Following in the tradition of jazz waltzes dedicated to a female, I wrote this during my year in Ohio (late ’95/early ’96) after being snubbed by a woman in whom I’d expressed considerable interest (yes, to her; yes I did ask her out). It’s an involved story — though an amusing one, in hindsight — which I’ll avoid retelling; but suffice to say I felt appropriately devastated by her rejection at the time. Such have often been apt conditions for my muse to decide to show up.

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I wanted to write something with “fusiony” and “poignant” changes and a slightly irregular form. I recall the tune grew pretty organically — the quadruplet rhythmic figures included — from this “mandate” combined with the initial four-note motif. It’s one of my favorite of my tunes; though I’ve yet to play it with a group.

As the original woman who served as the impetus for this tune has not been in my life since early in my Ohio residency, beyond hazy and infrequent memories, I decided to rechristen it and dedicate it to my daughter.

[You might observe that I'm a bit fond -- overfond, perhaps -- of major7#5 chords. Dick Grove used to refer to them as "25-cent chords." In a way I see what he means; and maybe they do serve a purpose similar to that served by polysylabs for English majors. At worst, I think, they're good for the musical equivalent of trolling.]