Ray Bryant

• new August 17, 2012

  Bel-Aire (Ray Bryant)
  Another great Ray Bryant head which challenges you to fly over your instrument. A must for any trumpet players who think they can play anything.

  Gayle’s Groove (Mickey Bass)
  An interesting ten-measure followed by fourteen-measure form. Originally recorded in a two horn quintet format so second part editions are also available.

  T.H.E. Blues (Steve Davis)
  An unusual form: 15 measure blues in a challenging key (A-flat minor).

  Ka-Link (Philly Joe Jones)
  It starts out as a cute Latin blues head and develops into a larger AABCAD format, with alternations from Latin to swing. Soloing on the record was just blues choruses. The expanded head format can open you up to exploring different soloist formats.

  Listen To Mister Jones (Philly Joe Jones / Rachel Gould) [vocal]
  If you’re a vocalist, and have a drummer you want to feature, this is for you. It’s the lyric version of Ka-Link, with Rachel’s complete track and an accompaniment-only track (MP3).

  other new vocal titles:

  Do You Feel What I Feel? (Rachel Gould) [vocal]
  A beautiful, evocative exploration recorded by a voice/bass duo.

  He’s A Man (Curtis Fuller / Judy Niemack) [vocal]
  Judy’s lyric to the Fuller instrumental Sagittarius explains what that Zodiac sign means in a delightful way. Judy’s own performance, as well as an accompaniment-only MP3, are available.
  Also, Judy’s new publication, Hear It and Sing It: Exploring the Blues is now in print and can be purchased from Hal Leonard and Amazon.com. Some really great new blues to sing! Hear It and Sing It! is a fun and effective method.

  I’ll Blame It On The Samba (Ray Bryant / Tina May) [vocal]
  Tina May’s lyric to Ray’s Samba Elegante, it’s a fun song to sing. Tina’s recording, with Ray Bryant himself on piano, and the accompaniment-only MP3 are available.

  Just A Little Boy (Sergio Mihanovich) [vocal]
  A beautiful ballad with a charming lyric. Simple and easy to customize to your own style. Gloria Cooper’s recording as well as an accompaniment-only version are available.

  Miracle Of Spring (Meredith d’Ambrosio) [vocal]
  A lyrical melody full of Meredith’s optimism. A vocal transcription of Meredith’s interpretation, plus an accompaniment-only MP3 track.

• October 15, 2011 ballads and more

  I’m a sucker for a great ballad, and this time three out of the five new compositions on jazzleadsheets are exactly that, ballads. They’re written by three great pianists, from three different generations, who are all known for their sensitivity as artists. It’s not surprising that the music is wonderful. I encourage everyone to check out our audio excerpts.

  Because the excerpts start at the beginning of the melodies, you don’t get an indication of the form of the compositions. Renaissance Lovers by James Williams is a beautiful continuously developing 12-measure melody. Richard Wyands’ Willow Tree spins out over 24 measures (ABA form), as does Cecilia Coleman’s 32-measure (AABA) Posie.

  If you listen to the intro of the recording of Charles Fambrough’s Alycia, where pianist Kenny Kirkland plays the C section of the AABC melody in a rubato ballad style, you could easily think that it’s also going to be a ballad, but Charles conceived it as a bossa. Of course, it could be performed as a ballad, as well.

  Our last composition this time is Ray Bryant’s Pawn Ticket, which is definitely not a ballad. It’s full of Ray’s wit and energy and will definitely put a smile on your face.

  --Don Sickler

• end-of-January music from jazzleadsheets

  Click on the links to get more info and to hear the music.

  Bevan’s Birthday - Tadd Dameron
  Another Tadd Dameron composition from the famous Magic Touch album - a lilting melody enhanced by Tadd’s complex harmonies that starts Latin and then goes into swing.

  Early Bird - Carl Perkins
  An easy-going and fun swinger from the talented, unfortunately short-lived composer/pianist Carl Perkins.

  Hank’s Tune - Hank Mobley
  Recorded by Horace Silver, with Hank on tenor and Donald Byrd on trumpet.

  Splittin’ - Ray Bryant
  Three different C treble clef lead sheets for a very popular Ray Bryant title: two from trio recordings where Ray was the pianist, and the third from a quintet recording with Hank Jones on piano. Melody and second parts for horns.

  Transition Blues - Hank Mobley
  Hank Mobley’s tribute to the Transition label finally gets the correct title. Check the Historical Notes to read about it.

  Thanks!
  Don Sickler

• 12/29/10 new from jazzleadsheets.com

  Prince Albert - Kenny Dorham
  A classic melody by Kenny Dorham based on the chord progression of the standard All The Things You Are, plus classic solos (transcribed) by Kenny Dorham and Hank Mobley from the classic Blue Note recording of the then-new quintet ready to explode on the scene in 1955. The Jazz Messengers, with Horace Silver on piano, Doug Watkins on bass, and Art Blakey on drums.

