Progressive Jazz Double Bass Repertoire 2020 PDF

Download as pdf or txt
Download as pdf or txt
You are on page 1of 359

FAIR USE STATEMENT

Copyright Disclaimer under section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as
criticism, comment, news reporting, teaching, scholarship, education and research.This collection may contain copyrighted
material the use of which has not always been specifically authorized by the copyright owner. We are making such
material available in an effort to advance understanding of jazz, improvisation, the double bass, rhythm, melody, harmoy,
creativity, interaction, music, etc., We believe this constitutes a ‘fair use’ of any such copyrighted material as provided for
in section 107 of the US Copyright Law.

In accordance with Title 17 U.S.C. Section 107, the material here is distributed without profit to those who have expressed
a prior interest in receiving the included information for research and educational purposes. For more information go to:
http://www.law.cornell.edu/uscode/17/107.shtml

If you wish to use copyrighted material from this site for purposes of your own that go beyond ‘fair use’, you must obtain
permission from the copyright owner. This collection is for educational purposes only.

Navigate this file via the table of contents in your browser, .pdf reader, or by clicking in
the table of contents on pages 4-12.
________________________________________________________________________

Progressive Jazz Double Bass Repertoire

Transcribed and Arranged by Robert Sabin

____________________________________________________________________________________

version 2.0
New York, NY
July 2020

www.robertsabinbass.com
Table of Contents 4
Song Index 7
Performer Index 10
Introduction 13
Acknowledgments 14
Guide to Notation 15

I. Blues as played by

Blue Haze Percy Heath 17


Bags’ Groove Percy Heath 18
Bag's Groove Percy Heath/Miles Davis 20
Walkin’ Percy Heath 22
Straight No Chaser Sam Jones 25
Blue Monk SuperBass 27
Tenor Madness Paul Chambers and Sonny Rollins 28
Unit Seven Sam Jones 29
Blues in F Christian McBride 31
You Don't Have to Play Loud to Swing Ray Brown 32
Make Sure You Bring It Back Home Ray Brown 33
Frankie and Johnny Ray Brown 34
Blues in the Bassment Ray Brown 36
The Thumb Ron Carter/Wes Montgomery 37
Left Hand Shell Voicings Rick Germanson 39
Oh Lord, Don't Let Them Drop Charles Mingus 40
That Atomic Bomb on Me
Misterioso Thelonious Monk 41
Yes I Can, No You Can’t Bob Cranshaw 42
The Sidewinder Bob Cranshaw 43
The Kicker Bob Cranshaw 45
Potluck Paul Chambers 48
Trane’s Blues Paul Chambers 54
Gemini Sam Jones 58
Splanky Eddie Jones/FrankFoster 61
Fantail Eddie Jones/Count Basie 63
Dig Dis Hank Mobley 68
Relaxin’ at Camarillo Charlie Parker 69
Billie’s Bounce Charlie Parker 70
Straight No Chaser Al McKibbon/Thelonious Monk 72
Night Train Ray Brown 77
Freddie Freeloader Wynton Kelly 81
Eye of the Hurricane Ron Carter 83
Eye of the Hurricane Ron Carter/Herbie Hancock 86

II. Melodies

Autumn Leaves Joseph Kosma/Johnny Mercer 93


Autumn Leaves Sam Jones/Miles Davis 94
Cherokee Ray Brown 97
Blue Bossa Butch Warren/Kenny Dorham 98
Down by the Riverside Charlie Haden/Hank Jones 99
My Funny Valentine Chet Baker 102
Alone Together Ray Brown/Jimmy Rowles 104
The Girl from Ipanema Sebastião Neto/Joao Gilberto 107
Mood Indigo Clark Terry/Bob Brookmeyer 109
Cottontail Jimmy Blanton 112
It Don’t Mean a Thing Oscar Pettiford/Thelonious Monk 115
I Can't Get Started Michael Moore 121
The Days of Wine and Roses Henry Mancini 122
What is This Thing Called Love? Cole Porter 123
Stella by Starlight Victor Young 124
Stella by Starlight Hank Jones 125

iv
I’ll Remember April Grant Green 127
I’ll Remember April Wilbur Ware/Grant Green 129
Seven Minds Michael Moore & Rufus Reid 132
Tricotism Oscar Pettiford 135
The Gentle Art of Love Oscar Pettiford 140
Manha De Carnaval Luiz Bonfa 142
Reflections on Ives and Whittier Bertram Turetsky 145
Utviklingssang Carla Bley/Steve Swallow 146
Gaia Gary Peacock/Ralph Towner 148
Ghosts (First Variation) Gary Peacock/Albert Ayler 150
Beauty is a Rare Thing Ornette Coleman 152
M Donny McCaslin 153
Anthem Ralph Towner 155
Whisper Not The Jazztet 162
Jelly Roll Charles Mingus/Jimmy Knepper 164
We See Paul Motian 167
Lament J.J. Johnson 169
Ornithology Charlie Parker 170
Dig Miles Davis 172
Donna Lee Charlie Parker 174
Quasimodo Charlie Parker 175
Segment Charlie Parker 176
Remember Rockefeller at Attica Charles Mingus 179
Theme for Ernie John Coltrane 184
Evidence Andy Gonzalez 187
Subconcious-Lee Lee Konitz 189
26-2 Kenny Werner 190
Lopsy Lu Stanley Clarke 191

III. Basslines

Lady Be Good Walter Page 193


Bye-Bye Blackbird Paul Chambers 196
Trouble No. 2 Bob Cranshaw 197
All the Things You Are Larry Gales 199
Satin Doll Sam Jones 200
The Days of Wine and Roses Ray Brown 201
My Funny Valentine Paul Chambers 203
Stella by Starlight George Mraz 205
So What Paul Chambers 207
Impressions McCoy Tyner 210
Impressions Jimmy Garrison 211
Joshua Ron Carter 213
Conga Jam Andy Gonzalez & Candido 219
My One and Only Love Bob Cranshaw 223
One Finger Snap Ron Carter 224
Take the A Train Charles Mingus 229
Tune Up Paul Chambers 231
Confirmation Ron Carter 235
Segment Dave Holland 241
All the Things You Are Bob Cranshaw 242
Little Pixie II Richard Davis 246
Tip Toe Dennis Irwin 249
Jeru Gerry Mulligan 252
Ezz-Thetic Bob Cranshaw 254
Tempus Fugit Ray Brown 256
What's Going On James Jamerson 259
Lover Paul Chambers 261
Windows Miroslav Vitous 265
Windows Roy Haynes 268
Nemesis Dave Holland 271
El Ray Ugonna Okegwo 274

v
IV. Solos

You’d Be So Nice to Come Home To Paul Chambers 277


On Green Dolphin Street Miles Davis 281
Perdido Oscar Pettiford 283
Rhythm-a-Ning Charlie Rouse 287
Autumn Leaves Chet Baker 288
Lady Bird Fats Navarro 290
When Your Lover Has Gone Paul Chambers 291
Moody's Mood For Love James Moody 296
Stardust Oscar Pettiford 298
I'll Remember April Idris Muhammad 301
Giant Steps Larry Grenadier 304
Nardis Scott LaFaro/Bill Evans 306
Lazy Bird Paul Chambers 311
What is This Thing Called Love? Hank Jones 315
All of Me Johnny Hodges 318
I Want to Be Happy Sonny Rollins 321
Windows Chick Corea 329
All the Things You Are Larry Grenadier/Brad Mehldau 332
Pannonica Thelonious Monk 343
Pannonica Robert Sabin 347
Tempus Fugit Bud Powell 350
Santa Claus is Coming To Town Gary Peacock 353

About the Author 359

vi
Song Index as played by

26-2 Kenny Werner 190


All of Me Johnny Hodges 318
All the Things You Are Larry Gales 199
All the Things You Are Larry Grenadier/Brad Mehldau 332
All the Things You Are (1963) Bob Cranshaw 242
Alone Together Ray Brown/Jimmy Rowles 104
Anthem Ralph Towner 155
Autumn Leaves Joseph Kosma/Johnny Mercer 93
Autumn Leaves Sam Jones/Miles Davis 94
Autumn Leaves Chet Baker 288
Bag's Groove Percy Heath/Miles Davis 20
Bags’ Groove Percy Heath 18
Beauty is a Rare Thing Ornette Coleman 152
Billie’s Bounce Charlie Parker 70
Blue Bossa Butch Warren/Kenny Dorham 98
Blue Haze Percy Heath 17
Blue Monk SuperBass 27
Blues in F Christian McBride 31
Blues in the Bassment Ray Brown 36
Bye-Bye Blackbird Paul Chambers 196
Cherokee Ray Brown 97
Confirmation Ron Carter 235
Conga Jam Andy Gonzalez & Candido 219
Cottontail Jimmy Blanton 112
Dig Miles Davis 172
Dig Dis Hank Mobley 68
Donna Lee Charlie Parker 174
Down by the Riverside Charlie Haden/Hank Jones 99
El Ray Ugonna Okegwo 274
Evidence Andy Gonzalez 187
Eye of the Hurricane Ron Carter 83
Eye of the Hurricane Ron Carter/Herbie Hancock 86
Ezz-Thetic Bob Cranshaw 254
Fantail Eddie Jones/Count Basie 63
Frankie and Johnny Ray Brown 34
Freddie Freeloader Wynton Kelly 81
Gaia Gary Peacock/Ralph Towner 148
Gemini Sam Jones 58
Ghosts (First Variation) Gary Peacock/Albert Ayler 150
Giant Steps Larry Grenadier 304
I Can't Get Started Michael Moore 121
I Want to Be Happy Sonny Rollins 321
I'll Remember April Idris Muhammad 301
I’ll Remember April Grant Green 127
I’ll Remember April Wilbur Ware/Grant Green 129
Impressions McCoy Tyner 210
Impressions Jimmy Garrison 211
It Don’t Mean a Thing Oscar Pettiford/Thelonious Monk 115
Jelly Roll Charles Mingus/Jimmy Knepper 164
Jeru Gerry Mulligan 252
Joshua Ron Carter 213
Lady Be Good Walter Page 193
Lady Bird Fats Navarro 290
Lament J.J. Johnson 169
Lazy Bird Paul Chambers 311
Left Hand Shell Voicings Rick Germanson 39
Little Pixie II Richard Davis 246
Lopsy Lu Stanley Clarke 191
Lover Paul Chambers 261

