News

• New! EASY PIANO for beginning jazz lovers!

  If you love jazz piano, but aren’t quite at the level of our solo transcriptions, we’re releasing arrangements of our classics to accommodate pianists of all ages and abilities! These arrangements aren’t watered-down—they stay true to the original melody and harmonies—but aren’t overly intimidating, either. They make a great introduction for new students, classical pianists, or even someone looking to just have fun playing music.

  Three arrangements by site founder/trumpeter/arranger Don Sickler
  FOCUS by James Williams

  SOCIAL CALL by Gigi Gryce

  UH HUH by Hank Mobley

  One arrangement by vocalist/pianist/composer Pamela Baskin-Watson
  JOY RIDE by Bobby Timmons

  Two arrangements by pianist/composer Cecilia Coleman
  PECKIN’ TIME by Hank Mobley

  BOOTIN’ IT by Sonny Clark

  And some play-along tutorials featuring BOOTIN’ IT on our YouTube channel:
  BOOTIN' IT slowed down to practice
  

  BOOTIN' IT at full speed
  

  Check out our PIANO CORNER where all the above plus more can be found under EASY PIANO ARRANGEMENTS.

• Winter is here, and so are these new composers!

  It's another update jam-packed with old favorites and new composers alike! Starting out with the familiar faces:

  HANK MOBLEY’S STRAIGHT AHEAD
  This title comes from Hank Mobley’s “The Turnaround” album, which was unusual in that in combined two dates that are separated by two years. Quintet parts available. The drummer was the fantastic Billy Higgins and we’re offering a transcription of his drumming on the track.

  THELMA’S HEART by BILLY PIERCE
  A great quartet piece with a seemingly simple melody, but the key-defying harmony makes the composition irresistibly complex.

  And our NEW composers:

  New composer ALBERT AMMONS and CHANGES IN BOOGIE WOOGIE
  This is a special treat for pianists. This transcription for solo piano comes from a recording made on January 6, 1939—the very first session for Blue Note Records! Our transcription includes not only all the notes, but the articulation and phrasing as well, so you can try to play it just like Albert himself.

  THE LOVE WE HAD YESTERDAY by PAMELA BASKIN-WATSON, a composer new to jazzleadsheets.com. This beautiful composition was first recorded instrumentally by Bobby Watson, Pamela’s husband, in 1986, on his album “Love Remains.” Betty Carter recorded it in 1992, and our version, by vocalist Rachel Bronstein, was recorded this year. An accompaniment-only track is also available.

  Check out our video of Rachel singing in our office studio!

  
  And finally, new composer SHEILA JORDAN's THE CROSSING. If you’re feeling inclined towards folk this week, try out this legendary vocalist’s signature song. The folk-inspired piece is usually performed as a duet with voice and bass and is played very freely, allowing the vocalist to explore his/her voice without limitation. The lyric is inspirational advice from Sheila about reaching a higher plane of mindfulness through loving music.

• jazzleadsheets Mid-November additions

  Exciting news! We’re making some changes here at jazzleadsheets.com and we’d love to get your feedback on how things have been going so far. As we begin working on our website redesign (set to go live in Spring 2014), we’re hoping some of our valued customers would speak with our web developer to help him understand the customer experience so far. If you’d be willing to help us on this project, please email me.

  Meanwhile, Thanksgiving is just around the corner, so here’s an update to give you a little something extra to be thankful for!

  If you’re in the mood for a nostalgic, emotive ballad, look no further than The Haunted Melody by Rahsaan Roland Kirk. While you may not be able to play it with two instruments at the same time as Rahsaan does on the featured recording, the beautifully tragic melody sings on just about any instrument.

  Pianists should be sure to check out Bobby Timmons’s One Mo’ — we’ve transcribed all six choruses of his magnificent solo! Bobby is without question the master of soul-jazz, and learning this solo can teach you bits of his melodic vocabulary as well as how to build energy over the course of a lengthy solo. The head itself is also not to be missed by any musician: the A section is hard-hitting and punctuated with rhythmic hits, while the B section gives way into longer lines that show Bobby’s versatility as a composer. This memorable piece may well get stuck in your head, but we think you probably won’t want it out!

