Author Archives: Don Sickler

A better jazzleadsheets.com is coming. Stay tuned.

We’ve grown so much over the last few years that our current website literally can’t handle us anymore: we can’t add any new composers or albums! So we’re keeping our fingers crossed that March will be the month we can unveil the new look and features of the new jazzleadsheets.com. The expanded and enriched new site has been close to three years in the making, and while it’s been a long road, the final product will be worth the wait.

Fortunately, we still have more great charts from albums and composers that are already on our current site, so here are seven new additions.

LUCKY THOMPSON: N R #1
An angular blues with an unusual form, this quirky Lucky Thompson piece is pure fun. The melody twists through the blues scale in unexpected patterns, creating a memorable, modern sound. Sleek and sophisticated.

LUCKY THOMPSON: N R #2
The unusual name of this piece and N R #1 might imply that the two go together, but you’ll hear that they couldn’t be more different. It has a classic sound with Lucky’s charming melodic style. Lead sheets and second parts available.

VALERY PONOMAREV: Mirage
A contrast in snappy, punctuated riffs and long, lyrical lines. The striking interplay of the bold A theme and the soft B theme creates appealing drama. Lead sheets and second parts available.

KENNY DREW, JR.: Passionata
An evocative, masterful bossa which evolved from a manuscript fragment by Kenny Drew, Sr., completed by his son. We’re featuring two different clips of this tender bossa, both from the same album: one is Kenny Drew Jr.’s opening trio rendition and the other is his album-closing version with strings.

NORMAN SIMMONS: Good Humors
A laid-back, supremely cool swing from Norman Simmons. The call-and-response between the persistent groove in the rhythm section and the contrasting melody in the horns creates a great conversation. Lead sheets and second parts available.

STEVE NELSON: For Wes
A beautiful ballad dedicated to quitarist Wes Montgomery, from composer/vibist Steve Nelson. He performs the solo section with a double time feel a la Wes Montgomery. Wistful and heartfelt, the melody of this ballad is simply gorgeous.

VALERY PONOMAREV: Means Of Identification
Another Valery Ponomarev piece to expand your repertoire! This brassy piece is in 3/4 and combines hard-bop vocabulary and a hint of Latin influence. Valery sets a bright horn melody over a rich rhythmic background.

Check out our new charts today!
Swing in the new year with new charts galore

It’s been a great year here at jazzleadsheets.com: we celebrated Blue Note’s 75th Anniversary, launched our Minus You audio features, and introduced handfuls of new composers and more great music. We’re still working with our developer on the improved version of jazzleadsheets.com which will feature a more visually-exciting interface and a better checkout experience. To keep you swinging into 2015, we’re topping you off with one last group of lead sheets for the year with some picks we know you’ll love.

GIGI GRYCE: Boxer’s Blues
A different type of altered blues! This Gigi Gryce piece moves back and forth from a double time groove to a laid-back swing. Gigi’s intriguing quintet arrangement is captured in each of our lead sheet editions; his original recording featured trumpet and alto sax alternating lines, but both are notated in all editions so you can choose how you want to approach it.

TINA BROOKS: Miss Hazel
A bright, brassy Tina Brooks composition full of fun II-V changes. This uptempo swing is also available as a quintet arrangement; we have a concert condensed score available (featuring the melody, counter-melody and rhythm section hits), lead sheets for all instruments and second parts.

LUCKY THOMPSON: Once There Was
A perfect example of Lucky Thompson’s masterful ballad writing and interpretation. To show both sides of Lucky’s talent, composing and performing, all editions include a transcription of everything he plays on the form: the head in, a short solo over the bridge, and the last A section out.

WALTER DAVIS, JR.: Scorpio Rising
“Walter Davis, Jr., loved to play this piece to get his adrenaline going,” remembers Don Sickler. This wild medium-up swing with a strong rhythmic pulse will get you going, too!

KENNY DREW, JR.: Nelson Avenue Morning
A light, breezy, constantly evolving medium swing melody from a virtuoso pianist-composer. This unusual ABABC form of this piece is a refreshing twist on typical song forms — the way Kenny only uses four measures of the B section when it returns and the unexpected new themes at the end keep everyone on their toes.

ROY HARGROVE: The Mountaings
Keep things spicy with this Cuban son-jazz hybrid. The 2/3 clave groove gives The Mountaings an authentic Cuban vibe, but Roy Hargrove’s melody is modern jazz-oriented. This composition comes from Roy’s Grammy-winning album HABANA and is sure to be a winner for you, too.

GEOFFREY KEEZER: Pierce On Earth
A personal, sensitive ballad written for saxophonist Bill Pierce. Geoff weaves together contemporary jazz idioms with soulful licks in this tender composition. Geoff’s own solo piano arrangement is also available.

