

in direct opposition to the es'-:f,r: :r ¡--r:,.-r--

pop.But there s definitelr'á*,rér-r: :i:'i? '.:::

it's just a good dealmore sub'-e3:,: :r-:'.-.lt-r :.r-

that of the mainstream.Her:: S ¡*.¡r:r-r ¡¡r: ¿

reliel a high relief, and thei' i€:r ¡.rr i -r:rl:

aspectsof his music.

MelodyPlayingand studying rvrth i:,?-,r r rrtgÉ:.',

redefinedthisaspectofmusic :r:r ': :l*r.ii

to what is more popularl-r' r: .- sr :*r:r¡¡ic.

melody, and for those familia: ¡t--- ¡r: '!u*:ri

it's saidto begin with Jimm¡'X]lr'r

-.r*r ñ!-i

and Bird (andmany others,I'rn s:: rJ r r:rnr::

really is an emphasis on narrc*r i'r¡rr*¡ !:

melodic construction,not to thr::tj !.r- ¡.i¡n:n

of wide intervals, but just a =:.:r :.¡:r. ,:ri-::

exploitationof2nds and even 3rcs + irrlnr ¡ r.¡*,.

of cutting sideways through tc.,a $*r *rt

something on the order of a ñne.-¡ r:rl=i :¡n#

This gives a melody an innate, t';-: :' i;¡¡¡t :r

horizontal thrust. The oblique apprc€ ¡¡ñ t*

whole "geometr¡/'of melody.The :-¿-::r Srl¡F

of this kind of line can verge on the :r-:rfrilr

oíordinaryspeech and conversation.3ii :i* :

: : : :rposit ions and his elaborations of them

a:.:und with this kind of "talk." It's a lot easier o

a:i.:e¡.'e uchpattems with voice,slide, or other

::::-essspecies, ut to accomplish his on a dead-

i=: ::sial instrument ike pianorequirescomplete::s:31.'of thekeyboard nd onalspaceaswell.

-=:cie hadhis own melodicvocabulary.There

:-'. s:ne pretty universal licks in bop that never

- " :-= ;e in his playing-just one more reason for'-r 'i:scpularity, but for the serious listener, all'.i€ :..tr€ reason o get inside his melodiesand

iff .,..:.atmakesthem tick. And yet his playing is

' :i',,,:tl thebluesl

Rh-vthm

::::bie'splaying chieveslearandsolid* :.-:.:cprecisionsinga lighter-than-usual! ' ' : :-(. His touch was more like that of Bil ly

];:: ,: ::n, Natcole or HankJones: gentlebut oh

'-;r." Heplaysacross he whole rhythmic:;'r:r:-:.l, everythingrom parlando ubato (the

::1::.:.: groupingsn meter,and does t all by:.:.¡ i rhisown word)as opposedo striking.

'',- :.:e he treated he piano ike he treated* :i.i:::'rg elsen his ife-with a lot of loveand

slr --::.. In the morestraightaheadbop-style

:-ri:¿its rvhere he emphasiss on right hand

1':. -:s:ng n eighthnoteswith spaced-out{r it i .:. the left,Herbie's ay of phrasing nd

r-. "*:::ngeighth otess ikenobody lse,s.t,s

¡ ;-r-r.átionof askipanda ope, hesameway

84



he'd sometimeswalk down the street. The

rhythmic relationship betweenthe handswas

acrossheboard oo.Everythingromblockchord

unison o completepolyrhythmicndependence.

As aprofessional

ccompanistnd sideman,

hecouldprovidewhateverwas deemed ppropriate:

rag,stride,boogie, arrelhouse; utwithhis own

music it was toward a more economic¡l style,

distilling the olderapproaches oun to a more

minimal use of the left hand. But tlte amazing

thing is whenyou watchedhrs e* handon the

keyboardasheplayed-t rnoted a¡q¡nd.hovering,

more than you could actua.il- hear He wasghostingor acting out a i* ü lrs¡És but really

soundingonly certain chotc rc And now I

wonder aboutall tlte tnorr€fr:s * hs recordings

where keys were deprcsssdr. :!tc ieft hand

without actuallysoundrng ¡;S fr srmpathetic

vibrations generateda;cr¡*;5] i* the right

hand.Herbieknew hs

¡{*rs*t-A favorite rhythmx "et str?+:¡ deüce is

that of fragmentation.?*tr *1 gf$ oÍfa piece

of melodyhe's ust creaÉd *t ilFal.zse it over

the beat until it evolvescr s€gts *to sornething

else...orust eavest irgng it*g:.he jobof

resolution to the left hat. *$:F sextion or

listener'smind.Oftenw lr1 wte sucha

fragment by rephras;rg f lnr :!= ¡cter anddisplacingheaccentsa:Efuq* rer.¡ e ustas

apt to find n speech rd Fot4

Another way henn*¡:s * # rork" for

delaying)he onsetof a whole sectionby a beat

or two,pushing he bar inesaround,buildingup

an incredibleamount of suspense,hen adding

(or subtracting)he expended eats ight at the

climax. It sounds ike Herbie s dislocating heform. It's a very compositionalway of playing

around with the l istener's and the other

players'orientations.

