18th Century Ballroom – Ray Bryant
A charming, sweet, and thoroughly versatile head. Available in two very different arrangements. Solo piano arrangement also available.
- Recording: Cannonball Adderley - Cannonball Enroute
- Recorded on: February 7, 1957
- Label: Mercury (MG 20616)
- Concert Key: G
- Style: Swing (medium up)
- Alto Sax - Cannonball Adderley
- Cornet - Nat Adderley
- Piano - Junior Mance
- Bass - Sam Jones
- Drums - Jimmy Cobb
This Ray Bryant head is delicate and charming, evoking the quaint sort of dances its title brings to mind without sounding stale or old-fashioned. The melody revolves around simple arpeggiations in a singable, tuneful and catchy line. 18th Century Ballroom cis a very versatile chart; we've featured three quite different clips here to get you started. You'll hear that in Cannonball's recording, everyone plays off of the melodic rhythm, while in Toots Thielemans' recording, the melody becomes a round. In Shearing's recording, it's a happy 2- feel.
Available Editions: Because the two featured arrangements are so different, we've made different parts for the Adderley "Cannonball Enroute" recording and the Thielemans "Man Bites Harmonica" recording.
The Adderley recording is a standard arrangement of this composition with the melody complemented by a lower harmony line. First parts are labeled as the lead sheet and second parts are labeled as such. Bass players have their own bass part. You can see all parts at once on the Concert Condensed Score, recommended for pianists and drummers.
If you're just playing this composition by yourself, purchase either version of the lead sheet in the correct edition for your instrument—or buy both versions to see how this song was adapted for each recording!
Available Editions: Because the two featured arrangements are so different, we've made different parts for the Adderley "Cannonball Enroute" recording and the Thielemans "Man Bites Harmonica" recording.
The Adderley recording is a standard arrangement of this composition with the melody complemented by a lower harmony line. First parts are labeled as the lead sheet and second parts are labeled as such. Bass players have their own bass part. You can see all parts at once on the Concert Condensed Score, recommended for pianists and drummers.
If you're just playing this composition by yourself, purchase either version of the lead sheet in the correct edition for your instrument—or buy both versions to see how this song was adapted for each recording!
Don Sickler writes: "This is one of Ray's compositions that he never commercially recorded himself, although I got him to personally figure out his own piano arrangement. Our two lead sheet editions were both recorded in 1957. The live George Shearing performance, recorded as In An Eighteenth Century Ballroom, was recorded on December 13, 1958."
Solo Piano Arrangement: This easy piano arrangement is available in two editions: for adults with large hands, or young students (or small-handed adults). The original Ray Bryant arrangement includes reaches of up to a 10th in the left hand, which is too large for some pianists. Of course, that's Ray's original voicing and will give that "Ray Bryant" piano sound. If you can't reach that far, try the small hand arrangement, which is almost the same as the original but with some notes moved for optimal hand comfort. Make sure to also check out our exclusive audio recording of Kenny Drew Jr. playing Ray's original arrangement clip as an example of how to play this wonderful piece.
Essential Bass (Sam Jones) [LEVEL 2]
This Ray Bryant composition represents the title perfectly, as if jazz musicians were playing in that ballroom setting. That said, the bass part has a strict classical feel in this Cannonball Adderley arrangement. The all-star cast of players can't help but groove on this very classical-influenced melody, which puts you in the position of playing a written part with the ever-so-steady Sam Jones (playing bass on the recording). Of course it doesn't hurt that Jimmy Cobb and Junior Mance fill out the rest of the rhythm section on this bouncy tune.
This Ray Bryant composition represents the title perfectly, as if jazz musicians were playing in that ballroom setting. That said, the bass part has a strict classical feel in this Cannonball Adderley arrangement. The all-star cast of players can't help but groove on this very classical-influenced melody, which puts you in the position of playing a written part with the ever-so-steady Sam Jones (playing bass on the recording). Of course it doesn't hurt that Jimmy Cobb and Junior Mance fill out the rest of the rhythm section on this bouncy tune.
In the arrangement from the Cannonball recording, we have the harmony 2nd part (which was originally played by Cannonball on alto sax) available for guitar. If you want to play this arrangement with two guitars, you would play the C treble clef lead sheet 8va, since the first part in the original arrangement was played by Nat Adderley on cornet.
