- Waller, Fats - Original Piano Conceptions
- Waller, Fats - Original Piano Conceptions
- Awards and recognition in a reverse order
- National Jazz Archive
From "Real Book Three. Transcribed from his ensemble recording. The changes are mine. Your comments are welcome! Dave Grusin - New Hampshire Hornpipe Not jazz but a film score composed by a jazz musican - a fun to play! I have transcribed the piano part without the synthesizer chords.
The tune shifts between Latin and swing grooves. I'm pretty sure that this lead sheet has some typos, so please inform if they're found. Please comment freely. Please comment freely! My own transcription - the songbook version has too many mistakes. The update concerns m. Thelonious Monk - Round About Midnight piano My arrangement for piano - the pure composition without improvisation, with the original harmonies as played by Monk in different versions.
Chick Corea - Song of the Wind The theme only as played by Chick Corea with Joe Farrell oboe on "Super Session" , which is in my view the most elaborated version of this fascinating composition. Michael Wollny - Melancholia piano My arrangement for piano solo of Michael Wollny's setting for piano and tenor sax. Michael Wollny - Melancholia score An interesting new harmonisation of Ellington's composition. This is my own transcription - the print edition has many mistakes. Since I didn't find any written music for the piece I had to transcribe it myself. The transcription should be checked for possible errors.
Comments are most welcome. Two Pieces by Bennie Maupin Hello there! Here are two compositions by Bennie Maupin. The first is from his album "Slow Traffic to the Right" Herbie Hancock recorded the tune earlier on his album "Crossings" Herbie's take on harmony differs from Bennie's arrangement a great deal. The second one is transcribed from Bennie's recording "Early Reflections" The melody is played by bass clarinet and acoustic bass in unison.
Anyone here happen to have a lead sheet or transcription of "Not Forgetting"? All comments are most welcome! A tremendous album! Here's a lead sheet for John Scofield's "Big Fan". The tune is recorded on Sco's release "Meant To Be". All comments, suggestions and corrections are most welcome. Request Im Wald [In The Woods] by Fritz Pauer I'm seeking the lead sheet to: Im Wald [In The Woods] by the late Fritz Pauer I'd talked to Fritz about getting a copy of the lead sheet of this jazz ballad from him, a couple years before his death - He said it along with quite a number of lead sheets of his compositions over the years was in his basement, and that he'd try to find it.
When I heard about his death, I inquired about his lead sheets and scores, and was informed by his publisher that most of his lead sheets and scores had already been sold en masse by his wife However, maybe someone here will come across someone who has Fritz Pauer's lead sheets and scores from performing with him, or from other sources Pools Would love to see a transcription of Don Grolnick's Pools! Request Best of Jeff Lorber book Hello i'm looking for Best of Jeff Lorber transcription book they have 2 books thanks smoothfusionjazz gmail.
Has two sections, one contains a complex melody that leads into the second, a very swinging Dorian pedal point that shifts a whole step down. Joe Henderson blows over this tune, which makes sense, he was a fan of Dorian interpreted whole steps apart, i. Black Narcissus.
A transcription for this would be really useful for me as well as the jazz community, this is a tough one to do by ear. Thank you This post contains the following attachment types: -youtube. Bill Evans question Does anybody know what recording is this intro to "When I fall in love" from? I've been looking for it and I've found every other version except this one. The piece has a bar form, and the head is played twice before the solos and roughly one and a half times after the solos the recording ends on the C chord at the beginning of the C-pedal section at bar 21, and this last time the chord is played as a C7.
Except for this C-pedal section, the head is played without a consistent tempo, instead quickly accelerating and decelerating; during solos, however, the tempo is consistent throughout the form. The melody is mostly built on simple major chord arpeggios separated by a whole step, and in bars , more complex chords are built by playing major chords over a major chord root a whole step below. The piece achieves a circular effect, in that bars at the end of the form follow the arpeggio pattern of the first 6 bars. The head is played as a slow shuffle, while the solos are played over the same chords but in a double-time swing fashion.
For a Dolphy tune, the chord changes are fairly logical and tonal, and the melody is quite lyrical despite some characteristically large interval leaps. The form is AABA, with the A sections ending decisively in Bb major and the B section with no written melody consisting of 8 different ii-V progressions beginning in the key of G and moving away by a tritone and then down a semitone until this pattern repeats, moving to the keys of Db, C, Gb, F, B, Bb, and E. While Dolphy sustains the long Eb note in the melody on alto saxophone, Little usually moves down a semitone to D on his trumpet, forming a dissonant minor second interval between the two horns.
Wynton Kelly was pianist on this cut; Tommy Flanagan was pianist on all the other cuts. Kelly died in , age In I and several colleagues at the school where I teach decided to perform Naima for the student body, so I, being a really poor improviser, decided I would transcribe Kelly's solo for our performance. Because of all the really tight harmonies in the solo, it took me two weeks to complete the transcription, but I am pretty sure it is very accurate.
I transcribed this while listening to the version of the tune which appears on Shorter's album of the same name, mainly because it is a clear studio recording and it is played relatively slowly. Despite this, I do prefer the more recent, fast, and loose live versions which Shorter has played with his "Footprints Quartet. Instead of using chords, the interest in this head mainly lies in the dissonant I am almost tempted to say atonal , rhythmically-complex melodic counterpoint between Shorter's saxophone part and the bass part.
The melody played on a guitar at bars 9 - 16 of letter A, and bars 9 - 12 of letter B is played in a very interpretive way. Grant Green The Selma march My attempt for a transcript for the head. I had some trouble with identifying the chords. Please let me know if I've done any mistakes. Here's a lead sheet for Larry Young's "Ritha". As always, comments are welcome!
It would greatly appreciated. Thanks, -ndhjazz. The tune is recorded on Chris Potter's "Gratitude" Verve Lee Morgan's "The Procrastinator" lead sheet If anyone would like to fine-tune the chords, I'm open to suggestions! There are some points in which the playing was "rhythmically free" most likely on purpose.
The transcription of the head was done as an exercise in hearing harmony and voicings. I only transcribed the first chorus. Notice that the F tonality the I chord is sometimes major sometimes minor. In the head the listener experiences both major and minor tonalities. This is likely my last bill evans post but i think i will be moving on to some other pianists perhaps in a solo setting as opposed to a trio Trying to put something together for my students and don't have time to make a chart at the moment.