The obvious sourceof much of Herbie's

rhythmic vocabulary s in the movementsof

dancers, ight off the taps of the hoofersand

tattoosofthegreatdrummers.Headmitsasmuch

and many of his songsare dedicated o therhythmicistswho inspiredhim.

HarmonyIts a gratifying event whenever somebcrc"; *<

able to exert his own special influence cue: :ie

polyphonic system. To go a step furlhe: ¡:":

establish apermanent

identity in the !:;:=,:r-:dimension puts one in a class with thse :*as:*:

composers who are instantly r€ccer-:r-:-- r=*

virtue of harmonic choice alone TLs :r--:;s;:¡s

domain ruled by such high pr:es:: :r ll.-r=

Ellington,TheloniousMonk,John l:,-:¡:€ **l:-

Taylor, Gil Evans, Charles Ming.;-<!,t-.* lt;¡-¡:s

GeorgeRusselland Carla Ble_r'

Herbie'sapproach o harrn*=. =: : :m*l-¡

it's ustright. The same ndir:c--:, -r g:rsÍs.in

dynamics, melody and rl i : : :- *: l t€s to

harmony. Not only did he irs:HT :;r rcadily

available sources like the '--- rr::tl ¡op andn a larger sca* :t + ffi{4a:ing (or

B5



classicalmusicsof this century,but throughhis

private research,he traveledback in tirne and

explored he modal harmonyand figuredbass

eras of Westernmusic. Thesebaecaltl' lir¡ear-

orientedtextures helped him to ñrrtlEr dcwúmthe kind of open lexiblespace hat cq¡ld eüt

large amountsof harmonic in¡roraa: ¡rf¡q.l

lossof horizontality.

Harmonyasa functionof meloQ' Ímet5tr

(broken-up)harmony.There'sall s:,*a :É

variegatedharmony n Herbie's üpqg e

improvising: armonicsubstitutiors,s¡frcr

alterations, xtensions,nversiors" gm,clustershi-midlo, but all in the serrn? ú *

melody.Mostpianoandpolyphonic xx *!

chord progressions eing cranke{ fif * |

melodic ine superimposedn top l: * gF

way aroundwith Herbie;his "hrocr# *

third side) is predominantlyscale-¡off

(melodyo harmony) ather thand¡aü.o.*Highdensity exturesare usedby drre -F

than by dictate of common pracr* n r

hymnody). But he was a very scnsllri rt

supportive omper,a wonderfirlconpcr. ,lll:

listen to his bass inesl Sure heyG ffit

and earth-bound, ut they're eallybc *

OrchestrationIn Herbie's ngenious, arelypr!il lf -

orchestration he has really succea*l *

integrating he piano into the bassand th

Withmostpiano rio music,bassanddrumsplay

offandbehindwhat hepianist sdoing,and hey

all eventuallyget their breaksand solos,etc. It

can and doeswork thisway too,but whenI hear

:he piano comingout of the drumsand thatpercussive asswork putting the final bond on'$e drums-to-piano onnection, know I,m n for

scct organic rialogue.

Flerbie ada thoroughknowledgeabout he

*r,¡scal resources f smallnumbers.Many of his

*mal friendships ere n factduets.Like,he,d

rrs¡: rour home one day and it would be a

:mt¡ination rehearsal ndhangingout, awayto

bq ¡eamingand ryingout newthingswith other

¡ede--different voices,differentnstruments-

rfu -rrcu on'thave remuneration for formal

mcr'ül-v of a full band.Muchmusic s bornand

*l'cpeO thisway- "rehearsingust for the hell

d f-and theprice s right.

Ielodyl¡an]' of Herbie'smelodiesare purelyvocal;

trir re singable ndmeant o besung.LadyDay

Édup on this, and thusLadySings he Blues.

* r:lre convolutedmelodiesmove nto faster

Qos thedemandsbecome oredigital,more

fFtl¡-¡€ntal. However,one thing is consistent

-*ghout andthat is the underlyingcall -and-

rryffis€ construction n all of his melodies-

Steen subphrases, etween phrasesand

*!cen sections. t' s verv classical n the

86



universalsenseof the term. There'salways a

complement, lwaysa rounding-off;t's as f he's

carryingon a conversationwith himself or maybe

it's differentpeoplecarryingon conversations.

