Blue Lights – Gigi Gryce
A great minor blues head with a clever introduction and interludes sending off each soloist.
- Recording: Art Farmer - When Farmer Met Gryce
- Recorded on: May 26, 1955
- Label: Prestige (PRLP 7085)
- Concert Key: F minor
- Style: Swing (medium)
- Trumpet - Art Farmer
- Alto Sax - Gigi Gryce
- Piano - Freddie Redd
- Bass - Addison Farmer
- Drums - Art Taylor
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Video
- Piotr Vostokov quartet live at the Jazz Art Club, Moscow: Piotr Vostokov, trumpet; Maxim Shibin, guitar; Vladimir Koltzov-Krutov, bass; Alex Zinger, drums. Special guest: Roman Sekachev, baritone sax.
This hard-swinging minor blues has a simple melodic theme, but the introduction and interludes make it memorable. It makes a great piece for beginners: the introduction/interludes give students something trickier to practice, but the melody is easy to master. Professionals need not stay away, however: in the hands of masters (as you can hear on our audio excerpt), Blue Lights is simply transcendent.
"When Farmer Met Gryce" was recorded at Rudy Van Gelder's legendary Hackensack Studio.
This Gigi Gryce composition has been recorded quite a few times, including three times by Gigi. Our lead sheet is taken from the first recording. Gigi also recorded it on August 9, 1957, with the Donald Byrd-Gigi Gryce Jazz Lab, and on November 9, 1960 (Gigi Gryce, "Reminiscin'," for Mercury). Gigi was a great arranger and always made new arrangements when re-recording one of his compositions, so they're all worth a listen. Other artists who also recorded Blue Lights include: Coleman Hawkins on his"When The Hawk Flies High
" album (with trumpeter Idrees Sulieman, trombonist J.J. Johnson and drummer Papa.Jo Jones), "Blowing In From Chicago
" with John Gilmore and Clifford Jordan, and "What Happens? . . .
" with Art Farmer and Phil Woods.
Learn more about Gigi Gryce at Noal Cohen's Jazz History website. Also see Gryce's discography.
This Gigi Gryce composition has been recorded quite a few times, including three times by Gigi. Our lead sheet is taken from the first recording. Gigi also recorded it on August 9, 1957, with the Donald Byrd-Gigi Gryce Jazz Lab, and on November 9, 1960 (Gigi Gryce, "Reminiscin'," for Mercury). Gigi was a great arranger and always made new arrangements when re-recording one of his compositions, so they're all worth a listen. Other artists who also recorded Blue Lights include: Coleman Hawkins on his"When The Hawk Flies High
" album (with trumpeter Idrees Sulieman, trombonist J.J. Johnson and drummer Papa.Jo Jones), "Blowing In From Chicago" with John Gilmore and Clifford Jordan, and "What Happens? . . ." with Art Farmer and Phil Woods.Learn more about Gigi Gryce at Noal Cohen's Jazz History website. Also see Gryce's discography.
- Recording: Gigi Gryce - Jazz Lab
- Recorded on: August 9, 1957
- Label: Jubilee (JLP 1059)
- Concert Key: F minor, No key center
- Style: Swing (medium)
- Trumpet - Donald Byrd
- Alto Sax - Gigi Gryce
- Piano - Hank Jones
- Bass - Paul Chambers
- Drums - Art Taylor
As is often the case among the seven songs Gigi recorded first with Art Farmer and then with Donald Byrd, this later version of Blue Lights is a little faster. The intro is completely different, an eight-measure stop-time section without any of the triplet lines from the first arrangement. The interlude is still there, but is only used between solos and does not launch the first solo; the fourth beat of the first and third measures is played short here where it was long in the first version. The last chord of the ending is F minor, rather than a D♭ chord in the original version.
A Concert Condensed Score is available for this version; see The Gigi Gryce Project album cover for lead sheets and second parts.
A Concert Condensed Score is available for this version; see The Gigi Gryce Project album cover for lead sheets and second parts.
