Hank Mobley

  • 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

  • new jazzleadsheets 2/21/11

    C.F.D. - Jack Wilson
    An exciting quartet piece (with vibes) that would be great for horns - technical but swinging - by the extremely elegant and meticulous West Coast pianist Jack Wilson. First and second parts.

    Fox Hunt - Bill Barron
    Recorded fifty years ago this month! Take a minute to explore the complexities and inner strengths of Bill Barron’s composition.

    Hipsippy Blues - Hank Mobley
    Everyone can enjoy this—swinging with the Jazz Messengers “live” at Birdland, “The Jazz Corner of the World.” Another Hank Mobley classic.

    Mo Is On - Elmo Hope
    Classic uptempo Elmo Hope. Recorded by Elmo’s trio, in 1953, on their first jazz trio recording together. In 1948 this same trio (Percy Heath on bass and Philly Joe Jones on drums) recorded as the rhythm section for Joe Morris’ R&B group. Challenging, but also great for horn players.

    Why Not? - Johnny Griffin
    Composer/saxophonist Johnny Griffin’s experiment in sound: 2 basses, tenor sax, French Horn, drums. Why Not? First and second parts. Another 50th Anniversary recording. French Horn players - there’s a part for you!

    I hope you enjoy these.
    Don Sickler

  • end-of-January music from jazzleadsheets

    Click on the links to get more info and to hear the music.

    Bevan’s Birthday - Tadd Dameron
    Another Tadd Dameron composition from the famous Magic Touch album - a lilting melody enhanced by Tadd’s complex harmonies that starts Latin and then goes into swing.

    Early Bird - Carl Perkins
    An easy-going and fun swinger from the talented, unfortunately short-lived composer/pianist Carl Perkins.

    Hank’s Tune - Hank Mobley
    Recorded by Horace Silver, with Hank on tenor and Donald Byrd on trumpet.

    Splittin’ - Ray Bryant
    Three different C treble clef lead sheets for a very popular Ray Bryant title: two from trio recordings where Ray was the pianist, and the third from a quintet recording with Hank Jones on piano. Melody and second parts for horns.

    Transition Blues - Hank Mobley
    Hank Mobley’s tribute to the Transition label finally gets the correct title. Check the Historical Notes to read about it.

    Thanks!
    Don Sickler

  • 12/17/10 jazzleadsheets.com additions

    B’s A Plenty - Elmo Hope
    This is another great Elmo composition, the opening track on his classic 1959 Elmo Hope Trio album. We’re not really sure what the title means. However, a few nights ago I saw Bertha Hope while I was performing at the Jazz Standard. Bertha’s not sure, but during the period when B’s A-Plenty was written, Elmo was naming quite a few of his titles for her, like Minor Bertha. Bertha always thought the “B” meant her. When I saw Bertha I was playing in a special tribute to Johnny Griffin with pianist/composer Norman Simmons and the Fiftieth Anniversary Big Soul Band. This special evening included an on-stage phone call to the original trumpeter on the 1960 Big Soul Band recording: Clark Terry, who that day was celebrating his 90th birthday. Look for titles by Johnny Griffin and Norman Simmons soon, on jazzleadsheets.com.

    Dark Days - Robert Watson
    Bobby Watson is, for me, another easily recognizable composer who has created a wide variety of beautiful music over the years, all with his own distinctive stamp. I’ve always loved his ballads. Bobby is a very sensitive person, and when he is moved by something, he makes a powerful musical statement. The music tells you how he feels about Dark Days.

    Just Plain Talkin’ - Tadd Dameron
    This composition comes from Tadd’s Magic Touch album, where he arranged for larger groups. Just Plain Talkin’ was written for a nine-piece ensemble. Now, everyone can learn and play this great melody. If you’re familiar with Tadd’s writing, you’ll immediately recognize that this has to be a Tadd composition. Read more about this composition in the Historical Notes.

    WE’VE ALSO ADDED SOMETHING NEW - a new relationship with ejazzlines.com

    As most of you are probably aware, Second Floor Music has many combo and big band arrangements available through Hal Leonard. In addition to this relationship, we’re going to be able to make more product available through a new relationship with ejazzlines.com. We’re giving them permission to publish a Don Sickler Jazz Lines Edition series.

    This new series will give me the opportunity to make more arrangements available as they were recorded. The Don Sickler Jazz Lines Edition series will include full scores and recorded parts for compositions where the arrangements, especially because of the complexity of rhythm section parts, make it impossible to represent the music correctly as just a lead sheet.

    Since we’re also getting lots more requests for transcribed solos, this new relationship with ejazzlines gives us the opportunity to often make both a solo and the original arrangement available, and there will be links on both sites to help you connect the editions.

    I can see this can easily get confusing, so I’m going to immediately show you how this works:
    Jazzleadsheets.com has two more great Hank Mobley solos: Hank’s solo on Late Show and his solo on Deciphering The Message.

