"You Know I Care", is a masterpiece of a composition by the prolific composer / pianist / arranger, Columbus Calvin "Duke" Pearson, jr and is possibly the most representative original ballad of the 1960s Blue Note period.
As the ballad feature on Joe Henderson's classic "Inner Urge" album, it was recorded on November 30, 1964 - nine days before John Coltrane recorded "A Love Supreme" - with pianist McCoy Tyner and drummer Elvin Jones (each a member of Coltrane's classic quartet and icons themselves) on both sessions.
Almost six months later, Pearson recorded his own version of "You Know I Care" as a 6-horn arrangement, but Henderson's quartet recording is the definitive version, as his tenor solo as well as the rhythm section, breathes additional life, dimension and drama into an already singular ballad composition.
As the ballad feature on Joe Henderson's classic "Inner Urge" album, it was recorded on November 30, 1964 - nine days before John Coltrane recorded "A Love Supreme" - with pianist McCoy Tyner and drummer Elvin Jones (each a member of Coltrane's classic quartet and icons themselves) on both sessions.
Almost six months later, Pearson recorded his own version of "You Know I Care" as a 6-horn arrangement, but Henderson's quartet recording is the definitive version, as his tenor solo as well as the rhythm section, breathes additional life, dimension and drama into an already singular ballad composition.
Duke Pearson Duke Pearson, who himself did not play on the album, grew up in Atlanta. He recorded several albums for Blue Note under his own name before becoming the labels A&R person. His list of well known compositions also includes "Jeannine", "Cristo Redentor", and "Amanda", among others.
"You Know I Care" is a 26-bar, elastic 60-ish bpm affair; purposefully winding its way through several key centers. Its form is best described as A1 (10 bars) - B (8 bars) - A2 (8 bars), with each section telling a unique chapter of the story.
The examples here are given in concert key. You can download a pdf in Concert & Bb via the link at the bottom of this page.
The first four bars of Section A1 of the solo changes begins with repeating, alternating ii-V7s (G-7 C7 | Eb-7 Ab7) hinting at the keys of F & Db (a Major 3rd relationship). The Ab7 in bar #2 resolves, as a bII7, neatly back to G7 in bar #3 . Bar #4 moves via the Cycle of 5ths to the ii-V7 of Gb (Ab-7 Db7b9) Bar #5, resolves momentarily - and unsurprisingly - to Gb Maj7 for the first 2 beats of bar #6.
It's at this point that the fun really begins!
The Eb-7b5 on the last 2 beats of bar #6 can also be viewed as Gb-6 (parallel minor to GbMaj7), or as derived from the 7th mode (Locrian) of E Maj. This is significant only because E is the dominant of A, which is in the bass of the 1st inversion triad, and the first chord of bar #7 - F/A. This begins a chromatically descending bass line - Bb/Ab | C/G F#-7b F--6 (bar #8), and the Cycle of 5ths in bars #9 and 10 | E-7 A-7 D-7 G7 | C6 F7 Bb7 |.
Ex. 1 - Section A1 (bars #1 - 10)
"You Know I Care" is a 26-bar, elastic 60-ish bpm affair; purposefully winding its way through several key centers. Its form is best described as A1 (10 bars) - B (8 bars) - A2 (8 bars), with each section telling a unique chapter of the story.
The examples here are given in concert key. You can download a pdf in Concert & Bb via the link at the bottom of this page.
The first four bars of Section A1 of the solo changes begins with repeating, alternating ii-V7s (G-7 C7 | Eb-7 Ab7) hinting at the keys of F & Db (a Major 3rd relationship). The Ab7 in bar #2 resolves, as a bII7, neatly back to G7 in bar #3 . Bar #4 moves via the Cycle of 5ths to the ii-V7 of Gb (Ab-7 Db7b9) Bar #5, resolves momentarily - and unsurprisingly - to Gb Maj7 for the first 2 beats of bar #6.
It's at this point that the fun really begins!
The Eb-7b5 on the last 2 beats of bar #6 can also be viewed as Gb-6 (parallel minor to GbMaj7), or as derived from the 7th mode (Locrian) of E Maj. This is significant only because E is the dominant of A, which is in the bass of the 1st inversion triad, and the first chord of bar #7 - F/A. This begins a chromatically descending bass line - Bb/Ab | C/G F#-7b F--6 (bar #8), and the Cycle of 5ths in bars #9 and 10 | E-7 A-7 D-7 G7 | C6 F7 Bb7 |.
Ex. 1 - Section A1 (bars #1 - 10)
The tension is built and maintained through the first four and a half bars of the B-section (bars #11 thru the first half of bar #16), by way of an Ab pedal. The D6/9/Ab in the second halves of bars #11 and #15 add tension, variation and color to the pedal, as does the C/Ab on the first 2 beats of bar #14, which is particularly impactful through its unexpected augmented quality. The effect of superimposing D and C triads over an Ab pedal, with a Db triad in the middle is very cool, indeed!