DONALD BROWN: The Moment You’ve All Been Waiting For
This stately ballad features an unusual abbreviated form with just four measures for the A sections and three measures for the B. The dramatic sustained chords under the main theme define the character of this Donald Brown composition.

Start your 2015 the right way with jazzleadsheets.com!
Be jolly: Deck your music stands with new lead sheets.

'Tis the season of giving, so we're keeping these holidays merry and bright with a new collection of lead sheets.

HANK MOBLEY: Night Watch
That’s right — we’ve got more of this classic composer and we can’t wait to share it! Hank Mobley’s winning melodic style — singable, simple lines — is on display here in this Latin/swing hybrid.

NORMAN SIMMONS: Slumberettes
Don’t sleep on this jazzy lullaby. This sweet, lilting waltz by composer/pianist Norman Simmons is sensitive and graceful. Pianists, be sure to check out our solo piano arrangements: one by Norman himself and an easy piano arrangement by Don Sickler. Both were recorded exclusively for jazzleadsheets.com by maestro Kenny Drew, Jr. Concert condensed score and second parts available.

BILL BARRON: Minor Mode
Don’t confuse this piece with the Booker Little composition of the same name! This energetic medium swing makes a great introduction to the underrated (but always impressive) hard bop composer Bill Barron. Second and third parts available.

JON BURR: Rainbow Over Harlem
Jon Burr’s charming medium swing has a memorable and dreamy melody — and it’s available in editions both for instrumentalists and singers! Vocalists will love stretching their ears with this piece that we’ve made available in both female- and male-friendly keys. And everyone will enjoy the laid-back feel that supports the alluring melody.

ROB BARGAD: Tears
A sultry, slow Latin piece that mixes a modern jazz melody with a smoldering cha-cha/bolero groove. Rob Bargad flaunts his compositional prowess on this chart. If you’re not hip to this current composer yet, now’s the time to start!

Share the joy with us at jazzleadsheets.com!
Add some fall spice to your repertoire with these charts.

Hey jazz lovers,

Have you missed us? We know it’s been a while! We’ve been hard at work putting together the beautiful new website. Soon, it will be easier than ever to find the music you love and to discover new gems you never knew you were missing.

Until then, we’ve got some great compositions by some fantastic composers to tide you over until the new site goes live.

LUCKY THOMPSON: Little Tenderfoot
Looking for that perfectly classic sound? After an A section melody over rhythm changes, this charming, cheerful head takes some harmonic detours. The familiar changes make it a breeze to solo over and Lucky Thompson’s impeccable melodic writing is not only lovely to hear, but great fun to play.

ROY HARGROVE: Ballad For The Children
From the Grammy award-winning album HABANA, this Latin ballad is deeply emotional. Try the lead sheet on its own or get the full transcription of everything this jazz superstar plays — both the melody and the solo! Learn ballad phrasing from Roy Hargrove himself by studying exactly what he does.

STEVE NELSON: Kirk’s New Delight'
Go on a musical journey with Steve Nelson. Kirk’s New Delight is a laid back swing with a melody that tells a story through its developing melodic themes. A little extra flair comes from Steve’s embellishments on the melody, which we’ve included on all editions of the lead sheets.

GRANT STEWART: Cyclops
Angular and unflinching, Cyclops is equal parts bebop and modern jazz. Grant Stewart peppers the melody with #11ths and major sevenths that delight the ear. The harmonic progression is easy to pick up, which makes this a great choice to work on soloing over chord extensions.

VALERY PONOMAREV: Fifteenth Round
Don’t miss this explosive powerhouse! Your audience will be rapt with toe-tapping attention after the first line of this hard-bop infused quintet. We’ve made the second parts available as well as a concert condensed score for rhythm section players.

Don’t settle for standards. Try something new at jazzleadsheets.com.
Hank Mobley in February

We hear “Keep the Hank Mobley coming!” from jazzleadsheets customers. As we continue with our celebration of Blue Note Records 75th year, we find that February was a big month for Hank Mobley as a leader. We already have four titles available from Hank’s classic "Soul Station" album (recorded on February 7, 1960). Now we’ve added Third Time Around to the three already up from his February 5, 1965, “The Turnaround” session (also released on the “Straight No Filter” album and recorded again on the “A Caddy For Daddy” album). That composition was also recorded in December as a sextet, and both arrangements are available, plus drum transcriptions of Billy Higgins’ playing on both sessions.

In addition to the two compositions we already have up from Hank’s "Peckin’ Time" album (February 9, 1958), we’re adding Stretchin’ Out and Git-Go Blues.

There’s one more Hank Mobley February Blue Note leader session ("Third Season" - February 24, 1967) which has five more Mobley compositions. This was a septet session, with the melody sometimes moving from instrument to instrument. We’re putting out regular lead sheets, so anyone can play the whole melody. For now, we’ve selected Don’t Cry, Just Sigh and Boss Bossa from that session.