This version comes from the last of the Jazz Lab Quintet's three self-titled albums; check out the historical notes for Blue Concept [coming soon] for information on these. Blue Lights is one of only two Gryce songs on this Jubilee session; the other is a studio version of Batland. This lineup of the Jazz Lab Quintet also appeared on "New Formulas From The Jazz Lab," recorded the previous week for RCA Victor and including Exhibit A. The rhythm section of Hank Jones, Paul Chambers and Art Taylor had first recorded together exactly a month earlier on saxophonist Sahib Shihab's Savoy album "Jazz Sahib;" also in July 1957 the same trio plus guitarist Kenny Burrell did Chambers' album "Bass On Top."
This is the only one of Gryce's compositions that he recorded in quintet settings with three different trumpeters: first Art Farmer, then Donald Byrd, and lastly with Richard Williams.
For more information on Gryce and his activities, check out Noal Cohen's Gryce discography and book.
This is the only one of Gryce's compositions that he recorded in quintet settings with three different trumpeters: first Art Farmer, then Donald Byrd, and lastly with Richard Williams.
For more information on Gryce and his activities, check out Noal Cohen's Gryce discography and book.
- Recording: Gigi Gryce - Reminiscin'
- Recorded on: November 9, 1960
- Label: Mercury (MG 20628)
- Concert Key: F minor
- Style: Swing (medium up)
- Trumpet - Richard Williams
- Alto Sax - Gigi Gryce
- Piano - Richard Wyands
- Bass - Julian Euell
- Drums - Walter Perkins
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Another arrangement, the basis of our "Gigi Gryce Project" version. This recording is yet faster than the others. A new eight-measure intro opens this one, with rhythm section hits instead of simple breaks. On the head, the bass and drums hit on beat four in the second, fourth, and sixth measures. The first time through the head, the horn melody is answered by the piano playing the same melody two beats later; this continues for the first eight measures. The second time adds a tasty harmony part as well as a funky piano counter melody; a two-measure tag launches the first solo.
As with the "Jazz Lab" version, the interlude is used to send off solos after the first solo; the first and third measures are harmonized and again have the fourth beat short. There is a new shout chorus added, a funky riff that is played once in unison and a second time in octaves. The ending presents a compromise between the other two versions, with the rhythm section first hitting F minor and then a D♭ chord—but here it is a C triad over D♭ rather than an E♭ triad.
The Concert Condensed Score is available for this version; see the last album cover ("The Gigi Gryce Project") for all lead sheets and second parts, as well as Minus You audio tracks.
As with the "Jazz Lab" version, the interlude is used to send off solos after the first solo; the first and third measures are harmonized and again have the fourth beat short. There is a new shout chorus added, a funky riff that is played once in unison and a second time in octaves. The ending presents a compromise between the other two versions, with the rhythm section first hitting F minor and then a D♭ chord—but here it is a C triad over D♭ rather than an E♭ triad.
The Concert Condensed Score is available for this version; see the last album cover ("The Gigi Gryce Project") for all lead sheets and second parts, as well as Minus You audio tracks.
"Reminiscin'" was Gigi's last studio album, and the fourth to feature his quintet with Richard Williams and Richard Wyands. On some of this album, vibraphonist Eddie Costa is added. Our "Gigi Gryce Project" arrangement of Blue Lights is based on this version partly due to the presence of pianist Richard Wyands on both this recording and our Minus You recording (click on the last album cover "The Gigi Gryce Project."
