Doc Cheatham
SHEIK OF ARABY
Before this transcription, my experience with Doc Cheatham was virtually limited to his celebrated 1997 Verve collaboration, Doc Cheatham and Nicholas Payton, which would earn him a posthumous Grammy a year later. However, Doc’s career spanned an incredible 70 years, beginning in the mid-20’s all the way to his passing in 1998. Born in Nashville, his greatest influences would be King Oliver and Louis Armstrong, both of whom he would meet after moving to Chicago in 1924. Cheatham didn't stay long. In 1927 he moved to Philadelphia and would gain valuable experience playing alongside fellow trumpeter Sidney De Paris in Wilbur De Paris's band. Cheatham would collaborate with the De Paris brothers throughout his career. In 1928, he moved to New York City and soon earned a career as a lead trumpet player with the emerging big bands, first with Chick Webb and then Cab Calloway’s orchestra in 1931. Cheatham was a part of Calloway’s residency at the famous Cotton Club from 1932-1939.
As the popularity of big bands began to wane, Cheatham eventually transitioned to performing in Latin ensembles, notably with Machito, where his lead power and precision was utilized. Doc would continue working as a sideman for most of his career before emerging as a star soloist late in his life. Cheatham is a fascinating subject because his fame developed when he was in his early 70’s, well past the point most musicians achieve individual notoriety. In fact, Cheatham’s career could almost be split into two parts – his early lead trumpet days, where he was primarily an ensemble player, and his later emergence as a formidable soloist and vocalist.
“Sheik of Araby” is historically important because it marks nearly the beginning of this breakout phase. Recorded in 1976 for the album, Doc & Sammy, Cheatham was 71 years old at the time of the recording. Presented in a duo setting with Price on piano, it’s immediately evident how supremely lyrical Cheatham has developed as a soloist, gracefully playing through chord changes economically with precision and beauty. His note choices are matched by a tone that is full of warmth and breath. This solo is extraordinary for its melodic brilliance without resorting to double time. Cheatham’s melodic vision was so powerful he didn’t need flash to muddle the message.
“Sheik of Araby” is largely repetitive, but Cheatham demonstrates how variety and nuance can be achieved through use of basic arpeggios. Observe how much material Cheatham derives from a C-7 arpeggio in these examples:
“Sheik of Araby” is also an interesting study for its use of the III 7 chord, which can easily throw off experienced players who only see it in the context of “I Got Rhythm” bridge sections. But many standards use the III 7 more prominently, and Cheatham skillfully shows how to melodically navigate this sound:
Cheatham implicitly treats the D7 as a flat 13 (Bb) and flat 9 (Eb), since these notes are derived from the root key of Bb Major. While the D7 does ultimately resolve to the G7, its basic tonality is grounded in Bb major. So in building a scale over this chord, you can follow Cheatham’s lead and fill in the D7 chord tones with notes diatonic to Bb major: Eb, G, and Bb.
Cheatham’s melodic gift is also evident over the VI 7 chord, G7, which subsequently follows the D7 in the progression:
As he did over the III 7, Cheatham gives us a healthy dose of flat 13ths and flat 9ths, in this case Eb’s and Ab’s respectively. But while the flat 9th (Ab) isn’t necessarily diatonic to Bb Major in this situation, it is derived from the Bb blues scale, a sound always readily available for variety and grease.