Freddie Freeloader

“Freddie Freeloader” is the second track on Miles Davis’s legendary album Kind of Blue. This tune is a quintessential blues, notable for its simplicity yet rich in subtle musical nuances. Unlike many blues compositions, it avoids the typical two-five progressions and features a unique backdoor dominant chord at the end, which adds a distinct flavor to the form. This track stands out as the only one on the album featuring pianist Wynton Kelly, whose blues and bebop background perfectly complements the tune’s vibe.

In this course, we will break down the melody, rhythmic placement, articulation, harmonic structure, and solos by Miles Davis, Cannonball Adderley, John Coltrane, and Wynton Kelly. Additionally, we will explore practical exercises inspired by these masters to help jazz musicians internalize and apply these ideas in their playing.

Understanding the Melody and Articulation

Simple Yet Expressive Blues Melody

The melody of “Freddie Freeloader” is straightforward, primarily built on two half notes rather than the dotted quarter and eighth notes written in many Real Book versions. This subtle distinction affects the groove and feel of the tune, emphasizing the laid-back swing characteristic of the recording.

Articulation Details

• The first note of each phrase is slightly attacked and louder, while the following note is shorter and softer.
• These dynamics create a conversational feel within the melody, emphasizing phrasing over technical complexity.
• Understanding and replicating these articulations is crucial for capturing the track’s authentic sound.

Harmonic Structure and Analysis

Unique Blues Progression

“Freddie Freeloader” follows a 12-bar blues form but deviates from traditional patterns:

• It omits the typical move to the IV chord in the second bar, delaying it until the fifth bar.
• The ending uses a flat VII dominant chord (backdoor dominant) instead of resolving directly to the I chord, providing a fresh resolution back to the top.
• The flat VII chord is characterized by a sharp 11, which adds a distinctive color found frequently in the comping and soloing throughout the tune.

Key Signature and Scale Choices

• This is a B-flat major blues.
• Despite some charts using an E-flat major signature, the proper key center is B-flat.
• The melody emphasizes tension and resolution by using the sixth degree resolving to the fifth, a common blues tension-release technique.

The Horn Section: Voicings and Countermelody

Horn Voicings

• The three-horn arrangement uses minor triads (G minor and F minor triads in first inversion) to color the dominant seventh chords.
• This approach adds depth to the harmony by emphasizing chord extensions like the seventh and ninth.
• In the the last 4 bars the trumpet and tenor saxophone double the melody at different octaves, while the alto saxophone fills the middle voice with tritone intervals, enriching the harmonic texture.

Wynton Kelly’s Countermelody

• Kelly plays an interesting countermelody on the head, which is more active and melodically engaging than the main melody.
• This countermelody provides an alternative melodic line that can be used in jam sessions or arrangements, especially when playing with multiple horns.
• Incorporating this countermelody adds variety and depth to performances.

Deep Dive into the Solos

Wynton Kelly’s Solo

• Kelly’s solo begins with short, concise phrases, gradually increasing in complexity and length.
• He frequently uses chromatic approach notes and a distinctive B-flat major triad over the flat VII chord, highlighting the sharp 11 color.
• A hallmark of his solo is the use of an augmented major 7 arpeggio beginning on the flat 7, a sound that appears repeatedly across all solos.
• Kelly’s phrasing includes blues licks and chromatic eighth-note triplets, making his solo rhythmically and melodically compelling.

Miles Davis’s Solo

• Miles’s solo is characterized by simplicity, space, and rhythmic anticipation.
• He often anticipates chord changes by starting phrases early, creating a forward-moving feel.
• His note choices are mainly diatonic, sticking closely to the modes of each chord without heavy chromaticism.
• The augmented major 7 arpeggio also appears here, reinforcing its significance in the tune’s vocabulary.
• Miles’s solo exemplifies mastery through phrasing and timing.

