Elmo Hope

New Dorham, Gryce, Redd and Hope lead sheets and audio tracks

Five great new titles plus further explorations of four songs through new editions and recordings. Plus, all nine now have Minus You audio tracks, providing fun and valuable learning opportunities for all instrumentalists.

Take a little time to explore our Minus You editions and tracks. Our tracks give every member of the group an individual audio track minus their instrument: you can be an essential member of the group playing along with professional artists in your own practice room. Minus Melody, Minus Piano, Minus Bass, Minus Drums, and often a track with just Bass & Drums, so Piano/Vibes/Guitar can play the melody, or a soloist can work, a la Sonny Rollins, without harmonic accompaniment. Click on FEATURES, click the Minus You heading, then click on FOR INSTRUMENTALISTS.

KENNY DORHAM: One of the magical things that sets Kenny Dorham apart from other composers is his emphasis on specific roles for each rhythm section player. His independent instrumental parts mandate delicate interplay between all ensemble members, hence our project title The K.D. Challenge. We've made each rhythm section part double-staved, showing a smaller melody staff above each line, and we've also indicated other rhythm section cues to make it clear how everything fits together.

BACK ROAD by Kenny Dorham: With its bluesy melody and rhythm section stop-time, this song is quintessential K.D. Second parts from the Joe Henderson/Kenny Dorham "Our Thing" album are available, plus our K.D. Challenge version has Minus You tracks for all instruments.

PEDRO'S TIME by Kenny Dorham: A classic Dorham song with a 12-measure form that's not quite a blues. Our K.D. Challenge version has Minus You tracks for all instruments; second parts like saxophonist Joe Henderson played with Kenny on the classic "Our Thing" album are available.

FREDDIE REDD: A pianist/composer who got early recognition from the his role in "The Connection" play and movie, Freddie is a master of hard bop. Our Freddie Redd Project recordings, with Minus You audio tracks, brings his music into a new zone.

1:00 A.M. STANDARD TIME by Freddie Redd: Starting the melody with an even-8th line which becomes its own important motivic element, this song essentially has a classic hard-bop sound, with stop-time figures in the head and a constantly evolving melody and chord progression. Our exclusive version has Minus You tracks for all instruments as well as second parts

BLUE HOUR by Freddie Redd: A harmonic workout in the unique Freddie Redd style. Recorded twice by Freddie in a trio format, our exclusive Freddie Redd Project quintet recording is available with Minus You tracks for all instruments, plus second parts, bass part & condensed score.

FAREWELL TO SWEDEN by Freddie Redd: A tribute to his 1956 trip to Sweden is a laid-back, bittersweet medium swinger. In addition to the original trio recording, a new quintet version is available with Minus You tracks.

GIGI GRYCE: Gigi Gryce was a fine altoist in the 1950s, but it was his writing skills, both composing and arranging that were considered most notable. We have Minus You versions of some of his best songs.

MINORITY by Gigi Gryce: Gigi's standard is represented by three different recordings. Art Blakey's in 1954, Gigi's own in 1960, and our version recorded in 1999, featuring Gigi's pianist Richard Wyands and alto/tenor soloists Bobby Porcelli and Ralph Moore. Minus You audio and more!

SALUTE TO BIRDLAND by Gigi Gryce is written on I'll Remember April changes. Our new Gigi Gryce Project version is available with Minus You audio tracks for all instruments. Perfect for an audition tape.

SOCIAL CALL by Gigi Gryce has been covered by many artists. Check out the four versions we have posted: Art Farmer/Gigi Gryce, Art Blakey and a nonet, Donald Byrd/Gigi Gryce, and our own version with Minus You tracks from The Gigi Gryce Project recording.

ELMO HOPE and MINOR BERTHA: Our first Rhythm Section Workshop edition. It's definitely a real workout for rhythm section players, demanding everyone's full attention at all times. Listen to Elmo's original recording and you'll see it was also a workout for his rhythm section. Try it on your own with our Minus You tracks or challenge your own group.
ELMO HOPE honored with ELMO HOPE WAY

JAZZ PIANIST, COMPOSER AND ARRANGER ELMO HOPE
HONORED IN SOUTH BRONX STREET CO-NAMING CEREMONY
New York, NY

Update: see a short movie about the naming of ELMO HOPE WAY.