Thanks, Michael. I only transcribed the first A and B section nothing more. The naming of Emaj7b5 is perhaps inappropriate although it was difficult to find a suitable functional chord symbol for this harmony. Perhaps Calt is more appropriate as the harmony is a C altered scale. However it is often that the bass implies E major tonality. Made some different harmonics in the B-part.
Hope you'll like it? Have fun! A simple but great tune to groove on. Further study on "Chameleon" I sat down and tried to figure out what's happening on Herbie's Chameleon Head Hunters, I wrote down the overall structure, bass lines, basic chord changes and changing meters, and here's what I've managed to put together. Don't take the chords at letter H for granted - they are rather a sum of evaluation of some charts I've checked. Note that the tempo accelerates gradually towards the end.
The structure is quite straightforward because it's a very repetitive groove but the different backings etc are great throughout. So yeah just wondering if anyone has any leads on where I would find something like that. I scribbled down a rough transcription of the song.
However, I'm unsure of the chord progression of the A section and thus need to consult you out there. The letter A has a few suspended 4ths that resolve to 3rds, and some augmented 5ths that resolve down a half step e. I'm particularly uncertain about the F m7b5 or Am6 at bar 12 of letter A.
Waller, Fats - Original Piano Conceptions
Does anyone have a sheet music to this wonderful piece? Best, Ville. Here's a sheet music for King Crimson's "Matte Kudasai". There are a few cover versions of this song, including Kurt Elling's splendid version on his album titled "The Gate". On the recording the piece is performed in broken time feel, giving the music a lighter, more open flow. All comments and suggestions are welcome! In the beginning the vamp is played on a guitar, which plays a G note instead of A in between 3rd and 4th beats - at least that's how I hear it.
The album also includes Abercrombie's composition "Three East", whose lead sheet is found on this site. Hey Driver! I think I'll rebar the break in the middle of the A section. This is the revised lead sheet. Any shortcomings are strictly my own! Any song would be great. Also I would be interested in the transcription of Chris Botti's "Regroovable" that was off of his album "Midnight without you".
I have his sheet music book but it does not contain this song. This was only the easiest way to transcribe. Transcription Request: Donald Byrd "Fancy Free" I have figured out most of the stuff on the C chord, but I am pretty fresh to music and I can't figure out where the song goes after the 1 chord. Thanks in advance, you guys are awesome! This post contains the following attachment types: -youtube. Thanks a lot! Stefan :. The 2nd tune was repeated at the end of 3rd piece to conclude the set.
This daring blend of rock and jazz shocked the mouldy jazz critics, but was later on rated among the finest in Miles' outputs of his career. The title track was originally written by Joe Zawinul, but Miles cut down the rather complex chord changes in order to make it more "rock"; still, the rubato piece sounds more like a ballad. The sparse harmonies ring over the continuous E pedal that is played on a bowed bass. The first piece has only one chord D7sus4 that is interpreted somewhat freely. The continuous bass figure has only two notes.
The structure is wide open for lengthy solos. The latter is more abstract harmonically and is composed of three sections that alternate in the course of solos. Fast blues. Ken Stubbs Alto Transcription by Jaime Timms no preview text This post contains the following attachment types: -youtube.
I ran into this piece while listening to Bobby Hutcherson's album "Now! There are a handful of recorded versions of this piece, which differ a good deal from each other. The four versions I've heard appear on the following albums: Bobby Hutcherson's "Now! On Hutcherson's "Now! In fact, the bass obbligato resembles the opening bass figure of "Pharaoh's Dance" as performed on Miles' "Bitches Brew".
My transcription is a mix of the recorded versions, and not necessarily correct in any way. The lyrics go as follows: "Hello to the wind, glad you blew my way. Hello lonely friend, have you come to stay? Cool breeze flow soft and slow. Hello to the morn, good to see you born. Sun to warm my face from its home in space. Moon is fading from sight, and bird to wake and then take flight, and rays of sun begin to show, and then I know. Just how little I know, and what I am learning of. Hello to the sky, good to see you clear.
Waller, Fats - Original Piano Conceptions
Join the wind and I, glad to have you here. Hello to the night, hope your day was fine. Mine was very bright, your should be like mine. Sun has faded from my sight, and here's the moon to greet the night. Children scamper home at fright, and then I know. I need your help with the transcription. If anyone has a chart for this piece I would love to take a look at it. Violin solo?
Awards and recognition in a reverse order
Decoy by Miles Davis This is the title number from Miles Davis' Decoy album , which is rated as a flop of his latter career. The tune has a characteristic steady funk-rock groove with synthetic sounds and chromatic lines. The harmony is pretty loose here, including a good deal of chromatic movement and dissonance. The piece has a rough and dynamic urban pulse. The slap bass is putting diminished 5ths in hard use. Not so sure about it.
Does anybody have another leadsheet of this tune? Thus I'd like to encourage all you to come in on the discussion. This is a great forum for discussion and sharing our work. While I have been busy the past few years with my music, I would look forward to contributing again. It may be a bit redundant, Ville, but I very much admire your formidable contribution. Moreover, I believe that your transcriptions are a tremendous service to the entire world jazz community. Best, Ed Byrne. These recordings were not released until over 20 years after it was recorded. Marcus played the tune on an unaccompanied bass guitar on his "The Sun Don't Lie".
The melody is rather freely interpreted. The changes at letter B are based on an enlightened guess, so all corrections are welcome. I'm uncertain of the changes - especially at letter C. Any suggestions? The tune also appears on a bunch of live recordings e. It is a cut-time ballad with a funky section at the end. All comments and corrections are welcome. The tune is characterized by Spanish-flavored Phrygian mode. Trumpet and soprano sax play melody by turns; the horn at rest plays fills behind the melody.
On recording, the last 4 bars of letter C are played twice on D. In spite of the "Xmasy" feel of the song, it is actually a rather serious story about a Jewish man, who's fleeing from the Nazi persecution with his little radio. Over 40 years later Sting rewrote the original lyrics written by Bertolt Brecht , and performed the song on his " Nothing Like the Sun" album. Even though the song isn't originally a jazz tune, some jazz groups e. Marcin Wasilewski Trio have made beautiful interpretations of it. Season's Greetings to All!
