Blue Concept – Gigi Gryce
This fun medium-up blues head was recorded three times by Gigi, with slightly different arrangements, but the melody is always the same. The albums are shown in chronological order. The recommended second parts are found under the Jazz Lab recording; for that one Gigi introduced an additional background section which our "Gigi Gryce Project" version expanded into a soloist sendoff. The Gryce Project recording is based on the Jazz Lab version, but much faster for an added challenge with our Minus You audio tracks.
- Recording: Clifford Brown - Clifford Brown Sextet
- Recorded on: September 29, 1953
- Label: Vogue (EPEPV 1041)
- Concert Key: B-flat
- Style: Swing (medium up)
- Trumpet - Clifford Brown
- Alto Sax - Gigi Gryce
- Guitar - Jimmy Gourley
- Piano - Henri Renaud
- Bass - Pierre Michelot
- Drums - Jean
This first version of Blue Concept is much slower than on later recordings. The melody and rhythm section hits are the same in all versions; however, in this version the melody is harmonized differently. In both times through the head, Gigi plays G (concert) on the second measure, and harmonizes the last four measures similarly to in the other versions—but with C instead of E natural under the B♭ on the ninth measure. This recording begins with a four-measure intro with just piano and drums; the head out is played only once, ending on the eleventh measure.
The solos here are on a variant of "descending" or "Bird" blues changes.
The Concert Condensed Score shows the arrangement clearly; the lead sheets are the same as the Art Farmer/Gigi Gryce version (second album above right).
The solos here are on a variant of "descending" or "Bird" blues changes.
The Concert Condensed Score shows the arrangement clearly; the lead sheets are the same as the Art Farmer/Gigi Gryce version (second album above right).
Gigi Gryce recorded seven sessions in Paris in September and October 1953. Gigi, Clifford Brown, and Art Farmer were visiting on tour with Lionel Hampton's big band. The Paris sessions feature many instrumentations, from quartet up to big band (most of the Hampton band with some local French players). September 29th was the third day of recording; the same sextet got together for the next session, on October 8th, which included the first recordings of Minority and Salute To Birdland (see the Historical Notes on both).
The original 45 rpm release listed Blue Concept as Conception by Gryce:
The original 45 rpm release listed Blue Concept as Conception by Gryce:
- Recording: Art Farmer - When Farmer Met Gryce
- Recorded on: May 19, 1954
- Label: Prestige (PRLP 7085)
- Concert Key: B-flat
- Style: Swing (medium up)
- Trumpet - Art Farmer
- Alto Sax - Gigi Gryce
- Piano - Horace Silver
- Bass - Percy Heath
- Drums - Kenny Clarke
0:00
0:00
Our goal is to let you get inside both the composition and the recording. The concert lead sheet therefore shows the recorded rhythm section Introduction which you can hear on our audio sample.
As noted on the first recording of this composition (Clifford Brown, above left), the melody is the same in all versions.
As noted on the first recording of this composition (Clifford Brown, above left), the melody is the same in all versions.
"When Farmer Met Gryce" was recorded at Rudy Van Gelder's legendary Hackensack Studio.
Gigi recorded Blue Concept three times, making small arrangement changes each time. First, in Paris, France, with Clifford Brown (September 29, 1953); second, this recording with Art Farmer; and third, with the Donald Byrd-Gigi Gryce Jazz Lab (January 13, 1957).
Learn more about Gigi Gryce at Noal Cohen's Jazz History website. Also see Gryce's discography.
Vocalist/lyricist Judy Niemack's new book "Hear It and Sing It: Exploring the Blues" includes her lyric to Blue Concept, titled New Concept (for a Blue Planet). Two CDs are included: you can hear Judy sing the lyric, accompanied by the rhythm section, and also play or sing along yourself. It's in the key of G.
Gigi recorded Blue Concept three times, making small arrangement changes each time. First, in Paris, France, with Clifford Brown (September 29, 1953); second, this recording with Art Farmer; and third, with the Donald Byrd-Gigi Gryce Jazz Lab (January 13, 1957).
Learn more about Gigi Gryce at Noal Cohen's Jazz History website. Also see Gryce's discography.
Vocalist/lyricist Judy Niemack's new book "Hear It and Sing It: Exploring the Blues" includes her lyric to Blue Concept, titled New Concept (for a Blue Planet). Two CDs are included: you can hear Judy sing the lyric, accompanied by the rhythm section, and also play or sing along yourself. It's in the key of G.