Here’s an alphabetical list of Hank’s compositions that were recorded in the month of February and that are on jazzleadsheets.com:
Boss Bossa (new!)
Dig Dis
Don’t Cry, Just Sigh (new!)
Git-Go Blues (new!)
High And Flighty
Pat ‘N Chat
Peckin’ Time
Soul Station
Split Feelin’s
Straight Ahead
Stretchin’ Out (new!)
Third Time Around (new!)
This I Dig Of You
The Turnaround

We have more proof that jazz is alive and well: check out 15-year-old drummer/leader Julius Rodriguez and his quintet as they perform the Bobby Timmons hit, A LITTLE BUSY. This group is all high school students! These remarkable young men are on a very important mission — they’ve been selected as finalists in the Next Generation High School Open Combo Division contest. If they win, they’ll play at the Monterey Jazz Festival, but they need help to get there. Hear them talk about the great opportunity that awaits them and the music that inspires them.
Introducing MINUS YOU: a brand new way to practice

It’s been busy here in our New York office — on Monday, January 6, we celebrated Blue Note’s 75th anniversary with two Meade Lux Lewis piano transcriptions (Melancholy / Solitude) which comprised BN-1, the actual first Blue Note release. On Wednesday, January 8, we celebrated the anniversary of the recording of Kenny Burrell’s classic Blue Note album Midnight Blue. Today we’re back with another round of great charts — and a new collaboration with a new series of audio editions!

In addition to making leadsheets and arrangements available, jazzleadsheets.com is starting a new series of instrumental audio play-a-long editions for every member of the recorded ensemble. We call it our [minus you] editions. We've long offered practice tracks of our Singer's Corner compositions so vocalists could sing with a professional ensemble, but with our [minus you] series, we're taking it to the next level. We're now offering tracks of the highest caliber musicians with options for each part removed -- so you can practice with professionals.

I’m starting this new series with the help on one of my old friends, fellow trumpet player, Brian Lynch. We’ve always had the common quest to pay tribute to very important trumpet player/composers who haven’t received their due. Several years ago Brian came up with his “Unsung Heroes Project” recording concept and came to us to get some music by three of their mutual heroes: Idrees Sulieman, Tommy Turrentine and Joe Gordon.

We’re starting this marriage of jazzleadsheets.com and Brian’s Hollistic Music with one composition each by these important trumpet/composer giants:
Big Red (Tommy Turrentine)
Terra Firma Irma (Joe Gordon)
Orange Blossoms (Idrees Sulieman)

Big Red was recorded as a quintet by Brian.
Terra Firma Irma was as a sextet by Brian, and also originally recorded by Joe Gordon as a quintet.
Orange Blossoms was recorded by Brian in a quartet context. Judy Niemack also wrote a lyric to this beautiful ballad, which required a new title for the lyric version: With You.

The written music is available in separate editions: go to each song page for a list of what is available.

Transcribed trumpet solos are also available for Terra Firma Irma (for Brian and Joe) and Big Red (Brian only).
Specific [minus you] editions are also available: you can substitute yourself for any instrument in the ensemble!

"Front line" is the term used to signify the melody player along with anyone else in "the front line" playing harmony parts, as in a quintet or sextet. Our [minus you] editions for front line players feature them as the only soloists; they play in the ensemble for the melodies.

Solos for front line players: On the original recordings there are often various soloists. On our [minus you] front line editions, you are the only soloist. Rhythm section players play with the whole original recorded track.
51 Years Ago Today: "Midnight Blue"

January 8, 1963: Kenny Burrell’s “Midnight Blue” album was recorded in Rudy Van Gelder’s Englewood Cliffs studio, featuring the title track which was an instant classic, Midnight Blue. Rudy says, “I built the studio for music like that, where people are comfortable playing and the music fits the space that they’re playing in.”
end-of-2013 additions from jazzleadsheets.com

Here are our last additions to jazzleadsheets for 2013. We’re looking forward to adding many more, plus new features, in 2014. We can't wait to see you then! And we wish you a Happy New Year.

Freddie Redd’s sunny Latin So, Samba! celebrates its 25th recording anniversary. It’s a lot of fun with one melody instrument, and it was first recorded as a quintet arrangement so second parts are also available.

The beautiful ballad Dark Beauty by Kenny Drew, trio & quintet versions with second parts, plus Drew’s piano arrangement from his original manuscript.

Arioso, James Williams’ soaring melody, plus his solo piano arrangement recorded by Kenny Drew, Jr.

J.R. Monterose’s lilting Waltz For Claire, a quartet version.

New composer Grachan Moncur III debuts with Riff Raff, from Jackie McLean’s “Destination … Out!” Blue Note album, plus Grachan’s trombone solo.