Elmo Hope, one of the forerunners of the Be-Bop style of Jazz, will be honored with a sign unveiling ceremony on Saturday, September 10, 2016 at 11 :00 am, when Lyman Place, Bronx, New York, will be co-named Elmo Hope Way - Jazz Pioneer. The sign unveiling will be on Lyman Place between Freeman Street and East 169th Street/Rev. James Polite Avenue. Immediately following, the Bronx Music Heritage Center, founded by Bobby Sanabria and Elena Martinez, will host a reception. The Jazz Foundation of New York is sponsoring the musical performance at BMHC by jazz pianist and educator, Bertha Hope, who will perform Elmo's compositions with her band, Nu-Trio.

Elmo Hope was born on June 27, 1923 and named "St. Elmo," after the patron saint of sailors. He was the first child born to Ida Gertrude and Simeon Hope, West Indian immigrants who settled at 1358 Lyman Place to raise him, together with his six brothers and two sisters. As a youth Elmo won many piano competitions, including prizes at Carnegie Hall recitals. He began writing jazz compositions at a young age and practiced incessantly with his childhood friends Bud Powell and Thelonious Monk.

Elmo traveled throughout the United States and Canada playing with territory bands. In 1953, Lou Donaldson invited him to record with Clifford Brown, Elmo's first recording for the Blue Note label. Elmo became a member of the Chet Baker Ensemble and moved to California, where he enjoyed many wonderful experiences with local musicians Harold Land and Curtis Counce. Throughout this period Elmo wrote exemplary compositions that endure to this day and are included in several university curricula across the country and in Europe.

Elmo met his wife-to-be, Bertha Rosemond - a pianist of some standing in her own right - at a club in Los Angeles one evening. A few years later they married and had three children, Monica, Kevin and Daryl. Once back in New York, they settled again on Lyman Place and Elmo reconnected with band mates Frank Foster and Jimmy Heath, as well as Blue Mitchell. Landed a wide array of performing and recording dates with musicians such as Charlie Parker, Jackie McLean, Miles Davis, Dexter Gordon and Jimmy Cobb among many others.

While Elmo's untimely death from a heart attack on May 19, 1967, left a great void in the heart of his family and the jazz community, his contributions as composer, leader, arranger and sideman on more than 70 albums is significant. A great deal of his music as bandleader is available on Amazon.com and iTunes and Elmo's compositions are available as lead sheets at jazzleadsheets.com, with Second Floor Music's combo arrangements at http://www.musicdispatch.com. Bertha Hope's compositions are also on jazzleadsheets.com.
New Hank Mobley and more . . .

A new one from saxophonist Hank Mobley: UP OVER AND OUT, a 16-measure blues with Mobley's signature swing and groove. Guitarist George Benson and the rhythm section establish an infectious vamp figure that the horn melody further elevates before swinging out the last eight measures of the head. A great energy opener or closer!

Pianist Elmo Hope's NIETA has an unusual 32-measure form (eight bars of the same chord progression repeated three times under the melody). Elmo sets off the melody with a Latin intro and adds a tutti rhythmical interlude at the end of the melody to set up each soloist. First and second parts are available, plus a Concert Condensed Score for the rhythm section.

Trombonist Curtis Fuller's ability to write music that sounds (and is) simply fun to play is demonstrated in his SYMPTOMS. Recorded by Curtis and tenor saxophonist Benny Golson, second parts are available for all instruments as well as a Concert Condensed Score for the rhythm section.

Pianist Milton Sealey, new to jazzleadsheets.com, is represented by his BLACK DIAMOND, a lilting, delightful 3/4 romp recorded first by multi-instrumentalist Rahsaan Roland Kirk. An Easy Solo Piano Arrangement by Don Sickler is available, plus lead sheets.

Now for additions to our Singers' Corner:
Transformed into a dark, haunting tale, Sealey's Black Diamond became
THE DRAGONFLY AND THE PEARL with lyric added by vocalist Roberta Gambarini and lyricist Bebe Herring.

ICE WHITE BLUES, by Judy Niemack and Jeanfrançois Prins, shows one side of breaking up that feels like two: ice and fire. A blues with a bridge, the melody is notated as Judy performed it. Exclusive complete track and minus-you audio available, plus a video of the composers performing it together.
New in March

We’re back with another batch of new releases! This week, we’re featuring the compositions of some of our favorite pianists of yesterday and today. From hard bop to modern jazz, these pieces are sure to inspire and excite you, no matter what instrument you play.