- Recording: Donald Byrd - Gigi Gryce - Jazz Lab
- Recorded on: March 13, 1957
- Label: Columbia (CL 998)
- Concert Key: B-flat
- Style: Swing (medium up)
- Trumpet - Donald Byrd
- Alto Sax - Gigi Gryce
- Piano - Wade Legge
- Bass - Wendell Marshall
- Drums - Art Taylor
0:00
0:00
The arrangement on this recording is closest to the arrangement used for the "Gigi Gryce Project" Minus You version (above right); the tempo is slightly faster than on the Art Farmer recording. Four measures of drum solo at the beginning lead into a chorus with only bass and drums; the piano comes in to comp for another chorus before the melody. The bass catches some of the rhythm section figures in the head, instead of walking as on the other versions. The most notable addition to this arrangement is a four-measure "kicker" that appears as a background for the horn solos. A simple, anthem-like blues chorus, the line that Charlie Parker recorded as The Hymn, is played here between Donald Byrd's and Gigi's solos. The coda is the same as in the Art Farmer version.
We've provided a Concert Condensed Score for this version, showing the entire form as well as the unison/harmony of the horns and two solo backgrounds. Second parts are also available here.
Note: although the lead sheets here are labeled "expanded" they are the same as the Minus You versions available under the Gryce Project recording.
We've provided a Concert Condensed Score for this version, showing the entire form as well as the unison/harmony of the horns and two solo backgrounds. Second parts are also available here.
Note: although the lead sheets here are labeled "expanded" they are the same as the Minus You versions available under the Gryce Project recording.
This is one of three quintet songs on this album; another is Sans Souci. In addition, four songs on the same album feature the nonet instrumentation used on Miles Davis' "Birth Of The Cool" album. This Donald Byrd "Jazz Lab" album is not the same as the Riverside album "Gigi Gryce And The Jazz Lab", which was recorded February 27 and March 7, 1957, with the same quintet personnel. Yet another album with the title "Jazz Lab" was recorded August 9, 1957, for the Jubilee label, with Byrd, Gryce, Hank Jones, Paul Chambers and Art Taylor.
- Recording: Gigi Gryce - The Gigi Gryce Project
- Recorded on: August 31, 1999
- Label: jazzleadsheets.com (JLS 1024)
- Concert Key: B-flat
- Style: Swing (uptempo)
- Alto Sax - Bobby Porcelli
- Tenor Sax - Ralph Moore
- Piano - Richard Wyands
- Bass - Peter Washington
- Drums - Kenny Washington
Despite the much faster tempo, our Gigi Gryce Project version of Blue Concept has essentially the same arrangement as the Donald Byrd/Gigi Gryce Jazz Lab recording. It begins with a chorus of solo walking bass, followed by two choruses of piano solo with bass and drums before the head. The bass walks throughout the head, unlike in the Jazz Lab arrangement. The rhythmic "kicker" that was used as a background in the Jazz Lab version appears here as an interlude; as with Blue Lights, it is played at the beginning of each solo except the first. This interlude is indicated as [1].
The Minus You melody editions here are the same lead sheets available under the JazzLab recording.
The Minus You melody editions here are the same lead sheets available under the JazzLab recording.
"The Gigi Gryce Project" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
When this was recorded, saxophonist Ralph Moore, who had spent a few years in NY, lived in California, where he played in the Tonight Show band with guitarist Kevin Eubanks. During his time in NY he became close with Don Sickler, Bobby Porcelli and a host of other NY musicians, including the rhythm section on this recording. When Don Sickler conceived this project, featuring the music of Gigi Gryce, he could think of no one better suited to partner with Porcelli to bring the Gryce charts to life, so he invited Ralph to spend his Tonight Show vacation recording at Van Gelder's in New Jersey.
When this was recorded, saxophonist Ralph Moore, who had spent a few years in NY, lived in California, where he played in the Tonight Show band with guitarist Kevin Eubanks. During his time in NY he became close with Don Sickler, Bobby Porcelli and a host of other NY musicians, including the rhythm section on this recording. When Don Sickler conceived this project, featuring the music of Gigi Gryce, he could think of no one better suited to partner with Porcelli to bring the Gryce charts to life, so he invited Ralph to spend his Tonight Show vacation recording at Van Gelder's in New Jersey.
Exclusive Minus You audio tracks As with Blue Lights [link], the interlude is the first four measures of a chorus; [1] is considered to include soloing for the rest of the chorus. The same interlude used for the piano solo is indicated as [2].
