After extensive research on trumpeter/composer Kenny Dorham's life and career, journalist Kahron Spearman has published a fascinating article on K.D. in the Austin Chronicle. You can celebrate and promote this extraordinary musician by playing his music, available only on jazzleadsheets.com. Check out all the compositions available now on his composer's page; they cover many years of his composing and recording life. His music is so compelling we created The K.D. Challenge, a great collection of K.D. titles that have Minus You audio tracks to help you master his complexity. Kenny wrote for the whole band so every musician had a specific part to play. The Minus You tracks allow you to become part of the band.
We're ending the 2016 year with more classic music from KENNY DORHAM, who is not just the composer of the jazz standard Blue Bossa, but also a man whose music made innovative, often magical use of all of his rhythm section players: check out Escapade and Night Watch
GIGI GRYCE: Another composer of jazz standards such as Minority, his music set Paris on fire during the 1950s and 1960s. We're bringing you further explorations of Gigi's classic Nica's Tempo along with Stupendous-Lee.
Also three more from FREDDIE REDD: Sometimes so underground he's hard to find, his composing voice is easy to identify and his music lifts everyone's spirits. The Jolly Minor - Midnight Blue - There I Found You
Minus You charts and audio let you rehearse whenever you want!
Five great new titles plus further explorations of four songs through new editions and recordings. Plus, all nine now have Minus You audio tracks, providing fun and valuable learning opportunities for all instrumentalists.
Take a little time to explore our Minus You editions and tracks. Our tracks give every member of the group an individual audio track minus their instrument: you can be an essential member of the group playing along with professional artists in your own practice room. Minus Melody, Minus Piano, Minus Bass, Minus Drums, and often a track with just Bass & Drums, so Piano/Vibes/Guitar can play the melody, or a soloist can work, a la Sonny Rollins, without harmonic accompaniment. Click on FEATURES, click the Minus You heading, then click on FOR INSTRUMENTALISTS.
KENNY DORHAM: One of the magical things that sets Kenny Dorham apart from other composers is his emphasis on specific roles for each rhythm section player. His independent instrumental parts mandate delicate interplay between all ensemble members, hence our project title The K.D. Challenge. We've made each rhythm section part double-staved, showing a smaller melody staff above each line, and we've also indicated other rhythm section cues to make it clear how everything fits together.
BACK ROAD by Kenny Dorham: With its bluesy melody and rhythm section stop-time, this song is quintessential K.D. Second parts from the Joe Henderson/Kenny Dorham "Our Thing" album are available, plus our K.D. Challenge version has Minus You tracks for all instruments.
PEDRO'S TIME by Kenny Dorham: A classic Dorham song with a 12-measure form that's not quite a blues. Our K.D. Challenge version has Minus You tracks for all instruments; second parts like saxophonist Joe Henderson played with Kenny on the classic "Our Thing" album are available.
FREDDIE REDD: A pianist/composer who got early recognition from the his role in "The Connection" play and movie, Freddie is a master of hard bop. Our Freddie Redd Project recordings, with Minus You audio tracks, brings his music into a new zone.
1:00 A.M. STANDARD TIME by Freddie Redd: Starting the melody with an even-8th line which becomes its own important motivic element, this song essentially has a classic hard-bop sound, with stop-time figures in the head and a constantly evolving melody and chord progression. Our exclusive version has Minus You tracks for all instruments as well as second parts
BLUE HOUR by Freddie Redd: A harmonic workout in the unique Freddie Redd style. Recorded twice by Freddie in a trio format, our exclusive Freddie Redd Project quintet recording is available with Minus You tracks for all instruments, plus second parts, bass part & condensed score.
FAREWELL TO SWEDEN by Freddie Redd: A tribute to his 1956 trip to Sweden is a laid-back, bittersweet medium swinger. In addition to the original trio recording, a new quintet version is available with Minus You tracks.
GIGI GRYCE: Gigi Gryce was a fine altoist in the 1950s, but it was his writing skills, both composing and arranging that were considered most notable. We have Minus You versions of some of his best songs.
MINORITY by Gigi Gryce: Gigi's standard is represented by three different recordings. Art Blakey's in 1954, Gigi's own in 1960, and our version recorded in 1999, featuring Gigi's pianist Richard Wyands and alto/tenor soloists Bobby Porcelli and Ralph Moore. Minus You audio and more!