  Reflections In Blue - James Williams
  Pianist James Williams was part of Blakey’s Jazz Messengers in 1978, (actually he was a Jazz Messenger from 1977 through 1981.) The 1978 Messengers also featured trumpeter Valery Ponomarev, saxophonists Bobby Watson and David Schnitter, and bassist Dennis Irwin. Williams wrote this composition to feature the “patented” Art Blakey shuffle.

  Lite-Flite - Kenny Drew
  This was recorded with Thad Jones on cornet and Bob Berg on tenor sax, George Mraz on bass, Jimmy Cobb on drums, and, of course, Kenny Drew on piano. Besides an exciting uptempo tune to play, I think of it as a great etude for working on “changes” (see my notes).

  Meant To Be! - Ray Bryant & Fleurine (vocal)
  The vocal version of Ray Bryant’s Chicken An’ Dumplins, with lyric by Dutch vocalist/lyricist Fleurine. Our version is performed by vocalist Tina May and the composer himself, Ray Bryant, on piano. The only time Ray has ever recorded his own composition—and the complete MP3 recording is available only here.

  De Critifeux - Jack Wilson
  After giving you the blistering tour de force of Jack Wilson’s Jackleg a few weeks ago, we want to next introduce you to the medium up tempo side of this marvelous piano/composer. Lead sheets plus piano arrangement.

  Happy Holidays!
  Don Sickler

• Two new composers 12/10/10

  —- 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

• New titles and composers at jazzleadsheets.com!

  Enjoy the music of two new composers, both pianists and well-known jazz artists.

  Composer and pianist Don Friedman and a trio composition, Almost Everything, based on the changes of the standard “All The Things You Are.” C treble clef, B-flat, E-flat and C bass clef editions are available, as well as Friedman’s own solo piano arrangement.

  Richard Wyands, also a composer and pianist, with another trio feature, Half And Half. A great rhythm section feature, with the rhythm hits shown in the C treble clef edition. In addition to the standard C treble, B-flat, E-flat and C bass lead sheets, Richard Wyands’ solo piano arrangement is available along with an MP3 of pianist Kenny Drew, Jr., performing it, recorded by Rudy Van Gelder.

  We also have new compositions by composers familiar to jazzleadsheets.com visitors:
  -One new composition by Gigi Gryce, with first and second parts and Gigi’s transcribed alto sax solo in E-flat, B-flat and C editions. Transfiguration was recorded by Mal Waldron on Mal 1, with Gryce and Idrees Sulieman on trumpet.

  -Two new Ray Bryant offerings: I Don’t Care, originally recorded by the Cannonball Adderley Orchestra on "In The Land Of Hi-Fi," with Junior Mance on piano. And Talk To Me, the lyric version of I Don't Care from singer Tina May. Tina's version, which she recorded with Ray himself, is in G minor. The result is a delightful vocal. In addition to the lead sheet, we’ve made MP3 files available, both with the vocal and without the vocal (accompaniment only). Great for learning and playing both songs.

• 5 new titles, with alto sax, trumpet and piano solos

  Nica’s Tempo is a significant Gigi Gryce composition that he revisited several times during his career. We’ve posted lead sheets for two different quintet arrangements by Gigi that were recorded almost 5 years apart, and I’ve explained some important differences between the two. Melody and second parts are available for both. Also, Gryce’s and Farmer’s solos are available, both great studies in improvisation. Trumpet players, especially newer players, should get a lot out of studying both the Art Farmer and Gigi Gryce (B-flat edition) solos. Alto solos transposed to B-flat generally don’t go too high, giving trumpet soloists who haven’t yet developed their high range new ideas in a lower register.

  Elmo Hope was one of Monk’s favorite composers. It’s fascinating to follow his compositional history since his style of writing changed over the years. I feel it’s important to start with his earlier works, like Happy Hour. We’ll post a few more over the next weeks, then get into the later period.

  January 2010 marks the 50th anniversary of Bobby Timmons’s recording career as a leader. Although we’re starting with a 1961 session here, with Easy Does It, we’ll get to his 1960 gems to commemorate their 50th anniversary later this year. Check out our first transcribed piano solo, Bobby’s six piano choruses on five pages. Timmons’ solos should be available for study. He’s always so full of energy, movement and swing. We’ve really made an attempt to indicate his articulations, which are so much a part of his playing. He can create a great funky feel, or just swing like hell. Either way, he doesn’t hold back, he’s always generating his own type of energy. He exhibits the qualities of a true artist: he always sounds like “Bobby Timmons.”

  We’ve already given you two of Ray Bryant’s Latin-jazz classics: Cubano Chant and Cuban Fantasy, but we also want you to hear Reflection. We’ve posted two different recordings, one by Ray himself, and one by his friend, pianist Phineas Newborn. Fun to compare the two approaches.

  Tina Brooks had the soulful trumpeter Johnny Coles at his side for “The Waiting Game” session, and I’m sure Johnny Coles loved this one. Dhyana is soulful and definitely swinging.

  Thanks for visiting jazzleadsheets.com!
  --Don Sickler

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