- Recording: Gigi Gryce - The Gigi Gryce Project
- Recorded on: September 2, 1999
- Label: jazzleadsheets.com (JLS 1024)
- Concert Key: F minor
- Style: Swing (uptempo)
- Alto Sax - Bobby Porcelli
- Tenor Sax - Ralph Moore
- Piano - Richard Wyands
- Bass - Peter Washington
- Drums - Kenny Washington
Our Gigi Gryce Project version is based on the arrangement from Gigi's album "Reminiscin'." It is slower than that version, with more counterpoint added among the two horns. On the intro, the alto has the melody for the first four measures with the tenor joining the rhythm section hits; this is reversed for the next four measures. The piano answers the melody on the first chorus of the in head as in the "Reminiscin'" version; the tenor joins the rhythm section hits on the ninth measure and then adds a counter melody leading into the last two measures' hits. The tenor part for the second chorus uses the harmonies from the "Reminiscin'" arrangement but extends the lines into a more intricate countermelody.
The interlude and shout chorus are the same as in the "Reminiscin'" version. The first chorus of the out head has the tenor answering the alto melody, in the same way that the piano answers the unison horns on the in head. The piano has a different rhythmic comping figure during this chorus. The coda is again the same as that of the "Reminiscin'" arrangement.
Note that all lead sheets and second parts are available, as well as Minus You audio tracks (click the Minus You tab).
The interlude and shout chorus are the same as in the "Reminiscin'" version. The first chorus of the out head has the tenor answering the alto melody, in the same way that the piano answers the unison horns on the in head. The piano has a different rhythmic comping figure during this chorus. The coda is again the same as that of the "Reminiscin'" arrangement.
Note that all lead sheets and second parts are available, as well as Minus You audio tracks (click the Minus You tab).
"The Gigi Gryce Project" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Reminiscin' on "Reminiscin'"! Though the horn arrangement is different, pianist Richard Wyands on this recording is playing almost entirely the same part he played 39 years before on the "Reminiscin'" album. For an even more authentic experience for yourself, the "Reminiscin'" horn arrangement can be used by two players with our minus melody performance or practice tracks.
Reminiscin' on "Reminiscin'"! Though the horn arrangement is different, pianist Richard Wyands on this recording is playing almost entirely the same part he played 39 years before on the "Reminiscin'" album. For an even more authentic experience for yourself, the "Reminiscin'" horn arrangement can be used by two players with our minus melody performance or practice tracks.
Exclusive Minus You audio tracks
On our Condensed Score, lead sheets and parts, the interlude played between the soloists is labeled [1] and the shout chorus [2]. The interlude is the first four measures of a chorus; [1] is considered to include soloing for the rest of the chorus.
Also, note that the D.S. for the return to the out melody is in either of two different places depending on the part. The tenor and piano parts are different on the first chorus of the out head from the in head. The melody and bass line are the same. In the score, the second horn parts and the piano part, the D.S. is after eight measures of the out melody A3; the lead sheets, first horn parts and bass and drum parts all have the D.S. at the beginning of the melody.
mp3 Form of the quintet track:
-- intro
-- head 2 choruses
-- piano solo 4 choruses
-- [1] to tenor sax solo - continues for 3 more choruses
-- [1] to alto sax solo - continues for 3 more choruses
-- [1] to bass solo - continues for 2 more choruses
-- [2] shout chorus 2 times
-- out melody A3 (take the D.S. after 8 measures)
-- out melody A2
-- coda
mp3 minus melody—piano comping has been added to the first 4 solo choruses, which were originally a piano solo
-- count off sets up the intro
-- play the intro
-- play the melody 2 times
-- solo
performance edition: solo 4 choruses, play [1], solo 3 more choruses
practice edition: solo 4 choruses, play [1], solo 3 more choruses, play [1], solo 3 more choruses
-- play the shout chorus 2 times
-- play the out melody 2 times and coda
mp3 minus Piano
-- count off sets up the intro
-- play the intro and melody as written
-- solo 4 choruses
-- comp for [1] and tenor solo 3 more choruses, [1] and alto solo 3 more choruses, [1] and bass solo 2 more choruses
-- comp for the shout chorus 2 times
-- play figures for out melody A3 (take D.S.)
