If you love jazz piano, but aren’t quite at the level of our solo transcriptions, we’re releasing arrangements of our classics to accommodate pianists of all ages and abilities! These arrangements aren’t watered-down—they stay true to the original melody and harmonies—but aren’t overly intimidating, either. They make a great introduction for new students, classical pianists, or even someone looking to just have fun playing music.
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.