One of the slickest of Kenny Dorham's titles, Windmill is illustrated by three different recordings (Dorham with saxophonists Hank Mobley and Clifford Jordan, Don Sickler with saxophonist Jimmy Heath) and our new K.D. Challenge version with Minus You tracks. Based on Sweet Georgia Brown changes, it's easy to solo on; our exclusive audio will help you get the head together.
An alumni of the Art Blakey academy, James was a very influential "young lion." He often visited the jazzleadsheets studio, for rehearsals and to work with Don Sickler on his music. Tragically, he died before we really got the website off the ground. Let us introduce you to his ALTER EGO, in a new key, with Minus You accompaniment tracks. Get into the groove!
While you're here, Harold Land's The It's Where It's At was originally recorded in a big band format, but also works great for any one instrument playing the melody in a quartet format, etc. This uptempo swinger has changes of dynamics, vamps and lots more to explore in your own way.
New Tadd Dameron ballads to celebrate his 101th birthday, in both instrumental and vocal versions! Introducing the unforgettable voice of vocalist Richard Allen, singing two never-before heard Dameron vocals, with lyrics by Bernie Hanighen, writer of the 'Round Midnight lyric. Check out his voice! Tadd Dameron Songbook featuring Richard Allen. And reminding you of vocalist Rachel Gould's artistry, on the Tadd Dameron Songbook featuring Rachel Gould
Plus we have jazzleadsheets.com founder Don Sickler's instrumental interpretations of all three titles, playing both muted trumpet and flugelhorn, to inspire your own performances. You can play along with the Minus You audio tracks! I Remember Love also recorded by trumpeter Benny Bailey -- Never Been In Love two different keys -- Sweet Life also recorded by saxophonist Houston Person
We're adding new titles to our Rhythm Section Workshop series. It's a great way to learn new music that will sharpen your ensemble skills. Cecilia Coleman's So You Say (a piano/bass duo version is also available), Jonny King's Gnosis and new-to-jazzleadsheets.com composer David Kikoski's Cecilia are the newest additions. Each title has exclusive Minus You audio tracks so you can practice and perfect your part while playing along with the other instruments. Some titles have slower versions also, like Carl Perkins' Mia and So You Say.
Eighty years ago today (December 16, 1937), two great jazz saxophonists were born: Joe Farrell and Bobby Porcelli. They both played most of the saxes, but Joe's main instrument was tenor sax, while Bobby's is alto sax. They're also both great flute players as well, so I also couldn't resist on their joint birthday putting up a composition of Bobby's that he wrote and arranged for two flutes, That's Good. I wish I also had a recording of both of them playing the flute parts together, but, ironically, neither one recorded it on flute.
Joe Farrell's name might be known to many jazz fans since he played on albums that were widely distributed (Chick Corea). Unfortunately, Joe died in 1986. But who is Bobby Porcelli? If you don't know the answer to this question, you're in for a real treat.
Bobby has been highly regarded in the Latin and Latin-Jazz world for many years. That's great, but for some of us, Bobby is much more than that. If you check out his straight ahead jazz playing, you'll realize he is also one of the greatest jazz soloists around: he's instantly recognizable.
I'm very excited that jazzleadsheets.com can give you the opportunity to check out Bobby Porcelli. He's already present on over 30 of the recordings found on jazzleadsheets.com, and very soon we will be releasing more of his solo transcriptions. If you've ever talked to me about Bobby Porcelli, you know that as far as I'm concerned, musically, Bobby can do no wrong!
Here are links to the new titles related to these two birthday celebrants:
-- Farrell's Ultimate Rejection, recorded by Maynard Ferguson
-- Porcelli's That's Good (the two-flute feature) and his lyrical Rejuvenate which has been recorded by Ralph Moore and T.S. Monk, along with a vocal version, It's All In The Mind. A heretofore unreleased-to-the-public recording of Bobby playing Rejuvenate with me at a 1977 rehearsal is available.
Don Sickler and the jazzleadsheets.com team
Don Sickler: I'd been waiting for the 50th anniversary of the first recording of Rahsaan Roland Kirk's The Inflated Tear (October 19, 1967) for a few months. Fortunately, a phone conversation with Rahsaan's son Rory on October 17 reminded me about it just in time, and our jazzleadsheets.com team went into action. In addition to speaking with producer and long-time Kirk associate Todd Barkan about his thoughts on Rahsaan and on this composition, I wanted to see if I could clarify whether this concert footage was actually the very first public performance of The Inflated Tear. I knew pianist Rahn Burton thought that it was the first performance. But there was still some doubt, so the anniversary day provided me with a great reason to call Rahsaan's bassist Steve Novosel to get his recollection. I hadn't seen or talked to Steve in quite a few years, so I was happy to make the call. I got lucky and immediately got him on the phone, giving me a golden opportunity to ask one of my absolute favorite questions: "Steve, I want you think very carefully: tell me what you were doing exactly 50 years ago today." Of course, dead silence on the other end of the phone. After Steve recovered enough to say, "I have absolutely no idea," I was able to enlighten him. "That was 50 years ago today?" It all flashed back, and we had a nice conversation about that gig. I asked him if that was the "very first" performance. He said he was sure they played it first on their previous concert, which was in Warsaw, Poland. It was the usual way with Rahsaan. Out of the blue, he just started playing it. None of the rest of the band had heard it before! Steve said that the Warsaw gig was vivid in his memory because it completely blew the audience away. At the end of The Inflated Tear, they all stood and sang their national anthem. Steve said, "I could never forget that!"