Nardis, Bill Evans Solo "Nardis. Each section is from different recording, which are combined as a whole by Teo Macero. The transcription lacks the final section that's composed of prerecorded wind ensemble passage and overdubbed trumpet solo. I have no idea where the rubato wind ensemble passage comes from.
I guess, it's from Teo's personal archives. Does anyone have a chart for this final section? According to the original lead sheets the tune has no tempo marking, nor do they have bar lines that would illustrate a spesific time signature. The lack of defined rhythm and strict chord changes leaves plenty of room for the rhythm section to explore different textures more freely.
This also leaves plenty of room for the soloist to explore the melody more freely. The original lead sheets differ slightly both in melodic and harmonic rhythm. I've added some sample voicings to the chart that also exist in Wayne's manuscript. It's apparent that the piece evolved and changed on any given concert depending on the the mood of the group. Happy New Year everyone! Ville P. The chord symbols in parentheses do not exist in the original scores. The music on the album is very freely interpreted and based on a minimum of written instructions. Miles never played someone else's tune the way they had written it - he always changed it.
So is the case with Zawinul's "Pharaoh's Dance" that was originally written in two parts. The recorded version executes Zawinul's loose plan for the piece Zawinul notated part two with directions such as "keep developing", "play whenever", "turn statement one in and out with your own free will", etc. Much of the part one on the recording is loosely interpreted and constructed through a series of editing loops.
First line is meant to be exact, in the others, I just tried to include the essential notes from both guys. Meant to be exact, but many times Summers only plays the highest 3 notes. I've been able to find a couple of fake book versions of the chord progressions, and a print version of the original song by Vernon Duke, plus a vocal one by Ella F. Thx much for any help. Jon Snider Colorado Springs. In B flat for trumpet. Ain't That Peculiar - george benson Nice forum, I hope it's still up ;- Nice instrumental version of this Marvin Gaye tune by jazz instrumentalists.
The minor 7th add 11 chords C -7 add 11 and B-7 add 11 don't include the 5th. I'm not aware of the accuracy of the drum part in Intro, which I wrote down hastily. Once again, I'd welcome all comments concerning the chart.
The chart lacks chords in places, and I turn to you guys to help me to complete the sheet. Also, the chords I've added aren't necessarily correct, so I welcome the corrections. Need help with "Tomaas" Hey all! The chord changes are still unclear and I need to ask your help to clear them up. The funky guitar figure which suggests a E7 harmony continues in similar manner underneath the A, B and D sections.
The piece consists of layers of motives, such as the rhythmic single E note figure at the beginning, which continues throughout the piece with slight variation. The piece also involves overdubbing and synthesized instruments, such as the drums and the guitar? I'm not sure if any of the chord symbols are correct. Please help me out! Thanks John jwgurske gmail.
This is the title track from John Scofield's "Still Warm" album , Gramavision that includes great writing and awesome grooves. The tune is harmonically very interesting, incorporating a good number of slash chords and inversions. The bass line at letter A is not an accurate transcription and is included for reference only. And once again, please feel free to share your thoughts on the transcription. REQ: Carnavalito - J.
Zawinul I'm searching 4 someone who can help me with full scores, big band or simply piano sheeets. There was a transcription on the Jazz Trumpet Solo website by Mark Russo already done of his solo which I am attempting to learn, but I also wanted to play the head. Nostalgia Hi everyone I actually sat last night and today and tried to figure this out. I think I've got the head, but the intro I'm not sure of. If anyone has a definitive version of this, or can just hear if I've got it or not I'd really appreciate it. The tune is also recorded on Miles Davis' "Nefertiti" with slightly altered structure.
The bass creates a strong and active counter-melody - or more like the leading melody - to the chord at introduction and bars 10 - 13 of the melody chorus. The chords at bars 6 - 9 of head are a rather enlightened guess - the chromatic movement through the short progression sounds agreeable to me though. The solo section on the recording is harmonically more eventful. Very cool! Would anybody be so kind and upload these leadsheets? Any help to improve the leadsheet are welcome. The letter A is mostly in stop-time for head, but walks throughout solos. The 16th-note melody is built on a two-bar bass figure that freely outlines a G7 tonal center.
The bass line continues unchanging throughout the tune, and opens up a challenging template for burning solos. Needless to say, the rhythm is an integral part of this funky piece. It's based on a 6-bar progression in A minor, which modulates to C minor in the middle to go back to A minor in the end.
The basic idea expands into a few motifs that overlap with varying degree. Note that the piece includes two guitars: 1 rhythm guitar and 2 lead guitar. It was merely a bold attempt to analyze the tune and therefore it's essential no to stick to the chart too literally but "go with the flow". The song has been covered by several jazz musicians e. Guess it's high time to fill in the gap. The rhythmic phrasing of alto sax in Coda is transcribed hastily and should be revised. Please share your thoughts on the chart - all suggestions are welcome! It has a fairly slow and funky swing 16ths groove, which I've written in cut time with swung 8ths.
Miles and Marcus drop in tasty G minor blues fills all over the place. Note that the bass is tuned a whole step lower than in standard bass tuning. This is a shortened version of the original recording, which has additional sections not included in the chart. After repeating the : Bb-7 Eb7 : vamp the solos evolve into : Bb-7 Db7sus : figure. The album has this particular song both as vocal and instrumental versions. The sung version features a female contralto and a male baritone voices.
The female voice covers the A section and the male voice takes charge at the B section. I'm unsure of the chords Em7 A7 at bar 3 of letter B. I found a rather roughly sketched transcription in the net, but I hope getting a more reliable chart. So, please check your archives Question : Hello there!
It should be nice having them. The melody - that moves in small intervals - is freely interpreted rhythmically and its interpretation varies between the recordings a good deal. The pickup note C is omitted on the "Trio" recording. The piece modulates through various minor keys, and never really resolves, creating a perception of perpetual motion. The piano utilizes a three-part counterpoint alongside the bass line, weaving a rhythmically and harmonically interesting texture.