SALUTE TO BIRDLAND by Gigi Gryce is written on I'll Remember April changes. Our new Gigi Gryce Project version is available with Minus You audio tracks for all instruments. Perfect for an audition tape.
SOCIAL CALL by Gigi Gryce has been covered by many artists. Check out the four versions we have posted: Art Farmer/Gigi Gryce, Art Blakey and a nonet, Donald Byrd/Gigi Gryce, and our own version with Minus You tracks from The Gigi Gryce Project recording.
ELMO HOPE and MINOR BERTHA: Our first Rhythm Section Workshop edition. It's definitely a real workout for rhythm section players, demanding everyone's full attention at all times. Listen to Elmo's original recording and you'll see it was also a workout for his rhythm section. Try it on your own with our Minus You tracks or challenge your own group.
Hello again, jazz fans! It’s been colder than ever at our New York office, but that’s not slowing us down — in fact, we’re back with another update this week.
Our [minus-you] tracks for Brian Lynch’s Unsung Heroes project were such a hit that we thought we’d release some more! Musicians of any instrument can play along with a professional ensemble on our [minus you] series, with custom tracks for each instrument. This week, we’re releasing The Plain But The Simple Truth, a quirky and catchy Lucky Thompson blues. If you’re looking to kick back with a great recording, be sure to also check out our exclusive audio track of rising bass star Daryl Johns, recorded specially for jazzleadsheets.com.
This week, we’re celebrating the collaboration between Blue Note and legendary trumpeter Kenny Dorham with two K.D. releases: Philly Twist and K.D.’s Motion. Philly Twist, from the “Whistle Stop” album and written for Philly Joe Jones, is distinctive for the strong rhythmic drive in the head that’s propelled by the syncopated rhythm section hits. K.D.’s Motion, from the “Afro-Cuban” album, is a more laid-back take on the blues, but like Philly Twist, it shows what a genius Dorham was at writing unusual, intriguing rhythms for his melodies.
If you’re looking for a pick-me-up to your winter blues, try Rahsaan Roland Kirk’s My Delight. As the title suggests, this medium-up swing is sweet, happy, and thoroughly appealing. A contrasting Latin groove in the B section adds some intrigue to the head, making it an all-around winner.
Vocalists, check out Baby, I’m Coming Home, a charming blues with music and lyric by guitar master Chuck Wayne. If you’re looking for a piece with a classic sound but are sick of overdone standards, you’ll love this chart!
Finally, we have another transcription for our drummers — Billy Drummond on A Peck A Sec from trumpeter Jim Rotondi’s recording of the Hank Mobley classic. This chart shows Billy’s mastery of the straight-ahead tradition and his fantastic soloing as evidenced on the trading section. On this recording, Billy really locked in with bassist Dwayne Burno, who very tragically passed away in December. Listening to this recording again reminded us how talented and special Dwayne was. He is sorely missed by the jazz community.
We’d like to celebrate some recent landmark 50th year recording anniversaries!
May 27, 1963: Steppin' Out (Blue Note) This was tenor saxophonist Harold Vick’s first album as a leader. Harold had 5 originals on this recording, which included Our Miss Brooks which Harold had also recorded earlier when he was a sideman (first with Grant Green, then with Jack McDuff):
June 3, 1963: Page One (Blue Note) This legendary album marked tenor saxophonist Joe Henderson’s first album as a leader with trumpeter Kenny Dorham. We're proud to offer two incredible Kenny Dorham originals from this session:
June 11 & 12, 1963: Roland Kirk Meets The Benny Golson Orchestra (Mercury) On the first session day, Rahsaan Roland Kirk teamed up with the Benny Golson Orchestra. The next day was a quartet session, with Kirk’s beautiful slow swing ballad April Morning, his swingin’ blues Get In The Basement which is perfect for our Bass Corner, and the three-horn, three-part harmony Between The 4th And 5th Step.
