Bossa De Luxe – Hank Mobley
This simple bossa with a slightly mysterious vibe comes from a late Mobley album. We have two Minus You versions (in B-flat minor and G minor) for all instruments, which also works as a vocal Minus You for the lyric version, Garden In The Sand.
- Recording: Hank Mobley - Hi Voltage
- Recorded on: October 9, 1967
- Label: Blue Note (BLP 4273)
- Concert Key: F minor
- Style: Latin (Bossa)
- Trumpet - Blue Mitchell
- Alto Sax - Jackie McLean
- Tenor Sax - Hank Mobley
- Piano - John Hicks
- Bass - Bob Cranshaw
- Drums - Billy Higgins
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- Josh Evans Sextet Live at Smalls, 9/18/12: Trumpet - Josh Evans, Tenor Sax - Stacy Dillard, Trombone - Frank Lacy, Piano - Theo Hill, Bass - Ameen Saleem, Drums - Kush Abadey
The laid-back, slightly mysterious bossa vibe on this song is classic late '60s Mobley. The melody has a winding quality, beginning with a dramatic minor second and augmented second (C - B♮ - A♭) and landing on several upper extensions of the chords. The changes of this 32-measure AABC form are quite simple: the A section changes are a minor II-V7 twice followed by 4 measures of B♭13(♯11), the IV as a mode of the tonic. (On the solos, the tonic Fm(maj7) is sometimes used.) The bridge goes to the IV and V like many Mobley bridges.
In this arrangement, the horns are harmonized for the A section; the trumpet and tenor play the bridge in octaves. There is an interlude chorus before the piano solo, where the horns have a harmonized rhythmic riff-like figure on the A sections with tenor solo on the bridge; the B♭ chord on the fifth and sixth measures is here a whole-tone chord, a favorite Mobley device. The rhythm section vamps the A section and fades after the out melody.
In this arrangement, the horns are harmonized for the A section; the trumpet and tenor play the bridge in octaves. There is an interlude chorus before the piano solo, where the horns have a harmonized rhythmic riff-like figure on the A sections with tenor solo on the bridge; the B♭ chord on the fifth and sixth measures is here a whole-tone chord, a favorite Mobley device. The rhythm section vamps the A section and fades after the out melody.
"Hi Voltage" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
"Hi Voltage" was the second-to-last Mobley album before he went to Europe in early 1968. It is one of only two full albums where Mobley played alongside Blue Mitchell; the other is "Together", a 1961 Atlantic album with a unique two-drummer lineup co-led by Philly Joe Jones and Elvin Jones, with Curtis Fuller, Wynton Kelly and Paul Chambers. Mobley, Jackie McLean, and Billy Higgins all played on two classic Lee Morgan albums, "Cornbread" from 1965 and "Charisma" from '66, which have a similar vibe and arrangement style to "Hi Voltage."
"Hi Voltage" was the second-to-last Mobley album before he went to Europe in early 1968. It is one of only two full albums where Mobley played alongside Blue Mitchell; the other is "Together", a 1961 Atlantic album with a unique two-drummer lineup co-led by Philly Joe Jones and Elvin Jones, with Curtis Fuller, Wynton Kelly and Paul Chambers. Mobley, Jackie McLean, and Billy Higgins all played on two classic Lee Morgan albums, "Cornbread" from 1965 and "Charisma" from '66, which have a similar vibe and arrangement style to "Hi Voltage."
- Recording: Don Sickler - Further Explorations Vol. 1
- Recorded on: May 23, 2003
- Label: jazzleadsheets.com (JLS 1034)
- Concert Key: B-flat minor
- Style: Latin (Bossa)
- Flugelhorn - Don Sickler
- Piano - Cecilia Coleman
- Bass - Tim Givens
- Drums - Vince Cherico
Our Minus You version in the key of B♭ minor is slower than Hank's original recording. The interlude chorus is not included. The melody of Cecilia Coleman's piano intro is notated in the lead sheet, for reference when using the Minus You audio tracks.