John Coltrane’s Solo

• Coltrane’s approach contrasts with Miles’s by incorporating the minor 6 pentatonic scale extensively.
• He plays this scale starting from the fifth of the chord, layering blues and bebop vocabulary.
• His lines include chromatic passing tones, triadic exercises, and chromatic minor third sequences.
• Coltrane pushes harmonic boundaries with occasional “outside” playing while maintaining a strong blues feel.

Cannonball Adderley’s Solo

• Cannonball’s solo is rich in bebop language and blues inflection.
• He employs rapid sixteenth-note triplets and chromatic lines descending from the third to the flat 7.
• His playing is versatile and nuanced, making it both challenging and rewarding to transcribe.
• Like Kelly and Coltrane, Cannonball uses the augmented major 7 arpeggio, linking the solos through this shared harmonic color.

Bass Line and Rhythm Section Insights

• The bass line throughout “Freddie Freeloader” features walking bass with chromatic passing tones, often between the sixth and fifth scale degrees.
• This technique, typically associated with bebop on major 7 chords, is effectively applied here on dominant chords, broadening the harmonic palette.
• The rhythmic interplay between bass and piano, especially Kelly’s comping, supports the tune’s groove and harmonic structure.
• Kelly’s comping rhythm is recommended as a model for pianists and guitarists to develop strong, swinging accompaniment.

Practical Exercises to Internalize the Concepts

Technical Practice

• Chromatic Approach Licks: Practice chromatic descents from the sixth to the fifth scale degree and from the third to the flat 7 on dominant chords.
• Augmented Major 7 Arpeggio: Work on this arpeggio shape starting on the flat 7 of dominant chords in all twelve keys.
• Minor 6 Pentatonic Scale: Practice playing minor 6 pentatonic scales starting from the fifth of dominant chords.
• Rhythmic Placement: Transcribe and practice rhythmic motifs from Miles Davis’s solos to develop anticipation and phrasing.

Creative Practice

• Improvise using the melodic motifs learned, experimenting with combining chromatic lines, augmented arpeggios, and pentatonic scales.
• Use rhythmic patterns taken from the masters, focusing on anticipation and syncopation.
• Practice the counter melody and horn voicings in ensembles or jam sessions for harmonic and textural variety.

Applying the Lessons of “Freddie Freeloader”

Though “Freddie Freeloader” is a relatively simple blues tune, the depth of musical ideas contained within it is immense. From the unique harmonic structure and articulation nuances to the distinct soloing approaches of Davis, Coltrane, Adderley, and Kelly, this track is a treasure trove for jazz musicians.

By studying the melodies, solos, and comping patterns, and by practicing the suggested exercises, you can develop a deeper understanding of blues-based jazz improvisation. Whether you are a beginner or an advanced player, dissecting this tune provides valuable insights into phrasing, harmony, rhythm, and group interaction.

So, dive in, practice these ideas diligently, and have fun swinging through one of jazz’s most iconic blues tunes!

FAQ

Q: What makes “Freddie Freeloader” different from a typical blues tune?

A: It uses a simplified blues form without the usual two-five progressions and ends with a backdoor dominant chord, giving it a unique harmonic flavor.

Q: Why is the augmented major 7 arpeggio important in this tune?

A: This arpeggio, often played starting on the flat 7 of dominant chords, adds a distinctive color that all soloists on the track use extensively.

Q: How can I practice rhythmic anticipation like Miles Davis?

A: Transcribe his solos and focus on replicating his rhythmic placement and anticipations, then apply these rhythms in your own improvisations.

Q: What scales does Coltrane use in his solo?

A: He prominently uses the minor 6 pentatonic scale starting from the fifth of the chord, along with chromatic and bebop vocabulary.

Q: How can I incorporate Wynton Kelly’s countermelody in a jam session?

A: If playing with two or three horns, assign the countermelody to one player to add harmonic interest instead of playing the melody in unison.

By applying these insights from “Freddie Freeloader,” you can greatly enhance your jazz vocabulary, improvisational skills, and appreciation for one of Miles Davis’s most enduring works. Keep practicing, stay curious, and keep swinging!