mp3 Form of the full track:
-- intro
- solo bass 1 chorus, piano solo with bass and drums 2 choruses
-- melody 2 times
-- tenor sax solo 5 choruses
-- [1] with alto sax solo 2 times, into 4 more alto choruses
-- [2]: [1] with piano solo 2 times, into 5 more piano choruses
-- horns and drums trade 4s - 4 choruses
-- one more drum solo chorus
-- out melody 2 times and coda
mp3 minus melody
-- tacet for intro (1 chorus of solo bass)
-- play the melody 2 times
-- solo 5 choruses
-- play [1] twice and then solo 2 more choruses
-- trade 4s with drums 4 choruses
-- play the out melody and coda
mp3 minus Piano
-- intro: tacet 1 chorus (solo bass), then solo 2 choruses
-- comp for the melody 2 times
-- comp for the tenor solo 5 choruses
-- comp for [1] with alto solo 2 times, continue comping for 4 more alto choruses
-- comp for [2] 2 times and solo, continue solo for 5 more choruses
-- comp for horns and drums trading 4s (4 choruses)
-- tacet for one more drum solo chorus
-- comp for the out melody 2 times and coda
mp3 minus Bass
-- count off, then 1 measure of drums sets up the intro
-- walk for the intro: 2 piano solo choruses
-- walk for the melody 2 times
-- walk for the tenor solo 5 choruses
-- play [1] with alto solo 2 times, continue walking for 4 more alto choruses
-- play [2] with piano solo 2 times, continue walking for 5 more piano choruses
-- walk for horns and drums trading 4s (4 choruses)
-- tacet for one more drum solo chorus
-- walk for the out melody 2 times and coda
mp3 minus Drums
-- intro: tacet 1 chorus (solo bass), then comp for piano solo 2 choruses
-- comp for the melody 2 times
-- comp for the tenor solo 5 choruses
-- play [1] with alto solo 2 times, continue comping for 4 more alto choruses
-- play [2] with piano solo 2 times, continue comping for 5 more piano choruses
-- trade 4s with horns 4 choruses (tenor first) - snaps have been added CLIP
-- solo one more chorus (with snaps)
-- comp for the out melody 2 times and coda
mp3 bass & drums only
-- intro: tacet 1 chorus (solo bass)
-- play the melody 2 times
-- solo 5 choruses
-- play for [1] twice and then solo two more choruses
-- trade 4s with the drums (4 choruses)
-- play the out melody 2 times and coda
mp3 Form of the full track:
-- intro
- solo bass 1 chorus, piano solo with bass and drums 2 choruses
-- melody 2 times
-- tenor sax solo 5 choruses
-- [1] with alto sax solo 2 times, into 4 more alto choruses
-- [2]: [1] with piano solo 2 times, into 5 more piano choruses
-- horns and drums trade 4s - 4 choruses
-- one more drum solo chorus
-- out melody 2 times and coda
mp3 minus melody
-- tacet for intro (1 chorus of solo bass)
-- play the melody 2 times
-- solo 5 choruses
-- play [1] twice and then solo 2 more choruses
-- trade 4s with drums 4 choruses
-- play the out melody and coda
mp3 minus Piano
-- intro: tacet 1 chorus (solo bass), then solo 2 choruses
-- comp for the melody 2 times
-- comp for the tenor solo 5 choruses
-- comp for [1] with alto solo 2 times, continue comping for 4 more alto choruses
-- comp for [2] 2 times and solo, continue solo for 5 more choruses
-- comp for horns and drums trading 4s (4 choruses)
-- tacet for one more drum solo chorus
-- comp for the out melody 2 times and coda
mp3 minus Bass
-- count off, then 1 measure of drums sets up the intro
-- walk for the intro: 2 piano solo choruses
-- walk for the melody 2 times
-- walk for the tenor solo 5 choruses
-- play [1] with alto solo 2 times, continue walking for 4 more alto choruses
-- play [2] with piano solo 2 times, continue walking for 5 more piano choruses
-- walk for horns and drums trading 4s (4 choruses)
-- tacet for one more drum solo chorus
-- walk for the out melody 2 times and coda
mp3 minus Drums
-- intro: tacet 1 chorus (solo bass), then comp for piano solo 2 choruses
-- comp for the melody 2 times
-- comp for the tenor solo 5 choruses
-- play [1] with alto solo 2 times, continue comping for 4 more alto choruses
-- play [2] with piano solo 2 times, continue comping for 5 more piano choruses
-- trade 4s with horns 4 choruses (tenor first) - snaps have been added CLIP
-- solo one more chorus (with snaps)
-- comp for the out melody 2 times and coda
mp3 bass & drums only
-- intro: tacet 1 chorus (solo bass)
-- play the melody 2 times
-- solo 5 choruses
-- play for [1] twice and then solo two more choruses
-- trade 4s with the drums (4 choruses)
-- play the out melody 2 times and coda
Gigi Gryce
November 28, 1925 – March 17, 1983
Gigi Gryce was a fine altoist in the 1950s, but it was his writing skills, both composing and arranging (including composing the standard Minority) that were considered most notable. After growing up in Hartford, CT, and studying at the Boston Conservatory and in Paris, Gryce worked in New York with Max Roach, Tadd Dameron, and Clifford Brown. He toured Europe in 1953 with Lionel Hampton and led several sessions in France on that trip. Read more...