Afro Blue Arrangement

Afro Blue Arrangement for Latin Jazz Musicians – 5/3/2003 v1.2

Here is an arrangement of Afro Blue to explore.

This is a quick walk-down. You will want to print out the Lead sheet first to follow along.

1. This is a vocal tune or could be any lead instrumental. There are some slight melodic changes to the line at the end of Section B to match the re-harmonization.

2. The overall feel is 6/8 Afro Cuban featuring chekere in the Intro, A, B, D. Congas for C, E, F and out vamp.

The tempo is qtr note = 160.

3. The sequence is INTRO, A, B1, A, B2, C, D with SOLOS on E and F.

The out head is A, B1 and D.

Last time at end of B2, go to D.

Last time in at end of D, go to CODA

Coda vamps out as a repeated section F group improv.

4. Harmonically, it is re-harmonized to feature McCoy-ish 4th stack voicings, lots of slash cords.

5. First 24 Bars are the intro only.

6. The INTRO bass figure is doubled by piano and bass for the first 16 bars.

7. The next 8 bars have a standard 6/8 feel except for the hits in bars 18 and 22. Bars 24 & 25 are a re-harm. with bar 25 repeated 3x for a dynamic settling effect.

8. The first two bars of section A is a 4x repeat with a standard bass line groove. Or something creative from the bass player.

The melody starts in A as standard. The G-13 is a re-harmonization.

Section B2, standard melody with a "surprising" reharm. for the last two bars in the 2nd ending. The melody notes are B and C# with the lyric "Af - ro...." with the same rhythm as the chords.

9. Section C is a "Call and Response" interlude to build dynamic tension to the Section D (Bridge).

The top line of the "Call" is played by piano. It should be played in octaves. Flute plays the 2nd line. Or vice versa.

Piano solos in the "Response" in 5/4 time for 2 bars. The time shifts back to 6/8 for the call. This is repeated 4x.

10. Section D is the bridge with the melody as normal. The last lyric "blue" is sung and extended for as long as vocalist can sing it, allowing the song to breath before the solos.

11. Solos on E and F. E is open repeat but 4x (16 bars) work nicely. Section F is On Cue. Note the reharm chords for F. Last 4 bars should release and build tension for the next E.

12. After the last solo, the song breaths in the open VAMP repeat at top of Section A returning to the bass figure from Point 8 above.

12. Last time, the out head goes from B1 directly to D, skipping the interlude in C.

13. Last time, in D, take the Coda.

Vocalist improvises here after holding a long "Blue..." holding highest C note which works over the two chords.

Any "remembrance" of solo figures played during solos and repeated here would be a nice touch. Perhaps we can trade 4 between lead instruments and vocals.

Also, this is an excellent vamp for Drum and Conga solos and trading 4.

I wrote a "coro" figure for the Coda that continues expanding the energy of the piece. Vocalist can improvise over the long notes others sing the line in unison.

There is also an a similar but alternate coro line that flows.

14. Vamp out, create a rhythmic ending in the moment or use the Coro as the melody ending on the last chord.

Hope you like it. It really sounds great in my head ;). It is by no means complete and has room for more creative input and interpretation.

And thanks for the inspiration. You guys & gals really make me wanna be a better musician (with feeling)!

Vince