News

Dexter Gordon, Tom McIntosh and more

Clubhouse (Dexter Gordon)
This is another Dexter Gordon gem, featuring horns and drums in the melody. Read about my personal experience with legendary drummer Billy Higgins, who was on the original recording, in the notes. Dexter’s transcribed tenor sax solo is also available in both B-flat and C concert editions. My transcriptions document the creative “fingerprints” of the artist: the notes he plays as well as the articulations, which account for so much of Dexter’s magic as a soloist.

Cup Bearers (Tom McIntosh)
This is an important and classic jazz composition by master composer/arranger/trombonist Tom McIntosh. It’s one of those compositions with great “changes” that can lead you into new ways of thinking and playing.
Our lead sheet comes from the first recording in 1962 by James Moody. Soon after, in the same year, trumpeter Blue Mitchell recorded his version, and in the following year Dizzy Gillespie recorded it. “Cup Bearers” became a required composition on the hip jazz scene. This year, 2012, is the 50th anniversary of the first recording, and it’s still hip!
A couple of years ago, when I brought it to the attention of Jon Irabagon, the winner of the last Thelonious Monk Saxophone Competition, he was quick to record it.

Crazy (Elmo Hope)
One more challenge from Elmo Hope! I’m thrilled to be able to bring more and more of Elmo’s great music to jazzleadsheets.com. This one will challenge anyone, but it’s well worth the musical effort.
Take a listen to Bertha Hope, Elmo’s widow, as she talks about Elmo with saxophonist/composer Jerry Dodgion and bassist/composer Putter Smith:

Outa Sight (Jack Wilson)
A great example of “It doesn’t have to be hard to be good.” I’m always looking for material recorded by jazz artists that can also be recommended to inexperienced performers. This is a good one: simple, not a rangy melody, not a lot of solo changes to deal with. The solo section has some rhythm section hits that will help you add variety to your own solo.

Bob T’s Blues (Julian Priester)
Another nice blues to add to your repertoire.

--Don Sickler
new August 22, 2012

New titles for vocalists and everyone else. Instrumentalists, don’t let these great compositions go by without trying them. The accompaniment-only tracks are wonderful to practice with. Great composers. Try a few!

A Something In A Summer’s Day (Kirk Nurock and Emily Dickinson) [vocal]
A classy, and classic, ballad (or bossa). Sensitive performance by composer Kirk Nurock and vocalist Janis Siegel.

A Shot Of Blues Juice (Norman Simmons and Judy Niemack) [vocal]
A great way to involve an audience - “Let’s start with a shot of Blues Juice!” Relax and learn to swing with Judy Niemack and Norman Simmons.

If You Believe (Ray Bryant and Tina May) [vocal]
A Ray Bryant composition with lyric by Tina May. Learn the Latin/calypso feeling with the master, Ray on piano with bass & drums. No better way to practice.

Garden In The Sand (Hank Mobley and Bebe Herring) [vocal]
A haunting Hank Mobley bossa with a lyric to intrigue.

Try As I May (Meredith d’Ambrosio) [vocal]
Listen to Meredith’s graceful and moving performance, then make your own version.
new August 17, 2012

Bel-Aire (Ray Bryant)
Another great Ray Bryant head which challenges you to fly over your instrument. A must for any trumpet players who think they can play anything.

Gayle’s Groove (Mickey Bass)
An interesting ten-measure followed by fourteen-measure form. Originally recorded in a two horn quintet format so second part editions are also available.

T.H.E. Blues (Steve Davis)
An unusual form: 15 measure blues in a challenging key (A-flat minor).

Ka-Link (Philly Joe Jones)
It starts out as a cute Latin blues head and develops into a larger AABCAD format, with alternations from Latin to swing. Soloing on the record was just blues choruses. The expanded head format can open you up to exploring different soloist formats.

Listen To Mister Jones (Philly Joe Jones / Rachel Gould) [vocal]
If you’re a vocalist, and have a drummer you want to feature, this is for you. It’s the lyric version of Ka-Link, with Rachel’s complete track and an accompaniment-only track (MP3).

other new vocal titles:

Do You Feel What I Feel? (Rachel Gould) [vocal]
A beautiful, evocative exploration recorded by a voice/bass duo.