The A section as well as intro and much of the solo section is built on a bass figure that suggests a loose E7 harmony. Any comments? I'm not sure of the chord changes. Is there anyone familiar with this tune? The Touch of your lips? This funky number is from Scofield's album titled "Loud Jazz", which has awesome grooves! A lead sheet for the title piece can be found elsewhere on the site. The tune has additional sections not included in this chart, but the essential sections are here.
Need Driftin' leadsheet by Herbie Hancock no preview text. The Wurlitzer riff at the beginning continues in similar manner throughout the head yet observing the chord changes. However, I'm not sure if the keyboard figure is correctly transcribed, so I need to consult all you keyboard players out there about the riff.
The bass plays a conventional bossa nova line focusing on the root and fifth of the chords. The slap bass line is given but an example and shoud be played with artistic license. I welcome all comments on the chart. The pianist's right hand voicings are limited to three notes, but you may extend them at will. The bass figure, which is doubled by pianist's left hand, lays a strong and active counter line to the melody played by a tenor saxophone.
If there is anyone capable of writing down the solo section, I'd kindly ask for a copy of the transcription. I had to resort to a printed source called "John Scofield: Funk-Jazz Guitar I" due to the complexity of the composition. The chart stretched for five pages because of the varied sections. This is for all you daredevils out there, who venture the breakneck tempo and complex harmonic rhythms. Some intresting changes. I guess the C7 chord at 5th bar of letter A ought to have sus4, due to the F note in the melody.
Also, the A7sus is merely based on a conjecture, which may have a b9 added. Does anyone have enquired for this song? If so, please share your thoughts on this chart. The album can be considered a classic in modern jazz. The quartet consists of baritone sax, trumpet, bass and drums there isn't any chordal instrument on the recording. The album features fantastic interplay between the musicians highly recommended! The chart lacks a bar section that is played before the out chorus. The title of the piece refers to Gil Evans' harmonic characteristics, which are apparent at the A section.
The introduction and B section are in the key of F minor, but the A section gets harmonically free-floating. The F pedal bass figure introduced at the introduction keeps unchanging through the A section. Really, really, really old tunes Hi guys, I'm looking for a couple of really ancient tunes. So, if you guys happen to have these tunes, or know where else I can find them, please help. It would be greatly appreciated! In spite of the unusual complex meter the groove is solid and well-balanced. I listened to the tune over and over again, and made some changes to the earlier chart.
I guess this updated transcription gives a slightly better picture of the song. The piece is so abstract and harmonically free-floating, that I need further study to fully understand the nature of it. Please share your thoughts on this topic. The tune has an unusual form of 18 bars. On the recording, the bass doesn't walk, but is played in an open feel with irregular durations. Here's a revised transcription of "Au Lait". The F7sus chord at 2nd bar is varied on repeats - try any alteration of a dominant 7th chord. I'm not sure if the chromatically ascending notes Eb, E, F leading to the F7sus chord are accurate, but I look forward to hear your commentary on that.
Rosa Na Favela A Rose Born in the Ghetto I'm just wondering if anyone happens to have the accurate changes and melody line to this song. It's a tune by Sivuca. Thanks, -Ndhjazz. Miles employs so called "coded phrases" in order to direct the band. Phrygian modes are applied here both on D7 9 and E7 9 chords. I guess that the word "Spanish" in the title stems from the Phrygian mode, which has a strong Spanish flavor.
Miles trumpet solo on "Pharaoh's Dance" no preview text. Note that the bass line is not a detailed note-for-note transcription, but rather an overview of its rhythm. Since the drum pattern doesn't make a clear difference between the downbeats and upbeats, I used the bass figure as determination for time signature. The 2nd melody chorus, however, begins on the 2nd beat of the bass pattern. The bass figure descends a half step to F at bars Apparently the piece is in large part improvised - especially the rhythm section is toying with rhythms and harmonies.
The varying rhythms seem to challenge the musicians, but they manage to hold the cheerful piece together to the end. It can also be regarded as polyrhythmic tune, since there occur simultaneous independent rhythms. Electric piano and acoustic bass play their repetitive parts throughout while drums fill sparsely around the harmonic rhythm. After the "melody" chorus the melody is rather nonexistent here, since the head is constructed of chords and bass line is played 3 times, the trumpet solo starts and lasts until it gives way to tenor solo.
After the tenor solo, the upper line piano right hand blends into a piano solo. In the end Miles re-enters for a brief solo to conclude the piece. Occasionally - approximately every other repeat - piano and bass play the first bar of the chorus like shown at the final bar F triad, Eb triad, E triad, F triad. Footage also appears in Ken Burns ' documentary Jazz , which includes a short passage on Tatum's life and work, including comments from Jimmy Rowles and Gary Giddins. Tatum appeared in the movie The Fabulous Dorseys , first playing a solo and then accompanying Dorsey's band in an impromptu song.
Tatum appeared on Steve Allen 's Tonight Show in the early s, and on other television shows from this era. Unfortunately, all of the kinescopes of the Allen shows, which were stored in a warehouse along with other now defunct shows, were thrown into a local rubbish dump to make room for new studios. However, the soundtracks were recorded off-air by Tatum enthusiasts at the time, and many are included in Storyville Records extensive series of rare Tatum recordings.
When Charles enters a nightclub he remarks, "Are my ears deceiving me or is that Art Tatum?
Tatum posthumously received the Grammy Lifetime Achievement Award in Numerous stories exist about other musicians' respect for Tatum. Perhaps the most famous is the story about the time Tatum walked into a club where Fats Waller was playing, and Waller stepped away from the piano bench to make way for Tatum, announcing, "I only play the piano, but tonight God is in the house.
Charlie Parker who helped develop bebop was highly influenced by Tatum. When newly arrived in New York, Parker briefly worked as a dishwasher in a Manhattan restaurant where Tatum was performing and often listened to the legendary pianist. Once the young Peterson was finally persuaded that it was performed by a single person, Peterson was so intimidated that he did not touch the piano for weeks. The jazz pianist and educator Kenny Barron commented, "I have every record [Tatum] ever made — and I try never to listen to them … If I did, I'd throw up my hands and give up!
