Khan's Korner 2 - Lead Sheets

KHAN'S KORNER 2 is dedicated to the presentation of Steve's original lead sheets, mini-scores, and arrangements, which span over 35 yrs. as a recording artist. As in the past, they will be presented with a corresponding soundclip, and an analysis, or remembrance, provided by Steve. It is hoped that this will help everyone on any number of levels, including your own eventual interpretations of these tunes. The soundclips will be in mp3 formats for the best quality sound at the smallest file size. We have greatly appreciated your response to these pages, and will continue to do our best to bring such things to the site!! Over the years, I have received many, many e-mails asking me about just how one can get the best possible print-out of the transcriptions or the lead sheets. I have, in general, responded to everyone who has ever written me about this, but, it now seems like the perfect time to have a page at the site to which one can always refer, and then, hopefully, get the best possible results. So, here is your step-by-step GUIDE. I really hope that this helps!
85. "La Habana Joven" In 1997, somehow I stumbled upon the album, ¡GRACIAS, FORMELL!(Geminis/RMM), which is a tribute to Juan Formell, the great bassist/leader/arranger for the venerable Cuban supergroup, Los Van Van. Though I bought the album thinking that I was getting an 'extra' song by Issac Delgado, not already in my collection of his CDs, my ears quickly took me to singer Ángel "Angelito" Bonne's reading of Formell's wonderful song "La Habana Joven." Then, I wasn't even familiar with the original Van Van version. At a certain point in time, I actually sat down and wrote out a keyboard lead sheet of the Fender Rhodes part just to better understand how this arrangement by Juan Manuel Ceruto was put together. Now, after years of having it around, I decided to present it here as my own tribute to Juan Formell, and to the vibrant music of Cuba in general. Keyboard Lead Sheet and analysis, Steve Khan. Soundclip:
84. "Naan Issue" Steve's only original composition on PATCHWORK(Tone Center) from 2019. Once again, the album blazes new trails for the guitar in Latin Jazz and features: Rubén Rodríguez; Dennis Chambers; Marc Quiñones; Bobby Allende; and Rob Mounsey. Featuring a melodic blend of Steve' guitar sandwiched by piccolo and bass clarinet, the tune is based upon the chord changes to Wes Montgomery's "Movin' Along." This 24-bar blues is performed as a cha-cha-cha and becomes a showcase for the harmonies of Clare Fischer, and other keyboard giants. Lead Sheet and analysis, Steve Khan. Soundclip:
83. "Masala" Another tune from bassist Bakithi Kumalo's 1998 CD, SAN BONAN(SIAM). This uptempo cultural combination of Cuban Salsa and South African vocals and lyrics results in a most unique joining of spirits and cultures. Again, timbalero Marc Quiñones is at the heart of it all with his incredible playing. Bob Franceschini's remarkable horn arrangement gives this piece - Bakithi's homage to "food" - all the spice and character that it would ever need. This was a wonderful opportunity for a meeting of distant cultures and musical perspectives. Keyboard/Bass Lead Sheet and analysis, Steve Khan. Soundclip:
82. "Lalela Kahle" (Listen Up!) The first of two tunes that I co-wrote with the wonderful South African bassist Bakithi Kumalo for his album, SAN BONAN(SIAM) from 1998. The piece began as an experiment putting to use my own take on a voicing of Clare Fischer's that appeared in his tune, "Huracán" from a live Cal Tjader album. Here Bakithi's wonderful voice and spirit combine with strains of Miles & Benny Maupin performed by Barry Danielian and Bob Franceschini within a tremendous horn arrangement by Oscar Hernández. It is all tied together by the superb playing of timbalero Marc Quiñones, who turned this into a half-time funky and mysterious Cha-cha-cha. If you missed this one, please take a moment to listen and explore it. Keyboard/Bass Lead Sheet and analysis, Steve Khan. Soundclip:
81. "Descarga Khanalonious" Appearing originally on CROSSINGS(Verve) from 1994, this newly rewritten lead sheet celebrates the recent USA release from BGO Records(UK) reissue of PUBLIC ACCESS-HEADLINE-CROSSINGS remastered, and packaged together on 2 CDs. One could refer to this reissue as an Eyewitness2 compilation. The performance featured: Anthony Jackson, Dennis Chambers, Manolo Badrena and Michael Brecker on tenor sax. Lead Sheet and analysis, Steve Khan. Soundclip:
80. "Penetration" It was no April Fools Day joke, that we celebrated the official USA release from BGO Records(UK) reissue of EYEWITNESS-MODERN TIMES-CASA LOCO remastered, and packaged together on 2 CDs by presenting the lead sheet for the group's interpretation of the surfing classic, "Penetration" originally recorded by The Pyramids. For many, this will be the 1st chance to actually own "MODERN TIMES" on CD outside of Japan. Though the group came to be known as Eyewitness, the music that Anthony Jackson, Steve Jordan, Manolo Badrena and Steve Khan made together between 1981-83 remains very, very special for each one of them, each in his own way. This presentation means that ALL of the tunes from these 3 albums have been presented. Lead Sheet and analysis, Steve Khan. Soundclip:
79. "Rainbow Wings" An older composition, dating back to 1978 and saxophonist Mark Colby's 1st album, SERPENTINE FIRE(Tappan Zee/Columbia). The performance featured: Bob James; Gary King; Steve Gadd; and Rubens Bassini. The analysis tells the story of how this all came to be, including the title which was inspired by Jean-Michel Folon's beautiful watercolor poster for Amnesty International. Wishing everyone a very HAPPY HOLIDAY SEASON!!! Lead Sheet and analysis, Steve Khan. Soundclip:
78. "Where Shadows Meet" A milestone marker for Steve, as this was really the first of his Latin-oriented compositions to appear on his 1st recording under his own name, TIGHTROPE(Columbia). This presentation adds to the celebration of the BGO Records(UK) compilation reissue of Steve's 3 Columbia albums from 1977-79. The piece was marked by the very special performances from Don Grolnick; Will Lee; Steve Gadd, and the wonderful synth orchestrations by Bob James. Of special interest is the story of how an entire section was lost due to poor preparation, truly a lesson to be learned! Lead Sheet and analysis, Steve Khan. Soundclip:
77. "Auxiliary Police" One of the signature tunes from the 1981 EYEWITNESS(Antilles) recording. This was our first experiment at a group composed, totally improvised piece of music. In a way, it was born of a double hi-hat that Steve Jordan had designed for him and was debuting it, in stereo, on this recording. Though the design was primitive, the effect was really great. The piece also featured the brilliant subterranean explorations of Anthony Jackson, and the super-inventive World percussion imagined by Manolo Badrena. While visiting the studio on the day that we recorded this piece, bassist Will Lee chimed-in with its title. Lead Sheet and analysis, Steve Khan. Soundclip:
76. "The Breakaway" An improvised and group-composed tune from CASA LOCO(Antilles) in 1983 features the innovations of Steve Jordan's hybrid drum kit, integrating Simmons electronic drums, and Manolo Badrena's hybrid percussion set-up that then featured the wild sounds created by Syn-cussion. Sprinkle in Anthony Jackson's inventive bass playing on his trusty old Fender 4-string and we ended-up with a completely zany piece of music. What kind of music is it? One can't say that the analysis comes to any firm conclusion, but it is a fun investigation of the group and its process in attempting to do such things. Lead Sheet and analysis, Steve Khan. Soundclip:
75. "The Big Ones" Randy Brecker's wonderful tune from TIGHTROPE(Columbia) helps us to celebrate the BGO Records(UK) reissue of Steve's 3 Columbia albums from 1977-79. A stellar line-up of musicians, including: the Brecker Bros., David Sanborn, Don Grolnick, Bob James, Will Lee, Steve Gadd, and Ralph MacDonald help to make these recordings memorable and ultimately treasured by fans of the Steve Khan from this period. This is the first time that all three LPs will appear in the digital realm in the United States, Europe, and South America. Lead Sheet and analysis, Steve Khan. Soundclip:
74. "The Christmas Waltz" A very special arrangement of his father's one real Christmas song reunited Steve with Randy and Michael Brecker for the 1995 JAZZ TO THE WORLD(Blue Note) album. Conceived of by Bobby Shriver and Bruce Lundvall, the project gave each artist a chance to do something to brighten the lives of many while hopefully creating a work of lasting beauty. Steve's arrangement was, in part, a tribute to the passing of Sammy Cahn in 1993, but also an homage to influences as different as: Peggy Lee, Frank Sinatra, Clare Fischer, and the Jazz Crusaders too. Wishing everyone a very HAPPY HOLIDAY season!!! Mini-score and analysis, Steve Khan. Soundclip:
73. "Blue Subtext" Composed specifically for SUBTEXT(Tone Center), the tune actually began as an experimental tribute to the lush and romantic keyboard harmonies of Clare Fischer. On the album, that role was filled with love and care by the great Rob Mounsey. The changes to the tune are based upon a well-known Jazz standard, and serves as a great vehicle for Steve's playing. Quite out of nowhere, echoes of his guitar hero, Wes Montgomery, popped-up in a couple of places. Lead Sheet and analysis, Steve Khan. Soundclip:
72. "Bait and Switch" This marks the first of the 2 originals by Steve to be presented from his 2014 recording, SUBTEXT(Tone Center). Just like its predecessor, the album is 100%, wall-to-wall Latin Jazz, and features: Rubén Rodríguez; Dennis Chambers; Marc Quiñones; Bobby Allende; and Rob Mounsey. Performed as a bluesy cha-cha-cha, the tune serves as a tribute to Steve's time spent with Joe Zawinul and Weather Update. Lead Sheet and analysis, Steve Khan. Soundclip:
71. "Duck Ankles" One of Steve's earliest recorded compositions, which appeared on David Sanborn's '75 debut album, TAKING OFF(Warner Bros.). The tune dates back to one of Steve's first early '70s New York bands, Future Shock which included: Randy & Michael Brecker, Don Grolnick, John Miller, and Bruce Ditmas. But, there's much, much more to this story!!! Lead Sheet and analysis, Steve Khan. Soundclip:
70. "Modern Times" The title song from MODERN TIMES(Passport Jazz/Universal Music) was a group composition recorded on this live album from concerts at Tokyo's PIT INN in 1982. The original Eyewitness group featured Anthony Jackson; Steve Jordan; and Manolo Badrena. The unique brilliance of these three great musicians makes even a simple piece of music like this rise to having profound value. This is the fourth and last piece to be presented from this album and it marks the release, for the first time, of this album via iTunes and other legitimate digital services. Lead Sheet and analysis, Steve Khan. Soundclip:
69. "Macbeth" Another older composition, this one dates back to 1979 and saxophonist Mark Colby's 2nd album, ONE GOOD TURN(Tappan Zee/Columbia). The performance featured: Bob James; Gordon Johnson; Steve Gadd; and Portinho. Steve's analysis tells the story of how this all came to be, including the title which was inspired by an early seriegraphe by Jean-Michel Folon, and not the classic play by Shakespeare. Lead Sheet and analysis, Steve Khan. Soundclip:
68. "Rites of Darkness" An older composition, dating back to the early '70s and first recorded by Steve Marcus' Count's Rock Band, it was given a new life, though not necessarily a better one, when performed in concert at the Montreux Jazz Festival in 1977. The performance now finally appears on the CD, MONTREUX SUMMIT[Vol. 2](Columbia/Wounded Bird) and features: George Duke; Bob James; Alphonso Johnson; Billy Cobham; and Ralph MacDonald. Steve's analysis provides musical insights into the tune and its origins, but also into the rehearsal, and what happened during the performance on that particular night. Lead Sheet and analysis, Steve Khan. Soundclip:
67. "Just Deserts" The closing tune from PARTING SHOT(Tone Center) and yet another superb percussion jam, featuring Dennis Chambers, Marc Quiñones; and Bobby Allende. The vocalese sections are handled by the great Manolo Badrena, and piece closes with Steve's signature usage of the Korg DVP-1, his mini-psychedelic big band! Lead Sheet and analysis, Steve Khan. Soundclip:
66. "Zancudoville" Finally, the last of the three cha-cha-chas appearing on PARTING SHOT(Tone Center). Because of the bluesy nature of the groove and the main theme, Steve puts to use his fantastic overdrive sound giving the piece a great earthiness. Most surprising of all is the fact that Steve also sang the vocalese sections. Longtime musical associate Rob Mounsey performs all the keyboards parts with his usual stellar musicality. And while all this is going on, Manolo Badrena provides all the swampy atmosphere, while talking to the zancudos. Lead Sheet and analysis, Steve Khan. Soundclip:
65. "When She's Not Here" The gorgeous bolero, the ballad from PARTING SHOT(Tone Center) features Steve at his romantic best. Augmented by a spectacular orchestration, courtesy of Rob Mounsey, one has to pay attention to the conversational bongo work of Marc Quiñones. One of the great moments on the recording. Lead Sheet and analysis, Steve Khan. Soundclip:
64. "Influence Peddler" This is the 2nd of three cha-cha-chas that appear on PARTING SHOT(Tone Center) and, at the conclusion of this long 10-minute journey, there are spectacular solos from Dennis Chambers, Marc Quiñones; and Bobby Allende. In the midst of all the superb Latin percussion is the appearance of a wonderful vocalese section that features the superb voices of Tatiana Parra(Brasil) and Andrés Beeuwsaert(Argentina). It was a great, great honor and privilege to have them both present on this recording. Lead Sheet and analysis, Steve Khan. Soundclip:s: ipeddler.mp3 (3.7MB)
63. "María Mulambo" What happens when you mix James Brown's "Doing It to Death" groove with Afro-Cuban 6/8, and then, throw in some Manolo Badrena Brasilian-style Portuguese lyrics? Well, you're about to find out! Another very popular tune from PARTING SHOT(Tone Center), anchored by the rock solid pulse of Anthony Jackson and Dennis Chambers, brings you another classic from the Eyewitness extended song form model. Have a great time with this one!!! Lead Sheet and analysis, Steve Khan. Soundclip:
62. "Los Gaiteros" One of the most interesting and popular tunes from PARTING SHOT(Tone Center), and featuring solos from Steve, Marc Quiñones; and Bobby Allende, along with a beautiful orchestration of Steve's guitar voicings by Rob Mounsey. A tribute to the wonderful musicians who play gaita in Venezuela, with a hypnotic tumbao in 3/4 from Anthony Jackson and Dennis Chambers. Lead Sheet and analysis, Steve Khan. Soundclip:
61. "Change Agent" This is the first of Steve's 7 originals to be presented from his 2011 recording, PARTING SHOT(Tone Center) which is 100%, wall-to-wall Latin Jazz and features: Anthony Jackson; Dennis Chambers; Manolo Badrena; Marc Quiñones; and Bobby Allende. Performed as a cha-cha-cha, the tune features spectacular soloing from both Steve and Dennis. Lead Sheet and analysis, Steve Khan. Soundclip:
60. "Cloud Motion" One of Steve's oldest tunes, recorded in 1978 by the Arista All-Stars which included: Randy & Michael Brecker; Mike Mainieri; Warren Bernhardt; Tony Levin; and Steve Jordan, and appeared on, BLUE MONTREUX II(Arista). In hindsight, the tune holds up much better than other pieces composed during the '70s. Give it a chance, and see what you think! Lead Sheet and analysis, Steve Khan. Soundclip:
59. "Have You Met Miss Jones?" Steve's Salsa-styled arrangement of this great Rodgers & Hart standard from BORROWED TIME(Tone Center) owes a great deal to the keyboard harmonies of Clare Fischer and the original trio recording by McCoy Tyner. Once again the presence of Randy Brecker's flügelhorn adds just the right touches throughout. Rob Mounsey's spirited and precise keyboard playing realizes Steve's harmonic dream. The 'sabor' is added by three of the great Latin giants: Rubén Rodríguez(5-string Elec. Bass), and the stellar percussion team of Marc Quiñones and Bobby Allende. Keyboard Lead Sheet; Guitar Lead Sheet; Bass Lead Sheet and analysis, Steve Khan. Soundclip:
58. "Penguin Village" The third offering from the MODERN TIMES(Polydor) "live" recording in Japan in 1982. The piece features Steve's forward looking chord voicings, with wonderful contributions from Anthony Jackson, Steve Jordan, and Manolo Badrena. As always, there's an explanation for this title. Lead Sheet and analysis, Steve Khan. Soundclip:
57. "Warm Blue Town" Using "Candles" as a model, this Weather Report influenced piece was also commissioned for Jean-Michel Folon's computer animated Tokyo Gas commercials for Japan. It appears as well on Steve's '87 Japan release, HELPING HAND(Polydor K.K.). Bill Evans contributes some beautiful soprano sax work. Lead Sheet and analysis, Steve Khan. Soundclip:
56. "Caribbean Fire Dance" This "live" version of Joe Henderson's classic tune features Steve alongside Anthony Jackson and Dennis Chambers, and contains a nearly 15-minute drum solo!!! It appears on the just released double CD, THE SUITCASE(Tone Center). The lead sheet shows how Steve reduced an arrangement, originally written for 3 horns, vibes, piano and bass to one guitar and one contrabass guitar. It's a great lesson in making the most out of what you have. Lead Sheet and analysis, Steve Khan. Soundclip:
55. "In a Star's Arms" Here is this year's X-MAS gift! This rubato ballad uses "The Blue Rose" as its model. Originally composed to be used as the score for one of Jean-Michel Folon's gorgeous computer animated commercials for Japan's Tokyo Gas. Not long after, it appeared on Steve's '87 "Best of" package for Japan, HELPING HAND(Polydor K.K.). It features Clifford Carter on keys and percussionist Café's beautiful plea for "peace and love." Lead Sheet and analysis, Steve Khan. Soundclip:
54. "City Suite Pt. II: Dream City" The second section of the Suite begins with a Steve Gadd drum solo over Don Grolnick's rock solid montuno. From there, one can hear the influences of the music of New York: the vibrant Latin/Salsa scene, a touch of Brazil, and, in those years, the infectious groove of Richard Tee and Stuff. It all appeared on Steve's '79 release, ARROWS(Columbia). Lead Sheet and analysis, Steve Khan. Soundclip:
53. "Face Value" The second original tune from BORROWED TIME(Tone Center) owes a great deal to the keyboard harmonies of Clare Fischer. Steve's Strat returns, after a long absence, to state the main melodies, while Randy Brecker's flügelhorn adds the right melodic touches in the [B] sections. The piece alternates between the bolero rhythms and a cha-cha-cha, and these subtle shifts are in the masterful hands of Rubén Rodríguez(Baby Bass), and the stellar percussion team of Marc Quiñones and Bobby Allende. Rob Mounsey's gorgeous keyboard playing acts as the 'glue' to everything. This piece seems to be the most popular tune on the recording. Lead Sheet and analysis, Steve Khan. Soundclip:
52. "El Faquir" Originally written for his composition class at U.C.L.A. in '69, and now appearing on Steve's just released BORROWED TIME(Tone Center) CD, this piece aspires to meld Jazz elements with Indian and Latin cultures, and all in 11/4. This musical adventure features the presence of tabla master, Badal Roy, alongside the great Bob Mintzer on bass clarinet. Lead Sheet and analysis, Steve Khan. Soundclip:
51. "City Suite Pt. I: City Monsters" From the '79 release, ARROWS(Columbia), the first part of Steve's ambitious Suite features the super-precise horn phrasing of the Brecker Bros. and David Sanborn, which sits on a solid groove supplied by Don Grolnick, Will Lee, and Steve Gadd. Are these guys New York City's "monsters" from that time? Lead Sheet and analysis, Steve Khan. Soundclip:
50. "Mr. Butterfat" An inside look at Steve's first recorded composition, which appeared on David Sanborn's '75 debut recording, TAKING OFF(Warner Bros.). At the recording, Steve and Buzzy Feiten were side by side. There's a great story behind this tune too! Lead Sheet and analysis, Steve Khan. Soundclip:
49. "Some Sharks" If by now you don't understand what makes Anthony Jackson so special, just listen to this track!!! From Steve's '83 recording, CASA LOCO(Antilles), this performance spotlights everything that is brilliant about this most unique musician. And, if that's not enough, all the drummers should be listening to Steve Jordan!!! Lead Sheet and analysis, Steve Khan. Soundclip:
48. "Some Down Time" Fans of the Brecker Bros. Band horn sound will love this early fusion/funk tune from Steve's '78 release, THE BLUE MAN(Columbia). Be sure to examine letters [C]-[C2] for the super-tight phrasing of this great, great mini-horn section. Lead Sheet and analysis, Steve Khan. Soundclip:
47. "Calling" An original ballad, from the '79 release, ARROWS(Columbia) features Steve on his Strat playing a beautiful melody with Hendrix style inflections which alternate with David Sanborn's poignant alto sax. The performance includes the stellar accompaniment of Don Grolnick, and Steve Gadd's brushwork. Lead Sheet and analysis, Steve Khan. Soundclip:
46. "Silent Screen" Steve's original ballad, from the '89 release, PUBLIC ACCESS(GRP) features some spectacular lines from Anthony Jackson, which were transcribed and added to this version of the original lead sheet. It is an opportunity to look inside the harmonic and rhythmic imagination of this masterful bassist. Lead Sheet and analysis, Steve Khan. Soundclip:
45. "Kamarica" The last of the extended song form tunes from Steve's '89 release, PUBLIC ACCESS(GRP), offers yet another wild mixture of elements. This time, Manolo Badrena's vocals offer chants derived from African dialects, and a bridge in Spanish. When the stellar rhythm section work of Anthony Jackson and Dave Weckl is added in, it becomes an irresistible brew. Lead Sheet and analysis, Steve Khan. Soundclip:
44. "Botero People" With a nod to the Colombian artist Fernando Botero, this piece, from the '89 release, PUBLIC ACCESS(GRP), offers a mixture of elements, including Manolo Badrena's Brazilian-inflected vocalese. The solo section offers tremendous interactive playing from both Anthony Jackson and Dave Weckl. Lead Sheet and analysis, Steve Khan. Soundclip:
43. "Mama Chóla" One of the most memorable to the extended song form tunes from the '89 release, PUBLIC ACCESS(GRP). In addition to Manolo Badrena's impassioned vocals, the piece is highlighted by one of Dave Weckl's most spectacular drum solos. This special presentation also features a never before heard soundclip of Steve Jordan's original drum groove for the [I]ntro section. Lead Sheet and analysis, Steve Khan. Soundclip:
42. "Cosecha lo que has sembrado" The incredible percussion jam from THE GREEN FIELD(Tone Center), which was modeled after Tito Puente's "Tito on Timbales" and then turned into a custom fit for the percussive exploits of Roberto Quintero, Ralph Irizarry, and Jack DeJohnette. The double-time finale features Steve's psychedelic guitar "Big Band." Lead Sheet and analysis, Steve Khan. Soundclip:
41. "Fist in Glove" Steve's twist on a blues in 3/4 becomes the 3rd lead sheet to be shared here from THE GREEN FIELD(Tone Center). Bearing the influence of organists Larry Young and Larry Goldings, the piece offers interesting solo formats for the guitar, John Patitucci's bass, and later for Jack DeJohnette. Lead Sheet and analysis, Steve Khan. Soundclip:
40. "The Green Field(El Prado Verde)" The lead sheet to the title track from THE GREEN FIELD(Tone Center), offers a unique opportunity to see how what was written somehow became an 18-minute epic with the propulsion of Jack DeJohnette, and the interactive musicality of John Patitucci and Manolo Badrena. Lead Sheet and analysis, Steve Khan. Soundclip:
39. "El Viñón" Steve's tribute to Elvin Jones is the first of his four original tunes to be presented from his spectacular 2006 release, THE GREEN FIELD(Tone Center). The track features outstanding performances by John Patitucci and Jack DeJohnette. Lead Sheet and analysis, Steve Khan. Soundclip:
38. "Candles" One of Steve's earliest originals becomes an off-handed tribute to Jimi Hendrix. This version appears on the '79 recording ARROWS(Columbia), and features some rare Michael Brecker on soprano sax. Lead Sheet and analysis, Steve Khan. Soundclip:
37. "Daily Valley" The "Daily" series continues. This last tune appeared on the '78 recording THE BLUE MAN(Columbia). Like "Daily Village," this composition was designed to feature Steve's acoustic steel-string set against the beauty of Don Grolnick's Fender Rhodes style. The mini-score serves as a great view into this early Fusion ballad. Lead Sheet and analysis, Steve Khan. Soundclip:
36. "The Little Ones" A brilliant composition by Randy Brecker, which appeared on Steve's '78 recording THE BLUE MAN(Columbia), is featured in mini-score form and showcases Randy's unique harmonies, quirky melodies, as well as the signature voicings for the "World's Greatest Mini-horn Section" of Randy, Michael Brecker, and David Sanborn. A great opportuniy to study the work of one of our most special composers. Lead Sheet and analysis, Steve Khan. Soundclip:
35. "The Suitcase" A most unique group composition which features the virtuosity of Anthony Jackson and his contrabass guitar, and appeared on Steve's '83 recording, CASA LOCO(Antilles). A new "live" version features Steve alongside Anthony Jackson and Dennis Chambers, and appears on the 2008 2-CD set, THE SUITCASE(Tone Center). Lead Sheet and analysis, Steve Khan. Soundclip:
34. "Guy Lafleur" One of the signature tunes from the '81 EYEWITNESS(Antilles) recording. The analysis highlights the unique concepts of both Anthony Jackson and Steve Jordan. A new "live" version features Steve alongside Anthony Jackson and Dennis Chambers, and appears on the 2008 2-CD set, THE SUITCASE(Tone Center). Lead Sheet and analysis, Steve Khan. Soundclip:
33. "Blades" A second offering from the MODERN TIMES(Polydor) "live" recording featuring exciting unison guitar & bass passages, anchored by Steve Jordan's exceptionally creative and propulsive drumming. A new "live" version features Steve alongside Anthony Jackson, and the spectacularly powerful Dennis Chambers, and appears on the 2008 2-CD set, THE SUITCASE(Tone Center). Lead Sheet and analysis, Steve Khan. Soundclip:
32. "The Blue Rose" An inside look at Steve's spectacular ballad from his '87 recording with the brilliant keyboardist Rob Mounsey, LOCAL COLOR(Denon). Free composed and played totally rubato, it serves as an alternative to the standard approach to playing a ballad. Lead Sheet and analysis, Steve Khan. Soundclip:
31. "Some Arrows" The 'almost' title song from the '79 recording, ARROWS(Columbia) is a classic fusion shuffle anchored by the relentless "caveman-esque" drumming of the great Rick Marotta. Lead Sheet and analysis, Steve Khan. Soundclip:
30. "The Blue Man" The title song from the '78 recording, THE BLUE MAN(Columbia) bears the undeniable influence of early Weather Report, and represents one form of the "fusion" of Rock and the then new electric Jazz. Lead Sheet and analysis, Steve Khan. Soundclip:
29. "Where's Mumphrey?" Finally, the mysteries of this most enigmatic of compositions are revealed!!! In the analysis of the signature tune from EYEWITNESS(Antilles), Steve attempts to explain why the perception of "beat 1" is so elusive. A new "live" version features Steve alongside Anthony Jackson and Dennis Chambers, and appears on the 2008 2-CD set, THE SUITCASE(Tone Center). Lead Sheet and analysis, Steve Khan. Soundclip:
28. "Some Punk Funk" Steve offers his original mini-score to this very popular, and very simple tune from TIGHTROPE(Columbia). It is part of a 2-fer, in conjunction with presenting Michael Brecker's incredible tenor sax solo @ Korner 1. Lead Sheet and analysis, Steve Khan. Soundclips - Solo: \| Lead Sheet:
27. "Mambosa" Steve presents his original mini-score from PUBLIC ACCESS(GRP) which is the only tune Eyewitness ever recorded with a keyboard. The analysis shares how the track was prepared so that the group could play along 'live' with it and maintain its identity, and the all important sense of space. Lead Sheet and analysis, Steve Khan. Soundclip:
26. "Sisé" Steve's original lead sheet for this very popular Eyewitness 'group composition' from PUBLIC ACCESS(GRP), expands on the extended song form explored on "Casa Loco." Manolo Badrena's unique lyrics and vocal style contribute to a rare blend of Latin music, R&B, funk, with the spirit of jazz improvisation. Lead Sheet and analysis, Steve Khan. Soundclip:
25. "Eyewitness" Here's an opportunity to view Steve's newly written lead sheet for the title track from, EYEWITNESS(Antilles). In his analysis, Steve sings the praises of bassist, Anthony Jackson and, explains how this piece was designed as a vehicle for a 'free ballad' improvisation. A new "live" version features Steve alongside Anthony Jackson and Dennis Chambers, and appears on the 2008 2-CD set, THE SUITCASE(Tone Center). Lead Sheet and analysis, Steve Khan. Soundclip:
24. "Butane Elvin" The brilliance, and unique swing, of drummer, Elvin Jones, is the obvious inspiration for Steve's composition which appeared on his '89 CD, PUBLIC ACCESS(GRP). The recording featured remarkable performances by Anthony Jackson; Dave Weckl; and Manolo Badrena. Lead Sheet and analysis, Steve Khan. Soundclip:
23. "Don't Worry Baby" Steve pays tribute to his love for Latin music and the keyboard sonorities of Clare Fischer as he shares his lead sheets for his contribution of "Don't Worry Baby," to the '97 recording, WOULDN'T IT BE NICE(Blue Note/Contemporary), which was a tribute to the music of Beach Boy, Brian Wilson. For keyboard players and guitar players alike this is a most special look at the rich possibilities of harmony. Highly recommended!!! Lead Sheet and analysis, Steve Khan. Soundclip:
22. "I Have Dreamed" Steve's inventive interpretation of the Rodgers & Hammerstein classic, "I Have Dreamed" which appears on his '96 recording, GOT MY MENTAL(Evidence), has no models as he demonstrates that you can approach a 'standard' by opening-up various sections as you go along, making the performance a one-time only journey through the tune. Joined by John Patitucci, Jack DeJohnette, and Café, the performance is very special, and Steve's analysis offers a perspective which only he can give. Lead Sheet and analysis, Steve Khan. Soundclip:
21. "Casa Loco" Perhaps "Casa Loco," from the '83 recording, CASA LOCO(Antilles), broke the mold, where song form was concerned, for Eyewitness as, along with bandmates Anthony Jackson; Steve Jordan; and Manolo Badrena, the group extended the possibilities it had long been exploring. This newly revised lead sheet provides all the insights one could ask for. Lead Sheet and analysis, Steve Khan. Soundclip:
20. "Buddy System" A unique look at Steve's "rhythm changes" tune which first appeared on his '91 recording, LET'S CALL THIS(Mesa/Bluemoon), and was then recorded, using the title, "Brown Zone," by the Yellowjackets on their GREENHOUSE(GRP) CD . Here you can enjoy both interpretations and learn from Steve's analysis. Lead Sheet and analysis, Steve Khan. Soundclips - Steve Khan: \| Yellowjackets:
19. "What I'm Said" From the '93 recording CROSSINGS(Verve), Eyewitness is now anchored by Dennis Chambers on drums and he joins with Steve, Anthony, and Manolo for a wicked shuffle groove on what is arguably Steve's most beautifully recorded CD. A new "live" version features Steve alongside Anthony Jackson and Dennis Chambers, and appears on the 2008 2-CD set, THE SUITCASE(Tone Center). Lead Sheet and analysis, Steve Khan. Soundclip:
18. "Within You Without You"/"Blue Jay Way"(George Harrison) Steve salutes George Harrison, on what would have been his 60th birthday(February 24th, 1943). This medley features Peter Erskine, Marc Johnson, and Brazilian percussionist Naná Vasconcelos, and appears on a 1993 Guitar Tribute to the Beatles titled: COME TOGETHER(NYC Records). Lead Sheet and analysis, Steve Khan. Soundclip:
17. "The Blue Shadow" From a 1982 recording, MODERN TIMES(Polydor), recorded live at the PIT INN in Tokyo. (Also worth noting, though it's not on this soundclip, if you have this CD, you've got to check out the Anthony Jackson/Steve Jordan crazy 2-minute bass/drum dialogue for the Intro. It's out there, man!) Lead Sheet and analysis, Steve Khan. Soundclip:
16. "Blue Zone 41" From the 1989 Eyewitness recording, PUBLIC ACCESS(GRP), which has been labeled by some as "one of the greatest fusion records ever made." Now, a new "live" version, featuring Steve alongside Anthony Jackson and Dennis Chambers, appears on the 2008 2-CD set, THE SUITCASE(Tone Center). Lead Sheet and analysis, Steve Khan. Soundclip:
15. "Dr. Slump" The Webmaster(that's me) loves this tune and so did everyone where I work, whether they'd heard of Steve Khan or not. From the quartet's 1981 debut EYEWITNESS(Antilles), "Dr. Slump" features Steve playing a Strat, instead of the ES-335. Steve's analysis is particularly insightful. A new "live" version features Steve alongside Anthony Jackson and Dennis Chambers, and appears on the 2008 2-CD set, THE SUITCASE(Tone Center). Lead Sheet and analysis, Steve Khan. Soundclip:
14. "Star Chamber" This Herbie Hancock influenced tune from TIGHTROPE(Columbia) features an early glimpse of Steve using his steel string acoustic as a solo voice, and also is a rare chance to hear David Sanborn playing soprano sax. Lead Sheet and analysis, Steve Khan. Soundclips - Solo: \| Lead Sheet:
13. "Uncle Roy" From CASA LOCO(Antilles), a fan favorite featuring the superb and sometimes ominous talents of Manolo Badrena and Anthony Jackson within the context of Eyewitness. A new "live" version features Steve alongside Anthony Jackson and Dennis Chambers, and appears on the 2008 2-CD set, THE SUITCASE(Tone Center). Lead Sheet and analysis, Steve Khan. Soundclip:
12. "Daily Bulls" Also from THE BLUE MAN(Columbia), one of his most popular tunes, at least amongst fans... Lead Sheet and analysis, Steve Khan. Soundclip:
11. "Daily Village" From the 1979 recording ARROWS(Columbia), this posting makes one each from Steve's 3 earliest recordings as a leader. Lead Sheet and analysis, Steve Khan. Soundclip:
10. "An Eye Over Autumn" From the 1978 recording THE BLUE MAN(Columbia) featuring the same crew from TIGHTROPE, and named for a Jean-Michel Folon painting. Lead Sheet and analysis, Steve Khan. Soundclip:
9. "Tightrope" Steve Khan original, the title track from his classic 1977 recording, TIGHTROPE(Columbia) featuring: the Brecker Bros., Steve Gadd, Will Lee, and Don Grolnick. Mini-Score and analysis, Steve Khan. Soundclip:
8. "Safe and Sound" Steve Khan original, as played on the Caribbean Jazz Project's CD NEW HORIZONS(Concord Picante). Lead Sheet and analysis, Steve Khan. Soundclip:
7. "Maluco" Another Steve Khan original from the Caribbean Jazz Project's PARAÍSO(Concord Picante). Lead Sheet and analysis, Steve Khan. Soundclip:
6. "¡Cá-ni-mo!" Steve Khan original, as played on the Caribbean Jazz Project's PARAÍSO(Concord Picante). Lead Sheet and analysis, Steve Khan. Soundclip:
5. "El Tacaño" Steve Khan original, as played on the Caribbean Jazz Project's PARAÍSO(Concord Picante). Lead Sheet and analysis, Steve Khan. Soundclip:
4. "Charanga Sí, Sí" Steve Khan original as played on the Caribbean Jazz Project's NEW HORIZONS(Concord Picante). Lead Sheet and analysis, Steve Khan. Soundclip:
3. "Descarga Canelón" A Steve Khan original first recorded in '94 as "Descarga Khanalonious" on CROSSINGS(Verve) with Anthony Jackson, Dennis Chambers, Manolo Badrena and Michael Brecker. The tune was later recorded in '99 under the title of "Descarga Canelón" and appeared on the Caribbean Jazz Project release: NEW HORIZONS(Concord Picante). Lead Sheet and analysis, Steve Khan. Soundclip:
2. "Anhelante" Steve Khan's gorgeous ballad/bolero from the Steve Khan/Rob Mounsey recording, YOU ARE HERE(Wounded Bird). And, don't miss reading the Khan/Mounsey Saga. Lead Sheet and analysis, Steve Khan. Soundclip:
1. "Got My Mental" Steve Khan original as played on his recording, GOT MY MENTAL(Evidence). Lead Sheet and analysis, Steve Khan. Soundclip:
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