Doxy (song)

Doxy is a jazz composition by Sonny Rollins in 1954, their harmonies to those of the song Ja-Da based by Bob Carleton.

History of the song

After the American club pianist and composer Bob Carleton [A 1] in 1918 the song Ja-Da ( Yes Da, Ja Da, Jing Jing Jing! ) Had written, it was in the United States in the last year of World War I with a recording the singer Cliff Edwards a hit, but then fell into oblivion. Artists like Tommy Ladnier / Sidney Bechet, Bunk Johnson / Don Ewell (1945 ), Frank Sinatra / Peggy Lee and Muggsy Spanier (1947 ) picked up the story.

Structure of the song and the original recording

1954 attacked the tenor saxophonist Sonny Rollins, the harmonies in his composition Doxy. He designed a 16 -bar song " with an accented two -beat feeling" in the song form AABA, which was first played in tempo moderato .. After Rollins it with Miles Davis on June 29, 1954 the Prestige album Bags' Groove grossed, it became a popular topic in modern jazz. Rollins ' composition Doxy based on the chord changes of Carleton's Song. [B 1] " The catchy 16 -bar theme, in its construction to the question and answer scheme of blues related parties, the receiver jumps with laconic humor to. " After Carlo Bohländer, the song Title " as well [ as ] a (modern jazz ) doctrine - as a derivative of Orthodoxy - as a slang word for a light, loose girl or even a prostitute " to be construed.

Other recordings

Doxy has become a jazz standard: Shortly after the premiere he was by Shelly Manne & His Men ( with Stu Williamson and Charlie Mariano, 1956 ), Frank Rosolino (1956 ), Ray Draper / John Coltrane (1958) and Cal Tjader (1959 ) recorded in 1958 by Rollins with a Big Band under the direction of Ernie Wilkins ( the Big Brass Verve ). 1962 Sonny Rollins played it with his quartet with Don Cherry, Bob Cranshaw and Billy Higgins again ( Our Man in Jazz for RCA). 1967 Dexter Gordon explained to the subject, even when he approached the piece into something more rapid pace: in his solo " oriented [ he ] should first contact the simplicity of the melody, taking the prevailing theme in the intervals small / major third and perfect fourth back stresses and plays around them. He has clearly the shape before our eyes - the clocks 9-12 of each chorus also act here as a response to the preceding cycles " in 1968 interpreted Phil Woods and His Rhythm Machine Europoean the title, . additional versions designed Branford Marsalis (Trio Jeepy, 1988) Joe Pass / Red Mitchell (1992 ), Pee Wee Ellis ( 1993), Joe Morello (1994) and Fred Hersch (1994) and in the 2000s John Bunch and Roger Kellaway ago.