All tension needs release at some point, and that release comes in the second half of bar #16, with a ii-V7 into the key of A Major in bar #17 (B--7 E7 | AMaj7). After all that dark tension, the sun is suddenly out!
Ex. 2 - Section B (bars #11 - 18)
All tension needs release at some point, and that release comes in the second half of bar #16, with a ii-V7 into the key of A Major in bar #17 (B--7 E7 | AMaj7). After all that dark tension, the sun is suddenly out!
Ex. 2 - Section B (bars #11 - 18)
The Ab7 in Bar #18 takes us back into the A2 section, the first 6 bars of which (#19 thru #24) are essentially the same as in A1. The final 2 bars of the form begin with descending chromatic dominant 7th chords | B7 Bb7 A7 Ab7 | in bar #25, leading to | G-7b5 Gb-6 | in bar #26 and back to the top.
Ex. 3- Section A2 (bars #19 - 26)
Ex. 3- Section A2 (bars #19 - 26)
I'd say that's one helluva cool ride...and we haven't even checked out Henderson's tenor solo yet!
Rather than another blow-by-blow analyses, I've opted for some choice Joe--isms as examples here. You can download the pdf (links at page bottom in Bb and Concert) for the full effect. The examples here are in concert.
Don't let all the 16th, 32nd & 64th notes scare you at this slow tempo - although I'll admit it was pretty scary at times trying to fit some of Joe's lines into 4 quarter notes per measure, or if that was even possible.
Joe-ism #1 (Ex. 4) is a device Henderson often used during his Blue Note period and beyond, where he uses rapid, repetitive 3 or 4 note groupings - usually descending - whereby at least one of the notes changes to fit each new chord in a sequence. Notice how he does this in bars #13 thru #16 (2:29) in the example below.
Ex. 4 - Morphing short, rapid phrases over changing harmony
Rather than another blow-by-blow analyses, I've opted for some choice Joe--isms as examples here. You can download the pdf (links at page bottom in Bb and Concert) for the full effect. The examples here are in concert.
Don't let all the 16th, 32nd & 64th notes scare you at this slow tempo - although I'll admit it was pretty scary at times trying to fit some of Joe's lines into 4 quarter notes per measure, or if that was even possible.
Joe-ism #1 (Ex. 4) is a device Henderson often used during his Blue Note period and beyond, where he uses rapid, repetitive 3 or 4 note groupings - usually descending - whereby at least one of the notes changes to fit each new chord in a sequence. Notice how he does this in bars #13 thru #16 (2:29) in the example below.
Ex. 4 - Morphing short, rapid phrases over changing harmony
Joe-ism #2 (Ex. 5) is Henderson's version of a common ii-V7 device, where the 5th of the goal chord - in this case C7 (bar #19) and Ab7 (bar #20) - descends chromatically to the 3rd, with a different chord or scale tone being repeated in between. This is a sweet melodic sequence (ii--V7s descending in Maj 3rds) that could be transposed and practiced in all keys and will make you smile!
I'm smiling!... are you?
Ex. 5 - Half-step melodic voicing resolution
I'm smiling!... are you?
Ex. 5 - Half-step melodic voicing resolution
Joe-ism #3 (Ex. 6) - Joe Henderson, along with others of this era, were the first to make regular use of different note groupings based on the interval of a Perfect 4th, including the 027 Trichord and the Pentatonic Scale. In bar #27 (3;22), Joe employs a descending 4-note configuration, accurately described as a Bb Pentatonic without the 3rd. Likewise in bar #28 - F# Pentatonic w/o the 3rd. Again, in bar #29, a C Pentatonic sans 3rd. When listening, notice the subtle hint of double time at bar #27, which is the top of Joe's second chorus.
Ex. 6 - Four-note groupings (Pentatonics without 3rds)
Ex. 6 - Four-note groupings (Pentatonics without 3rds)
Joe-ism #4 (Ex. 7) is another example of Pentatonic usage, as well as delayed resolution in bars #39 (4:07) and #40. The second chord symbol should read Ab7b9, but check how Joe morphs from an Ab Mixolydian on the first 2 beats of bar #39 to an E Penatonic on the second half of the measure, into the the first beat of bar #40.
Ex. 7 - Pentatonics and Delayed Resolution
Ex. 7 - Pentatonics and Delayed Resolution
It goes without saying that to really get into what's happening with "You Know I Care", or any piece of music you wish to study, it must be listened to repeatedly. Hopefully, this transcription will guide you to discover deeper insights into harmony, composition and improvisation. Works for me!
B. Stern
B. Stern
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