Singer's Corner

• 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.

• 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

• 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 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 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

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