- Recording: Toots Thielemans - Man Bites Harmonica
- Recorded on: December 30, 1957
- Label: Riverside (RLP 12-257)
- Concert Key: G
- Style: Swing (medium up)
- Guitar - Toots Thielemans
- Baritone Sax - Pepper Adams
- Piano - Kenny Drew
- Bass - Wilbur Ware
- Drums - Art Taylor
This Ray Bryant head is delicate and charming, evoking the quaint sort of dances its title brings to mind without sounding stale or old-fashioned. The melody revolves around simple arpeggiations in a singable, tuneful and catchy line. 18th Century Ballroom is a very versatile chart; we've featured three quite different clips here to get you started. In Cannonball's recording, everyone plays off of the melodic rhythm, while in Toots Thielemans' recording, the melody becomes a round. In Shearing's recording, it's a happy 2-feel.
Available Editions: Because the two featured arrangements are so different, we've made different parts for the Adderley "Cannonball Enroute" recording and the Thielemans "Man Bites Harmonica" recording.
The Thielemans recording features a canon-like arrangement with the second part restating the melody one measure after the first part. You can see all parts at once on the Concert Condensed Score, recommended for pianists and drummers. First parts are labeled as the lead sheet and second parts are labeled as such. Bass players have their own bass part.
For the Thielemans recording, the recorded guitar melody and bari sax answering second part would also sound great with the same parts being played by trumpet and alto sax, or two trumpets. Everything would be up an octave from the original recording. In fact I just played each part (I'm Don Sickler, on trumpet) with the recording, and enjoyed playing and phrasing the added octave above the original parts.
If you're just playing this composition by yourself, purchase either version of the lead sheet in the correct edition for your instrument—or buy both versions to see how this song was adapted for each recording!
Available Editions: Because the two featured arrangements are so different, we've made different parts for the Adderley "Cannonball Enroute" recording and the Thielemans "Man Bites Harmonica" recording.
The Thielemans recording features a canon-like arrangement with the second part restating the melody one measure after the first part. You can see all parts at once on the Concert Condensed Score, recommended for pianists and drummers. First parts are labeled as the lead sheet and second parts are labeled as such. Bass players have their own bass part.
For the Thielemans recording, the recorded guitar melody and bari sax answering second part would also sound great with the same parts being played by trumpet and alto sax, or two trumpets. Everything would be up an octave from the original recording. In fact I just played each part (I'm Don Sickler, on trumpet) with the recording, and enjoyed playing and phrasing the added octave above the original parts.
If you're just playing this composition by yourself, purchase either version of the lead sheet in the correct edition for your instrument—or buy both versions to see how this song was adapted for each recording!
"Toots Thielemans was a member of the George Shearing Quintet from 1952 to 1959 and was on many of the Shearing recordings listed above, starting in 1954 with Minor Trouble. After Thielemans recorded 18th Century Ballroom himself, he also played on the Shearing recording in 1958. I'm going to have to do some research to see who really introduced who to 18th Century Ballroom."
Solo Piano Arrangement: This easy piano arrangement is available in two editions: for adults with large hands, or young students (or small-handed adults). The original Ray Bryant arrangement includes reaches of up to a 10th in the left hand, which is too large for some pianists. Of course, that's Ray's original voicing and will give that "Ray Bryant" piano sound. If you can't reach that far, try the small hand arrangement, which is almost the same as the original but with some notes moved for optimal hand comfort. Make sure to also check out our exclusive audio recording of Kenny Drew Jr. playing Ray's original arrangement clip as an example of how to play this wonderful piece.
Essential Bass (Wilbur Ware) [LEVEL 1] and Basic Bass
This bass part fits two of our categories: It's an Essential Bass part, but also a Basic Bass part, giving you another important lesson as a bass player.
Although the melody is the same as on the Cannonball Adderley version, the bass is treated quite differently for this recording. Rather than playing a syncopated part, bassist Wilbur Ware keeps the entire tune in 2-feel, helping the melody and harmony parts stand out more. And on this particular version, you can play along with the great Toots Thielemans, not on harmonica, but on the guitar!
Here, Wilbur Ware's responsibility is to pilot the ship and keep it on course. He doesn't let all the melody syncopations distract him. His job is to keep the steady half-note pulse. Playing along with and "feeling" this part with him is a great experience.
This bass part fits two of our categories: It's an Essential Bass part, but also a Basic Bass part, giving you another important lesson as a bass player.
Although the melody is the same as on the Cannonball Adderley version, the bass is treated quite differently for this recording. Rather than playing a syncopated part, bassist Wilbur Ware keeps the entire tune in 2-feel, helping the melody and harmony parts stand out more. And on this particular version, you can play along with the great Toots Thielemans, not on harmonica, but on the guitar!