He’s A Man (Curtis Fuller / Judy Niemack) [vocal]
Judy’s lyric to the Fuller instrumental Sagittarius explains what that Zodiac sign means in a delightful way. Judy’s own performance, as well as an accompaniment-only MP3, are available.
Also, Judy’s new publication, Hear It and Sing It: Exploring the Blues is now in print and can be purchased from Hal Leonard and Amazon.com. Some really great new blues to sing! Hear It and Sing It! is a fun and effective method.

I’ll Blame It On The Samba (Ray Bryant / Tina May) [vocal]
Tina May’s lyric to Ray’s Samba Elegante, it’s a fun song to sing. Tina’s recording, with Ray Bryant himself on piano, and the accompaniment-only MP3 are available.

Just A Little Boy (Sergio Mihanovich) [vocal]
A beautiful ballad with a charming lyric. Simple and easy to customize to your own style. Gloria Cooper’s recording as well as an accompaniment-only version are available.

Miracle Of Spring (Meredith d’Ambrosio) [vocal]
A lyrical melody full of Meredith’s optimism. A vocal transcription of Meredith’s interpretation, plus an accompaniment-only MP3 track.
new July 18, 2012

Donnellon Square (Kenny Drew)
We’ve already made available several of Kenny Drew’s wonderful compositions that he wrote and recorded when he was well established in Europe in the 1970s. Now, we’re returning to his first recording date, in 1950, when he was just 21 years of age. You’ll hear he was already well versed in the bebop vocabulary. Listening to his opening solo piano introduction and hearing the depth of his composition, it’s easy to understand why he was on so many recordings during his career (over 250).

The Opener (Hank Mobley)
Here’s another great Hank Mobley composition and arrangement that he contributed to the “Art Blakey and the Jazz Messengers” legacy. It’s a sincere tribute to the jazz artist/composer when the leader keeps their music in the repertoire after the artist leaves the group (Wayne Shorter was the tenor saxophonist on this recording).

Straight Ahead (Gigi Gryce)
The Jazz Lab was an important Gigi Gryce/Donald Byrd group for which Gigi wrote and arranged many great compositions. This slow swinger is certainly one of them.

Three For Two (Jeanfrancois Prins)
A very serious European jazz artist (guitar) and composer with a true melodic gift. We’re honored to be able to make his music and recordings available on jazzleadsheets.com. Also check out his new CD, "El Gaucho."

Old World, New Imports (Hank Mobley): Philly Joe Jones drum transcription
We’ve had the lead sheet for this composition available for some time. Now we’re adding the inspiration for the composition, drummer Philly Joe Jones’ valuable contribution. This composition definitely was written to be recorded with Philly Joe, and as usual, he comes through with flying colors. Check this one out, drummers! Also, visit the Jazz Drum Corner Blog.

--Don Sickler
new December 28, 2011

If You Could Love Me - Norman Simmons
A beautiful Norman Simmons composition, with lyrics by Norman. Sung in a slow Latin tempo by Carmen McRae, later, at different tempos by other vocalists. You can also gain interesting insight into Carmen’s phasing from our vocal transcription of her performance, available separately. Email us (don@secondfloormusic.com) for different keys!

Juliano - Julian Priester
Lead sheets and his trombone solo are available from his first recording as a leader, the KEEP SWINGIN’ album on Riverside Records. An energetic ABCD form composition. The melody is constantly modulating as it evolves.

Valse Robin - Dexter Gordon
Dexter Gordon’s beautiful waltz for his daughter Robin, a 64-measure expanded AABA form. Recorded on THE PANTHER! album.

Harbor Freeway 5 P.M. - Jack Wilson
Two separate lead sheet treatments. First recorded as an uptempo sizzler to feature the drums, it later became a beautiful laid back composition. Compare Jack’s interpretations.