Dave Brubeck observed, "I don't think there's any more chance of another Tatum turning up than another Mozart. If you put a piano in a room, just a bare piano.
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Then you get all the finest jazz pianists in the world and let them play in the presence of Art Tatum. Then let Art Tatum play Jazz critic Leonard Feather has called Tatum "the greatest soloist in jazz history, regardless of instrument. In , J. Bilmes, an MIT student, invented a term that is now in common usage in the field of computational musicology: The Tatum.
It means "the smallest perceptual time unit in music" and is a tribute to Tatum's pianistic velocity. Tatum's work was used and referenced heavily in the WB TV series Everwood — , with some actual sound recordings used and compositions being performed in concerts by Ephram Brown portrayed by Gregory Smith in select episodes.
James Earl Jones ' character Will Cleveland introduced these works to young Ephram, who was an aspiring pianist, in the second season episode "Three Miners From Everwood". Using computer equipment coupled with a high-resolution player piano , they created re-performances of Tatum's first four commercial tracks, from March 21, , and the nine tracks from the April 2, live concert at Los Angeles' Shrine Auditorium. Sony recorded these anew in the same venue, in front of a live audience.
The binaural recording , when played via headphones, allows one to hear what Tatum may have heard as he played on stage, with the piano spatially in front bass on the left, treble on the right and the live audience clearly downstage on the righthand side. Non-pianist musicians influenced by Tatum's improvisational virtuosity include Jerry Garcia of The Grateful Dead who was quoted in the June edition of Frets Magazine as saying: "Art Tatum is my all-time favorite.
When I want to feel really insignificant [laughs]. Pianist Yuja Wang , herself an admirer of Tatum's improvisational freedom, has recorded his arrangement of " Tea for Two " in her album, Fantasia. Sign In Don't have an account? Start a Wiki. Contents [ show ]. Fats Waller recalled the showdown: "That Tatum, he was just too good He had too much technique.
When that man turns on the powerhouse, don't no one play him down. He sounds like a brass band. The Gale Group, Inc, Jackson, MS: Univ. Press of Mississippi. NPR Music. Retrieved 11 September Field Lines. I contemporanei.
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Milano: Il Saggiatore. His recording of Shout was included in the soundtrack of the film The Great Debaters. Tatum is in the house. According to vibraphonist Red Norvo , in whose group Mingus played bass around , Mingus tried out for Tatum's trio but did not have the ear to follow Tatum's "difficult atonal things". Lester, Too Marvelous for Words , p. Press, , p. Retrieved 23 April December 7, The Art Commission of Toledo. September 11, Categories :. Cancel Save. C'Est Si Bon. One of the originators of big-band jazz, Ellington led his band for more than half a century, composed thousands of scores, and created one of the most distinctive ensemble sounds in all of Western music.
Ellington grew up in a secure middle-class family in Washington, D. His family encouraged his interests in the fine arts, and he began studying piano at age seven. He became engrossed in studying art during his high-school years, and he was awarded, but did not accept, a scholarship to the Pratt Institute, Brooklyn, New York. Inspired by ragtimeperformers, he began to perform professionally at age Ellington first played in New York City in Later that yearhe moved there and, in Broadway nightclubs, led a sextet that grew in time into a piece ensemble.
Extended residencies at the Cotton Club inHarlem —32, —38 stimulated Ellington to enlarge his band to 14 musicians and to expand his compositional scope. He selected his musicians for their expressive individuality, and several members of his ensemble—including trumpeter Cootie Williams who replaced Miley , cornetist Rex Stewart, trombonist Lawrence Brown, baritone saxophonist Harry Carney, alto saxophonist Johnny Hodges, and clarinetist Barney Bigard—were themselves important jazz artists.
The most popular of these was Hodges, who rendered ballads with a full, creamy tone and long portamentos. With these exceptional musicians, who remained with him throughout the s, Ellington made hundreds of recordings, appeared in films and on radio, and toured Europe in and The expertise of this ensemble allowed Ellington to break away from the conventions of band-section scoring. Instead, he used new harmonies to blend his musicians' individual sounds and emphasized congruent sections and a supple ensemble that featured Carney's full bass-clef sound.
He composed a series of works to highlight the special talents of his soloists. Few of Ellington's soloists, despite their importance to jazz history, played as effectively in other contexts; no one else, it seemed, could match the inspiration that Ellington provided with his sensitive, masterful settings. The variety and ingenuity of these works, all conceived for three-minute, rpm records, are extraordinary, as are their unique forms, which range from logically flowing expositions to juxtapositions of line and mood. Tenor saxophonist Ben Webster and bassist Jimmy Blanton, both major jazz artists, were with this classic Ellington band.
A number of these hits were introduced by Ivy Anderson, who was the band's female vocalist in the s. During these years Ellington became intrigued with the possibilities of composing jazz within classical forms. His musical suite Black, Brown and Beige , a portrayal of African-American history, was the first in a series of suites he composed, usually consisting of pieces linked by subject matter. Ellington's symphonic A Rhapsody of Negro Life was the basis for the film short Symphony in Black , which also features the voice of Billie Holiday uncredited.
Ellington wrote motion-picture scores for The Asphalt Jungle and Anatomy of a Murder and composed for the ballet and theatre—including, at the heightof the Civil Rights Movement, the show My People , a celebration of African-American life. Although Ellington's compositional interests and ambitions changed over the decades, his melodic, harmonic, and rhythmic characteristics were for the most part fixed by the late s, when he was a star of the swing era.
The broken, eighth-note melodies and arrhythms of bebop had little impact on him, though on occasion he recorded with musicians who were not band members—not only with other swing-era luminaries such as Louis Armstrong, Ella Fitzgerald, and Coleman Hawkins but also with later bop musicians John Coltrane and Charles Mingus. Ellington's stylistic qualities were shared by Strayhorn, who increasingly participated in composing and orchestrating music for the Ellington band.
During —67 Strayhorn collaborated so closely with Ellington that jazz scholars may never determine how much the gifted deputy influenced or even composed works attributed to Ellington. Despite this grueling schedule, some of Ellington's musicians stayed with him for decades; Carney, for example, was a band member for 47 years. For the most part, later replacements fit into roles that had been created by their distinguished predecessors; after , for instance, the Webster-influenced Paul Gonsalves filled the band's solo tenor saxophone role originated by Webster.