Beat the heat with music! Don Sickler jazzleadsheets.com and Second Floor Music email firstname.lastname@example.org - phone 212-741-1175
April 1, 1963, was the recording date of trumpeter Kenny Dorham’s landmark album Una Mas. We’ve had the title composition of the album available on jazzleadsheets.com for some time. When we realized the 50th anniversary was coming up, we geared ourselves up to make sure that we’d have both of Kenny’s other originals, Sao Paulo and Straight Ahead, on jazzleadsheets to celebrate the 50th anniversary of this landmark recording.
Kenny Dorham’s music from this session is important, and the album itself is classic. It’s tenor saxophonist Joe Henderson’s first recording session. The incredible young rhythm section had recorded together once less than two months earlier for what was drummer Tony Williams first recording session. Pianist Herbie Hancock had only been recording since 1961, and bassist Butch Warren since 1960.
jazzleadsheets.com gives you the option of playing these compositions in any instrumental format: as a quartet or as originally recorded (a quintet), with the original instrumentation or with alternate instrumental parts available.
We’re also making available Kenny Dorham’s solos on Sao Paulo and Straight Ahead in both B-flat and concert key editions.
We’ll also be celebrating additional important Kenny Dorham 50th anniversary recordings this year.
Enjoy this great music! Don Sickler phone 212-741-1175 - email email@example.com
In addition to four new lead sheets (including a melody transcription) and a transcribed solo, jazzleadsheets.com introduces our new Drum Corner with an in-depth look at the artistry of master drummer Philly Joe Jones. Drum Transcription: Philly Joe Jones’s performance on No Room For Squares (the master take). Of course, drum solos are important to drummers, but equally important (if not more important) is how a master drummer accompanies the ensemble. Therefore, our transcription starts with Philly Joe’s great hi-hat work on the intro under the horn line, followed by his intricate interplay during the opening melody. Everything Philly Joe plays during his delicious exchanges of “fours” with Hank Mobley and Lee Morgan is also transcribed. Joe’s interplay during the out melody and coda ends the transcription. Also, unique to our drum transcriptions, the melody sections are shown above the drum staff (in concert key). Now you can see exactly how the drummer is reacting to the horns! The transcription was done by drummer Evan Hughes, a new member of my staff. Please visit our Drum Corner and tell your drummer friends it, and also about Evan Hughes’ jazz drummer blog at JazzDrumCorner.com. It’s a great resource for anyone interested in jazz drumming.
Blue Bossa - Kenny Dorham jazzleadsheets.com gave me the opportunity to create a new edition of this important Kenny Dorham “jazz standard.” I’m sure practically every musician has at least heard “Blue Bossa,” if not played it. But have you really checked out the first recording of it? Are you aware that K.D.’s melody was created around a bass line that was equally important to Kenny? Now, in our C edition, you’ll see the melody with the bass line added under it on a separate staff for both the head and K.D.’s shout chorus.
It’s No Time To Be Blue - Kenny Dorham, Kenny Burrell and Larry Jackstien When Kenny Burrell called and told me he wanted to write a lyric to his good friend Kenny Dorham’s composition, Blue Bossa, I knew his lyric would fit K.D.’s melody perfectly. Kenny Burrell sang this lyric on his 2003 CD “Blue Muse” on the Concord label.
Minor Ballade - Don Friedman This is a beautiful modulating ballad by Don Friedman, described more fully in our notes. I feel it’s important to be able to examine in detail an artist/composer’s interpretation of his melody, so I’ve also transcribed his performance of the opening melody.
Minor Mode - Booker Little (plus Booker’s trumpet solo) This is Booker Little’s first recorded composition. His recording career started only a month earlier. Although Booker only lived to be 23 years of age, fortunately he left us with quite a few recorded compositions and solos to study. He was one of the great jazz trumpet players and a mature composer at an early age.
NEWS from jazzleadsheets.com June 17, 2011
We get quite a few orders from European musicians. European artists have certainly contributed greatly to the jazz world over the years, so I decided it would be fun to bring you two Belgian artists/composers from different generations, Bobby Jaspar and Jeanfrançois Prins.