Out Of Joe’s Bag (Hank Mobley) - Philly Joe Jones drum transcription
Evan Hughes’ transcription of Philly Joe Jones’ performance on the ANOTHER WORKOUT album. Includes solo drum introduction, playing behind the in and out melodies, and Philly Joe’s solo. More valuable insight into this phenomenal drummer!

Don Sickler
jazzleadsheets.com & secondfloormusic.com
phone 212-741-1175
email don@secondfloormusic.com
new December 16, 2011

Chips - Elmo Hope
Stars Over Marrakesh - Elmo Hope

We had a fun Elmo Hope experience in my rehearsal studio a few nights ago. I told pianist/composer Bertha Hope, Elmo’s widow and definitely the leading authority on Elmo’s music, that we needed to get together to play Elmo’s music with two special musicians. Bassist Putter Smith would be in NYC (he lives in California) and he’d like to play some Elmo AGAIN. In the late 1950s, when he was still a teenager, he got to gig with Elmo for quite a few weeks over a six month period in the Los Angeles area. Alto saxophonist/composer Jerry Dodgion had been talking to me about playing, and when I mentioned Putter, and that he had played with Elmo, I found out that Jerry had also played with Elmo in some jam sessions in San Francisco in the 1950s. Jerry said he was also definitely up for playing some of Elmo’s quintet music, so that’s what we did the other night. Bertha hadn’t known that Putter and Jerry had played with Elmo, so she was delighted. After we finished playing and were trying to get some air back into our lungs, I told Bertha that we should talk about their experiences with Elmo. We rolled some video, which we’ll be putting up soon on our jazzleadsheets.com YouTube channel.

In preparation for that evening rehearsal, I got busy and put together a bunch more of Elmo’s quintet arrangements so we could read them and get them ready for jazzleadsheets.com. Normally I only put up one title by a composer at a time, but, in honor of that fun occasion, I’m putting out two of the ones we played that night. More Elmo Hope will be put on jazzleadsheets.com over the next few months.

Our editions of STARS OVER MARRAKESH require a little explanation. This composition was recorded twice by Elmo, both as trio recordings. Both recorded arrangements are different. To avoid confusion, we’ve labeled them first version and second version. We believe the first version is the primary version, so we’ve expanded only that version for our other instrumental editions. Elmo’s piano melody always has a harmony part, therefore it’s perfect for two horns, so we’re also providing second part editions.

The second version is from Elmo’s second recording, eight years later than the first recording. It has melodic and harmonic differences, and the bridge is in a different key (see our details page for more explanation). Elmo’s wife, Bertha Hope, who is a fine pianist and composer herself, is also the authority for understanding Elmo’s music. Even Bertha doesn’t know why Elmo made the alterations he did for the second recording. Maybe he couldn’t find his original lead sheet or he didn’t go back to the original recording. I know if we didn’t have the first recording, the second one would be rewarding enough. The fact that we have both, and C treble clef editions of each are available, gives you a chance to examine these two recordings in detail, giving you further insight into this important composer.

more editions of: A Night At Tony’s - Gigi Gryce
Stupendous-Lee - Gigi Gryce

The lead sheets and second parts for these two important Gigi Gryce compositions have been available for some time. We’ve had some general requests for more transcribed solos, so both Gigi’s and Art Farmer’s solos from these recordings are naturals to make available. Studying these two soloists is rewarding, especially examining and comparing their solos on the same recording, and even trading fours with each other on A NIGHT AT TONY’S. They’re both what I call real note players: their lines always have such clarity of thought. All their articulations are also notated, giving you the real fingerprints of these great artists. Full B-flat and C editions give everyone the opportunity to examine these solos on their own instruments.

Workout - Hank Mobley (Philly Joe Jones drum transcription)

Again, we’ve had the lead sheets for this one out for some time. This is a great drum feature composition, and now you can examine in detail the mastery of the legendary drummer Mobley wrote the composition for: Philly Joe Jones. You can see his eight-measure solo drum intro, followed by everything he plays on the head (full of two-measure exchanges between the horns and Philly Joe). Also, unique to our publications, you always see what the horns are playing (in a smaller staff, above the drum staff). For students or professional drummers, these transcriptions are amazing to study! Also check out Evan Hughes’ blog, the Jazz Drum Corner. See and hear Evan playing his transcription of Philly Joe’s fours with the soloists on NO ROOM FOR SQUARES, and you’ll see why he’s such an important part of our transcribing staff.