vii
M Donny McCaslin 153
Make Sure You Bring It Back Home Ray Brown 33
Manha De Carnaval Luiz Bonfa 142
Misterioso Thelonious Monk 41
Mood Indigo Clark Terry/Bob Brookmeyer 109
Moody's Mood For Love James Moody 296
My Funny Valentine Chet Baker 102
My Funny Valentine Paul Chambers 203
My One and Only Love Bob Cranshaw 223
Nardis Scott LaFaro/Bill Evans 306
Nemesis Dave Holland 271
Night Train Ray Brown 77
Oh Lord, Don't Let Them Drop Charles Mingus 40
That Atomic Bomb on Me
On Green Dolphin Street Miles Davis 281
One Finger Snap Ron Carter 224
Ornithology Charlie Parker 170
Pannonica Thelonious Monk 343
Pannonica Robert Sabin 347
Perdido Oscar Pettiford 283
Potluck Paul Chambers 48
Quasimodo Charlie Parker 175
Reflections on Ives and Whittier Bertram Turetsky 145
Relaxin’ at Camarillo Charlie Parker 69
Remember Rockefeller at Attica Charles Mingus 179
Rhythm-a-Ning Charlie Rouse 287
Santa Claus is Coming To Town Gary Peacock 353
Satin Doll Sam Jones 200
Segment Charlie Parker 176
Segment Dave Holland 241
Seven Minds Michael Moore & Rufus Reid 132
So What Paul Chambers 207
Splanky Eddie Jones/FrankFoster 61
Stardust Oscar Pettiford 298
Stella by Starlight Victor Young 124
Stella by Starlight Hank Jones 125
Stella by Starlight George Mraz 205
Straight No Chaser Sam Jones 25
Straight No Chaser Al McKibbon/Thelonious Monk 72
Subconcious-Lee Lee Konitz 189
Take the A Train Charles Mingus 229
Tempus Fugit Ray Brown 256
Tempus Fugit Bud Powell 350
Tenor Madness Paul Chambers and Sonny Rollins 28
The Days of Wine and Roses Henry Mancini 122
The Days of Wine and Roses Ray Brown 201
The Gentle Art of Love Oscar Pettiford 140
The Girl from Ipanema Sebastião Neto/Joao Gilberto 107
The Kicker Bob Cranshaw 45
The Sidewinder Bob Cranshaw 43
The Thumb Ron Carter/Wes Montgomery 37
Theme for Ernie John Coltrane 184
Tip Toe Dennis Irwin 249
Trane’s Blues Paul Chambers 54
Tricotism Oscar Pettiford 135
Trouble No. 2 Bob Cranshaw 197
Tune Up Paul Chambers 231
Unit Seven Sam Jones 29
Utviklingssang Carla Bley/Steve Swallow 146
Walkin’ Percy Heath 22

viii
We See Paul Motian 167
What is This Thing Called Love? Cole Porter 123
What is This Thing Called Love? Hank Jones 315
What's Going On James Jamerson 259
When Your Lover Has Gone Paul Chambers 291
Whisper Not The Jazztet 162
Windows Miroslav Vitous 265
Windows Roy Haynes 268
Windows Chick Corea Bob 329
Yes I Can, No You Can’t Cranshaw Ray 42
You Don't Have to Play Loud to Swing Brown Paul 32
You’d Be So Nice to Come Home To Chambers 277

ix
Performer Index

Chet Baker My Funny Valentine 102


Al McKibbon/Thelonious Monk Straight No Chaser 72
Andy Gonzalez Evidence 187
Andy Gonzalez & Candido Conga Jam 219
Bertram Turetsky Reflections on Ives and Whittier 145
Bob Cranshaw All the Things You Are 242
Bob Cranshaw Ezz-Thetic 254
Bob Cranshaw My One and Only Love 223
Bob Cranshaw The Kicker 45
Bob Cranshaw The Sidewinder 43
Bob Cranshaw Trouble No. 2 197
Bob Cranshaw Yes I Can, No You Can’t 42
Bud Powell Tempus Fugit 350
Butch Warren/Kenny Dorham Blue Bossa 98
Carla Bley/Steve Swallow Utviklingssang 146
Charles Mingus Oh Lord, Don't Let Them Drop 40
That Atomic Bomb on Me
Charles Mingus Remember Rockefeller at Attica 179
Charles Mingus Take the A Train 229
Charles Mingus/Jimmy Knepper Jelly Roll 164
Charlie Haden/Hank Jones Down by the Riverside 99
Charlie Parker Billie’s Bounce 70
Charlie Parker Donna Lee 174
Charlie Parker Ornithology 170
Charlie Parker Quasimodo 175
Charlie Parker Relaxin’ at Camarillo 69
Charlie Parker Segment 176
Charlie Rouse Rhythm-a-Ning 287
Chet Baker Autumn Leaves 288
Chick Corea Windows 329
Christian McBride Blues in F 31
Clark Terry/Bob Brookmeyer Mood Indigo 109
Cole Porter What is This Thing Called Love? 123
Dave Holland Nemesis 271
Dave Holland Segment 241
Dennis Irwin Tip Toe 249
Donny McCaslin M 153
Eddie Jones/Count Basie Fantail 63
Eddie Jones/FrankFoster Splanky 61
Fats Navarro Lady Bird 290
Gary Peacock Santa Claus is Coming To Town 353
Gary Peacock/Albert Ayler Ghosts (First Variation) 150
Gary Peacock/Ralph Towner Gaia 148
George Mraz Stella by Starlight 205
Gerry Mulligan Jeru 252
Grant Green I’ll Remember April 127
Hank Jones Stella by Starlight 125
Hank Jones What is This Thing Called Love? 315
Hank Mobley Dig Dis 68
Henry Mancini The Days of Wine and Roses 122
Idris Muhammad I'll Remember April 301
J.J. Johnson Lament 169
James Jamerson What's Going On 259
James Moody Moody's Mood For Love 296
Jimmy Blanton Cottontail 112
Jimmy Garrison Impressions 211
John Coltrane Theme for Ernie 184
Johnny Hodges All of Me 318
Joseph Kosma/Johnny Mercer Autumn Leaves 93

x
Kenny Werner 26-2 190
Larry Gales All the Things You Are 199
Larry Grenadier Giant Steps 304
Larry Grenadier/ Brad Mehldau All the Things You Are 332
Lee Konitz Subconcious-Lee 189
Luiz Bonfa Manha De Carnaval 142
McCoy Tyner Impressions 210
Michael Moore I Can't Get Started 121
Michael Moore & Rufus Reid Seven Minds 132
Miles Davis Dig 172
Miles Davis On Green Dolphin Street 281
Miroslav Vitous Windows 265
Ornette Coleman Beauty is a Rare Thing 152
Oscar Pettiford Perdido 283
Oscar Pettiford Stardust 298
Oscar Pettiford The Gentle Art of Love 140
Oscar Pettiford Tricotism 135
Oscar Pettiford/Thelonious Monk It Don’t Mean a Thing 115
Paul Chambers Bye-Bye Blackbird 196
Paul Chambers Lazy Bird 311
Paul Chambers Lover 261
Paul Chambers My Funny Valentine 203
Paul Chambers Potluck 48
Paul Chambers So What 207
Paul Chambers Trane’s Blues 54
Paul Chambers Tune Up 231
Paul Chambers When Your Lover Has Gone 291
Paul Chambers You’d Be So Nice to Come Home To 277
Paul Chambers and Sonny Rollins Tenor Madness 28
Paul Motian We See 167
Percy Heath Bags’ Groove 18
Percy Heath Blue Haze 17
Percy Heath Walkin’ 22
Percy Heath/Miles Davis Bag's Groove 20
Ralph Towner Anthem 155
Ray Brown Night Train 77
Ray Brown Blues in the Bassment 36
Ray Brown Cherokee 97
Ray Brown Frankie and Johnny 34
Ray Brown Make Sure You Bring It Back Home 33
Ray Brown Tempus Fugit 256
Ray Brown The Days of Wine and Roses 201
Ray Brown You Don't Have to Play Loud to Swing 32
Ray Brown/Jimmy Rowles Alone Together 104
Richard Davis Little Pixie II 246
Rick Germanson Left Hand Shell Voicings 39
Robert Sabin Pannonica 347
Ron Carter Eye of the Hurricane 83
Ron Carter Confirmation 235
Ron Carter Joshua 213
Ron Carter One Finger Snap 224
Ron Carter/Herbie Hancock Eye of the Hurricane 86
Ron Carter/Wes Montgomery The Thumb 37
Roy Haynes Windows 268
Sam Jones Straight No Chaser 25
Sam Jones Gemini 58
Sam Jones Satin Doll 200
Sam Jones Unit Seven 29
Sam Jones/Miles Davis Autumn Leaves 94
Scott LaFaro/Bill Evans Nardis 306

xi
Sebastião Neto/Joao Gilberto The Girl from Ipanema 107
Sonny Rollins I Want to Be Happy 321
Stanley Clarke Lopsy Lu 191
SuperBass Blue Monk 27
The Jazztet Whisper Not 162
Thelonious Monk Misterioso 41
Thelonious Monk Pannonica 343
Ugonna Okegwo El Ray 274
Victor Young Stella by Starlight 124
Walter Page Lady Be Good 193
Wilbur Ware/Grant Green I’ll Remember April 129
Wynton Kelly Freddie Freeloader 81

xii
Introduction

The development of a repertoire is a much larger area of study than just the mastery of works prepared for
performances and auditions however. For the contemporary bassist, repertoire involves the intimate knowledge of a
vast catalog of recordings and countless melodies, transcribed basslines, chord progressions, rhythms, and
improvised solos. The history of the instrument, as well as the technique needed to perform modern music is
accessed via these assimilations. In this way much of modern jazz repertoire is, initially, the recording or
performance itself.