There were some exceptions to this generalization, such as trumpeter-violinist Ray Nance and high-note trumpet specialist Cat Anderson. Not least of the band's musicians was Ellington himself, a pianist whose style originated in ragtime and the stride piano idiom of James P. He adapted his style for orchestral purposes, accompanying with vivid harmonic colours and, especially in later years, offering swinging solos with angular melodies.
An elegant man, Ellington maintained a regal manner as he led the bandand charmed audiences with his suave humour. His career spanned more than half a century—most of the documented history of jazz. He continued to lead the band until shortly before his death in Ellington's sense of musical drama and of his players' special talents and his wide range of moods were rare indeed.
His gift of melody and his mastery of sonic textures, rhythms, and compositional forms translated his often subtle, often complex perceptions into a body of music unequaled in jazz history. Charles Ives is perhaps his only rival for the title of the greatest American composer. Ellington's autobiography, Music Is My Mistress, was published in Overcoming opposition from his clergyman father, Waller became a professional pianist at 15, working in cabarets and theatres, and soon became deeply influenced by James P.
Johnson, the founder of the stride school of jazz piano. By the late s he was also an established songwriter whose work often appeared in Broadway revues. From on he made hundreds of recordings with his own small band, in which excellent jazz was mixed with slapstickin a unique blend. He was the first jazz musician to master the organ, and he appeared in several films, including Stormy Weather Usually rememberedas a genial clown, he is of lasting importance as one of the greatest of all jazz pianists and as a gifted songwriter, whose work in both fields was rhythmically contagious.
Cab Calloway. After graduating from high school, Calloway briefly attendeda law school in Chicago but quickly turned to performing in nightclubs as a singer. He began directing his own bands in and in the following year went to New York City. In the sameyear, Calloway first recorded his most famous composition, "Minnie the Moocher," a song that showcased his ability at scat singing. Although his band rose to fame largely on the strength of his personal appeal, some critics felt that Calloway's antics drew focus away fromone of the best assemblages of musicians in jazz.
Calloway led a tight, professional unit during the early s, but many regard his band of —42 to be his best. The decline in popularity of big bands forced Calloway to disband his orchestra in , and he continued for several years with a sextet. Calloway also had a successful side career as an actor. In the s, Calloway appeared on Broadway and on tour in Hello, Dolly! His best-known acting performance was also his last, as a jive-talking music promoter in director John Landis's comedy The Blues Brothers The film featured Calloway singing "Minnie the Moocher" every bit as energetically and eccentrically as he had performed it in Artie Shaw.
He was one of the few outstanding jazz musicians whose commitment to jazz was uncertain.
National Jazz Archive
Shaw began playing in high school andturned professional in The first signs of indecision became apparent in the early s, when he retired from music for a year. In , at a New York swing concert, he played one of his own compositions accompanied by a string quartet. While several public comebacks followed, including leadership of a U.
Navy orchestra, he dissociated himself from jazz almost totally after the early s. An oft-married man of some wit, he wrote a revealing autobiography, The Trouble with Cinderella Benny Goodman. He lived in New York City from and, in —34, organized an orchestra that became one of the most popular of the swing bands.
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Orchestrations by Fletcher Henderson and later from by Eddie Sauter made a notable contribution. His band generated great enthusiasm for jazz among white listeners, and his small groups, particularly the trio —36 and quartet —39 , returned jazz to its original emphasis on small performing groups and indirectly encouraged the development of modern jazz, which Goodman decried.
For these small groups he hired the black musicians Wilson, Hampton, and Charlie Christian, guitarist, presenting for the first time a racially mixed popular jazz group. During the s he intermittently led bands, and in he recorded the sound track for a film biography, The Benny Goodman Story. In he took a jazz band to the Soviet Union on a U. State Department tour. Thereafter he appeared sporadically with former players in special concerts and played clarinet with symphonic orchestras and smaller groups.
Goodman's jazz solo playing, noted for its technical purity, was a highly refined version of the Chicago clarinet style. The Kingdom of Swing , with Irving Kolodin, is his autobiography. A discography, B. Russell Connor and Warren W. Hicks, was published in Nat King Cole.
Cole attained his greatest commercial success, however, as a vocalist specializing in warm ballads and light swing. Cole grew up in Chicago where, by age12, he sang and played organ in the church where his father was pastor. He formed his first jazz group, the Royal Dukes, five years later.
In , after touring with a black musical revue, he began playing in jazz clubs in Los Angeles. The trio specialized in swing music with a delicate touch in that they did not employ a drummer; also unique were the voicings of piano and guitar, often juxtaposed to sound like a single instrument. An influence on jazz pianists such as Oscar Peterson, Cole was known for a compact, syncopated piano style with clean, spare, melodic phrases. During the late s and early '40s the trio made several instrumental recordings, as well as others that featured theirharmonizing vocals. They found their greatest success, however, when Cole began doubling as a solo singer.
Noted for his warm tone and flawless phrasing, Cole was regarded among the top male vocalists, although jazz critics tended to regret his near-abandonment of the piano. He first recorded with a full orchestra the trio serving as rhythm section in for "The Christmas Song,"a holiday standard and one of Cole's biggest-selling recordings.
By the s, he worked almost exclusively as a singer, with such notable arrangers as Nelson Riddle and Billy May providing lush orchestral accompaniment. He occasionally revisited his jazz roots, as on the outstanding album After Midnight , which proved that Cole's piano skills had not diminished. The show fell victim to the bigotry of the times, however, and was canceled after one season; few sponsors were willing to be associated with a black entertainer.
Cole had greater success with concert performances during the late s and early '60s and twice toured with his own vaudeville-stylereviews, The Merry World of Nat King Cole and Sights and Sounds His hits of the early '60s— "Ramblin' Rose," "Those Lazy, Hazy, Crazy Days of Summer,"and "L-O-V-E" —indicate that he was moving even farther away from his jazz roots and concentrating almost exclusively on mainstream pop. Adapting his style, however,was one factor that kept Cole popular up to his early death from lung cancer in The prejudices of the era in which Cole lived hindered his potential for even greater stardom.
