NOW GO PRACTICE!

Late, great alto saxophonist Frank Morgan- Well You Needn’t

3 Well, You Needn’t – Best of the Blue Note Years – T Monk

• Pete Bryant
• Seth Goldman
• Kat Barnhum
• Samanth Dickerson

TRUMPETS

• Mario Marino
• Mike Suskin
• Dusty Williams
• Shawn Colebrook
• Kurt Swietzer

TROMBONES

• Andy Morrow
• Bryan Morgan
• Kelson Barbaris
• Andy Becker

RHYTHM

• Zak Spears-Bass
• Brittni Williamson-Bass
• Kyle Owen-Drums
• Anthony Libonati-Drums
• Ben Zuelsdorf-Piano
• Nathan Seaman-Guitar
• Kyle Smoth-Guitar

• Ryan Chang – Alto
• Elysia Strauss – Tenor
• Mike Meskel – Bari

TRUMPETS

• Kevin Ohmart
• Samantha Ward
• Tree Palmedo

Summertime PDF Version

summertime.mp3

 
BODY AND SOUL

Body & Soul PDF Version

Body & Soul

Friday, May 23, 2008

Jazz Messengers Week

The origins of the Messengers are in a series of groups led or co-led by Blakey and pianist Horace Silver, though the name was not used on the earliest of their recordings. The most celebrated of these early records (credited to “The Art Blakey Quintet”), is A Night at Birdland from February 1954,[citation needed] one of the earliest commercially released “live” jazz records. This featured Silver, Blakey, the young trumpeter Clifford Brown, alto saxophonist Lou Donaldson and bassist Curly Russell. The “Jazz Messengers” name was first used on a 1954 recording nominally led by Silver, with Blakey, Hank Mobley, Kenny Dorham and Doug Watkins — the same quintet would record The Jazz Messengers at the Cafe Bohemia the following year, still as a collective. Donald Byrd replaced Dorham, and the group recorded an album called simply The Jazz Messengers for Columbia Records in 1956. Blakey took over the group name when Silver left after the band’s first year (taking Mobley, Byrd and Watkins with him to form a new quintet with a variety of drummers), and the band was known as “Art Blakey and the Jazz Messengers” from then onwards.

Two of the group’s most famous lineups featured Wayne Shorter on tenor saxophone. The first was a quintet that existed from 1959 to 1961 and included Blakey, Shorter, Jymie Merritt, Lee Morgan, and Bobby Timmons. The second (1961–1964) was a sextet that added trombonist Curtis Fuller and replaced Morgan and Timmons with Freddie Hubbard and Cedar Walton, respectively. Shorter was the musical director of the group, and many of his original compositions such as “Lester Left Town” remained staples of Blakey’s repertoire even after Shorter’s departure. (Other players over the years made permanent marks on Blakey’s repertoire — Timmons, composer of “Dat Dere” and “Moanin’”, Benny Golson, composer of “Along Came Betty” and “Are You Real”, and, later, Bobby Watson.) Shorter’s more experimental inclinations pushed the band at the time into an engagement with the 1960s “New Thing”, as it was called: the influence of Coltrane’s contemporary records on Impulse! is evident on Free For All (1964), often cited as the greatest document of the Shorter-era Messengers (and certainly one of the most fearsomely powerful examples of hard bop on record).[citation needed

Biographical Info courtesy of Wikepedia

“BYOB”- Bring Your Own Blues

We will play 3-4 Blues compositions brought by YOU.

If you know a cool blues head, or a blues w/different changes. Bring at least 4 lead sheets, we’ll learn and play them at the session.

· Blues w/a bridge

· Minor Blues

· Tricky heads

· Unusual progressions

“May Day Session”

The choice of the 1st of May is a commemoration by the Second International for the working Americans involved in the 1886 Haymarket affair in Chicago, Illinois. As the culmination of three days of labor unrest in the United States, the Haymarket incident was a source of outrage and admiration from people around the globe.

In countries other than the United States and Canada, residents sought to make May Day an official holiday and their efforts largely succeeded. For this reason, in most of the world today, May Day has become an international celebration of the social and economic achievements of the labor movement. In some European countries, working people continue to use May Day parades as an opportunity to show disapproval with the government or to protest cuts in social programs.

first recorded on May 10, 1961 (Ingo at a concert in Berne, Switzerland. It is a completely original melody based loosely on the chord changes of “Sweet Georgia Brown.”

http://www.monkzone.com/biographyHTML.htm

Other tunes Open from Charlie Parker repertoire