    Both titles are from the second edition of The Jazz Messengers, when Donald Byrd replaced Kenny Dorham. Second Floor Music has had two other arrangements available from this important recording session for years. Since the whole quintet recording session is now available as an album mp3 download (or as individual titles), we thought that, in addition to our new transcribed solos, we should make three more arrangements available from this recording session. Here are two links to the whole album: from Amazon or from iTunes.

    Here are links to the quintet arrangements that are available:
    Deciphering The Message
    Late Show
    Hank’s Symphony
    Infra-Rae
    Weird-O

    Let music make your holiday season more fun. Especially jazz music.
    Don Sickler

  • Two new composers 12/10/10

    —- Jackleg - Jack Wilson
    If you aren’t familiar with Jack Wilson, listen to our audio excerpt. There’s only a small handful of jazz pianists with technique like Jack! This isn’t his only side, and we’ll be exploring more of his great compositions in the near future. For now, check out his dexterity at the keyboard and try his composition for yourself. Obviously, it works great at a slower tempo, too. We also have his transcribed piano solo available.

    —- La Villa - Kenny Dorham
    Kenny Dorham is one of the true masters of rhythm section writing. Because of that, many of his compositions can’t be reduced to a single line lead sheet: often, each member of the rhythm section requires their own individual part. Although La Villa has a counter melody bass part, we’ve decided to incorporate that bass part into our C treble clef lead sheet. We’re also putting out two editions: the first, as recorded on Kenny’s Afro-Cuban album (1955), and the second, from his Jazz Contrasts album (1957). You can read more about these specific arrangements by clicking on the link above.

    Max Roach, the drummer on the Jazz Contrasts album, continued to perform La Villa with his own groups. In 1958, he recorded it with Booker Little, trumpet; George Coleman, tenor sax; and Ray Draper, tuba. This recording is available on a Clifford Brown / Max Roach compilation and is mistitled as "Villa" on iTunes. The trumpeter is incorrectly listed as Clifford Brown instead of Booker little. On Amazon the composition is titled correctly, but the artist is listed again as Clifford Brown. Max made two recordings of La Villa in 1960, both featuring Julian Priester (trombone) and the two Turrentine brothers, Tommy (trumpet) and Stanley (tenor sax). On this session, La Villa is mistitled as "The Villa." Here is another example of La Villa mistitled agai, this time as "Stop Motion." These three great recordings are at true Max Roach tempos (fast!). The 1958 performance increases the tempo of the quarter note to approximately 356, and the other recordings are only a little more relaxed.

    More great Hank Mobley and Bobby Timmons and Ray Bryant

    Pat’N Chat - Hank Mobley
    I’ve had several requests for this one, so here it is. This has always been one of my favorites to play myself.
    One of the most interesting things to me about Hank Mobley’s composing is that he wrote his music for the specific musicians on the date. I know this for a fact, because Hank told me this personally. It’s most evident by examining the drummer on the date. From jazzleadsheets.com alone, just check out, for example, the obviously-for-Philly-Joe titles = Workout, Out Of Joe’s Bag, the No Room For Squares album, A Peck A Sec, etc. Then there are the obviously-for-Art-Blakey titles = the Soul Station album, the Roll Call album, High Modes, this week’s Chicken An’ Dumpins, etc.
    With his Turnaround album, Hank starts a recording relationship with a new (and very important to him) drummer, Billy Higgins. Billy had come to New York from his native California in the early 1960s. He’d recorded with many of Hank’s friends, but not yet with Hank. Pat ‘N Chat was the first track they recorded together, and immediately you can tell Hank is writing for an entirely different drum voice: obviously-for-Billy-Higgins. I’ll be telling you more about Hank and Billy as we release more of their collaborations.

    —- A Little Busy - Bobby Timmons
    Here are two different arrangements by Timmons: his trio arrangement and the sextet arrangement he did for Art Blakey and The Jazz Messengers. These arrangements were recorded in different keys, and believe it or not, were recorded only one day apart by two entirely different groups (except for Bobby). Bobby’s incredible piano solo from the trio recording is also available.

    —- Chicken An’ Dumplins - Ray Bryant
    Another great arrangement, written for Art Blakey and The Jazz Messengers by Ray Bryant. Ray’s good friend and fellow Philadelphia pianist Bobby Timmons introduced this one to Blakey. Ray’s solo piano arrangement as well as Kenny Drew, Jr.’s recording of the solo is also available.

    I hope you enjoy playing these new titles.
    Don Sickler

  • pre-Thanksgiving jazzleadsheets.com additions

    The Breakdown - Hank Mobley
    Last Saturday (November 13), I was trying to decide what to put on jazzleadsheets.com next. We have so many great Hank Mobley titles to choose from. Then I realized it was the 50th anniversary of Hank’s “Roll Call” album (recorded November 13, 1960), so it was easy for me to pick “The Breakdown” (lead sheets and Hank’s transcribed tenor solo are available). Previously we posted “My Groove, Your Move” from this same album. Second Floor Music has printed charts of “Roll Call” (quintet) and “Take Your Pick” (octet) available on Music Dispatch. Now there’s only one title left from this classic album: Hank’s original “The Baptist Beat.” Coming soon.