  Feeling a little mischievous? How about some Hanky Panky? Dexter Gordon’s composition is pure fun with a bouncy, syncopated melody and a classic blues march bass line. For singers, we have Tina May’s lyric version, No More Hanky-Panky. Her lyric plays off the cheeky title of Dexter’s original. It’s sung from the perspective of a child who keeps getting into trouble. Regardless of what adults may say, exploring is too much fun: don’t give up the hanky-panky!

  If the wintery weather is getting you down, why not think forward to spring? Meredith d’Ambrosio’s Blame It All On Spring is a wistful ballad that showcases a wide portion of a vocalist’s range without being too difficult to master. We offer it in the original key of A-flat as well as a higher key of D-flat for mezzo-sopranos or sopranos. While it was originally written to suit Meredith’s tenor voice, it sits comfortably in the higher key as well. The enticing contours of the melody make this a great pick.

  Drummers, check out a transcription of Victor Lewis' drumming on Jonny King's Merry-Go-Round. See what a contemporary master’s contribution does to enhance a recording.

  Don Sickler
  phone 212-741-1175
  email don@secondfloormusic.com

• We'd never trick you: here are some new treats from your favorite composers

  We’re back this week to add to our collection of “incredible music” (a customer’s phrase!) with some great instrumental and vocal lead sheets.

  To kick off this week, a hard bob title from Sonny Clark: SONNY’S CRIB. The bluesy head is the perfect foundation for incredible solos (check out Coltrane’s blowing on the recording featured here!) and its clean simplicity is undeniably appealing.

  If you’d like something a bit more exotic, check out Bob Brookmeyer’s BLUE CHINA, a fun send-up of Chinese-style music. A cultural collision comes forth in the B section, when the Chinese-style melodies of the piano and horns break into full American swing. It’s an unexpected twist that really makes this piece pop! The extraordinary communication between flugelhornist Clark Terry and trombonist Bob Brookmeyer is natural, seemingly effortless and totally delightful.

  Rounding out our instrumental selections is a Freddie Redd composition, WALTZIN’ IN. This bouncy waltz recalls a couple gliding across a ballroom floor, but the driving rhythmic pulse keeps the piece edgy and modern.

  For vocalists, we have three different takes on that classic theme, love. Meredith d’Ambrosio’s MELODIOUS FUNK reflects on love lost, lamenting the end of a relationship and the lonely feelings that just won’t go away. The sultry, laid-back swing vibe keeps it from getting too dark, though, and the blues-inflected melody is supremely catchy.

  If you’re feeling romantic, look no further than WITHOUT YOU, Shelley Brown’s lyric version of Renee Rosnes’s Malaga Moon. This meditative ballad has a haunting, ethereal melody that draws the listener in. The poetic lyric compares a lover to the stars and moon—without him, there is only the darkness of night. Both words and music are nothing short of beautiful! Accompaniment-only audio available.

  Our final vocal selection is another ballad—the wistful, dreamy IN THE GLOW OF THE MOON, with music by Dena DeRose and lyric by Meredith d’Ambrosio. This waltz has a strong rhythmic pulse that makes it work best at a medium tempo, so it’s a great choice for singers looking for a ballad that isn’t too slow. It also showcases a variety of different ranges and techniques of the singer’s voice as it travels to distant keys and back again. Both composer and lyricist have recorded this song, so we offer transcriptions of both their renditions—it’s a great comparison tool as you can study how to make a gorgeous song like this your own while still staying true to the already-lovely melody.

• jazzleadsheets in early October

  It’s a big update from us this week — eight new charts with exciting options for singers and instrumentalists alike! With so much to choose from, there’s no way you won’t be able to find something that catches your interest.