A memorable & delightful vocal, All Because Of You, from new composer/pianist/organist/vocalist Rob Bargad.
The holidays are here at jazzleadsheets.com

The holidays are just around the corner, and it’s been getting snowy here in New York. We’re celebrating the season through great charts — check them out and join in our holiday revelry!

Kicking off our new additions is a swing/Latin hybrid by Elmo Hope - Abdullah. The minor melody is tuneful and memorable — it might just get stuck in your head. Since Elmo originally recorded this composition with his quintet, we have the original parts available to try out with your own quintet (alternate parts are also available). If you want to play it solo or try out your own arrangement, we offer a regular leadsheet as well. Either way, it’s a strong addition to any set.

On the slower side of Latin is Los Milagros Pequenos, a mysterious and alluring piece by Norman Simmons. The melody of this chart is slow and meditative; it floats over a repeating bass line that anchors the piece. Norman originally recorded this chart with his quintet, but also wrote a solo piano arrangement for it. The piano arrangement is a great choice for intermediate pianists looking to brush up on their Latin skills — it’s not simplified at all, but isn’t too tricky either. To go along with the piano arrangement, we have an exclusive audio track featuring Kenny Drew Jr. It’s a great example of how to play this beautiful composition.

If you’re looking for something with a bit more pep, look no further than Ray Bryant’s Bebop Irishman. This chart is as whimsical and fun as the name suggests — it has a jig-like pace with long bebop lines set over a simple folk-like chord progression. This is a good pick to feature the piano, since the long chromatic lines showcase pianistic dexterity. This is not to say that this piece is only for pianists. On a Buddy Rich recording, both flute and vibes are added to the melody, and George Shearing added guitar as well as vibes to the melody. We also have horn editions as well. For drummers, though, we have Evan Hughes’s transcription of Jo Jones’ playing. The transcription includes the drum introduction, time over the in head, trading fours with the piano, and the out chorus. The brushwork on this piece is so incredible that many drummers regard this recording as a sort of bible for brush playing. Now you don’t have to guess what Jo Jones was playing — you can try it all out yourself with this meticulously detailed transcription!

For singers, we’re releasing the vocal version of the Gigi Gryce jazz standard Social Call. Jon Hendricks’s clever lyric is the perfect foil for the unforgettable melody, making the vocal version a popular choice for decades of singers. Try this chart out for yourself and join the ranks of Ernestine Anderson, Betty Carter, Earl Coleman, Karrin Allyson, Diane Reeves and Cecile McLorin Salvant — all of whom have recorded this classic composition.

Finally, we have an exotic 7/4 blues from Julian Priester and Judy Niemack. Eros, Judy’s lyric version to Julian’s instrumental Blues for Eros, is a sexy musical retelling of the Greek myth of Eros and Psyche. Eros, the son of the goddess Aphrodite, seduced Psyche until she figured out his godly identity. He abandoned her, forcing Psyche to seek counsel from Aphrodite, who sent her on a difficult quest to win back her love. Judy draws out the theme of blind passion so strong it verges on desperation; this theme is amplified by the seductive melody by Julian and the driving odd-meter pulse of the bass.
Winter is here, and so are these new composers!

It's another update jam-packed with old favorites and new composers alike! Starting out with the familiar faces:

HANK MOBLEY’S STRAIGHT AHEAD
This title comes from Hank Mobley’s “The Turnaround” album, which was unusual in that in combined two dates that are separated by two years. Quintet parts available. The drummer was the fantastic Billy Higgins and we’re offering a transcription of his drumming on the track.

THELMA’S HEART by BILLY PIERCE
A great quartet piece with a seemingly simple melody, but the key-defying harmony makes the composition irresistibly complex.

And our NEW composers:

New composer ALBERT AMMONS and CHANGES IN BOOGIE WOOGIE
This is a special treat for pianists. This transcription for solo piano comes from a recording made on January 6, 1939—the very first session for Blue Note Records! Our transcription includes not only all the notes, but the articulation and phrasing as well, so you can try to play it just like Albert himself.

THE LOVE WE HAD YESTERDAY by PAMELA BASKIN-WATSON, a composer new to jazzleadsheets.com. This beautiful composition was first recorded instrumentally by Bobby Watson, Pamela’s husband, in 1986, on his album “Love Remains.” Betty Carter recorded it in 1992, and our version, by vocalist Rachel Bronstein, was recorded this year. An accompaniment-only track is also available.

Check out our video of Rachel singing in our office studio!

And finally, new composer SHEILA JORDAN's THE CROSSING. If you’re feeling inclined towards folk this week, try out this legendary vocalist’s signature song. The folk-inspired piece is usually performed as a duet with voice and bass and is played very freely, allowing the vocalist to explore his/her voice without limitation. The lyric is inspirational advice from Sheila about reaching a higher plane of mindfulness through loving music.

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