Performance Notes by Dan Wallach

Sandu was recorded by Clifford Brown in 1955 on his Study In Brown album.  This tune is a straight-forward 12-bar blues in concert Eb.  This blues employs a more advanced blues progression, including the VI dominant seventh chord in the 8th bar:

|| Eb7    | Ab7    | Eb7               | Eb7               |
|  Ab7    | Ab7    | Eb7               | G-7  C7(b9) |
|  F-7     | Bb7    | Eb7  C7(b9) | F-7   Bb7      ||

In working on this tune, attempt to play more than a “blues scale” solo.  Explore the actual chord changes with extra attention given to the correct thirds and sevenths within each chord.  Also, I will ask that no written music be brought up when we play this tune.  This will encourage all of us to listen to the original recording often and play it as it is on the recording, with good phrasing.  The recording is available on YouTube (below) and Grooveshark.  I highly recommend buying your own recording of this whole album.  I believe it is truly a recording all jazz musicians should own.


Out of Nowhere, is a jazz standard written by Johnny Green.  Despite the leaping intervals of the “B” section, this is not a difficult tune and spans a range of only a ninth. An interesting part of this tune lies in its opening chord progression, which contains echoes of French Impressionism.  I is followed by bVI7–in the original key, Gmaj7 followed by Eb7, then back to the Gmaj7.  Music theorists call the Eb7 an “augmented sixth,” which usually resolves to a V7 – I cadence, however, Green skips this, going directly back to Gmaj7.  The missing V7 is implied by the return to the tonic.

The next four measures of “A” and the first four measures of “B” simply play with the iii7(b5) – VI7 – ii7 sequence. In the fifth measure of “B1,” however, an augmented sixth chord returns for two full measures before resolving to V. In the second “B,”, this does not happen; the ii7 goes to a decorative iv chord, delaying the final resolution which comes by way of a two-measure descending progression which is used fairly frequently:  iii7 – biii˚7 – ii7 – V7 (this is really a circle of fifths in which the vi or VI7 has been replaced by the iii˚7, which also functions as a vii˚7/V – the intervening ii being a decorative delaying mechanism).  Please listen to this version of Coleman Hawkins, Benny Carter, and Django Reinhardt.