This compilation began with transcriptions created for private double bass students at the Manhattan School of
Music Precollege Jazz Division, and as a representation of the interests, experience levels, and demands of the
program. The project soon grew to incorporate pieces encountered in professional situations and those transcribed
for personal use, becoming a working notebook of large and small excerpts used to study a variety of players and
perforrmances. Many of the enclosed were transcribed and studied in tandem with students so as to compare our
interpretations in successive weeks. The shared discoveries became highlights of our time together, demonstrating a
mutual exploration of the double bass and the art of improvised music.

Each piece was chosen from a widely available and historically significant recording, one that was listened to and
dissected repeatedly as the piece was developed. This process of listening and cultivating the strongest internal
sound and rhythmic concept is paramount for all elements of double bass practice. In this way the repertoire forms
an essential sound image at the core of a player's aesthetic, the larger discography evolving into a primary point of
creative reference.

The contents here are grouped by categories into blues, melodies, basslines, and solos, although many include
basslines of various lengths, and some contain all of the above. Transcriptions within each section are roughly
sequenced from a beginning to advanced level. While many of these pieces took several months to develop, some of
the shorter excerpts (portions of solos or basslines) could be played and benefited from in a manner of hours. This
addition of shorter, preliminary transcription excerpts was directly inspired by the Progressive Repertoire for the
Double Bass series by George Vance, which has become an indispensable tool for fast-tracking technique. The
nature of short pieces united with manageable and repeated technical challenges facilitates an accelerated progress
in fundamental areas. The inclusion of duets to be played by teacher and student is also a natural advantage to any
method. The works here partially emulate the sequential nature of Vance’s method but specifically address
challenges related to pizzicato playing and common practice jazz improvisation. These transcriptions are not meant
to necessarily be studied sequentially, the course of practice being left entirely to the needs and interests of the
player.

The technique of playing jazz double bass is necessarily immersive, with students quickly moving beyond the
instrument to develop their listening skills, theory, familiarity with the piano, aural skills, and, of course, the ability
to construct walking basslines. Hence these examples include selected piano, horn, and drum transcriptions to
encourage study and practice of these elements. Importantly, this process should emphasize rhythmic practice away
from the bass. These separate parts help demonstrate the fundamentally interactive nature of jazz improvisation,
accepting that one part is created and best understood in relation to the other players in the group.

Melodies and solos not originally played on the bass are often transposed into appropriate octaves to accommodate
the instrument. Some solos and arrangements have been altered further to create slightly more playable versions.
These different types of transcriptions are indicated with either “as played by” or “in the style of” in their respective
credits. Other works, while transcribed from given recording, have been adapted and arranged as double bass duets
(or trios).

This text is offered to all those who wish to explore, develop, or correct its contents. The material should be
disseminated freely but for educational purposes only, and with all credit given to the relevant composers,
performers, and bassists involved. It is a work in progress, one that will be updated in years to come so as to include
the countless additional performances that deserve to be studied in detail. It is hoped that this text may inspire
others to create similar collections of material relevant to their own personal growth, understanding that the
undertaking of such an endeavor is vital for the development of the player.

- RS

xiii
Acknowledgments

Thank you to the young artists who have shared their energy and dedication to their instrument each week, and for
inspiring all of their teachers to rise to the occasion.

Thank you to Linda May Han Oh for the privilege of letting me share her students during her tenure, and offering
invaluable ideas on how best to support them.

Thank you to Chris Rosenberg for leading the MSM precollege jazz program for so many years, and for providing the
foundation needed to guide students, parents, and faculty toward their creative goals.

This book is dedicated with gratitude to Λέων Θεοδωρίδης, a master student and friend. Thanks man!

xiv
15
Guide to Notation

Articulations and Expression


              
 Z--- ---M

 


scoop hammer smear bend fall marcato legato accent staccato ghost left hand left hand lay back push
note pull-off pizz

Harmonics

Pitches with a circle indicate the note where the harmonic is found. Diamond noteheads indicate the pitch
that is heard.

 
artificial harmoics

 
  
played sounds

 
notated sounds

   


I II III IV

Regarding Chord Symbols

Harmony consists of voiceleading movements, rather than a series of static entities. To this end it should be
reminded that chord symbols may, in separate contexts, refer to either 1) the composed harmony of a given
bar; 2) the specific sounded harmony of a pianist or guitarist (which could include extensions, alterations,
substitutions, or omissions); or 3) the harmonic implications of the bassist’s line. This is complicated further
when, with a blues for example, these three aspects are combined with a fourth area of awarness, the deep
structure of the piece – common chords, functions, and harmonic rhythms. It is encouraged that readers
evaluate the specific application and usefulness of these symbols within each given transcription.
I. Blues
17
Blue Haze
Introduction by Percy Heath
Miles Davis Blue Haze
1954

      
Swing  = 72

             
B 7 E7 E7 B 7

 

            
    
E7 E7 B 7 G7

 
5

        

Cm7 F7 B 7 F7

        
 
9

     
      
B 7 E7 B 7

      
13

                 
  
E7 E7 B 7 G7


17

   
  
Cm7 F7 B 7 F7

         
21

 

This record I made way back...Blue Haze… Bob Weinstock said “Put the lights out and let’s play
a slow blues.” Miles said “Percy you walk a couple of choruses in front.” I walked a couple of
choruses using Walter Pages’ bassline from Count Basie, but embellishing it with some ‘in-
between’ notes.’

– Percy Heath

Artists House Jimmy & Percy Heath


The Jazz Master Class Series (2004)
18
Bags’ Groove
Milt Jackson
As played by Percy Heath
The Modern Jazz Quartet with Lou Donaldson
Wizard of the Vibes
Swing  = 163 1952

   
F7 B 7 F7 Cm7 F7

        


     
B 7 F7 D7

    
5

 

       
Gm7 C7 F9 C7

    
9

   
    
F7 B 7 F9 Cm7 F7

        
13

       
    
 
 
B 7 F9 A 7


17

   
          
Gm7 C7 F7 C7

  
21

         
F7 B 7 F7 Cm7 F7

      
25

     
       
B 7 F7 A 7

   
29

    
      
Gm7 C7 F7 C7

     
33
Bags’ Groove 19

       
F7 B 7 F7 Cm7 F7

         
37

         
    
B 7 F7 A 7

  
41

        
  
Gm7 C7 F7 C7

     
45
20
Bag’s Groove
Milt Jackson
As played by Miles Davis, Milt Jackson
& Percy Heath
Miles Davis Bag’s Groove
Swing  = 116


1954

                
 
F7 B 7 F7 Cm7 F7



     
              
 

         
      
  

      
          
B 7 F7 D7


5



                 
 
    
      
       

       
         
Gm9 C7 F9 C7


9



                 
 
 
    

      
 
  

   

         
F7 B 7 F9 Cm7 F7

    
13


                 
 

      
       
     
Bag’s Groove 21

   

         
B 7 F7 D7

    
17


                 
 

    
       
      
 
   

         
Gm7 C7 F7 Gm7 C7

  
21


               
 
  
           
 
    

22
Walkin’
Gene Ammons
As played by Percy Heath
Miles Davis All Stars Walkin’
1954

      
Swing  = 126

       


    
    
  
5

        
F7 B 7 F7

       
9

     
         
B 7 F7

    
13

     
             
A13(11) A 13(11) G13(11) G 13(11) G7(5) C7(9) F7

 
17

     
F7 B 7 F7

         
21

  
     
B 7 F7

     
25

          
 
A13(11) A 13(11) G13(11) G 13(11) G7(5) C7(9) F7

   
29

    
     
     
F7 B6 B 7 F7 Cm7 F7

    
33

           
B 7 F7 D7

     
37
Walkin’ 23

          
  
Gm7 C7 F7 C7

     
41

  
F7 B6 B 7 F7 Cm7 F7

             
45

 

   
       
B 7 F7 D7

      
49

     
         
Gm7 C7 F7 C7

   
53

  
         
F7 F7

      
57

       
          
B 7 F7 D7

 
61

       
        
Gm7 C7 F7 C7

  
65

          
     
F7

   
69

    
B 7 B 7 F7 D7

            
73

 

     
         
Gm7 C7 F7 C7

   
77
24 Walkin’

    
       
F7 B6 B 7 F7

      
81

           
   
B 7 B 7 F7 D7

   
85

       
        
Gm7 C7 F7 C7

  
89

       
    
   
F7 Cm7 F7

 
93

   
          
B 7 B 7 F7 D7

   
97

    
Gm7 C7 F7 Gm7 C7

         
101

   

       
        
F7 B6 B 7 F7

   
105

      
      
B 7 F7 A 7

     
109

   
        
    
Gm7 C7 F7 C7

    
113


25
Straight No Chaser
Thelonious Monk
As played by Sam Jones
Cannonball Adderley Quintet In San Fransisco
1959

 
                
Swing  = 184

               
  

                   
           
5

 

           
            
9

 

     
   
  
F7 B 7 F7

      
13

    
        
     
B 7 F7 D7

 
17

   
      
     
G7 C7 F7 C7

  
21

     
      
F7 B 7 F7

   

25

      
       
B 7 F7 D7

  
29

      
      
G7 C7 F7 C7

   
33
26 Straight No Chaser

        
      

F7 B 7 F7

 
37

 
           
  
B 7 F7 D7


41

   
         
G7 C7 F7 C7 F7

        
45
27
Blue Monk
Thelonious Monk
In the style of John Clayton, Ray Brown, and
Christian McBride
SuperBass

           
Swing  = 102 1996

 
  
                 
B 7

 
     


     

   
       
 

      
          
  
B 7

     
5

     
   
       

                    
B 7 E7 B 7

    

9




  
                     

          
      
E7 E7 B 7

       

13


                    
   

      
          
        
F7 B 7


17

                        

28
Tenor Madness
Sonny Rollins
As played by Sonny Rollins, John Coltrane,
and Paul Chambers

 B 7      E7


Sonny Rollins Tenor Madness


 
Medium swing

        
1956

     

        
B 7

        
 
    
  
    
             


    
            
              
E7 B 7 Dm7 G7

    
5

    
             

           B 7    


           
         
Cm7 F7 Cm7 F7

  
9

             
      
