Minority – Gigi Gryce
Gigi Gryce's biggest jazz standard. Lead sheets & second parts plus transcriptions available of Gigi Gryce's alto sax solo and Joe Gordon's trumpet solo from the original recording. Our "Gigi Gryce Project" version has Minus You audio tracks and Minus You parts for all instruments and is played at a brisk quarter note = ca. 272.
- Recording: Art Blakey - Blakey
- Recorded on: May 20, 1954
- Label: EmArcy (MG 26030)
- Concert Key: F minor
- Style: Latin/swing (medium up)
- Trumpet - Joe Gordon
- Alto Sax - Gigi Gryce
- Piano - Walter Bishop, Jr.
- Bass - Bernie Griggs
- Drums - Art Blakey
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Video
- Mt. Fuji Jazz Festival with Blue Note Jam Session, 1988: Philip Harper, trumpet; Ralph Peterson, cornet; Steve Wilson, alto sax; Bill Pierce, tenor sax; Michel Petrucciani, piano; Curtis Lundy, bass; Lewis Nash, drums
- Antonio Madruga, piano; Russell Hall, bass; Michael Piolet, drums; live at Van Dyke Cafe, Miami, 2011.
- Bud Shank, alto sax; Bill Mays, piano; Bob Magnusson, bass; Joe LaBarbera, drums; on TV in Sao Paulo, Brazil, 2004.
- Warren Wolf Group: Tim Green, alto sax; Craig Alston, tenor sax; Warren Wolf, piano; Kris Funn, bass; John Lamkin, drums; live at Caton Castle, Baltimore, 2008.
- Ben Rosenblum refines his phrasing on the piano by practicing along with Gigi Gryce's alto solo.
Minority is definitely a Gigi Gryce "jazz standard." It's been recorded many times by many different artists. Our audio excerpt starts with the melody, but Gigi's arrangement (and the recording) starts with a Latin intro and ends with a Latin coda. Both are notated in the lead sheets. This is a two-part front line arrangement. Therefore, in addition to melody lead sheets, second parts are available separately as indicated.
The melody on this version, as well as on the original Clifford Brown version (1953), is slightly different from the way it is most frequently played. Most notably, the pickup at the end of the chorus (the descending augmented arpeggio) is not played either in the Blakey version, in which the head is played only once, or the Clifford Brown one with the head played twice. Instead, the A-natural from the "and" of beat 4 in the second-to-last measure is held out. Meanwhile, the A-natural on the first beat of that measure is a short quarter note instead of a half note. The augmented arpeggio pickup was first established in Gigi's Jazz Lab Quintet recording and popularized by Cannonball Adderley.
The other place where the melody can vary is the hits in the ninth and eleventh measures. In this version, the hit on the ninth measure is on beat 1, and on the eleventh measure on beat 2. Cannonball also played it this way.
The melody on this version, as well as on the original Clifford Brown version (1953), is slightly different from the way it is most frequently played. Most notably, the pickup at the end of the chorus (the descending augmented arpeggio) is not played either in the Blakey version, in which the head is played only once, or the Clifford Brown one with the head played twice. Instead, the A-natural from the "and" of beat 4 in the second-to-last measure is held out. Meanwhile, the A-natural on the first beat of that measure is a short quarter note instead of a half note. The augmented arpeggio pickup was first established in Gigi's Jazz Lab Quintet recording and popularized by Cannonball Adderley.
The other place where the melody can vary is the hits in the ninth and eleventh measures. In this version, the hit on the ninth measure is on beat 1, and on the eleventh measure on beat 2. Cannonball also played it this way.
Gigi first recorded Minority with Clifford Brown in Paris (October 8, 1953). Then he recorded it with Art Blakey on the recording featured here. Gigi recorded it once more on his "The Hap'nin's" album for Prestige (May 3, 1960). There are well over 60 other recordings of this composition by different artists.
Two more great Gryce titles from the "Blakey" recording are also available: Hello and Salute To Birdland.
Learn more about Gigi Gryce at Noal Cohen's Jazz History website. Also see Gryce's discography.