Handy in St. Louis Blues His daughter Natalie is also a popular singer who achieved her greatest chart success in with "Unforgettable," an electronically created duet with her father. Miller was educated at the University of Colorado, Boulder, and in became a professional trombonist with Ben Pollack's band. By he was a much sought-after New York City free-lance musician.
Later he became an organizer of other men's bands, particularly those of the Dorsey brothers and Ray Noble After an abortive attempt to form his own orchestra , he tried again a year later and by had achieved world fame as a big-band leader. He became captain and then major as leader of the U. Air Force band in Europe.
While flying to Paris from England, he disappeared; neither bodies nor wreckage were ever sighted or recovered. Miller's triumphs in the ballrooms were based on sweet orchestrations meticulously executed. His two Hollywood films, Sun Valley Serenade and Orchestra Wives , contributed to his reputation; but by far the biggest factor in the persistence of his memory was the release in of the somewhat sweetened movie biography, The Glenn Miller Story. Some critics hold that the jazz content of his orchestra was negligible, but others regard its sound as the definitive popular music of its time.
Because of its great popularity, the orchestra was held together for a time under saxophonist Tex Beneke, and an organization known as the Glenn Miller Orchestra, which purveyed its original leader's sound, performed into the s. The son of a prosperous dental surgeon, Davis began playing the trumpet at age 13 and was soon performing with local jazz bands in St. He played primarily in Parker's bands from until becoming the leader of a short-lived nonet —49 whose studio recordings became the album Birth of the Cool One of the pioneering cool jazz groups, the no net featured the saxophonists Gerry Mulligan and Lee Konitz and the pianist-arrangers Gil Evans and John Lewis.
Davis' great period began in with his classic, blues-centred all-star album performances Walkin' and Bags Groove. In contrast to the bebop trumpet virtuosos, Davis played a direct, unornamented melodic style, based upon quarter-notes and rich with inflections, in his horn's middle registers.
Growing confidence in his technique led to the most daring improvising of his career, with his intermittent —57 quintet, which included tenor saxophonist John Coltrane and drummer Philly Joe Jones. The great tension of this group's playing resulted from the drastic rhythmic contrasts of its members. Subsequently Davis returned to modal playing only intermittently for several years, meanwhile gradually piecing together a new quintet centred on drummer Tony Williams and including pianist Herbie Hancock, bassist Ron Carter, and saxophonist Wayne Shorter.
This group, too, achieved peaks of nervous tension and rhythmic contrast, using the harmonic techniques of free jazz by By Davis was playing an original kind of jazz-rock fusion music, accompanied by electronic instruments on the highly influential album Bitches Brew.
The emotional and technical range of his music narrowed in his fusion years, especially after a brief retirement — Though occasionally given to multinote flurries, Davis generally displayed one of the most economical and thoughtful trumpet styles in modern jazz.
The deliberation, pacing, and lyricism in his improvisations are striking. Davis was the most popular jazz artist of the post-World War II era. Many younger musicians arrived at the beginnings of their own popularity while playing in his groups. After growing up in Philadelphia, Coltrane worked with Eddie Vinson, Dizzy Gillespie, Earl Bostic, and Johnny Hodges and then came to wide attention by recording with Miles Davis intermittently from to and briefly with Thelonious Monk in During those years Coltrane's tone on the tenor saxophone was huge and dark, with clear definition and full body, even in the high register and with the split-note multiphonics that became his trademark.
From to he performed with his own highly acclaimed quartet, featuring drummer Elvin Jones, pianist McCoy Tyner, and bassist Jimmy Garrison. At the same time, his study of the native musics of India and Africa was ultimately expressed on the instrument Coltrane popularized—the soprano saxophone. These influences, combined with a unique interplay with the drums and the steady vamping of the piano and bass, made the Coltrane quartet among the most influential combos of the s. The short period between and Coltrane's death saw the dissolution of his quartet, but it also marked the expansion in his work of a free, collective improvisation based on prearranged scales clustered around tonal centres.
Coltrane's wife Alice also a jazz musician and composer played the piano in his band during the last years of his life. This period is best represented in his albums Ascension and Meditations. Lionel Hampton. Best known for his work on the vibraphone, Hampton was also a skilled drummer, pianist, and singer. As a boy, Hampton lived with his mother in Kentucky and Wisconsin before finally settling in Chicago, where he received tuition on the xylophone from percussionist Jimmy Bertrand.
Hampton got his start playing drums in the Chicago Defender Newsboys' Band before moving to California in the late s. There he played drums in a succession of bands, the most notable being Paul Howard's Quality Serenaders, with which Hampton made his recording debut in He next joined Les Hite's band and accompanied Louis Armstrong on several recordings. At one session in , Armstrong asked Hampton to play a vibraphone that had been fortuitously left in the studio. The results were "Memories of You" and "Shine," the first jazz recordings to feature improvised vibraphone solos.
From this point on, the vibes became Hampton's main instrument. During the early s, Hampton studied music for a brief period at the University of Southern California and appeared in a few films featuring Armstrong and Hite. As a member of the Goodman group for the next four years, Hampton made some of his most heralded recordings, taking memorable solos on such songs as "Dizzy Spells," "Avalon," and "Moonglow.
He was also, for a brief period, drummer with the Goodman orchestra after Gene Krupa left in While still with Goodman, Hampton led recording sessions under his own name during the years — On these recordings, Hampton occasionally plays piano on which he performed vibraphone-style with two fingers or drums, but most feature him on the vibes and reveal him to be as sensitive with ballads as he is extroverted on up-tempo numbers.
Hampton left Goodman and formed his own band in He had his first major hit in with "Flying Home," the numberthat became his perennial theme song. It was also during this decade that Hampton released two of his most celebrated recordings, "September in the Rain" and "Stardust" , both featuring some of his most beautiful and creative vibes solos.
Hampton continued to lead big bands and small groups for the remainder of his career, which extended into the 21st century. He participated in an outstanding series of combo recordings during the mid s on which he proved himself one of the few musicians not to be intimidated by the genius of pianist Art Tatum. In the s Hampton started his own record label and undertook extensive tours of Europe, Africa,Japan, and the Philippines. He had a few reunions with the Benny Goodman Quartet throughout the years, none so memorable or poignant as an appearance at the Newport Jazz Festival, a few months before Gene Krupa's death.
