Pensativa - FREDDIE HUBBARD ARRANGEMENT || BACKING TRACK

8 Bar Intro, Head In, Solo x3, Head Out, Outro Fade
Bossa Nova Medium Up 165 BPM
Inspired by Art Blakey's recording from 'Free For All'!

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Some notes about the composition as found on
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Composer: Clare Fischer

Year: 1962

Origin: Introduced on the album Bossa Nova Jazz Samba.

Style: Bossa Nova

Form: A1-A2-B-A1 (64 Bars) [16-16-16-16]

Key: Gb Major

Harmony/Overview: While the harmony of this composition is mainly conventional, it can prove to be rather difficult due to the uncommon key signature of Gb Major, the extended form, and also the extensive use of secondary-dominants and tri-tone substitutions. The A sections begin simply enough with the common progression of IMaj7 – bII7# 11. The harmony then uses a tri-tone substitution to resolve to bVIMaj7 in the 7th bar, and uses another to resolve to bIIMaj7 in the 9th bar. However, instead of it functioning as bIIMaj7 it is instead acting as IVMaj7 of bVI; the key center in which the next several bars take place. It is then followed by a III – VI – II – V to bVI before a final II – V which uses tri-tone substitution resolves finally back to the tonic. The B section begins in bV Major and spends the second half in bIII Major, resulting in key centers which move downwards in minor 3rds; C – A – Gb. Freddie Hubbard’s arrangement as heard on the Art Blakey album Free For All has proved to be massively influential in the way generations of musicians have approached the tune since, and the shots and figures heard on the recording are frequently included in performances.

Recordings: This song has been recorded over 60 times to date and is one of Clare Fischer's most popular compositions. It was first introduced on his album Bossa Nova Jazz Samba alongside Bud Shank, and he would record it on several other occasions throughout his career. It has been recorded by a wide variety of artists including Hubert Laws, Bill Evans, and Cedar Walton to name a few. However, Art Blakey's rendition from Free For All was arguably one of the most highly influential recordings of the tune and it very much serves as a template for how the tune is most commonly approached.

JGC Top Picks:
Freddie Hubbard, Hot Horn, 1969
Bill Evans, Crosscurrents, 1977
Benny Green, The Place To Be, 1994

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