29
Unit Seven (Cannon’s Theme)
Sam Jones
As played by Sam Jones
Cannonball Adderley Sextet In New York


1962

           
Swing  = 194

  
   
C7

      
    
    
 
F7 C7
5


   
           
A  maj7 G7 C7 G7

 
9

             
      
C7
13


 
F7 C7

        
17

    

   
       
A  maj7 G7 C7 G7

   
21


straight

            
Dm7 G7 Em7 E7


25

 

  
swing


            
Dm7 G7 Em7 E7 Dm7 G7

 
29

   
30 Unit Seven (Cannon’s Theme)

       
        

C7 F7 C7
33

    
   

  
    
 
F7 C7
37

    
                
A  maj7 G7 C7 G7
41
31
Blues in F
Christian McBride
www.openstudionetwork.com
Fundementals of Jazz Bass
All notes played with the second finger of the right hand unless indicated. 2018

  
    
 = 130

  
Swing

      
F7

      
 r.h.
 2 1  2 1 

 
          
 

B 7 F7 Am7 D7

    
5

2 1 
1

  
       
  
      
Gm7 C7 F7 D7 Gm7 C7

    
9

1 2
2 2 2 2 2 1

      

F7 B 7 F7

       
13

 
 2 1

     
1 1 1

   
   
      
B 7 F7 Am7 D7


17


2 1

2 1
 2 1

     

Gm7 C7 F7 D7 Gm7 C7

       
 2
21

     
1 1 1 1 1 2 1 1 1 1 2 2

             

F7 B 7 F7 B7

  
25

1
 2 1

        
    
B 7 B 7 F7 Am7 D7

   
29

 2 1

 
                
G7 C7 F7 A 7 Gm7 G 7



33

2 1
 2
32
“You Don’t Have to Play Loud to Swing”
As played by Ray Brown
(5:14) Ray Brown - DoubleBassMasterclass.avi

A 7         
BBC Two England, 28 July 1978

  
Swing  = 110

      
A 7 D 7

    
 

 
                  
D 7 A 7 G7 C7 F7

     
5

  

   
       
     
B 7 E7 A 7 B  m7 E7

     
9


A 7     
D 7

A 7

      
       
13


F7   
         
      
D 7 A 7 D 7 C7


     
17


  

 
 

                     
  
B 7 E7 A 7 E7 A 7

 
21
33
“Make Sure You Bring It Back Home”
As played by Ray Brown
Ray Brown - Double Bass Master class.avi
BBC Two England, 28 July 1978

  
  
Swing  = 104

     
F

       

     
   
F

 
2

    
 
F

    
3

          
       
 
Gm7 C7 F G 7 F7

   
 
4

  
 

   
          
Gm7 C7 F B E A D G F

    
5

        
    
Gm7 C7 F

           
6

 

     
        
     
F

   

7

 
34
Frankie and Johnny
Traditional
As played by Ray Brown
The Milt Jackson Quintet
That’s the Way It Is
Swing  = 120

         
1969

             
bs. 2 

   
            
     
5

l.h.

            
   
 
  
A

  
G7


         
          


 
   
          
      
C7 G7 F 7 F7 E7

     

13


        
       

       
  
1. 2.

            

Am7 D7 G7 G7

 
17



 
             
      

Frankie and Johnny 35

      
           
G7 C7 G7

 
23

    
     
C7 G7 Bm7(5) E7

        
27

 
           
Am7 D7 G7 E7 Am7 D7

    
31

                
G7 C7 G7 Dm7 G7

    
35

          
C7 G7 Bm7(5) E7

      
39

 

      
    
Am7 D7 G7 E7 Am7 D7

      
43

     
        
G7 C7 G7 Dm7 G7

  
47

             
C7 G7 Bm7(5) E7

     
51

       
            
Am7 D7 G7 E7 Am7 D7 G7

   
55
36
Blues in the Bassment
Ray Brown
As played by Ray Brown
The Milt Jackson Quintet That’s the Way It Is

                       
Funk (swing 16ths) ( = 76) 1969

E7

       

       

      
                       
        
A7 E7

      
5

            
      
 
               
B7 A7 E7

        
9

         

     

Played originally by solo bass; can be played with a trio by dividing the top staff.
37
The Thumb
Wes Montgomery
As played by Wes Montgomery and Ron Carter
Wes Montgomery Tequilla

  G7
1966


Swing  = 136

                
  
         
G7 C7

         

         
       

    

            
C7 G7 G 7 F7 E7

       
5

 
 
   
             
    

     
      
Am7 D7 G7 B 7 A7 A 7

               
      

9

        
        

  G7
        
         
            
G7 C7

    
13

          
        
    



     

            
C7 G7 G 7 F7 E7

       
17

 
  
   
               
     
38 The Thumb

   B 7  
   
Am7 D7 G7 A7 A 7

               
     

21



                 
      
   
39
Left Hand Shell Voicings
As played by Rick Germanson
Medium swing Rick Germanson (Comping on Piano)
mymusicmasterclasses.com

   
          

F7 B 7 B 7 F7 Cm7 B7

  
piano

 
    
  


 
      
       
B 7 B 7 F7 D7

  
5

   

 
                
 
Gm7 C7 A7 D7 G7 C7

     
9

  

     
              
      
   
F7 B 7 B 7 F7 Cm7 B7

  
13

   

    
  


 
   
 
         
B 7 B 7 F7 Am7 D7

       
17

 
 

 
                   

Gm7 C7 F7 D7 Gm7 C7

    
21

   
40
Oh Lord Don’t Let Them Drop
Charles Mingus

That Atomic Bomb on Me In the style of Charles Mingus


Charles Mingus Oh Yeah
1962


Swing  = 68

   
C7

              

                   


     

 

 

  
    

    

F7 C7 A7

                 
5

            
   
  
  
    
        

 
          
G7 F7 C7

  

   
9

       
         
 
      
 


 
  

  

    
rit.

 
C7 C7

 

   
13


  
          
  
  
      

41
Misterioso
Thelonious Monk
Sonny Rollins Volume 2

     B 7   
Straight  = 72

       
1957

                                   
B 7 E7

 

            
      
 

         B 7       
                                 
E7


5

     
           

     F7      B 7      
                            
Cm7


9

    
          


                   
if played solo:

 
           
B 7 E7 B 7


13

          B 7        
        
     
E7


17

             
     
          
Cm7 F7 B 7


21
42
Yes I Can, No You Can’t
Lee Morgan
Bassline by Bob Cranshaw
Lee Morgan The Gigolo
1963

          
Straight  = 116

             
       
F7

 
   

   
    
    
A

 
F7 B 7 F7

       

        
   
F7 B 7 F7

      
9

   
         
 
B 7

      
13

              
  
F Gm7 FA A  m7

    
17

 

              
G7 G 7

 
21

 
              
 
F7 B 7 F7 C7

    
25
43
The Sidewinder


Lee Morgan
Bob Cranshaw (bass) and
Barry Harris (piano)

   
Swing  = 163


Lee Morgan The Sidewinder

           
   
E7 1963

          
        
     
            
                   
 
                     
         


    
             
E7
6

        
      
       
         

               
   
  
                  
    


        
                 
A 7

   
10

         
    
                   
                   

                  

    


    
             
E7
14

       
        
       
     
        
               

                   

   

44 The Sidewinder

    
                 
Fm B6 Fm B6 Fm B6 Fm7 B 13(9)

   
18

    
      
   
             
     

   

   

   

            
      
   


  
           
E7
22

    
    
    
       
        
  
           
        
 
45
The Kicker
Joe Henderson
Bassline by Bob Cranshaw
Grant Green Solid
1964


Swing  = 206

           
    

       
          
5

  

       
                      
B 7


9

    

          
   
E m7 A 7 D  maj7 G  maj7

    
13

    
            
C7 F7 B 7 F7

  
17

 

           


                    
B 7


21

 

          
   
E m7 A 7 D  maj7 G  maj7

    
25

 
             
C7 F7 B 7 F7

   
29

 

         
                       
B 7


33


46 The Kicker

         
    
E m7 A 7 D  maj7 G  maj7

    
37

  
     
C7 F7 B 7 F7

       
41

 

       
                           
B 7


45

    

  
        
E m7 A 7 D  maj7 G  maj7

      
49

   
         
C7 F7 B 7 F7

   
53


     
  
B 7

     
57

   

   
        
E m7 A 7 D  maj7 G  maj7

    

61

        
      
C7 F7 B 7 F7

 

65

        
B 7

       
69

 

          
E m7 A 7 D  maj7 G  maj7

     
 
73
The Kicker 47

  
     
C7 F7 B 7 F7

       
77

 


         
    
B 7

  
81

         
   
E m7 A 7 D  maj7 G  maj7

    
85

  
    
C7 F7 B 7 F7

        
89

 


        
     
B 7

  
93

        
   
E m7 A 7 D  maj7 G  maj7

     
97

  
    
C7 F7 B 7 F7

        
101

 
48
Pot Luck
Bassline and solo by Paul Chambers
Wynton Kelly Trio Kelly at Midnight
1960

    
Swing  = 172

              
B 7 E7 B 7

   

        
 
E7 B 7 Dm7 G7

        
5

        
       
Cm7 F7 B 7 Cm7 F7

  
9

                
B 7

  
13

               
 
E7 B 7 Dm7 G7


17

        
      
Cm7 F7 B 7 Cm7 F7

  
21

 
     
     
    

B 7

 
25

                 
E7 B 7 Dm7 G7

 
29

  
     
Cm7 F7 B 7 Cm7 F7

         
33

 
Pot Luck 49

       
        
B 7 E7 B 7

 
37

         
 
       
E7 B 7 Dm7 G7


41

    
Cm7 F7 B 7 Cm7 F7

         
   
45

     
 
B 7

         
49

 

                
E7 B 7 Dm

 
53

        
       
Cm7 F7 B 7 Cm7 F7

  
57

        
        

B 7 E7 B 7


61

           
     
E7 B 7 G7


65

             
   
Cm7 F7 B 7 Cm7 F7

 
69


                
B 7 E7 B 7


73
50 Pot Luck

      
          
E7 B 7 Dm7 G7


77

   
      
Cm7 F7 B 7 Cm7 F7

      
81

      