LOW TIDE by Elmo Hope: An unconventional swing with an easy melody but a surprising harmonic progression over eight bars. Available as a lead sheet, quintet edition, or solo piano arrangement.

STAIRWAY TO THE STEINWAY by Freddie Redd: Get ready for some fun on this whirlwind head — a little bit of this sunny, upbeat piece will be sure to take away any residual winter blues.

BEAUTY WITHIN by James Williams: Celebrate your own beauty within! This magnificent ballad has such unusual soloing changes that it’s bound to bring out the best in your improvisation. Available as a lead sheet or solo piano arrangement — plus an exclusive audio track featuring Kenny Drew Jr.!

SONG FROM WITHIN by Michael Cochrane: A lyrical, meditative ballad that will have you humming for days. Available as a lead sheet or solo piano arrangement.

Plus, a bonus! Sevens by Roland Alexander — as a lead sheet or a drum transcription of the incomparable Charli Persip!

We hope you love these charts as much as we do! Let us know how you like them by tweeting us — @jazzleadsheets.
The holidays are here at jazzleadsheets.com

The holidays are just around the corner, and it’s been getting snowy here in New York. We’re celebrating the season through great charts — check them out and join in our holiday revelry!

Kicking off our new additions is a swing/Latin hybrid by Elmo Hope - Abdullah. The minor melody is tuneful and memorable — it might just get stuck in your head. Since Elmo originally recorded this composition with his quintet, we have the original parts available to try out with your own quintet (alternate parts are also available). If you want to play it solo or try out your own arrangement, we offer a regular leadsheet as well. Either way, it’s a strong addition to any set.

On the slower side of Latin is Los Milagros Pequenos, a mysterious and alluring piece by Norman Simmons. The melody of this chart is slow and meditative; it floats over a repeating bass line that anchors the piece. Norman originally recorded this chart with his quintet, but also wrote a solo piano arrangement for it. The piano arrangement is a great choice for intermediate pianists looking to brush up on their Latin skills — it’s not simplified at all, but isn’t too tricky either. To go along with the piano arrangement, we have an exclusive audio track featuring Kenny Drew Jr. It’s a great example of how to play this beautiful composition.

If you’re looking for something with a bit more pep, look no further than Ray Bryant’s Bebop Irishman. This chart is as whimsical and fun as the name suggests — it has a jig-like pace with long bebop lines set over a simple folk-like chord progression. This is a good pick to feature the piano, since the long chromatic lines showcase pianistic dexterity. This is not to say that this piece is only for pianists. On a Buddy Rich recording, both flute and vibes are added to the melody, and George Shearing added guitar as well as vibes to the melody. We also have horn editions as well. For drummers, though, we have Evan Hughes’s transcription of Jo Jones’ playing. The transcription includes the drum introduction, time over the in head, trading fours with the piano, and the out chorus. The brushwork on this piece is so incredible that many drummers regard this recording as a sort of bible for brush playing. Now you don’t have to guess what Jo Jones was playing — you can try it all out yourself with this meticulously detailed transcription!

For singers, we’re releasing the vocal version of the Gigi Gryce jazz standard Social Call. Jon Hendricks’s clever lyric is the perfect foil for the unforgettable melody, making the vocal version a popular choice for decades of singers. Try this chart out for yourself and join the ranks of Ernestine Anderson, Betty Carter, Earl Coleman, Karrin Allyson, Diane Reeves and Cecile McLorin Salvant — all of whom have recorded this classic composition.

Finally, we have an exotic 7/4 blues from Julian Priester and Judy Niemack. Eros, Judy’s lyric version to Julian’s instrumental Blues for Eros, is a sexy musical retelling of the Greek myth of Eros and Psyche. Eros, the son of the goddess Aphrodite, seduced Psyche until she figured out his godly identity. He abandoned her, forcing Psyche to seek counsel from Aphrodite, who sent her on a difficult quest to win back her love. Judy draws out the theme of blind passion so strong it verges on desperation; this theme is amplified by the seductive melody by Julian and the driving odd-meter pulse of the bass.
New at jazzleadsheets.com May 11, 2013

Noting some anniversaries …

I found it very interesting that on the same day, May 9, in two different years (1954 and 1966), Elmo Hope was in a studio, recording.
Maybe So was recorded May 9, 1954.
Roll On was recorded May 9, 1966 (Elmo’s last recording session).

