Abdullah – Elmo Hope
An upbeat, melodic journey through Latin and swing grooves. Lead sheets, second parts and C condensed score available.
- Recording: Elmo Hope - New Faces-New Sounds: Elmo Hope Quintet, vol.2
- Recorded on: May 9, 1954
- Label: Blue Note (BLP 5044 10" LP)
- Concert Key: F minor
- Vocal Range: , to
- Style: Latin/swing (medium up)
- Trumpet - Freeman Lee
- Tenor Sax - Frank Foster
- Piano - Elmo Hope
- Bass - Percy Heath
- Drums - Art Blakey
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
If you'd like to play the original arrangement of this piece with your quintet, we offer the second part editions. The condensed score has the melody, counterlines and hits from the quintet arrangement conveniently notated on one system. Good for piano, bass and drums playing the quintet arrangement.
Pianists, if you're playing solo or want to make your own arrangement, we offer the standard lead sheet with just the melody and changes. This is also great for vibes or guitar.
Video: Bertha Hope, Jerry Dodgion, and Putter Smith talk about the great Elmo Hope. Elmo Hope was a classically trained pianist with technique rivaling that of his childhood friend Bud Powell and a composer of music whose inventiveness and complexity approaches that of Thelonious Monk. In fact, Elmo, Thelonious and Bud used to hang out so much together they became known as "The Three Musketeers."
Bertha Hope was married to Elmo Hope until his passing in 1967. She is an accomplished pianist herself, who studied with Richie Powell (Bud's brother) in Los Angeles.
Jerry Dodgion, saxophonist, knew Elmo during the time that he was living in California.
Putter Smith has been an in demand bass player in Los Angeles since he was a teenager. He played with Elmo Hope for a six week residency in Los Angeles when he was 17 years old.
This composition was likely named after Art Blakey's Muslim name, Abdullah Buhaina. The Blakey solo that kicks off this recording sets up the classic high-energy style for which Blakey was renowned. Elmo later recorded this piece as a trio with Paul Chambers and Philly Joe Jones; that version (released in 1961 on "Here's Hope" [Celebrity LB209]) has a laid-back swing feel—a casual shuffle in comparison to the earlier recording's out-of-breath explosion of energy. The fact that the composition works just as well in these two moods is a testament to Elmo's talents.
Check out some of the other Elmo Hope titles on "New Faces, New Sounds, Vol.1"
For more details about Elmo Hope's recordings, check out the Elmo Hope Discography on Noal Cohen's Jazz History website.
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Elmo Hope
June 27, 1923 – May 19, 1967
An imaginative pianist who valued subtlety over virtuosity in the landscape of bebop, Elmo Hope never achieved the fame that his close friends did, perhaps because he so rejected stylistic norms of the time. Elmo was a classically trained pianist with technique rivaling that of his childhood friend Bud Powell and a composer of music whose inventiveness and complexity approaches that of Thelonious Monk. In fact, Elmo, Thelonious and Bud used to hang out so much together in the late 1940s they became known as "The Three Musketeers." Powell, in Francis Paudras' book "Dance of the Infidels" is quoted as saying, "You gotta hear Elmo. He's fabulous. His stuff is very hard. He does some things that even I have trouble playing." Read more...