  We have three new compositions by former Jazz Messengers, starring with composer/pianist Donald Brown’s stunning ballad Dorothy, dedicated to his wife. Not only is it a romantic, complex ballad in and of itself, but we also offer transcriptions of Donald’s comping behind the melody and his solo for pianists who want to learn more about his signature style. Studying Donald’s artistic harmonic voicings in his comping and the way he gives meaning and purpose to each note in his solo is a great exercise for pianists to improve their own skills.

  We’re introducing another new composer, saxophonist Bill Pierce, with his Chuck’s Groove. Like many of Bill’s compositions, this piece features a memorable, tuneful melody and sets it over an unusual chord progression. It’s a great choice for musicians of any instrument or skill level!

  We were so excited about Hank Mobley’s The Turnaround (quintet parts) that we had to make it available for both musicians and singers. It’s a funky, bluesy and fun piece that is easy to master for beginners but really soars when played by masters like Hank and Freddie Hubbard (who are featured on the instrumental recording). Chris Caswell’s playful lyric version, I Found The Turnaround, is expertly recorded by Karrin Allyson. Take a listen and try it out yourself with our vocal lead sheet; the small range of the melody makes it perfect for most voice types.

  Take a trip to South America with Jon Burr’s Sea Breeze. This laid-back, soothing bossa nova features a lyric by the composer himself that reflects the simple joy of relaxing by the sea. We offer this lead sheet in two keys — one for altos and one for sopranos. Full track and accompaniment-only audio available.

  Rachel Gould’s No More Fire (Over You) is another bossa nova with a bit more of an edge. The lyric describes getting over a lover and finally being able to move on. In addition to the vocal lead sheet, we also offer a transcription of Rachel’s recording so singers can learn from her expert phrasing.

  Singers looking to add more waltzes to their repertoire should look no further than Like A Butterfly, Judy Niemack’s lyric version to Ronnie Mathews’s Jean-Marie. This delicate, breezy waltz is a good choice for sopranos since it features the upper register of a vocalist’s range. Full track and accompaniment-only audio available.

  Rounding out our vocal selections is Swinging My Life Away, a vocal version of Ray Bryant’s Tonk with a lyric by Tina May. It’s a fun, upbeat song that celebrates jazz, swing, and being yourself — a message we couldn’t agree with more! Full track and accompaniment-only audio available.

  A tip: if you’re printing from Adobe Acrobat, make sure you specify “none” for print scaling in the dialog. We’ve already made sure the margins are correct. If you let Acrobat print automatically, it might reduce the music a bit.

• A special vocal-only update

  This week we have five fantastic vocal pieces, including vocal transcriptions of legendary singers Anita O’Day, Chris Connor and Rachel Gould!

  If the rainy fall weather has got you down, we have a light, sunny bossa from Gloria Cooper with a lyric by Ira Gitler that immediately transports you back to the summer: Reveling In The Beat.

  For a good dose of Latin funk, check out Lonely Man, a vocal setting of Ray Bryant’s Erewhon with a lyric by Tina May. With a sassy lyric and appealing groove, it’s hard not to love.

  You, Judy Niemack’s lyric to Bob Brookmeyer’s composition Hum, is nothing short of charming. If you’re looking to add something classic to your repertoire without turning to overdone standards, this is the one for you.

  Rachel Gould’s ethereal, fanciful ballad My Magic Ring captures childlike wonder and melodic sophistication at the same time. To better understand how to interpret a free ballad like this one, we offer a vocal transcription of how Rachel sings it on the recording.

  Finally, a special treat: two versions of Al Cohn’s Night Bird by two powerhouse vocalists, Anita O’Day and Chris Connor. The Anita O’Day recording, featuring an arrangement by Gary McFarland, marries classical-inspired dissonance with true swing. Chris Connor’s version is arranged by Al Cohn himself, and has a mysterious Latin feel. We’ve transcribed the way both singers phrase the melody, and also offer a lead sheet for vocalists to try their own hand at it. Both recordings are truly out of this world, but the song itself is also a real gem with a poetic lyric by Kitty Malone.