Thesesubphrases, hrasesand sectionsareindeeddifferentvoicesconversingwith, and

callingand espondingo, oneanother. hat back

and orth," hatqualityof exchange,s ndeedhe

modelof socialityand basic communication

which HerbieNichols'music s. With hisconcept

in mind,one can hear and feel he overall orms

of his songs and the wa-vhe develops hem

throughhis mprovisations.

Form

Aside from the marvelous ntros, alternate

endings, ags, umarounds,etc., thinkyou will

discover or yourself hat Herbie'scommitment

is to the AABA Go Rhythmstructure.nvariably,an A-section calledchorus)s repeated, sually

with a slightlydifferentending(A2), ollowedby

a Bsection r bridge also alledelease),ollowed

by a single epriseof the A sectionwith a ,,final,,

ending (A3).Herbiewrote his shareof t2-bar

bluesand other"short' forms"but basedon the

evidence, t appears hat 1 Got Rhythm s hispreferredorm.Finding he "rightrelease"was a

particular compositional preoccupation.

Neverthelesshis form is his freedom.He deals

with it imaginatively,skillfully, eloquently.

B7



Disco$aphyHerbieNicholsTtio:Love,GInm, @r, L* Fcürhñcrrl

I .TooCloseForComfort; .EveryCh¡t 3_A¡8Uutative ; 4. Love,Gloom,Cash, ove; S.portraitof ucha; 6' BeyondRecall;7. a[ rffiy ; & {i qtee Angle;9. InfatuationEyes;10.s,crazypad

TheComplete lue NoteRrcordirgse IüDisc I l. The ThirdWorld;2. The fH H *nate rake);3. StepTémpest; . DanceLine;5. BlueChopsticks; .DoubleEgm ¡E *l'; 7.DoubleExposure; .Cro-MagnonNights;9. Cro-MagnonNights(alternate& te. f út fepen (altemateake);I t. Amoeba,sDance;

12'BrassRings altemateake); 3-bt] n zm skiddoo alternateake); s. 2300skiddooDisc2 l' ShuffleMontgomery a*-G,2. tr Didn't Happen;3. crisp Day;4. shuffleMontgomery; ' The Gig;6.ApPbiar rE *e t); 7. Hangover fiangle;8.LadysingsTheBlues;9. Chit chatting; 10.Hor¡se -r:; ll- The Gig (alternateake);12.Furthermore(alternate ake l); 13.FurthermqnR,t rlrt $reet (alternate ake); 15. llTth street;16.Sunday troll

Disc3 t. Nick At T's; Z. purtlrermfts *e 4;3. Terpsichore; ,Orse At Safari;5.Applejackin(alternatetake2|;6.ü#.rI*mower;8.Mine(altematetake);9.Mine;

l0' Trio; I I Trio(altemateake); ¿ tHr;- lb 6ltemate take);13.Thespinningsong ;I4' RiffPrimitif;15.Riff Primitif (attcilF* I fy (altemateake); 7.euery

88



At tfr. time of thiswriting, HerbieNichols,music sbeingplayedmore haneverbeforeand his trendhasyet

to reach ts peak.There s an upcomingwave of youngimprovisersn their twentieswho are cutting heir teethon this musicall over the pranetl I find this particurarlygratiffing because lovehis melodies,ovehearing hemplayedandelaborated pon.MishaMengelbergndhisco-conspiratorsn Europe eginning ack n the aterg7o,swerepioneering lorious andarrangementsf Herbie,sBlueNote Mosaic)ndBethlehempolydor) iano riore_cordings. rankKimbrough ndhisassociateseganheir

))e,rb)e,)Da2s.ZaTeclrrzffCñ (ñehte l9g0s andhavesteeredhe cou¡sen the utestsense: uted romexist-ing recordingss€archedhe LibraryofCongressor cop_ies of the n:a::;scriptsHerbiemeticulouslycopyrightedfrom da-r, :.e :: his output;and createdwonderfully n_spired n:e=:e:a::onsbaseduponthis careful esearch.Buell

Ne:i.:-:;e.-n.ho layedwíthHerbíeín he ateS0,s,cameou: .¡r::: s:::.ieverydistinc ive and dventurous n_terpretalc:_<.: re mid ,90,s.DuckBaker ecorded CDof Herb:e ::.::.:sjfibns arrangedn hisrnimitablestlef adr.ar:e: :_:;enickingguitar n D96.I ha:e :-: ::.::e of Herbie,s usicwill bediscoveredand ha: =s:,:,:< -<

Nichor-s: :É: , )jj[Hj:: o.**ing,oraHerbie

1

JJII

the unpiblished works - herbie nichols

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