Two more great Gryce titles from the "Blakey" recording are also available: Hello and Salute To Birdland.
Learn more about Gigi Gryce at Noal Cohen's Jazz History website. Also see Gryce's discography.
Transcribed Alto Sax and Trumpet Solos: This Gigi Gryce classic is worthy of special attention, as are the soloists. Gigi Gryce and Joe Gordon have different approaches to this great composition: compare how the two different soloists navigate the changes, first Gigi alto then Joe trumpet . There are concert editions of both solos; a B-flat edition is also available for Gigi's alto sax solo, so trumpet players, for example, can get inside the mind of the saxophonist.
- Recording: Gigi Gryce - The Hap'nin's
- Recorded on: May 3, 1960
- Label: New Jazz (NJLP 8246)
- Concert Key: F minor
- Style: Latin/swing (uptempo)
- Trumpet - Richard Williams
- Alto Sax - Gigi Gryce
- Piano - Richard Wyands
- Bass - Julian Euell
- Drums - Mickey Roker
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Our "Gigi Gryce Project" version is based on the arrangement from this recording. The intro/coda is similar to the Blakey version, but with a slightly different melody at the end. The head is more familiar than the Blakey version (click on the first album cover for details about that recording's differences). On the ninth measure, the hit is again on beat 1; the eleventh measure's hit is on the "and" of beat 1. It should be noted that these two hits have very often been corrupted to both coming on the "and" of 1; playing the first one on the downbeat breaks the pattern in a tasteful way.
This arrangement adds an interlude at the beginning of each solo: sixteen measures of Latin vamp, corresponding to the intro and ending.
The lead sheets for this arrangement are the same as for our Gigi Gryce Project version. The 2nd parts, however, are only available with this version. The harmony part is quite similar to that of the Blakey version; the head is unison the first time both in and out, going to harmony the second time.
This arrangement adds an interlude at the beginning of each solo: sixteen measures of Latin vamp, corresponding to the intro and ending.
The lead sheets for this arrangement are the same as for our Gigi Gryce Project version. The 2nd parts, however, are only available with this version. The harmony part is quite similar to that of the Blakey version; the head is unison the first time both in and out, going to harmony the second time.
"The Hap'nin's" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Gigi recorded four albums in 1960 with Richard Williams and Richard Wyands; "The Hap'nin's" is the second. The first, recorded on March 11th, was "Saying Somethin'!" (see Curtis Fuller's Down Home) with the same personnel except with Reggie Workman on bass. "The Rat Race Blues", recorded June 7th, featured the same personnel as "The Hap'nin's."
Finally, "Reminiscin'" was recorded in three sessions in November of the same year with Eddie Costa added on vibes; different songs from this album have Workman, Julian Euell, and George Duvivier on bass, and Walter Perkins and Bobby Thomas on drums.
One other recording of Minority with Gigi is not available online as a download. This was recorded on February 27, 1957, and released on the Riverside album "Gigi Gryce And The Jazz Lab Quintet." The personnel is the same as the Jazz Lab recording of Blue Concept. The arrangement on this recording is closest to that of the "Hap'nin's" version, but swinging all the way through, with a rhythm section pedal point vamp that the horns improvise over before playing the written intro. There is no interlude at the beginning of each solo as there is in the "Hap'nin's" arrangement.
Gigi recorded four albums in 1960 with Richard Williams and Richard Wyands; "The Hap'nin's" is the second. The first, recorded on March 11th, was "Saying Somethin'!" (see Curtis Fuller's Down Home) with the same personnel except with Reggie Workman on bass. "The Rat Race Blues", recorded June 7th, featured the same personnel as "The Hap'nin's."
Finally, "Reminiscin'" was recorded in three sessions in November of the same year with Eddie Costa added on vibes; different songs from this album have Workman, Julian Euell, and George Duvivier on bass, and Walter Perkins and Bobby Thomas on drums.