The vocal version of this song is Garden In The Sand (Gloria Cooper's interpretation). The Minus Melody track here can also be used as a vocal Minus You; it's in a higher key than the Gloria Cooper version (also see the next album cover) and may be easier for singers with higher ranges.
The vocal version of this song is Garden In The Sand (Gloria Cooper's interpretation). The Minus Melody track here can also be used as a vocal Minus You; it's in a higher key than the Gloria Cooper version (also see the next album cover) and may be easier for singers with higher ranges.
"Further Explorations" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
The trio of Cecilia Coleman, Tim Givens and Vince Cherico spent many hours rehearsing at the Sickler studio on 28th Street, most often playing titles from the Second Floor Music catalog. In 2003, over five days at Rudy Van Gelder's Recording Studio, they refined their versions of many of the ballads, resulting in great tracks that are perfect for an instrumentalist to add the melodies. Don Sickler's been on a campaign to get these recordings, and songs, out to the many musicians who could enjoy them, so he added a melody track to inspire.
The trio of Cecilia Coleman, Tim Givens and Vince Cherico spent many hours rehearsing at the Sickler studio on 28th Street, most often playing titles from the Second Floor Music catalog. In 2003, over five days at Rudy Van Gelder's Recording Studio, they refined their versions of many of the ballads, resulting in great tracks that are perfect for an instrumentalist to add the melodies. Don Sickler's been on a campaign to get these recordings, and songs, out to the many musicians who could enjoy them, so he added a melody track to inspire.
Exclusive Minus You audio tracks
Minus You tracks are available for all instruments.
clip The format is:
-- intro
-- melody
-- flugelhorn solo 2 choruses
-- out melody
mp3 minus melody
-- tacet for the intro
-- play the melody
-- solo 2 choruses
-- play the out melody
mp3 minus piano
-- count off sets up the intro
-- play the intro
-- comp for the melody
-- comp for the flugelhorn solo 2 choruses
-- comp for the out melody
mp3 minus bass
-- count off sets up the intro
-- 2-feel for the intro and melody
-- 2-feel for the flugelhorn solo 2 choruses
-- 2-feel for the out melody
mp3 minus drums - sticks throughout on the recording, but brushes can also be used
-- count off sets up the intro
-- comp for the intro and melody
-- comp for the flugelhorn solo 2 choruses
-- comp for the out melody
Minus You tracks are available for all instruments.
clip The format is:
-- intro
-- melody
-- flugelhorn solo 2 choruses
-- out melody
mp3 minus melody
-- tacet for the intro
-- play the melody
-- solo 2 choruses
-- play the out melody
mp3 minus piano
-- count off sets up the intro
-- play the intro
-- comp for the melody
-- comp for the flugelhorn solo 2 choruses
-- comp for the out melody
mp3 minus bass
-- count off sets up the intro
-- 2-feel for the intro and melody
-- 2-feel for the flugelhorn solo 2 choruses
-- 2-feel for the out melody
mp3 minus drums - sticks throughout on the recording, but brushes can also be used
-- count off sets up the intro
-- comp for the intro and melody
-- comp for the flugelhorn solo 2 choruses
-- comp for the out melody
- Recording: Don Sickler - Further Explorations With Larger Ensembles
- Recorded on: October 1 , 2004
- Label: jazzleadsheets.com (JLS 1041)
- Concert Key: G minor
- Style: Latin (Bossa)
- Trumpet, Flugelhorn - Don Sickler
- Tenor Sax - Wayne Escoffery
- Guitar - Freddie Bryant
- Bass - Tim Givens
- Drums - Vince Cherico
This version in G minor has an accompanying "3-horn" arrangement: the guitar joins the flugelhorn and tenor sax for some of the harmonies and counter melodies. The rhythms of these counter melodies are shown in our Minus You parts, as is the top line of the background figure in the intro, which is ultimately based on that of the original Mobley recording. The "shout chorus" appears here after the solo, rather than between solos as in the original version; the flugelhorn top line of this chorus is notated in the parts.
On the recording Don Sickler plays some fills on muted trumpet (the overdubbed solo instrument on the whole track) on the A and C sections of this chorus (G and I).