B 7 E7 B 7

         
85

 

    
            
E7 B 7 Dm7 G7


89

    
        
Cm7 F7 B 7 Cm7 F7

   
93

           
        
B 7 E7 B 7


97

                 
 
E7 B 7 Dm7 G7

  
101

     
      

Cm7 F7 B 7 Cm7 F7

    
 
105

          
   

B 7 E7 B 7

 

109

 
        

E7 B 7 Dm7 G7

       
113
Pot Luck 51

         

Cm7 F7 B 7 Cm7 F7

      
117

    
           
B 7 E7 B 7

  
121

                 
E7 B 7 Dm7 G7


125

        
       
Cm7 F7 B 7 Cm7 F7

  
129

           
    
B 7 E7 B 7

  
133

     
          
E7 B 7 Dm7 G7

 
137

              
  
Cm7 F7 B 7 Cm7 F7


141

            
   
B 7 E7 B 7

  
145

 
        
      
E7 B 7 Dm7 G7

 
149

    
        
Cm7 F7 B 7 Cm7 F7

   
153


52 Pot Luck

 
            
  

157

 
         
       
161

         
     
 
165

 
                          
B 7


169

  

            
           
 
E7 B 7 Dm7 G7

   
   
173

           
              
Cm7 F7 B 7 G7 C7 F7

 
177

                            
 
B 7

 
181

 Z---                         
  
E7 B 7 Dm7 G7

    
185

       
           
         
Cm7 F7 B 7 G7 C7 F7

 
189

      
                      
B 7

       
193
Pot Luck 53

   
                     
    
E7 B 7 Dm7 G7

 
197

  
                    

Cm7 F7 B 7 G7 C7 F7

        
201


              
 

 

     
B 7

   
205

  

         
            
E7 B 7 Dm7 G7


209

       
                    
Cm7 F7 B 7 G7 C7 F7 B 7


213
54
Trane’s Blues
piano solo (4:11) As played by Paul Chambers
Miles Davis Quintet Workin’
 = 164

    
Swing 1956

          
 
B 7 E7 B 7

 

        
E7 B 7

         
5

      
        
  
Cm7 F7 B 7 G7 Cm7 F7

  
9

         
  
B 7 E7 B 7

     
13



        
         
E7 B 7 G7


17

    

      
Cm7 F7 B 7 G7 Cm7 F7

    

21

    
            
B 7 E7 B 7

 

25

  
     
E7 B 7 G7

          
29

        
        
Cm7 F7 B 7 G7 Cm7 F7


33
Trane’s Blues 55

            
  
B 7 E7 B 7

   
37



           
     
E7 B 7 G7


41

      
          
Cm7 F7 B 7 G7 Cm7 F7

 
45

   
         

   
B 7 E7 B 7


49

 
        
E7 B 7 G7

        
53

      
       
Cm7 F7 B 7 G7 Cm7 F7

    
57

     
  
B 7 E7 B 7

         
61

              
  
E7 B 7 G7

 
65

       
Cm7 F7 B 7 G7 Cm7 F7

         
69

 

    
    
B 7 E7 B 7

       
73


56 Trane’s Blues

                 
       
E7 B 7 G7

 
77

         
Cm7 F7 B 7 Cm7 F7

       
81

       
               
    
B 7 E7 B 7


85

     
                          
E7 B 7 G7


89

   

    
                   
      
Cm7 F7 B 7 Cm7 F7


93

                
           
B 7 E7 B 7

  
97

                         
   
E7 B 7 G7

  
101

         
                   
Cm7 F7 B 7 Cm7 F7

  
105

  

       
                      
B 7 E7 B 7

   
109

 

   
                   
    
E7 B 7 G7

    
113
Trane’s Blues 57

           
  
       
Cm7 F7 B 7 Cm7 F7

    

117

                        
     
B 7 E7 B 7

    
121

  
   
                   
        
E7 B 7 G7


125

      
                          
Cm7 F7 B 7 Cm7 F7 B 7

 
129

 
58
Gemini
Jimmy Heath
As played by Sam Jones
Cannonball Adderley Sextet In New York
1962
Swing  = 230

         
         
piano solo (8:03) E7

  

       
        
5

    
      
   
A 7

 
9

 
      
  
E7 C7

  
13

 
F7 B 7

    
17



        
     
E7

 
21

     
     

E7

 
25

   
        
 
29

           
A 7

  
33

      
      
E7 C7

 
p.o.
37
Gemini 59

  
       
F7 B 7

   
41

      
      
E7

 
45

        
    
E7


49

   
     
    
53

        
  
A 7

  
57

    
      
E7 C7

  
61

F7       
       
B 7


65

       
   
E7


69

 

      
    
E7

  
73

        
  
  
77
60 Gemini

        
   
A 7

  
81

   
     
E7 C7

    
85

    
      
F7 B 7

  
89

     
       
  
E7

 
93
61
Splanky
Neal Hefti
As played by Frank Foster, tenor
and Eddie Jones, bass*
Count Basie The Complete Atomic Basie

              
 = 126


Swing

      
1957

       
D 7 G 7 D 7

  
 

                
  
  

         Fm7

              
    
G 7 D 7 B 7


5

 
            
   
 

   A 7   
             
    
E7 D6 A 7

  
9

 
  
       

     
 

 
     

           
  
D 7

          
13

        
         


     D 7        

                
G 7 Fm7 E7

     
17

   
  
            
  
62 Splanky

      
            
E7 D7 D 7

 

 
21


        
  
      

*This is Eddie Jones' bassline underneath the melody.


63
Fantail
Neal Hefti
As played by Count Basie, Eddie Jones,


and Sonny Payne
Count Basie The Complete Atomic Basie

     
1957
Swing  = 212

            
       
    



      
    
G Cm6 C 7 G7

        
4

  
     
 
   


    
   
C6 F F  7 C6 C7 F6

    
    
1

     
 
  
         
 
      
       
 


  
             
C6 A 7(5) G13

 
11

 
 
      

          
   
 
64 Fantail


            
G7 C G7


15


       
        



    
                  

2

    
C6 C7 F6 C6 C7



         
        

    
           


           
       
F6 C6 A 7(9) G9

    
23

  
 
         
        
         Ebo7 
   
 
(Em


      
G7 C E7 E m7 A 7

    
        
27

 
      
 
    
    
    
       
Dm7 G7)

Fantail 65


      
2-3

          
 D6 D  m7 G 13 C7(9) D 7(9) D 7 D 9

   



                 

        
          


             
G 7 D  m7 G 13 C7(9) D 7(9) D 7 Fm7(5) B 9

 
35

 
   
   
             


             
E m7 E7(9) E m7 C7(9) D 7(9) D 7 A 7

 
39


     
         
        



        
4

    
drums

             
47

 

                
51

 
5

                        
      
66 Fantail

                   
59

    

               
63

 
6

            

                      
71

    

                
75

  

                                      
7 dbl. x feel swing

    

                 
83

   

                                    
87

         
Fantail 67

  
8

                 
   

              
95

                    
99

     


9

                  
    

              
107

                
111 D.S.

   
68
Dig Dis
Solo break by Hank Mobley
Hank Mobley Soul Station
1960

    
  
              

Swing  = 124

      
B 7 E 6 E m B 7

        

                     
 
 
       
E7 Dm7 G7(9)

  
5

           
                        
C9 B9 B 9 Cm7 F7


9

                    
          

      
B 7

 
13

    
      
             
     
E7 B 7


17

 

        
 

        

       
  

       
C9 B9 B 9

 
21

Optional 8va for first 12 bars.


69
Relaxin’ at Camarillo (take C)
Charlie Parker
As played by Charlie Parker (alto) and


Dodo Marmarosa (piano)
Complete Dial Sessions
1947
Swing  = 192

   
             
            
 

        
        
     
 
    

       
      


 
               
                
5

    
      
       
   
     
   
      
  

 
                
       
      
A C6 C7 (9)

       
 
           
            
   
F7 C7 A7 (9)

    
13


            
    
       

Dm7 G7 C7 G7

         
17
70
Billie’s Bounce (take 5)
Charlie Parker
As played by Charlie Parker and Dizzy Gillespie
The Complete Savoy And Dial
Studio Recordings
Swing  = 166


1945

         
Am7 A  m(maj7) Gm7 C7(9)




 
            
 

     
  
        
      
   

                               
F6 B 7 F6 F7

 
5

 

    Am7
            
  
B 7 F6 D7

           
9

           
   
Gm7 C7 F6

                

13

 

     
                     
F6 B 7 F6 F7


17

 
      
B 7 F6 Am7 A  m7

                
21

 

           
          
Gm7 _M

 
C7 F6 C7
25
Billie’s Bounce (take 5) 71

     
                   
     
F6 Z_ _M

 
B 7 F6 F7

 
29

 

  
         

B 7 F6 Am7 A  m7

    
33



                    
                   
Gm7 C7 F6


37

 

     
                             
F6 B 7 Bm F6 F7

  
41


     
              
Z_

 
B 7 F6 Am7 A  m7

          

45


             
       
Gm7 C7 F6 C7

 
49


               
    
F7


53

      
   
           
        
   
B 7 F6 Am7 D7


57

   

          
                  
Gm Gm(maj7) Gm7 C7 F6

     
61


72
Straight No Chaser
Thelonious Monk


As played by Thelonious Monk (piano) and
Al McKibbon (bass)
Thelonious Monk Genius Of Modern Music: Vol. 2
1951

   
Swing  = 164

                              


B 7(9) E7


       
  
 

  
               
 


 
                
            
E7 B 7(9)

     
5

      


 

     

      
          


               
   
   
F7(5) B 7(9)

       
9

    
        
    


              
 

Straight No Chaser 73

          
                         
2 B 7(9) E7 B 7(9)

  
  
      
          

 

   
    
      

 


            
                
E7 B 7(9)

      
17


 
 

        

     
           
 


              
   
 
F7(5) B 7(9)

       
21

       
       

                
 


      
                          

3


B 7 E7 B 7




 
         

   
             

Straight No Chaser


74

  B 7   
      
  

 
 
E7


29


    
        

 
 
              



          
           
Cm7 F7 B 7

   
33


      
     