  To stay up-to-date on our latest vocal lead sheets, be sure to check out Singer's Corner page!

  Just a note for those who like to sing or play along with accompaniment-only tracks: three of the new titles have accompaniment-only versions, and Judy Niemack’s delightful You is available exclusively on jazzleadsheets.com.

• Get low with these bass features

  The bass player is very important in all these new compositions, so they also add to our growing Bass Corner repertoire.

  Both Bass-ment by Kenny Drew and The Fuzz by Bobby Jaspar feature the bass playing the melody. Important bass lines that hold the whole arrangement together are found in Bill Hardman’s Jazz Messengers classic Politely and Bobby Watson’s Lemoncello.

  Bertha Hope’s Book’s Bok starts with the bass doubling the melody with the piano, and then moves into an important rhythmic accompaniment line. Bertha’s solo piano arrangement is available, as is a recording of it by pianist Glenn Zaleski.

  Drummer Billy Drummond’s opening 7/4 bass line had been going over in his head for quite some time before the rest of his composition Dubai came to him. As Billy is one of the gifted drummers who is included in our Drum Corner, we explore both a transcription of his playing behind the melody sections and his soloing over the ending bass line vamp. We also have some 7/4 exercises and groove patterns available.

  Check out this video of Billy talking about and playing Dubai! Be sure to subscribe to our YouTube channel for more exclusive interviews of composers sharing their perspectives as well as tutorials and performances.
  

• Happy 50th anniversary to these legendary recordings

  We’d like to celebrate some recent landmark 50th year recording anniversaries!

  May 27, 1963: Steppin' Out (Blue Note)
  This was tenor saxophonist Harold Vick’s first album as a leader. Harold had 5 originals on this recording, which included Our Miss Brooks which Harold had also recorded earlier when he was a sideman (first with Grant Green, then with Jack McDuff):

  • Steppin’ Out
  • Dotty’s Dream
  • Trimmed In Blue
  • Vicksville

   

  June 3, 1963: Page One (Blue Note)
  This legendary album marked tenor saxophonist Joe Henderson’s first album as a leader with trumpeter Kenny Dorham. We're proud to offer two incredible Kenny Dorham originals from this session:

  • La Mesha
  • Blue Bossa

   

  June 11 & 12, 1963: Roland Kirk Meets The Benny Golson Orchestra (Mercury)
  On the first session day, Rahsaan Roland Kirk teamed up with the Benny Golson Orchestra. The next day was a quartet session, with Kirk’s beautiful slow swing ballad April Morning, his swingin’ blues Get In The Basement which is perfect for our Bass Corner, and the three-horn, three-part harmony Between The 4th And 5th Step.

  Beat the heat with music!
  Don Sickler
  jazzleadsheets.com and Second Floor Music
  email don@secondfloormusic.com - phone 212-741-1175

• Birthday and anniversary megapost: 10 new products!

  This week (more precisely May 20 through May 24) has important anniversaries we want to honor so we’ve expanded our usual five new entries this week to cover ten celebrations.

  May 20 is the birthday of drummer/composer Victor Lewis (born in 1950 in Omaha, Nebraska). In honor of Victor’s birthday, here’s his great composition Seventh Avenue . For the drummers among you, in our Drum Corner, you can take a special look at some 7/4 “groove” patterns that Victor used on two different recordings.

  When we showed Victor what recordings of jazzleadsheets.com music took place on his birthday over the years, he was blown away. What great birthday presents master drummers gave him, unknowingly, by recording their music on his birthday. Were they omens or just subliminal influences, for a young man who has certainly become one of the great modern drummers?

  Here are Victor’s “birthday presents” that we want to share with you.

  Ittapnna by drummer Walter Bolden, a new composer to jazzleadsheets: on Victor’s third birthday: May 20, 1953, Walter recorded this on “Howard McGhee, Vol. 2” (Blue Note).