One other recording of Minority with Gigi is not available online as a download. This was recorded on February 27, 1957, and released on the Riverside album "Gigi Gryce And The Jazz Lab Quintet." The personnel is the same as the Jazz Lab recording of Blue Concept. The arrangement on this recording is closest to that of the "Hap'nin's" version, but swinging all the way through, with a rhythm section pedal point vamp that the horns improvise over before playing the written intro. There is no interlude at the beginning of each solo as there is in the "Hap'nin's" arrangement.
- Recording: Gigi Gryce - The Gigi Gryce Project
- Recorded on: September 2, 1999
- Label: jazzleadsheets.com (JLS 1024)
- Concert Key: F minor
- Style: Latin/swing (uptempo)
- Alto Sax - Bobby Porcelli
- Tenor Sax - Ralph Moore
- Piano - Richard Wyands
- Bass - Peter Washington
- Drums - Kenny Washington
This version of Minority from our "Gigi Gryce Project" is a real tour de force! The arrangement is that of the "Hap'nin's" album, but taken considerably faster. This makes Minus You a worthwhile challenge, especially for bass and drums.
For more details about the arrangement, click on the "Hap'nin's" album cover (above, left). Our rhythm section parts have the melody and harmony lines of the two horns fully notated, with rhythm section hits and other activity written below the staff.
Second parts are available under the album cover to the left, "The Hap'nin's."
For more details about the arrangement, click on the "Hap'nin's" album cover (above, left). Our rhythm section parts have the melody and harmony lines of the two horns fully notated, with rhythm section hits and other activity written below the staff.
Second parts are available under the album cover to the left, "The Hap'nin's."
"The Gigi Gryce Project" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Richard Wyands and saxophonist/composer Gigi Gryce recorded quite a few times together in 1960 and 1961, almost 40 years before our "Gigi Gryce Project" recording in 1999. Three consecutive albums, in March, May and June, 1960, are represented on jazzleadsheets.com: "Saying Somethin!", "The Hap'nin's" and "The Rat Race Blues." All three were recorded by engineer Rudy Van Gelder at his then-new Englewood Cliffs studio. Rudy was delighted to see and record Richard again, in 1999, playing Gryce's music.
Richard Wyands and saxophonist/composer Gigi Gryce recorded quite a few times together in 1960 and 1961, almost 40 years before our "Gigi Gryce Project" recording in 1999. Three consecutive albums, in March, May and June, 1960, are represented on jazzleadsheets.com: "Saying Somethin!", "The Hap'nin's" and "The Rat Race Blues." All three were recorded by engineer Rudy Van Gelder at his then-new Englewood Cliffs studio. Rudy was delighted to see and record Richard again, in 1999, playing Gryce's music.
The fast tempo makes this one of our most challenging Minus You recordings, especially for the endurance of bassist and drummer. It's well worth the challenge, as you get to play with the likes of Bobby Porcelli, Ralph Moore, Richard Wyands, Peter Washington, and Kenny Washington! Separate parts for the rhythm section.
clip Form of the full recording:
-- intro
-- melody
-- piano solo: interlude and 6 choruses
-- alto sax solo: interlude and 5 choruses
-- tenor sax solo: interlude and 5 choruses
-- interlude: saxes trade 8s with each other
-- trading: saxes trade 8s with drums 4 choruses
saxes trade 4s with each other 2 choruses
saxes trade 2s with each other 2 choruses
-- drum solo 1 chorus
-- out melody
-- coda
mp3 minus melody - Minus You for all melody instruments - this track is edited, with the piano solo, saxes trading choruses, and drum chorus taken out
-- count off sets up the intro
-- play the intro and melody
-- solo over the interlude and 5 choruses
-- a second interlude and 5 more choruses
-- a third interlude and 4 choruses of trading 8s with the drums
-- play the out melody and coda
mp3 minus piano
-- count off sets up the intro
-- comp for the intro and melody
-- solo over the interlude and 6 choruses
-- comp for the alto sax solo: interlude and 5 choruses