It's a privilege to be able to bring this vital and significant music to musicians playing today.
At the beginning of this last summer, the marvelous pianist Bill Charlap started getting on my case. Bill has been a good friend since his high school days, when he was a member of the Young Sounds jazz program I directed for Local 802 of the American Federation Of Musicians. Bill is now the Director of Jazz Studies at William Paterson University. After the last school year was over, he started calling me, wanting as much Kenny Dorham music as I could give him. For the upcoming fall semester, he wanted the students at the school to be exposed to as much Kenny Dorham and Joe Henderson as possible.
I told Bill that now, with jazzleadsheets.com, I'm able to delve deeper in an organized way into K.D.'s compositions than I ever could before. Look at how Kenny developed his masterpiece Lotus Blossom, for example. There are six recordings tracing his progress. The seventh recording is our own K.D. Challenge project recording, with complete Minus You audio tracks available. Horn Salute, Monaco and Brown's Town are three new additions to the K.D. Challenge project.
There are still more great K.D. compositions to come, and believe me, Charlap will be on my case until they're available for everyone to play. As Michael Cuscuna wrote, "How does one perceive a man whose creative talents span big bands, the very origins of bebop, the founding of funk and hard bop and participation in the experimentation of Cecil Taylor, John Coltrane and Andrew Hill?" The answer is jazzleadsheets.com!
Use the links above or read on for details on each new title.
Blue Ching K.D. wrote this stop-time blues head for Art Blakey and the Jazz Messengers, as a showcase for their trademark dynamic range. Second parts and rhythm section parts are available for this quintet arrangement.
Blues For Jackie This blues head from an obscure Jackie McLean session is classic K.D., with tasty stop-time figures and chord substitutions.
Dead End This early Kenny Dorham composition shows his bebop roots. He played it with Charlie Parker in the '40s but it wasn't recorded until Red Rodney's version in 1979. Check out the Historical Notes to learn why.
Echo Of Spring A relatively early Kenny Dorham composition in a melodic bebop-ish bag. It's also known as K.D.'s Cab Ride but Echo Of Spring is Kenny's title. From Kenny's Afro-Cuban album, the bridge has a Latin groove. The Concert Condensed Score shows the bridge counter melody.
Horn Salute A very intriguing Kenny Dorham composition, with lots of question-and-answer activity and interplay between the melody and rhythm section, plus a unique soloist challenge: K.D. continues his composition through the first 14 measures of each soloist, integrating a super-slick written rhythmic bass line with stop and go figures for the rest of the rhythm section. Our K.D. Challenge version has separate Minus You audio tracks for each instrumentalist.
Jung Fu Related to Lotus Blossom, this song takes the same thematic material in a more modal direction. It comes from Kenny's last recording as a leader, but was released only recently. The Condensed Score editions show melody, harmony and rhythm section activity.
Karioka A hard-driving medium-up composition that K.D. never recorded, Karioka comes from an early Freddie Hubbard album. A full set of parts are available for this quintet arrangement.
Lotus Blossom An important Kenny Dorham work that he revisited quite a few times, performing and recording it in many different settings and arrangements. This may be overwhelming, but we feel it's necessary to show you seven different recordings (two were recorded under the title Asiatic Raes). These different treatments show Kenny's inexhaustible inventiveness. We suggest that you first click on each record jacket and listen to each audio clip. You'll hear why we've had to hit you with all of them at once! Condensed scores are available for five versions, while melody and rhythm section editions (and audio!) are available for our Minus You K.D. Challenge version to help you get inside this masterpiece. Check out the Minus You tab!
Monaco The magic of this composition is fully realized in Kenny's multi-tempo arrangement. Kenny's original melody treatment (recorded live at the Cafe Bohemia) for both the master and alternate takes has been transcribed, for B-flat and C instruments. Everyone can explore this dramatic Latin/swing arrangement themselves through the Minus You tracks in our K.D. Challenge editions.
Stage West A tour de force on the uptempo blues, with a head four choruses long and a send-off for the solos. All parts of the quintet arrangement are available.
"The K.D. Challenge" is our hint that Kenny Dorham compositions are not only challenging, they're intriguing, great-and-fun-to-play masterworks. They are some of the most unique and important small group compositions in jazz. We've added the swinging, relaxed Blue Spring Shuffle this week.
One of the things that sets Kenny Dorham apart from other composers is his emphasis on the specific roles of the individual rhythm section players. The often-distinctive role of each rhythm section player is part of the composition, not just part of an arrangement. The independent instrumental parts combine in an interplay that is more than the sum of the parts. To help each individual player, because everyone has to know what's happening, we've made each rhythm section part double-staved, showing a smaller staff with the melody above each part. You'll find it's very helpful to see the melody in relation to your own part. Often we'll also indicate other rhythm section cues so you can really see how everything fits together.
Try our Minus You audio tracks (click on the Minus You tab for each title): every rhythm section player can have his/her own audio track, minus their instrument, to practice with. You can master your role while also accompanying recorded soloists. Melody players will have a great rhythm section behind them for the melody and also for soloing.
Many fans have said, "K.D. is the cat!" Jerry the Jazz Musician wrote: "His music remains more than basically satisfying to his listeners. It smokes!"
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