On May 12, 1964, organist Don Patterson recorded Up In Betty’s Room. This is the perfect time to introduce him to jazzleadsheets.com.

Plus, the Drum Corner welcomes two new drummers, "Papa" Jo Jones and Billy Higgins.
The first transcription of the legendary "Papa" Jo Jones is from the Jo Jones Trio recording of Ray Bryant’s Philadelphia Bound. The lead sheets for this blues are available, too.

And, you can examine under your musical microscope the artistry of one of the truly great drummers: Billy Higgins. See what he plays behind the melody as well as his exchanges with Dexter Gordon on Dexter’s Benji’s Bounce (8s then 4s then 2s). The lead sheets are already posted.

Jazzleadsheets.com is preparing for a website upgrade: we want an easy-to-use search engine and a smooth checkout experience on a faster server. Maybe video clips. If you have suggestions, let us know by emailing me at don@secondfloormusic.com.

Thanks,
Don Sickler
www.jazzleadsheets.com and www.SecondFloorMusic.com
phone 212-741-1175
email don@secondfloormusic.com
New lead sheets from 5 great pianists

Soul Time - Bobby Timmons
Another delight, this time in 3/4, from Bobby Timmons, which he recorded on three occasions. We’re also offering Bobbby’s complete piano voicings.

Freffie - Elmo Hope
Another great “II-V” blues melody to add to your repertory. Read more about it in our notes.

Gone To See T - Bertha Hope - new composer to jazzleadsheets.com!
Bertha Hope, whose first jazz teachers were Elmo Hope and Richie Powell, recalling the days she and Elmo hung out with T (Thelonious Monk). Definitely not just the wife of Elmo Hope, Bertha is a tremendous talent herself, both as a composer and as a pianist.

Something In B-flat - Ray Bryant
As you can see by scanning our Composer list, we already have a lot of great Ray Bryant on jazzleadsheets.com and there are other gems that we’re still working on. Ray had almost forgotten about his Something in B-flat, which was the opening track of Benny Golson’s “New York Scene” album. I immediately got his attention when I told him that this track was used in the Tom Hanks movie “The Terminal,” in which Benny Golson, and some of Benny’s music, also played a prominent role.

Two Sides Of A Penny - Cecilia Coleman
One of my favorite Cecilia Coleman compositions, from her California period.

Enjoy the music!
Don Sickler
phone 212-741-1175
email don@secondfloormusic.com
New songs, old year: songs for late December

Jodi - Dexter Gordon
A gorgeous ballad by a master of ballad playing.

Please, Let Me Share This With You - Dexter Gordon (music) / Rachel Gould (lyric)
Lyrist/singer Rachel Gould’s touching lyric creates a new valuable addition to the singer’s repertory.

Blue Wail - Kenny Drew
A great addition to your blues repertory: an intriguing melody with lots of rhythmic variety.

Minor Scene - Gene Roland
Another great medium up swinger by an often overlooked great composer/arranger.

Later For You - Elmo Hope
A challenging head based on standard jazz changes.

Now, news about next year. We’ll be making some additions to the “Features” column.

One addition will be ETUDES, which doesn’t mean you have to have new specially written music. Some heads also make great etudes. For me, Later For You is a perfect example, and I’ll tell you how I think you can best use it to your benefit: follow Charlie Parker’s advice: “Be able to play every melody in any key.” Elmo Hope’s Later For You exercises both your ears and your technical chops. Here is what I suggest:

B-flat instruments:
(1) Play the melody in A-flat concert (use your regular instrumental lead sheet). Trumpet players will play the B-flat lead sheet melody down an octave, except for one measure before D.
(2) Next play the melody from the E-flat lead sheet: you’ll be learning the melody in the key of F.
(3) Next play the melody from the C treble clef lead sheet: now you’ll be playing it in the key of A-flat.

After you have the melody together in those three keys, pick any other key. Using your “ear,” see if you can play it in that new key. If you’ve really disciplined yourself in three keys, the next key should be a lot easier,

If you already play a concert key instrument, then you should learn the melody in B-flat (from the B-flat lead sheet) and in E-flat (from the E-flat lead sheet).

E-flat instruments, learn the melody in the B-flat instrumental key and the concert version key.

Another useful category I’m working on is SAME CHANGES, where we’ll list the standard changes titles are based on. For example, Later For You is based on the chord progression of “All God’s Chillun Got Rhythm.”

And here’s a link I love to browse: the album covers, all on one page.

Happy New Year!

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