In the s and '90s, Hampton was still drawing sellout crowds throughout the world. Despite bouts of ill health, he continued to perform on a limited basis into his 90s. Although Red Norvo is credited as the first jazz musician to play the vibraphone, it was Hampton who extended the instrument's possibilities and made it a standard item in the jazz world, especially in small-group settings. A true jazz icon, Hampton received numerous awards and honours, including 15 honorary doctorates from universities throughout the world, and the music school at the University of Idaho is named in his honour.
Glenn Miller - In The Mood. Duke Ellington - Caravan. Count Basie - Lady Be Good. Lionel Hampton - Undecided. Woody Herman - Mood Indigo. Louis Armstrong - St. Glenn Miller - String Of Pearls. Duke Ellington - Creole Love Call. Lionel Hampton - Jeepers Creepers. Benny Goodman - Bugle Call Rag. Teddy Wilson was born at Austin, Texas on November 24, and died in He started recording during As a pianist and composer, he was well-respected in the jazz community.
During the Swing Era of American Jazz, he worked with many jazz legends, formed his own popular trio, and was a bandleader. He recorded with Billie Holiday and Benny Goodman, among many others. As a teacher of piano, his pupils included pianists Roger Williams and Dick Hyman. Much has been written about Teddy Wilson as an articulate pianist with a highly developed talent for phrasing.
A prolific recording artist, Teddy Wilson's performances are available on CDs. Gillespie received early instrumental training from his father and instructionin theory at Laurinburg Institute in North Carolina. He composed, arranged, and soloed with the Teddy Hill and Cab Calloway bands in the late s and with the Benny Carter and Earl Hines bands, among others, in the early s. He took an active part in the jam sessions at Minton's Playhouse in Harlem, where such musicians as pianist Thelonius Monk, drummer Kenny Clarke, and saxophonist Charlie Parker were experimenting with a new style of jazz composed of numerous altered chord progressions and rapid syncopated rhythms.
Gillespie became co-leader of a group on 52nd Street with bassist Oscar Pettiford, which marked the birth of the bebop era. When Gillespie and Parker joined Billy Eckstine's band in , it became the first big band to showcase the new style. Gillespie took the saxophone-style lines of advanced swing-era trumpeter Roy Eldridge and executed them faster, with greater ease, and with further harmonic daring.
He played his jagged melodies with abandon, reaching into the highest registers of the trumpet range and improvising into precarious situations from which he seemed always to extricate himself. He thought much like a drummer and was partly responsible for the assimilation of Afro-Cuban elements into modern jazz.
Gillespie helped popularize the interval of the augmented eleventh flat fifth as a characteristic sound in modern jazz. Gillespie influenced many modern jazz trumpeters, including such leading figures as Miles Davis, Thad Jones, and Kenny Dorham. His improvised lines with their abrupt changes in direction were incorporated into the improvisations of pianists, saxophonists, guitarists, bassists, and vibraphonists.
Though associated mostly with small combos, especially those he co-led with Parker, Gillespie led and wrote for his own swing-era-sized big bandsthroughout the late s and sporadically during the '50s, launching such outstanding saxophone soloists as John Coltrane, Benny Golson, Dexter Gordon, and James Moody.
His bent trumpet originally the result of its being sat on and hisonstage clowning became personal trademarks. Benny Goodman - Jersey Bounce. Louis Armstrong - Mack The Knife. Duke Ellington - Sophisticated Lady. Glenn Miller - Moonlight Serenade. Harry James - Flash. Lionel Hampton - Dizzy Spells. Count Basie - One O'clock Jump. Woody Herman - Caldonia. Glenn Miller - Little Brown Jug. Duke Ellington - Perdido. Louis Armstrong - Hello Dolly. Harry James - Chiribiribin. Count Basie-All Of Me. American singer who became world famous for the wide range and rare sweetness of her voice.
She became an international legend during a career that spanned some six decades. Singing in a style influenced by the jazz vocalist Connee Boswell, Fitzgerald won amateur talent contests in New York City before she joined the Chick Webb orchestra in ; Webb became the teenaged Fitzgerald's guardian when her mother died. After Webb's death in , she led his band until it broke up in She then soloed in cabarets and theatres, toured internationally with such pop and jazz stars as Benny Goodman, Louis Armstrong, Duke Ellington, the Mills Brothers, the Ink Spots, and Dizzy Gillespie, and recorded prolifically.
During much of her early career she had been noted for singing and recording novelty songs. Her status rose dramatically in the s when jazz impresario Norman Granz became her manager. This material, combined with the best jazz instrumental support, clearly demonstrated Fitzgerald's remarkable interpretative skills.
Although her diction was excellent, her rendition of lyrics was intuitive rather than studied. For many years the star attraction of Granz's Jazz at the Philharmonic concert tours, she was also one of the best-selling jazz vocal recording artists in history. She appeared in films notably Pete Kelly's Blues in , on television, and in concert halls throughout the world. She also recorded a number of live concert albums andproduced a notable duet version of Porgy and Bess with Armstrong.
During the s she began to experience serious health problems, but she continued to perform periodically, even after heart surgery in , until about Fitzgerald's clear tone and wide vocal range were complemented by her mastery of rhythm, harmony, intonation, and diction. She was an excellent ballad singer, conveying a winsome, ingenuous quality. Her infectious scatsinging brought excitement to such concert recordings as Mack the Knife: Ella in Berlin and was widely imitated by others.
She won 12 Grammy Awards and several other honours. Woody Herman 2. Charlie Barnet 3. Peggy Lee 4. Louis Armstrong 5. Jack Tegarden 6. Ella Fitzgerald 7. Lionel Hampton 8. Harry James 9. Duke Ellington Fats Waller Nat King Cole Sonny Rollins Tommy Dorsey Ella Fitzgerald Woody Herman Benny Goodman Billie Holiday Louis Armstrong Sarah Vaughan Count Basie. William Count Basie. Basie studied music with his mother and was later influenced by the Harlem pianists James P. Johnson and Fats Waller, receiving informal tutelage on the organ from the latter.