A bass part is available, as well as a part that works for both piano and drums (as well as guitar). Click on the Minus You tab for more details.
On the recording Don Sickler plays some fills on muted trumpet (the overdubbed solo instrument on the whole track) on the A and C sections of this chorus (G and I).
A bass part is available, as well as a part that works for both piano and drums (as well as guitar). Click on the Minus You tab for more details.
"Further Explorations With Larger Ensembles" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
This "Further Explorations" track is adapted from Gloria Cooper's recording of the vocal version, Garden In The Sand.
This "Further Explorations" track is adapted from Gloria Cooper's recording of the vocal version, Garden In The Sand.
Exclusive Minus You audio tracks
The Minus You tracks all have the accompanying horn parts. There is guitar on this track but no piano; the Minus Guitar track certainly works for pianists to play along with.
clip The form is:
-- intro
-- melody
-- trumpet solo 2 choruses
-- [1] shout chorus; trumpet solo on bridge (H)
-- out melody
mp3 minus melody
-- count off sets up the intro
-- intro: play fills (optional)
-- play the melody
-- solo 2 choruses
-- shout chorus: play fills at G and I (optional), solo at H
-- play the out melody
mp3 minus Guitar/Piano
-- count off sets up the intro
-- comp for the intro and melody
-- comp for the trumpet solo 2 choruses
-- comp for the shout chorus
-- comp for the out melody
mp3 minus Bass
-- count off sets up the intro
-- play line for the intro and melody
-- 2-feel for the trumpet solo 2 choruses
-- play line and 2-feel for the shout chorus
-- play line for out melody
mp3 minus Drums - sticks throughout on the recording, but brushes could also be used
-- count off sets up the intro
-- comp for the intro and melody
-- comp for the trumpet solo 2 choruses
-- comp for the shout chorus
-- comp for the out melody
mp3 trio (minus melody: bass & drums, some horns) --to feature piano, guitar, vibes, or any melodic instrument that likes to play without harmonic accompaniment
-- count off sets up the intro
-- intro: play fills with horns (optional)
-- play the melody
-- solo 2 choruses
-- shout chorus: play fills at G and I (optional), solo at H
-- play the out melody
The Minus You tracks all have the accompanying horn parts. There is guitar on this track but no piano; the Minus Guitar track certainly works for pianists to play along with.
clip The form is:
-- intro
-- melody
-- trumpet solo 2 choruses
-- [1] shout chorus; trumpet solo on bridge (H)
-- out melody
mp3 minus melody
-- count off sets up the intro
-- intro: play fills (optional)
-- play the melody
-- solo 2 choruses
-- shout chorus: play fills at G and I (optional), solo at H
-- play the out melody
mp3 minus Guitar/Piano
-- count off sets up the intro
-- comp for the intro and melody
-- comp for the trumpet solo 2 choruses
-- comp for the shout chorus
-- comp for the out melody
mp3 minus Bass
-- count off sets up the intro
-- play line for the intro and melody
-- 2-feel for the trumpet solo 2 choruses
-- play line and 2-feel for the shout chorus
-- play line for out melody
mp3 minus Drums - sticks throughout on the recording, but brushes could also be used
-- count off sets up the intro
-- comp for the intro and melody
-- comp for the trumpet solo 2 choruses
-- comp for the shout chorus
-- comp for the out melody
mp3 trio (minus melody: bass & drums, some horns) --to feature piano, guitar, vibes, or any melodic instrument that likes to play without harmonic accompaniment
-- count off sets up the intro
-- intro: play fills with horns (optional)
-- play the melody
-- solo 2 choruses
-- shout chorus: play fills at G and I (optional), solo at H
-- play the out melody
Hank Mobley
July 7, 1930 – May 30, 1986
Hank Mobley is one of the most acclaimed tenor saxophonists in modern jazz history. He is recognized by musicians and critics alike as one of the most important and eloquent jazz instrumentalists of all time. He recorded well over 100 of his own original compositions and left an indelible mark on the post-bop jazz scene. Read more...