-- comp for the tenor sax solo: interlude and 5 choruses
-- comp for the trading
interlude with saxes trading 8s
saxes trade 8s with drums 4 choruses
saxes trade with each other 4 choruses
-- tacet for drum solo 1 chorus
-- comp for the out melody and coda
mp3 minus bass
-- count off sets up the intro
-- 2 feel for the intro (Latin)
-- walk for the melody
-- piano solo: interlude (Latin) and walk for 6 choruses
-- alto sax solo: interlude (Latin) and walk for 5 choruses
-- tenor sax solo: interlude (Latin) and walk for 5 choruses
-- trading
interlude (Latin) with saxes trading 8s
walk: saxes trade 8s with drums 4 choruses
saxes trade with each other 4 choruses
-- tacet for drum solo 1 chorus
-- walk for the out melody and coda (Latin on coda)
mp3 minus drums
-- count off sets up the intro
-- Latin groove for the intro
-- comp (swing) for the melody
-- piano solo: interlude (Latin) and comp for 6 choruses (swing)
-- alto sax solo: interlude (Latin) and comp for 5 choruses (swing)
-- tenor sax solo: interlude (Latin) and comp for 5 choruses (swing)
-- trading (with third beat snaps) mp3
interlude (Latin) saxes trade 8s with each other
swing: trade 8s with saxes (sax first) 4 choruses
comp for saxes trading with each other: 2 choruses of 4s, 2 choruses of 2s
-- comp for the out melody
-- Latin groove for the coda
mp3 bass & 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
-- solo over the interlude and 5 choruses
-- a second interlude and 5 more choruses
-- a third interlude and 4 choruses of trading 8s with the drums
-- play the out melody and coda
clip Form of the full recording:
-- intro
-- melody
-- piano solo: interlude and 6 choruses
-- alto sax solo: interlude and 5 choruses
-- tenor sax solo: interlude and 5 choruses
-- interlude: saxes trade 8s with each other
-- trading: saxes trade 8s with drums 4 choruses
saxes trade 4s with each other 2 choruses
saxes trade 2s with each other 2 choruses
-- drum solo 1 chorus
-- out melody
-- coda
mp3 minus melody - Minus You for all melody instruments - this track is edited, with the piano solo, saxes trading choruses, and drum chorus taken out
-- count off sets up the intro
-- play the intro and melody
-- solo over the interlude and 5 choruses
-- a second interlude and 5 more choruses
-- a third interlude and 4 choruses of trading 8s with the drums
-- play the out melody and coda
mp3 minus piano
-- count off sets up the intro
-- comp for the intro and melody
-- solo over the interlude and 6 choruses
-- comp for the alto sax solo: interlude and 5 choruses
-- comp for the tenor sax solo: interlude and 5 choruses
-- comp for the trading
interlude with saxes trading 8s
saxes trade 8s with drums 4 choruses
saxes trade with each other 4 choruses
-- tacet for drum solo 1 chorus
-- comp for the out melody and coda
mp3 minus bass
-- count off sets up the intro
-- 2 feel for the intro (Latin)
-- walk for the melody
-- piano solo: interlude (Latin) and walk for 6 choruses
-- alto sax solo: interlude (Latin) and walk for 5 choruses
-- tenor sax solo: interlude (Latin) and walk for 5 choruses
-- trading
interlude (Latin) with saxes trading 8s
walk: saxes trade 8s with drums 4 choruses
saxes trade with each other 4 choruses
-- tacet for drum solo 1 chorus
-- walk for the out melody and coda (Latin on coda)
mp3 minus drums
-- count off sets up the intro
-- Latin groove for the intro
-- comp (swing) for the melody
-- piano solo: interlude (Latin) and comp for 6 choruses (swing)
-- alto sax solo: interlude (Latin) and comp for 5 choruses (swing)
-- tenor sax solo: interlude (Latin) and comp for 5 choruses (swing)
-- trading (with third beat snaps) mp3
interlude (Latin) saxes trade 8s with each other
swing: trade 8s with saxes (sax first) 4 choruses
comp for saxes trading with each other: 2 choruses of 4s, 2 choruses of 2s
-- comp for the out melody
-- Latin groove for the coda
mp3 bass & 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
-- solo over the interlude and 5 choruses
-- a second interlude and 5 more choruses
-- a third interlude and 4 choruses of trading 8s with the drums
-- play the out melody 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...