    Cranky Spanky - Bill Hardman
    I get many requests for more Jazz Messengers arrangements. This group, with the front line of Bill Hardman (trumpet) and Jackie McLean (alto sax), was the first band known as “Art Blakey and The Jazz Messengers.” Before this recording (December, 1956), “The Jazz Messengers” was a co-operative group, with a trumpet and tenor sax front line.

    The Dream Is You - Tadd Dameron
    This is our first Tadd Dameron lead sheet, but there’ll be more. Melodies are very important—I feel everyone should learn the melody, first. That’s the main goal of jazzleadsheets.com, to make available correct melodies and chord changes to great jazz compositions. Dameron’s compositions are often recorded in beautifully orchestrated formats, like this medium slow swing gem: perfect to play along with. When learning a new song, I always recommend to start by playing along with the recording. I’m a trumpet player, and, once again, I’ve just enjoyed playing “The Dream Is You” with Tadd’s beautiful arrangement for Milt Jackson.

    Bobbie Pin - J.R. Monterose
    J.R.’s lovely ballad Alone Again has been available on jazzleadsheets.com as a vocal leadsheet. If you’re not familiar with J.R Monterose, this new addition, from his first album as a leader, is a great introduction. We’ll be making more of J.R.’s compositions available soon, plus other compositions on this album, like Philly Joe Jones’ original “Ka-Link.”
    Philly Joe was the first one who told me about J.R. In fact, it makes for a pretty unbelievable story. I was in the dressing room with Philly Joe on one of his gigs many years ago. I don’t remember the exact conversation, but Joe started talking about J.R (I think it probably had something to do with “Ka-link”). Anyway, I told Joe that I didn’t know much about J.R., so he went into great and fascinating detail, telling me about this fantastic musician that he’d been involved with. After ranting and raving about J.R. for quite some time, just before Philly Joe was ready to go back to the bandstand, there was a knock on the dressing room door. The door opened to reveal J.R., whom Philly Joe hadn’t seen in years. I remember Joe astonishing J.R. by saying something like: "J.R.! We were just talking about you! Say hello to Don Sickler. You’ll want to talk at length with him." That started my personal, and beautiful, relationship with J.R.

    Minor Bertha - Elmo Hope
    Again, I have Philly Joe Jones to thank for my in-depth discovery of Elmo Hope. Philly Joe (like Thelonious Monk) thought Elmo was one of the great composers. After discussing and playing for me many of Elmo’s recordings, Joe told me that I should talk to Elmo’s widow, Bertha Hope. He said Bertha was also a great pianist and really knew Elmo’s music. So that’s what I did, and Bertha and I have been cataloging and notating Elmo’s music for years.
    Elmo dedicated quite a few of his compositions to Bertha. When Bertha and I played “Minor Bertha” together at the Jazz Standard, I kidded her about how Elmo really captured some of her complex personality in that composition.

    Play the music!
    Don Sickler

  • Jazzleadsheets is back! March 3, 2010

    Thanks for being patient with our absence from the scene. Unfortunately, due to problems beyond our control, we had to shut down during the last month to solve some technical problems. Now we’re back on the web bigger (by 5 new titles) and better! We have new additions this week and we’re preparing to add several more important compositions next week.

    The Waiting Game (Tina Brooks): Tina Brooks was a gifted artist and composer (check out our audio excerpt). It’s a shame that we lost him at an early age. One of his older brothers, David “Bubba” Brooks, survived much longer and went on to be quite a well-known swing and R&B tenor sax player. The rhythm section for this arrangement is too involved to make clear in a lead sheet, so we’ve made individual parts and a full score available (a full quintet arrangement—as recorded, trumpet and tenor front line). This is the second of our “as recorded” combos available, and there are many more complete arrangements like this in preparation, to be posted soon. The other arrangement currently available is Gerkin For Perkin by Clifford Brown.

    High Modes (Hank Mobley): Definitely one of the “groove” masters, the Messengers (with Wayne Shorter) recorded this minor key gem live at Birdland.

    Vaun-Ex (Elmo Hope): Elmo moved to LA in 1957 and hooked up with some great West Coast musicians for this date, including Harold Land and Frank Butler, both of whom went on to record some of Elmo’s landmark challenging compositions (coming soon, only on jazzleadsheets.com). Since this was recorded as a quintet, second parts are also available.

    Jean-Marie (Ronnie Mathews): In addition to the lead sheets (and quintet second parts) for this great Mathews’ composition, we’re offering Ronnie’s own Solo Piano arrangement, perfect for launching our Solo Piano editions. As well as being a superb recital feature for solo piano, it’s actually what Ronnie played during performance, regardless of the size of the ensemble. Jean-Marie was Ronnie’s wife and the mother of Ronnie’s pride and joy, his daugher Salima.

    Serial Blues (Kenny Drew, Jr.): Another interesting and challenging composition from the pen of this great second generation pianist and composer. An opportunity to widen your knowledge and your “tone row” experience. Look for some of his father’s compositions coming soon.

    Thank you for playing this music.
    --Don & Maureen Sickler

Items 21 to 27 of 27 total

  1. 1
  2. 2
  3. 3