  On Victor’s fourth birthday, drummer Art Blakey recorded his Mercury album “Blakey,” (May 20, 1954) featuring these three Gigi Gryce compositions: Minority and Salute To Birdland by Gigi Gryce. The lead sheets have been available for some time but now you can explore Gigi Gryce (alto sax) and Joe Gordon (trumpet) solos for both titles. Plus a new title from that session, Hello, a beautiful ballad.

  For Victor’s tenth birthday, May 20, 1960, drummer Philly Joe Jones recorded his album “Philly Joe’s Beat” (Atlantic). Lead sheets for Joe’s Got To Take Another Chance have been available, but now you can check out Philly Joe’s drum transcription.

  Another drum master, Louis Hayes, recorded his album “The Real Thing,” on Victor’s 27th birthday, May 20, 1977. This session included Ronnie Mathews’ tour-de-force composition Loose Suite (lead sheet editions plus Ronnie’s solo piano arrangement edition).

  I couldn’t stop there, because on May 21, Cleo’s Blues (written and performed by tenor giant Paul Gonsalves) celebrates its 50th recording anniversary.

  And on May 22 bassist/composer Jon Burr celebrates a big one, his 60th birthday, joining jazzleadsheets.com. He has a perfect composition for our upcoming Bass Corner: Smokin’ O.P.’s.

  And finally, also on May 22 (or maybe it was May 24, the recording info on the liner notes doesn’t specify) pianist James Williams recorded his composition Mr. Day’s Dream (lead sheet editions and James’ Solo Piano Arrangement plus recording by Kenny Drew, Jr.).

  Celebrate!
  Don Sickler
  www.jazzleadsheets.com and www.SecondFloorMusic.com
  phone 212-741-1175 email don@secondfloormusic.com

• May 17, 2013: More anniversaries & birthdays to celebrate

  The week of May 13th we’re celebrating the 50th Anniversary of the Johnny Griffin and Matthew Gee album “Soul Groove,” recorded for Atlantic Records in two sessions (May 14 and May 16, 1963). I couldn’t decide which one of Matthew Gee’s great soulful groove compositions to put up. Since Renee was recorded on the May 14 session and Here on the May 16 session, we can celebrate both.

  Six years before that, (on May 14, 1957) flutist Herbie Mann recorded Eddie Costa’s composition Here’s That Mann with Eddie on vibes in a sextet format. Herbie played tenor sax, unusual for him. Although it can be played in a quartet (or even trio) format, Eddie’s original arrangement is preserved, with the addition of separate Vibes and Guitar parts as well (the original sextet recording featured Alto Sax, Tenor Sax, Vibes, Guitar, Bass and Drums).

  May 15th and 16th are birthdays for two more of our composers: trumpeter Joe Gordon (May 15, 1928) and trombonist Eddie Bert (May 16, 1922).

  In honor of Joe Gordon’s birthday, listen to his beautiful ballad Heleen. Joe was a very important trumpet player whose peers thought would help take the trumpet to another level. Sadly, he died far too young at the age of 35. Trumpeter Brian Lynch in his recent Unsung Heroes project pays a beautiful tribute to Joe, also recording Heleen.

  Transcribed Solo editions: Both Joe Gordon’s and Brian Lynch’s solos and melody treatments are available in separate B-flat and C treble clef editions. An unusual and rewarding opportunity to see how both of these great trumpet artists interpret the same ballad.

  Losing Eddie Bert this last year was a blow to many of us. For his birthday I’m giving everyone the chance to hear Eddie’s trombone victoriously attacking one of his great blues melodies (Ripples). The audio excerpt teases with the beginning of his aggressive solo.

  Plus, the second drum transcription of master drummer Charli Persip: six pages of detail, including Dizzy Gillespie and Charli’s exchanges on the famous recording of The Eternal Triangle.

  Don Sickler
  phone 212-741-1175 - email don@secondfloormusic.com

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