Freddie Freeloader – Wynton Kelly’s piano solo

This solo is near and dear to my heart – it’s the first solo I ever transcribed when I started learning jazz piano.  This is Wynton Kelly’s piano solo on the Miles Davis tune “Freddie Freeloader” from the incredible album Kind of Blue.  The tune is a Bb blues with a slightly different turnaround – it goes to an Ab7(#11) chord for the last 2 bars.  Enjoy!



  1. Thanks so much, not only for the excellent transcription, but also for all the tips on great underappreciated jazz to check out. Especially enjoying the Horace Silver, Eddie Harris, and Freddie Hubbard. Only real musicians know the real stuff. You clearly do. It was a pleasant to surprise to happen on your site while looking for a transcription of Wynton’s solo from “Freddie”. Thanks again!

  2. Curious what your thoughts are about Ab7(#11) naming. Could/should/isn’t this also sometimes called Ab7+ (augmented)? Is there a difference?

    1. No, it wouldn’t be an augmented chord – there is a difference. An augmented chord has an augmented fifth (#5), so in Ab it would have a E natural, while the (#11) chord (or #4 / b5) has a raised fourth, so in Ab would have a D natural (and would have an E flat, no E natural).

      1. Thanks for the reply!

        I screwed up. I should have said b5. So is Ab7(#11) really the same as Ab7(b5)? Or can the former actually include both the perfect and flatted fifths?

      2. No worries. In my experience, (#4), (b5), and (#11) are used pretty much interchangeably – I think most people use them to indicate the same thing. If you’re thinking in terms of chord/scale theory, it would be the Lydian Dominant scale, so an Ab major scale with a lowered seventh (Gb) and raised fourth (D natural). I prefer (#11), because, as a pianist, I tend to think of chords vertically, in stacked thirds – so I think of an Ab7(#11) chord as an Ab7 seventh chord on the bottom with a Bb major triad on top – Ab C Eb Gb / Bb D F
        I also like (#4), but I feel like (b5) is the least descriptive – the scale still has a natural fifth (Eb) and a D natural, so if seems like it makes more sense to me to call it a #4 or #11 chord.

      3. Thanks for the reply!

        Wow, I didn’t realize all of Ab C Eb Gb / Bb D F were part of this chord on this recording! (Usually jazz leaves out lots of the voices).

        Yes, I agree that the best argument for the #11 name is when the natural 5th is also included!

  3. Another question…

    Do you have the left hand for this? I’m working hard on it, but the left hand work, especially around the Ab and turnaround, and at the end of the solo, are key for playing this piano part.

    Thanks in advance!

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