Enjoy!
Don Sickler
Second Floor Music and jazzleadsheets.com
don@secondfloormusic.com
phone 212-741-1175
new to jazzleadsheets.com December 5, 2011

In addition to four new lead sheets (including a melody transcription) and a transcribed solo, jazzleadsheets.com introduces our new Drum Corner with an in-depth look at the artistry of master drummer Philly Joe Jones.
Drum Transcription: Philly Joe Jones’s performance on No Room For Squares (the master take).
Of course, drum solos are important to drummers, but equally important (if not more important) is how a master drummer accompanies the ensemble. Therefore, our transcription starts with Philly Joe’s great hi-hat work on the intro under the horn line, followed by his intricate interplay during the opening melody. Everything Philly Joe plays during his delicious exchanges of “fours” with Hank Mobley and Lee Morgan is also transcribed. Joe’s interplay during the out melody and coda ends the transcription.
Also, unique to our drum transcriptions, the melody sections are shown above the drum staff (in concert key). Now you can see exactly how the drummer is reacting to the horns!
The transcription was done by drummer Evan Hughes, a new member of my staff.
Please visit our Drum Corner and tell your drummer friends it, and also about Evan Hughes’ jazz drummer blog at JazzDrumCorner.com. It’s a great resource for anyone interested in jazz drumming.

Blue Bossa - Kenny Dorham
jazzleadsheets.com gave me the opportunity to create a new edition of this important Kenny Dorham “jazz standard.” I’m sure practically every musician has at least heard “Blue Bossa,” if not played it. But have you really checked out the first recording of it? Are you aware that K.D.’s melody was created around a bass line that was equally important to Kenny? Now, in our C edition, you’ll see the melody with the bass line added under it on a separate staff for both the head and K.D.’s shout chorus.

It’s No Time To Be Blue - Kenny Dorham, Kenny Burrell and Larry Jackstien
When Kenny Burrell called and told me he wanted to write a lyric to his good friend Kenny Dorham’s composition, Blue Bossa, I knew his lyric would fit K.D.’s melody perfectly. Kenny Burrell sang this lyric on his 2003 CD “Blue Muse” on the Concord label.

Minor Ballade - Don Friedman
This is a beautiful modulating ballad by Don Friedman, described more fully in our notes. I feel it’s important to be able to examine in detail an artist/composer’s interpretation of his melody, so I’ve also transcribed his performance of the opening melody.

Minor Mode - Booker Little (plus Booker’s trumpet solo)
This is Booker Little’s first recorded composition. His recording career started only a month earlier. Although Booker only lived to be 23 years of age, fortunately he left us with quite a few recorded compositions and solos to study. He was one of the great jazz trumpet players and a mature composer at an early age.

--Don Sickler
October 15, 2011 ballads and more

I’m a sucker for a great ballad, and this time three out of the five new compositions on jazzleadsheets are exactly that, ballads. They’re written by three great pianists, from three different generations, who are all known for their sensitivity as artists. It’s not surprising that the music is wonderful. I encourage everyone to check out our audio excerpts.

Because the excerpts start at the beginning of the melodies, you don’t get an indication of the form of the compositions. Renaissance Lovers by James Williams is a beautiful continuously developing 12-measure melody. Richard Wyands’ Willow Tree spins out over 24 measures (ABA form), as does Cecilia Coleman’s 32-measure (AABA) Posie.

If you listen to the intro of the recording of Charles Fambrough’s Alycia, where pianist Kenny Kirkland plays the C section of the AABC melody in a rubato ballad style, you could easily think that it’s also going to be a ballad, but Charles conceived it as a bossa. Of course, it could be performed as a ballad, as well.

Our last composition this time is Ray Bryant’s Pawn Ticket, which is definitely not a ballad. It’s full of Ray’s wit and energy and will definitely put a smile on your face.