And a new composer and brilliant artist who played for a quarter of a century with the Duke Ellington Orchestra: Salute To Charlie Parker by Ellington clarinetist Jimmy Hamilton. In researching the biography of Jimmy Hamilton, I found some fascinating information in the Feather/Gitler Encyclopedia. I had remembered the name Frank Fairfax from reading about Dizzy Gillespie’s start in the jazz world, but I had no idea until I read Feather/Gitler that there were three young trumpet players in the Fairfax band. Dizzy, Charlie Shavers and Jimmy Hamilton, before he started his illustrious career on clarinet and tenor sax. Wow, what a trumpet section! That really perked my interest about the Frank Fairfax band, so in today’s world I thought all I’d have to do is Google Frank Fairfax and I’d find lots of info. Well, all I basically found was that reference to the three young trumpeters. Can anybody help me with more information about Frank Fairfax and his group?
—- Jackleg - Jack Wilson If you aren’t familiar with Jack Wilson, listen to our audio excerpt. There’s only a small handful of jazz pianists with technique like Jack! This isn’t his only side, and we’ll be exploring more of his great compositions in the near future. For now, check out his dexterity at the keyboard and try his composition for yourself. Obviously, it works great at a slower tempo, too. We also have his transcribed piano solo available.
—- La Villa - Kenny Dorham Kenny Dorham is one of the true masters of rhythm section writing. Because of that, many of his compositions can’t be reduced to a single line lead sheet: often, each member of the rhythm section requires their own individual part. Although La Villa has a counter melody bass part, we’ve decided to incorporate that bass part into our C treble clef lead sheet. We’re also putting out two editions: the first, as recorded on Kenny’s Afro-Cuban album (1955), and the second, from his Jazz Contrasts album (1957). You can read more about these specific arrangements by clicking on the link above.
Max Roach, the drummer on the Jazz Contrasts album, continued to perform La Villa with his own groups. In 1958, he recorded it with Booker Little, trumpet; George Coleman, tenor sax; and Ray Draper, tuba. This recording is available on a Clifford Brown / Max Roach compilation and is mistitled as "Villa" on iTunes. The trumpeter is incorrectly listed as Clifford Brown instead of Booker little. On Amazon the composition is titled correctly, but the artist is listed again as Clifford Brown. Max made two recordings of La Villa in 1960, both featuring Julian Priester (trombone) and the two Turrentine brothers, Tommy (trumpet) and Stanley (tenor sax). On this session, La Villa is mistitled as "The Villa." Here is another example of La Villa mistitled agai, this time as "Stop Motion." These three great recordings are at true Max Roach tempos (fast!). The 1958 performance increases the tempo of the quarter note to approximately 356, and the other recordings are only a little more relaxed.
More great Hank Mobley and Bobby Timmons and Ray Bryant
— Pat’N Chat - Hank Mobley I’ve had several requests for this one, so here it is. This has always been one of my favorites to play myself. One of the most interesting things to me about Hank Mobley’s composing is that he wrote his music for the specific musicians on the date. I know this for a fact, because Hank told me this personally. It’s most evident by examining the drummer on the date. From jazzleadsheets.com alone, just check out, for example, the obviously-for-Philly-Joe titles = Workout, Out Of Joe’s Bag, the No Room For Squares album, A Peck A Sec, etc. Then there are the obviously-for-Art-Blakey titles = the Soul Station album, the Roll Call album, High Modes, this week’s Chicken An’ Dumpins, etc. With his Turnaround album, Hank starts a recording relationship with a new (and very important to him) drummer, Billy Higgins. Billy had come to New York from his native California in the early 1960s. He’d recorded with many of Hank’s friends, but not yet with Hank. Pat ‘N Chat was the first track they recorded together, and immediately you can tell Hank is writing for an entirely different drum voice: obviously-for-Billy-Higgins. I’ll be telling you more about Hank and Billy as we release more of their collaborations.
—- A Little Busy - Bobby Timmons Here are two different arrangements by Timmons: his trio arrangement and the sextet arrangement he did for Art Blakey and The Jazz Messengers. These arrangements were recorded in different keys, and believe it or not, were recorded only one day apart by two entirely different groups (except for Bobby). Bobby’s incredible piano solo from the trio recording is also available.
—- Chicken An’ Dumplins - Ray Bryant Another great arrangement, written for Art Blakey and The Jazz Messengers by Ray Bryant. Ray’s good friend and fellow Philadelphia pianist Bobby Timmons introduced this one to Blakey. Ray’s solo piano arrangement as well as Kenny Drew, Jr.’s recording of the solo is also available.
I hope you enjoy playing these new titles. Don Sickler