           
      


    
                 
    
4

 
B 7 E7 B 7



      
    

     
          
 


      
              
E7 B 7

   
41

     
  
         


     
        
   

Straight No Chaser 75


         
       
Cm7 F7 B 7

       
45

            
 
    
    
 

   
             

76 Straight No Chaser

 
       


5

                   
comping rhythm

    

            

53

           

57

 
          

   
6

        
   

         

65

 

 
         

              

69

   

  
7

             
    

            

77

  

              

81

  
77
Night Train
Duke Ellington/Johnny Hodges
As played by Ray Brown
Oscar Peterson Trio Night Train
1962

     
Swing  = 104

       
            
G7

     
        
C7 G7

    
5

 

    
        
      
E7 D7 G7

 
9

       
                
G7

  
13

 
          
C7 D 7 C7 D 7 C7 D 7 C7 G7

          
 
17

 

                
           
A7 D7 G7

 
21

 
              
G7
25

 

       
   
C7 G7 E7

      
29

   
78 Night Train

  
             
Am7 D7 G7 D7

    
33

             

G7

     
37

   
        
C7 G7 E7

    
41

    

               
Am7 D7 G7 D7

     
45

         
             
G7

  
49

     
          
    
C7 D 7 C7 D 7 C7 D 7 C7 G7

       
53

       
            
 
   
      
Am7 D7 G7

     
57

    
 
                 
   
        
G7


61

      

     

                  
       
C7 G7


65

 
Night Train 79

           
         
      

  
E7 D7 G7 D7

 
 
69



       
       

G7

              
 
 
73

         
     
Z---

          
C7 G7


       
 
 
77

  

  Am7
   
                              
      
D7 G7 D7

  
 
81

                       
G7
85

                        
C7 G7

    
89

 
                       
D7 C7 G7 Am7 D7

   
93

            
  
G7

      
97

 

    
         
C7 G7 E7

     
   
101

   
80 Night Train

             
E7 D7 G7 D7

       
105

     
            
G7

  
109

       E7

      
       
C7 G7

 
113

  

      
                        
Am7 D7 F7 E7
117

         
    
      
Am7 D7 G7

 
 
121


81
Freddie Freeloader
Miles Davis
As played by Wynton Kelly
Miles Davis Kind of Blue

    
1959

   
Swing  = 129


            
    

   
B 7

  

 
           
          
 
           
E7 B 7

 
5

   

 
       E7

  A 7  

       
      
F7

 
9

 

   
      

        

    

B 7

         


13

     


               
       
 E7
   
B 7

          

17

  


   


        

     
   
F7 E7 A 7

      
 
21

 
            
          
       
B 7

 
25

  


        
        
                         
E7 B 7


29

    

82 Freddie Freeloader

           
    
              
F7 E7 A 7

      
33

    

  
              
---M



           
B 7

      
 
 
37

   

      
       
                
E7 B 7

 

41

 
F7 
    
           

           
E7 A 7

  

45

   
83
The Eye of the Hurricane
Herbie Hancock
As played by Ron Carter
piano solo 3:03 Herbie Hancock Maiden Voyage
1964

   
Swing  = 260

       
       
Fm

 

          
     
Bm Fm

 
5

        
       
 
D 7 C7 Fm C7

 
p.o.
9

          
Fm

      
13

              
  
Bm Fm

 
p.o.
17

       
        
D 7 C7 Fm C7

 
21

      
        
Fm

  
25

     
           
Bm Fm


29
84 The Eye of the Hurricane

         
      
D 7 C7 Fm C7

  
33

           
   
Fm

   
37

               
Bm Fm

  
41

                 
D 7 C7 Fm C7

  
45

       
       
Fm

  
49

       
      
Bm Fm

    
53

         
        
D 7 C7 Fm C7

 
57

       
           
Fm


61

           
    
Bm Fm

 
65
The Eye of the Hurricane 85

        
          
D 7 C7 Fm C7

 
p.o.
69

       
        
Fm

 
73

          
         
Bm Fm


77

 
              

D 7 C7 Fm C7

  
p.o.
81
86
The Eye of the Hurricane
Herbie Hancock, piano
Ron Carter, bass


Herbie Hancock Maiden Voyage
1964
Swing  = 260

  
     
1

      
Fm

       
     
    
     
     
        
 
           
       
 


   
        
Bm Fm
5

 
             

            

          
     
 


 
                 
D 7 C7 Fm C7

     
9

  
     
                

        
      
    
p.o.


        
   
2

    
Fm

     

 

        
        
    
    

       
          
The Eye of the Hurricane


87

  
    
Bm Fm

          
17


      
             
           
  
            
     

p.o.


        
   
D 7 C7 Fm C7

               
    
21

 
    
             
    

         
      
 


      
       
3

     
Fm


 
       
  
      
    
 
      
        
  


      
  
                             
Bm Fm
29



        


               
 


88 The Eye of the Hurricane

          
   
D 7 C7 Fm C7

        
          
33

          



         
   
     
    

    
  


            
         
4

 
Fm

 

  
            
  
   
      
 

    



   Fm
 

 
     

       
Bm
41

      


                
 

               
  


  
  C7
     
       
       
D 7 Fm C7
45

 
     
  

         
           
 

                  
 
The Eye of the Hurricane


89

         
           
5

     
Fm

  

    
                  


       
         



     
      
    
         
Bm Fm
53


  
             


       
          



        C7
          
    
D 7 C7 Fm

         
 
57

       
              
 
      
          



         
       

6

     
Fm

          


            
          
       
           

The Eye of the Hurricane


90

                  
Bm Fm

                   


      
65

 
        
 

       
         



  
                
D 7 C7 Fm C7

 
        
69

    
          
  
       
            

p.o.


   
       
         
 
7

  
Fm

     
    
     
                           
    
  
   
        

  
 


           
    
  

Bm Fm

 

     
77

        
                  
   
          
         


The Eye of the Hurricane 91

          
   
      
D 7 C7 Fm C7

 
81

 
    
         
  
           
 
 
 
         
       
p.o.
II. Melodies
93
Autumn Leaves
Joseph Kosma
Lyric by Johnny Mercer
1946

   
          
                      
Rubato
1. 2.

  
A

  
The fall ing leaves, drift by my win dow, The fall ing leaves, of red and gold.

          
I see your lips, the sum mer kiss es, The sun burned hands I used to hold.

                
   
B

 
Since you went a way the days grow long, and soon I’ll hear old win ter’s song.

    
     
   

   

    
        
C

 
But I’ll miss you most of all, my dar ling, when au tumn leaves start to fall.
94
Autumn Leaves
as played by Miles Davis and Sam Jones
Cannonball Adderly Somethin’ Else
Straight  = 110 1958


    
many times last time

       
Gm6

 
Swing


    
        
  
 
  
 
   
 
 

   
 
         
A Cm7 F7 B  maj7 E maj7

    

    
       

    
    
        
Am7(5) D7 Gm6 G7


10


        
     

       
  
            
Cm7 F7 B  maj7 E maj7

    
14


    
 
      

       
            
Am7(5) D7 Gm6


18


         
     
Autumn Leaves 95

            
  
B

  
Am7(5) D7 Gm6

  
    
           
  

          
Bbmaj7

      
Cm7 F7


26

   
      
   

Am7              
  
C

    
(5) D7 Gm6

       
     

 
 
            
  
Am7(5) D7 Gm6

 
34

    
         
v.s.
96 Autumn Leaves

     
      
2


Cm7 F7 B  maj7 E maj7

   

          
Am7(5) D7 Gm6 G7

       
42

           
      
Cm7 F7 B  maj7 E maj7


46

          
Am7(5) D7 Gm6

       
50

   
          
Am7(5) D7 Gm6

   
54

     
     
Cm7 F7 B  maj7

     
58

        
Am7(5) D7 Gm6

         
62

      
    
Am7(5) D7 Gm6

        
66
97
Cherokee
As played and sung by Ray Brown
Ray Brown - Double Bass Master class.avi
BBC Two England, 28 July 1978

Swing  = 140

   
        
 

        
           
D6 Am7 D7

   

 
        
 

      
      
 
Gmaj7 C7

  
5

  
      

      
  
     
D6 Fm7(5) B7 E7

 
9

  
      
    

            

Em7 B7 B 7(add 11) A7

  
13

  
         
 


        
         
D6 Am7 D7 Gmaj7

  
17


98
Blue Bossa
Joe Henderson
As played by Butch Warren
Joe Henderson Page One
1963
Straight  = 160

         
Cm7

 
      
   
   
       
      
 

        
   
Cm7 Fm7 B 7sus4

  
A

       
 
  
                
    
   

 Dm7
      
      
(5) G7 Cm6

      

9

      
         
       
   


       
   
 
     
E m7 A 7 D  maj7

   
13


      
             
       

      
            
Dm7(5) G7 Cm6

  
17

       
                 
    
99
Down By the Riverside
Traditional


As played by Charlie Haden and Hank Jones
Come Sunday
2010


Straight  = 160

  
         
A7 GD D7 G

  
        
      
      
  

    
         
A G

 
B C A7C GD Em

  
[4]



  
    
  
      
  
  

                 

Am D7 G D9

    
9



    
       
    

     
  

     

       
G(add2) B C A7C GD D 7 Em

  
13



 

   

  


      
 
 
100 Down By the Riverside


           
A7 GD D7 G

 


 
17


   
      
      
       
      

                 
 

B C6 Gmaj7 Em

   



    
       

  
     
  


            
Am7 D7 G D7 G7
25



    
    

      
   

               
 

C G Em

  

29



 
       

    
     
     
Down By the Riverside 101


   

    
Am7 D7 G D7 G D7

 
33



 
       
       
  
       
     

102
My Funny Valentine
Rodgers and Hart
In the style of Chet Baker
Chet Baker Sings
1954
Ballad  = 60

 
                    
A


Cm Cm(maj7) Cm7 Cm6

 
  
       
   
My Fun - ny val - en - tine, sweet com - ic val - en - tine,

        


         
  
 
  
A  maj7 Fm7 Dm7(5) G7

   
5


     
  
               
you make me smile with my heart.