Here, Wilbur Ware's responsibility is to pilot the ship and keep it on course. He doesn't let all the melody syncopations distract him. His job is to keep the steady half-note pulse. Playing along with and "feeling" this part with him is a great experience.
If you want to play Toots' canon style arrangement the way he recorded it, but with 2 guitars instead of Guitar and Bari Sax, play the C treble clef lead sheet for the 1st part, and the Guitar (2nd part) for the Bari part.
- Recording: George Shearing - radio broadcast
- Recorded on: December 13, 1958
- Label: radio broadcast ()
- Concert Key: G
- Style: Swing (medium up)
- Piano - George Shearing
- Guitar - Toots Thielemans
- Vibes - Emil Richards
- Bass - Jimmy Bond or Carl Pruitt
- Drums - Ray Mosca
This Ray Bryant head is delicate and charming, evoking the quaint sort of dances its title brings to mind without sounding stale or old-fashioned. The melody revolves around simple arpeggiations in a singable, tuneful and catchy line. 18th Century Ballroom can be a very versatile chart; we've featured three quite different clips here to get you started. In Cannonball's recording, everyone plays off of the melodic rhythm, while in Toots Thielemans' recording, the melody becomes a round. In Shearing's recording, it's a happy 2-feel.
Shearing's arrangement is essentially similar to Thielemans', except without the latter's counterpoint. The melody is played in unison by piano and vibes, with guitar doubling an octave lower—the classic Shearing quintet sound.
Shearing's arrangement is essentially similar to Thielemans', except without the latter's counterpoint. The melody is played in unison by piano and vibes, with guitar doubling an octave lower—the classic Shearing quintet sound.
"Shearing loved Ray Bryant's music. He recorded many titles already available on jazzleadsheets.com: Bebop Irishman, Bel Aire, Cuban Fantasy, Cubano Chant, Minor Trouble, Pawn Ticket, Splittin' (which was retitled on his recording as Later).
Solo Piano Arrangement: This easy piano arrangement is available in two editions: for adults with large hands, or young students (or small-handed adults). The original Ray Bryant arrangement includes reaches of up to a 10th in the left hand, which is too large for some pianists. Of course, that's Ray's original voicing and will give that "Ray Bryant" piano sound. If you can't reach that far, try the small hand arrangement, which is almost the same as the original but with some notes moved for optimal hand comfort. Make sure to also check out our exclusive audio recording of Kenny Drew Jr. playing Ray's original arrangement clip as an example of how to play this wonderful piece.
Shearing added his own intro, a shout chorus, and extended the coda ending.
He was, however, faithful to Ray Bryant's original melody, except, you'll note, the end of the first measure of the melody, whenever it appears, is always long, extending into the next measure, until the next melody note.
The C treble clef (Guitar) lead sheet shows the melody as played by Thielemans.
He was, however, faithful to Ray Bryant's original melody, except, you'll note, the end of the first measure of the melody, whenever it appears, is always long, extending into the next measure, until the next melody note.
The C treble clef (Guitar) lead sheet shows the melody as played by Thielemans.
- Recording: Bruce Acosta - 18th Century Ballroom
- Recorded on: July 31, 2019
- Label: jazzleadsheets.com (JLS 1050)
- Concert Key: G
- Style: Swing (medium)
- Guitars - Bruce Acosta, Liam Broderick
Video
- Bruce Acosta and Liam Broderick play Ray Bryant's 18th Century Ballroom in the jazzleadsheets.com studio.
A great tune to play—check out how to join in the fun under the Guitar Corner tab.
Often interns join the jazzleadsheets.com staff during the summer—in 2019 we were lucky to have two guitars players in residence.
Guitar Duo arrangement
This is a canon style arrangement. Liam Broderick arranged the bridge and coda harmony part for the Guitar (2nd part).
This is a canon style arrangement. Liam Broderick arranged the bridge and coda harmony part for the Guitar (2nd part).
Ray Bryant
December 24, 1931 – June 2, 2011
Following performances in his native Philadelphia with guitarist Tiny Grimes and as house pianist at the Blue Note Club with Charlie Parker, Lester Young, Miles Davis and others, Ray Bryant came to New York in the mid-1950s. His first jazz recording session in New York was with Toots Thielemans (August, 1955) for Columbia Records. That session led to his own trio sessions as well as sessions with vocalist Betty Carter for Epic Records in May and June ("Meet Betty Carter and Ray Bryant"). On August 5, 1955, Ray recorded with Miles Davis, and on December 2, 1955, with Sonny Rollins, both for Prestige Records. Read more...