Night At Tony's – Gigi Gryce
A medium up swing that puts Gigi Gryce's signature melodic twist on the changes to Yardbird Suite. Transcriptions available of Gryce's alto sax solo and Art Farmer's trumpet solo. Lead sheets and second parts available.
All selected items will be available for download after purchase.
- Recording: Art Farmer - When Farmer Met Gryce
- Recorded on: May 19, 1954
- Label: Prestige (PRLP 7085)
- Concert Key: E-flat
- Vocal Range: , to
- Style: Swing (medium up)
- Trumpet - Art Farmer
- Alto Sax - Gigi Gryce
- Piano - Horace Silver
- Bass - Percy Heath
- Drums - Kenny Clarke
Art Farmer's quote came from Rat Race Blues - The Musical Life of Gigi Gryce (a book by Noal Cohen & Michael Fitzgerald). Learn more about Gigi Gryce at Noal Cohen's Jazz History website. Also see Gryce's discography.
See more titles from this album.
On Gigi Gryce's A Night at Tony's, Horace Silver adds a lot of color to the song's basic harmony, employing voicings in fourths, upper structure triads, and great uses of internal voice leading. Notice the careful use of the ♯9 on the E♭maj7 chord, creating a D triad over the E♭ chord, which is a hip device if used carefully. Also at the end of this chorus we can see Horace's use of passing diminished chords as a turnaround, but created with simple two-note voicings for each diminished chord.
The à la series (in the style of) provides a sample chorus of voicings drawn from the song's original recording, but notated as footballs: simple whole notes and half notes, or the basic harmonic rhythm of the chord progression of the solo section. They are also annotated, showing the original chord symbol above the voicing, as well as any extensions below the voicing. The idea is that these voicings could be of varied uses to any level of pianist—a beginner pianist could play the music exactly as on the page and provide a supportive and harmonically hip sounding accompaniment to a soloist, while a more advanced pianist could use these same voicings with varied rhythms in the style of the recording. Ultimately, a pianist would be able to absorb how these voicings were derived from the chord symbols, and then be able to create their own.
November 28, 1925 – March 17, 1983
Gigi Gryce was a fine altoist in the 1950s, but it was his writing skills, both composing and arranging (including composing the standard Minority) that were considered most notable. After growing up in Hartford, CT, and studying at the Boston Conservatory and in Paris, Gryce worked in New York with Max Roach, Tadd Dameron, and Clifford Brown. He toured Europe in 1953 with Lionel Hampton and led several sessions in France on that trip. Read more...