--Don Sickler
New June 17, 2011

NEWS from jazzleadsheets.com June 17, 2011

We get quite a few orders from European musicians. European artists have certainly contributed greatly to the jazz world over the years, so I decided it would be fun to bring you two Belgian artists/composers from different generations, Bobby Jaspar and Jeanfrançois Prins.

Flute Bob by Belgian-born flutist Bobby Jaspar, who was active in the 1950s and who recorded with American jazz legends JJ Johnson, Kenny Burrell, Miles Davis, John Coltrane, Chet Baker, etc.

My Main Man by Jeanfrançois Prins, Belgian-born guitarist, composer, producer, educator, active today in Europe and in the US.

Two compositions by well-known artists, established composers at jazzleadsheets.com: Benji’s Bounce by Dexter Gordon and Afrodisia by Kenny Dorham.

And a new composer and brilliant artist who played for a quarter of a century with the Duke Ellington Orchestra: Salute To Charlie Parker by Ellington clarinetist Jimmy Hamilton. In researching the biography of Jimmy Hamilton, I found some fascinating information in the Feather/Gitler Encyclopedia. I had remembered the name Frank Fairfax from reading about Dizzy Gillespie’s start in the jazz world, but I had no idea until I read Feather/Gitler that there were three young trumpet players in the Fairfax band. Dizzy, Charlie Shavers and Jimmy Hamilton, before he started his illustrious career on clarinet and tenor sax. Wow, what a trumpet section! That really perked my interest about the Frank Fairfax band, so in today’s world I thought all I’d have to do is Google Frank Fairfax and I’d find lots of info. Well, all I basically found was that reference to the three young trumpeters. Can anybody help me with more information about Frank Fairfax and his group?

--Don Sickler
Five new composers May 28, 2011

As I’m sure you’ve been able to see, we publish for a lot of great composers. This week we’re adding five new ones to jazzleadsheets.com. Except for Eddie Costa, who died five years before I got to New York, I’ve had the honor of knowing them personally.

Of these additions, guitarist Chuck Wayne was the first on the jazz scene. He emerged in the early 1940s and contributed greatly to the new music that was being called bebop. His composition Slightly Dizzy will bring you right back to the energy of the bebop era. It illustrates a favorite device of composers and improvisers, borrowing and enhancing the chord changes of an American standard: this time, How High The Moon.

Pianist Norman Simmons arrived on the recording scene in the early 1950s. Early on, he wrote a hit for prominent Chicago tenor saxophonist Paul Bascomb. This helped ensure a steady gig for his trio at important Chicago clubs that brought in guest artists, which in turn provided Norman the opportunity to accompany Charlie Parker, Coleman Hawkins, Wardell Grey and many more of the jazz greats. Norman has written many wonderful compositions that we’ll be exploring in the months to come. I decided to start your introduction to him with Stiffed, Norman’s clever composition based on the changes of Just Friends.

Eddie Costa (piano and vibes) also emerged in the 1950s. He was the Down Beat Critics poll winner on both instruments in 1957. Unfortunately, he was killed in a car accident at thirty-one years of age, and he hadn’t spent much time writing his own original compositions. He did write a few, however, and we’ll be exploring them in the months to come. For now, enjoy his Blues Plus Eight.

I miss bassist/composer Charles Fambrough, who died this past January, 2011. Charles had a long bout battling kidney failure. He loved music, and we always had beautiful conversations about music and musicians. Charles was still in his twenties when he wrote and recorded One For Honor with McCoy Tyner. He was not only one of the foremost bassists of his generation, but also a marvelous composer.

Cecilia Coleman is the youngest of our five new composers, but she’s been on the NYC scene now for over a decade. She is originally from California, where she did some recording and composing before coming to New York. She’s a marvelous pianist/composer with a broad composing palette. If her name already looks familiar to you at jazzleadsheets.com, it’s because she’s the pianist on many of the tracks we’ve recorded for jazzleadsheets.com. Her own first composition to be posted is an interesting 3/4 adventure called Pearl.

--Don Sickler

Items 161 to 170 of 191 total