                       
Cm Cm(maj7) Cm7 Cm6


9

 
       
  
Your looks are laugh - a - ble un - pho - to - graph a - ble

       

      
          
A  maj7 Fm7 Fm7(5) B7 Fm7 E7 B 7(9)


13

 
       
       
but you’re my fav - orite work of art. Is your

  

  
                   
B E 6 Fm7 E 6 G Fm7 E maj7 Fm7 E 6 G Fm7


   
        
    
fig - ure less than greek? Is your mouth a lit - tle weak? When you

    
My Funny Valentine 103

   G7 
                  
E maj7 G7 Cm A  maj7 Dm7(5)

 
21

  
                 
op - en it to speak, are you smart? But

     
    
 

                      
C


Cm Cm(maj7) Cm7 Cm6


 if you care for me.
       
  
don’t change a hair for me, not

       

          
A  maj7 Dm7(5) G7 Cm B7 B  m7 E7

     

29

 
   
        
  

Stay lit - tle val - en - tine, stay

      

     
rit.

            
      
A  maj7 Dm7(5) G7 Cm A 7 G7 Cm(maj7)


33

 
  
          
    
Make each day val - en - tine’s day

     
104
Alone Together
Arthur Schwartz
In the style of Jimmy Rowles and Ray Brown
Slow swing  = 63 As Good as it Gets

 Em7
 
1977

         
A Dm6 Bm7(5) Em7(5) A7 Dm6 Bm7(5) (5) A7

      

   
     
             
   
 


    
  
 
Dm6 Am7(5) D7 Gm7


     
5

  
          
   

         
  

       
      
Bm7 E7 Gm7 C7 Fmaj7

  
9

  
   
         
 
  

      
     
with variation
Em7(5) A7 Dmaj7

 
12


      
         
          
      


          
Dm6 Bm7(5) Em7(5) A7 Dm6 Em7(5) A7


B

   
   
     
     
      

  
  
Alone Together 105


    
  
 
Dm6 Am7(5) D7 Gm7

 
    
19

 
               
      
 

       
      
Bm7 E7 Gm7 C7 Fmaj7

  
23

 
         
     
    

           
Em7(5) A7 Dmaj7

 
26


      
 

       
 

            

C


Am7(5) D7 Gm6


 
      
   
            

        
     
Gm7(5) C7
Fmaj7 B7 B 7 A7


33

 
            
          
 
106 Alone Together


          
Dm6 Bm7(5) Em7(5) A7 Dm6 Bm7(5) Em7 A7


D

  

         

         
   

 
rit.


        
Dm6 Bm7(5) B 7 A7 G7sus4 Em7(5) A7 D69


      
41


  
III I I

      
II

      
     
         

107
The Girl From Ipanema
Antônio Carlos Jobim & Vinicius de Moraes
In the style of Sebastião Neto & João Gilberto
Stan Getz Getz/Gilberto
1965
Bossa Nova  = 60

    
A

   
Fmaj7 G7

                        
        
  

       
1. 2.

 
Z_

          
Gm7 G 7(5) Fmaj7 G 7(5) Fmaj7


5

             
  
         
    

  
B

   
G  maj7 B7

         

        
 
 

 
  
Fm7 D7

        
15

 
             
  

 
      
Gm7 E7

        
19

    
     
108 The Girl From Ipanema

    
Am7 D7  911 Gm7 C7  911

     
        
 
23



         
 

     
C Fmaj7 G7

                         

      
   

      
 
       
Gm7 G 7(5) Fmaj7 G 7(5)

    
31

   
 
II I

   
109
Mood Indigo
Duke Ellington
In the style of the Clark Terry/
Bob Brookmeyer Quintet

  
Gingerbread Men

     
1966

 
Freely

   
   

 = 58


Swing

     
  
A B C9 Fm F9 B



      
  


             
        
   
 

       
    
B C9 G 7 F7


7

            

  
             
                

            
      
B B 7 E 6 A 7

   
11

 
    
 
     
 
      
     
         
 
   
       
  
110 Mood Indigo

      
 
B C9 Fm F9 B


15


       

    
  
                     
       
     


           
B6 G7 C9 G 7 F7

     
B

        

              
              

double x feel



               
    
 

        C9   
  
B6 Cm7 F7 B6 G7

           
22

        
 
            

 
          
          
 

 G 7      
        
F7

 
25

                 
   
 

        
  
double x feel

   
Mood Indigo 111

  
          
    
B B 7


27

  
 
     
  
  

 
      
 
            
  

   
         
    
E 6 A 7

 

29

 
    
   
   
     

      
 
      
  
    

    C9   
 
B6 G7

        
31

   
     
  

      
  

        
      
 

  B 6 
rit.

   
       
G 7 F7

   
33

       

  

          
     
      
112
Cottontail
Duke Ellington
As played by Jimmy Blanton
The Blanton–Webster Band
1940

    F7 
Swing  = 180

       
   
1

      
B Gm Cm7 B F7

 
  
          
     

        
                    
B 7 E E m B  F B F7


5

 
               

     F7      
     
      
B Gm Cm7 B Gm Cm7 F7


9

  
    

        

          
                 
B 7 E E m B  F B

 
13

                 

            
      
tpt solo

 
D7 G7


17

  
       
         

Cottontail 113

       F7             
       
C7


21

           
     

 
  A7          
                               
B 7 A 7 G7 G 7 F7 B

  
25


                    

    
    
      
2 B Gm Cm7 F7 B F7

 

    
        
B 7 E E B  F B F7

   

33

       
       
B Gm Cm7 F7 B Gm Cm7 F7

  
37

      
          
B 7 E E m B  F B


41

        
       
D7 G7

 
45

       
         
C7 F7


49
114 Cottontail

         
      
B 7 E E B  F Gm Cm7 F7

 
53

                 
B 7 E E m B  F B


57

 
3 B  7

                
sim.

     
  
F7

         
65

       
         
B Gm Cm7 F7 B E E


69

         
      

B 7 E E m B


73

           
     
D7 G7


77

      
      
   
C7 B7 F7


81

       
      
B E E B  F Cm7 F7

   
85

         
  
B 7 E E B

     
89
115
It Don’t Mean a Thing
Duke Ellington
As played by Thelonious Monk


and Oscar Pettiford


Thelonious Monk Plays Duke Ellington

                  
1955
Swing  = 144

           
                 
    
  
        
                
    

           
   


     
      
A

        
Gm6 Gm F F F F E E7 D7 Gm6 D 7 G7

       
    
         
           
  
   
              
   


  
 
                          
C7 G 7 C7(add 9) B7 B D7

     
9

  
                
         
 
                    
      
     


          
             
Gm6 Gm F F E E7 D7 Gm6 D 7 G7

      
13

    
                
   
   
      
 
      

 


116 It Don’t Mean a Thing

   

                         
9
C7 G 7   C7 5 F7 B

            
17

   

     
              
  


   
                       
    


     
               
B Fm7 B 7  59  B 7 E maj7 E maj7 E7(add 9) F7(9) F 7

               


  
  
                
   

              
    



                 
Gm7 C7 F7 D7 E7 E 6 D7

    
25


        
               


      
         
 


  
        
C

      
Gm6 Gm F F F E E7 D7 Gm6 D 7 G7

          
    
 
                   
   
        
          


It Don’t Mean a Thing 117

   

                      
C7 G 7 C7(add 9) B7 B

          
33

 

                
       
   
                 
         
     
cont.
118 It Don’t Mean a Thing

      
 
     
    
2 Gm6 Gm F F E E7 D7 Gm G7

     

                      
      
C7 G 7 F7 B D7

    
41

       
              
Gm6 Gm F F E E7 D7 Gm G7

   
45

                    
        
C7 G 7 F7 B D7

   
49

       
             
Fm7 B 7 E maj7 E7(9) F7(9) F 7


53

      
           
C7 F7 D7


57

            
             
Gm6 Gm F F E E7 D7 Gm G7

    
61

      
         
C7 G 7 F7 B D7

  
65

         
       
3 Gm6 Gm F F E E7 D7 Gm G7


It Don’t Mean a Thing 119

       
         
C7 G 7 F7 B D7


73

 
           
 
Gm6 Gm F F E E7 D7 Gm G7

    
77

     
            
C7 G 7 F7 B D7


81

       
           
 
Fm7 B 7 E maj7 E7(9) F7(9) F 7


85

      
         
C7 F7 D7

 
89

  
      
        
Gm6 Gm F F E E7 D7 Gm G7


93

   
             

C7 G 7 F7 B D7


97
120 It Don’t Mean a Thing

        
                
4 Gm6 Gm F F E E7 D7 Gm G7

  

      
                         
C7 G 7 F7 B D7

   
105

         
             
Gm6 Gm F F E E7 D7 Gm G7

 
109

                     

      
C7 G 7 F7 B D7

       
113

                  
             
Fm7 B 7 E maj7 E7(9) F7(9) F 7

 
117

          
 
        
      
C7 F7 D7

   
121

  GmF 
                    
Gm6 F E E7 D7 Gm G7

    
 
125




  
                     
C7 G 7 F7 B D7

    
129
121
I Can’t Get Started
Vernon Duke
In the style of Michael Moore

                 
Ballad A (Bm7 E7 Bbm7 Eb7

      
   
Cmaj7 Am7 Dm7 G7 E7 Am7

      
 
III II I II I II I

 
Am7 D7 Abm7 Db7)

    
  
D7 G7 Cmaj7 Am7 A7(9) Dm7 G7(9)

      
  
4

 

1. 2.