-- play as written for out melody A2 and coda
mp3 minus Bass
-- count off sets up the intro
-- play the intro and melody 2 times as written
-- walk for the piano solo 4 choruses
-- play [1] and continue walking for the tenor solo 3 more choruses, [1] and alto solo 3 more choruses
-- play [1] and solo, continue for 2 more choruses
-- walk for the shout chorus 2 times
-- play the out melody 2 times and coda as written
mp3 minus Drums—sticks throughout
-- count off sets up the intro
-- play figures for the intro
-- comp/play figures for the melody 2 times
-- comp for the piano solo 4 choruses
-- play [1] and continue comping for the tenor solo 3 more choruses, [1] and alto solo 3 more choruses, [1] and bass solo 2 more choruses
-- comp for the shout chorus 2 times
-- comp/play figures for the out melody 2 times and coda
mp3 Bass and Drums only - to feature piano, guitar, vibes, or any melodic instrument that likes to play without harmonic accompaniment
-- count off sets up the intro
-- play the intro and melody 2 times as written
-- solo 4 choruses
-- play the shout chorus 2 times
-- play the out melody 2 times and coda as written
On our Condensed Score, lead sheets and parts, the interlude played between the soloists is labeled [1] and the shout chorus [2]. The interlude is the first four measures of a chorus; [1] is considered to include soloing for the rest of the chorus.
Also, note that the D.S. for the return to the out melody is in either of two different places depending on the part. The tenor and piano parts are different on the first chorus of the out head from the in head. The melody and bass line are the same. In the score, the second horn parts and the piano part, the D.S. is after eight measures of the out melody A3; the lead sheets, first horn parts and bass and drum parts all have the D.S. at the beginning of the melody.
mp3 Form of the quintet track:
-- intro
-- head 2 choruses
-- piano solo 4 choruses
-- [1] to tenor sax solo - continues for 3 more choruses
-- [1] to alto sax solo - continues for 3 more choruses
-- [1] to bass solo - continues for 2 more choruses
-- [2] shout chorus 2 times
-- out melody A3 (take the D.S. after 8 measures)
-- out melody A2
-- coda
mp3 minus melody—piano comping has been added to the first 4 solo choruses, which were originally a piano solo
-- count off sets up the intro
-- play the intro
-- play the melody 2 times
-- solo
performance edition: solo 4 choruses, play [1], solo 3 more choruses
practice edition: solo 4 choruses, play [1], solo 3 more choruses, play [1], solo 3 more choruses
-- play the shout chorus 2 times
-- play the out melody 2 times and coda
mp3 minus Piano
-- count off sets up the intro
-- play the intro and melody as written
-- solo 4 choruses
-- comp for [1] and tenor solo 3 more choruses, [1] and alto solo 3 more choruses, [1] and bass solo 2 more choruses
-- comp for the shout chorus 2 times
-- play figures for out melody A3 (take D.S.)
-- play as written for out melody A2 and coda
mp3 minus Bass
-- count off sets up the intro
-- play the intro and melody 2 times as written
-- walk for the piano solo 4 choruses
-- play [1] and continue walking for the tenor solo 3 more choruses, [1] and alto solo 3 more choruses
-- play [1] and solo, continue for 2 more choruses
-- walk for the shout chorus 2 times
-- play the out melody 2 times and coda as written
mp3 minus Drums—sticks throughout
-- count off sets up the intro
-- play figures for the intro
-- comp/play figures for the melody 2 times
-- comp for the piano solo 4 choruses
-- play [1] and continue comping for the tenor solo 3 more choruses, [1] and alto solo 3 more choruses, [1] and bass solo 2 more choruses
-- comp for the shout chorus 2 times
-- comp/play figures for the out melody 2 times and coda
mp3 Bass and Drums only - to feature piano, guitar, vibes, or any melodic instrument that likes to play without harmonic accompaniment
-- count off sets up the intro
-- play the intro and melody 2 times as written
-- solo 4 choruses
-- play the shout chorus 2 times
-- play the out melody 2 times and coda as written
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...