    
E7 A7(9) D9 G7(9) C6 Fm6 C6

    
   
7

B Em7 B7 Em9 A9 Dmaj7 G9 Fm7 B7 Em7 A9sus4

                

    
Dm7 A7 Dm7 G9 Em7 E  7 Dm7 G9sus4 G7(9)

          
 
15

 

(Bm7 E7 Bbm7 Eb7 Am7 D7 Abm7 Db7)

        
C

       
Cmaj7 Am7 Dm7 G7 E7 Am7 D13 G9

    
 


          
   
Cmaj7 A7 Dm7 G7(9) C6 A7 Dm7 G7

 
23
122
The Days of Wine and Roses
Henry Mancini

Medium swing

        
       

A Fmaj7 E7 D7

   

II I

     
  
Gm7 E7(11)

   
5

     

C7

   
   
Fmaj7 Am7 D7 Gm F Em7(5) A7

     
9

  

Em7b5 A7 Dm7 G7


   
Dm7 G7 Gm7 C7

     
13

 

    
B

 
Fmaj7 E7 D7

   

  
Gm7 E7(11)

   
21

     

   
 
Fmaj7 Am7 D7 C Bm7(5) E7

   
25

 


  
Am7 D7 Gm7 C7 F6 Gm7 C7

     
29


123
What is This Thing Called Love
Cole Porter
from the original sheet music
http://images.indianahistory.org/cdm/landingpage/
Slow (in the manner of a "Blues")
collection/p16797coll1
1930

  
A

     
C7 Fm6 C

    

 
   
Dm7(5)G G7 G7 C Cmaj7 C6 C

      
5




     
C7 C7(9) Fm6 C

     
9

   
  
Dm7(5)G G7 G7 C C7 Fm C

       
13

         
B

 
F9 B



         
A A  A 6 Fm7 G AG G7(9)

   
21


C

      
C7 Fm6 C

    
 

    
Dm7(5) G7 G7 C Fm C7

     
29
124
Stella by Starlight
Victor Young
The Uninvited
Half-time ballad feel  = 118 Soundtrack 1944

   
A


B  7 Cm11 F7 F7

      

Fm9 B 7(9) E maj9 A 7

     
5

  


B  69 D Gm9 Gm6 Dm B  m6 D 

           
9

     

      
FC B  7 Am7(5) D7

      
13


Abm/G

         
B


G7  95  Cm11



       
E m69 B  maj7D

 
21


B   maj7D  Fm6 A  G7 G7

         

 
Cm7(5) F7(9) B6

        
29
125
Stella by Starlight
Victor Young


As played by Hank Jones
Joe Lovano I’m All For You
Swing  = 176 2004

                   
 
            
B  6 F C  F B  F C  F

      

      
        
             
    


          
 
        
   
B  F C  F B  F

   
5

  
        
              
   


    
A

          
Em7(5) A7(9) Cm11 F13

       
    

  
            
    


     
      
B 7sus4 B 7(9) E maj9 A 13(11)

      
13

          
      

     

    


 
          
B  maj7 Em7(5) A7(9) Dm6 B  m6
17

     



   

 
 
 


 


  
   
 

        
   


126 Stella by Starlight


     
      
Fsus4 C B  m6 Am7(5) D7(9)

        


21

    
        
    
        
 
 


  
 
B

            
A 7 G7  59  Cm11

 
          
 
 
         
    
 


   
          
A 7(11) B  maj7 Cm7 C 7 B  maj7D

         


29

     
   
           
       


  
C

    
Em7(5) A7  59  Dm7(5) G7(9)

  
      

           
  
     
    
   


    
               
Cm7(5) F13(5) B  69

   
37

          
  
                 
   
127
I’ll Remember April
Gene de Paul
As played by Grant Green
Grant Green Standards
1961
Straight  = 198

              
A

 
Gmaj7

  

                
   
Gm7 C7sus4


5

 


swing

     
    
Am7 D7 Bm7(5) E7

          
9

        
            
Am7 D7 Gmaj7

 
13

  

     
        
 
B Cm7 F7 B  maj7 Dm7(5) G7

      

       
                 
Cm7 F7 B  maj7
21

                 
 
Am7 D7 Gmaj7

     
25

        
          
  

Fm7 B7 Emaj7 Am7 D7

     
29
128 I’ll Remember April

 
straight

                
C

 
Gmaj7

 

                 
Gm7


37

      
  
swing

  
Am7 D7 Bm7(5) E7

        
41

          
   
              
Am7 D7 Gmaj7

  
45


129
I’ll Remember April
Gene de Paul
As played by Grant Green and Wilbur Ware
Grant Green Standards
1961


Straight  = 198

          
     
A

    
Gmaj7

     
 
     
        

 

             
             
Gm7 C7sus4

     
5

 
        
    
 

         
swing

    
Am7 D7 Bm7(5) E7

         

 
9

  
     
      
   
 

                
 
      
Am7 D7 Gmaj7

         
13

 

    
 
 
  
 
 
  

        
         
B

       
Cm7 F7 B  maj7 Dm7(5) G7

  

   
           
 
130 I’ll Remember April

 
                     
Cm7 F7 B  maj7


21


       
   
    


  
        
                 
Am7 D7 Gmaj7

 
25

   
   
          
   

                 
                        

Fm7 B7 Emaj7 Am7 D7
29

 
   
       

  
 


   
Gmaj7

        
C

         

       
        
straight

  
      
Gm7

         
37

   
           

  
swing

 
            
Am7 D7 Bm7(5) E7

   
41

 
   
     
     
 
I’ll Remember April 131

                       
     
      
    
Am7 D7 Gmaj7

      
45

  

     

      
132
Seven Minds
Sam Jones
In the style of Michael Moore and Rufus Reid
Doublebass Delights
1995
Swing  = 200

           
     
C7(9) D 7(9) D7(9) E7(9) Em7

 




    
               

    

 
* plucked with thumb behind left hand

       
        
 
Em7

   
 
5

       
 
II I II I

 
        


       

   
    
 
 

9

       
 
    
   
       
 

            
              

A

   
Em7


                    
        
    

       1.     
           
    
17


           
             
    
Seven Minds 133

             
         
B
B  maj7 G7


2.

    
21


                   
          

              

Am11 Bm11 B  maj7 G7

      
25

   
                     
      
  

       
C

   
               
Am11 G9 A 7 G  maj7(5) Fmaj7(5) Em7

 
29

 
      
     

                      
  
 

    
              
  
Em7
33


             
        

    
        
    
36

   
                

134 Seven Minds

      
    
D

  
C7(9) D 7(9) D7(9) E7(9) Em7

 


     
         

      
 
Solos on A-B-C then DC al Coda

    
43  open vamp and fade

   
135
Tricotism
Oscar Pettiford
As played by Lucky Thompson,
Oscar Pettiford, and Skeeter Best

    
Lucky Thompson Tricotism

               
 = 162

   
1956

  
D6

   

               
optional 8va

   
  

                    
  

       
   

4

               
     

   
 

            

  
                     
E7 E7 D  69
7 loco

   
 
        
      


             



136 Tricotism

              
                 
D6 E7 E7


A

  
[10]

 
*

1.


                              
G 7 G 7 D  A  B 7 A7 A 7

   
15


2.

             
          
 
 
B
E7 A 7(9) D  maj9 A7

   
19
**


                             
D6 Cm7(5) F7 Bm B  m(maj7) B  m7 B  m6

   
23


                                
E m E m(maj7) E m7 A 7(9) C D6 E7

   
27

 

       
                
E7 G 7 G 7

 
31

            
   

D  A  B 7 E7 A 7(9) D  maj7

    
34

* Tenor plays Db
* * Tenor plays Gb.
Tricotism 137

    
    
      
2 D6 E7

 

               
 
G 7 G 7 D  A  B 7 A7 A 7

  
41

   
     
       
D6 E7

 
45

             
  
G 7 G 7 D  A  B 7 E7 A 7(9) D  maj9

  
49

         
       
A7 D6 Cm7(5) F7

  
53

       
      
Bm B  m(maj7) B  m7 B  m6 E m E m(maj7) E m7 A 7(9)

   
57

    
      
      
D6 E7


61

          
 
  
G 7 G 7 D  A  B 7 E7 A 7(9) D  maj7

   
65

  
       
3


D6 E7

     

138 Tricotism

          
   
 
G 7 G 7 D  A  B 7 A7 A 7

  
73

   
     
       
D6 E7

 
77

             
 
  
G 7 G 7 D  A  B 7 E7 A 7(9) D  maj9


81

       

    
A7 D6 Cm7(5) F7

     
85

                 
Bm B  m(maj7) B  m7 B  m6 E m E m(maj7) E m7 A 7(9)


89

   
     
       
D6 E7

 
93

     
          
G 7 G 7 D  A  B 7 E7 A 7(9) D  maj7

  
97
Tricotism 139

             
          
4

 
D6 E7



  
            
           
    
 
G 7 G 7  D  A  B 7 A7 A 7


105

  E 7  
             
     
D6

  
109

        
              
    
G 7 G 7 D  A  B 7 E7 A 7(9) D  maj9

  
113

     
                      
  
A7 D6 Cm7(5) F7

 
117

               
         
Bm B  m(maj7) B  m7 B  m6 E m E m(maj7) E m7 A 7(9)

     
121

          
                  
  
D6 E7


125

  
               
  
    
G 7 G 7 D  A  B 7 E7 A 7 D  maj7 (9)

    


129
140
The Gentle Art of Love
Melody and solo by Oscar Pettiford
Oscar Pettiford Vienna Blues: The Complete

      
Session

  
    
      
Ballad  = 58 1959

  
G  maj7 E m7 A 7 A 7 (5)

     
    

              
         
D  maj7 D  6 E m7 E 6 Fm7 D6 Fm7 E7

 
3

         
                
E m7 E m7 A 7


5

   

                   
  
D  maj7 A  m7 D 7 D7 G13


7

            


             
G  maj7 E m7 A 7(5) A 7


9

    

              
    
      
D  maj7 E m7 D  F D  6 Fm7 E7 E m7

 
11

    

                 
        
E m7 A 7 D  maj7


14

           
           
Gm7 C7(add 9) C7(add 9) Fmaj7(5) Fmaj7 Dm6

      
16


The Gentle Art of Love 141

   C7
       Fmaj7
      
             
Gm6 (add 9) Dm


18

    
                
 
Gm7 C7(add 9) G  maj7 E m7

 
20

         
               
A  m7 D 7 G  maj7 E m7


22

 

        
                    
A  m7 G  maj7 D 7  59 

 
24

 

      A 7  A 7   D  maj7 D6 E m7  E6 Fm7


           
E m7 (5) D6


26

 

       
   
            
 
Fm7 E m7E7


28

 

                     
     
E m7 A 7 D  maj7 A  m7 D 7

  
30

   
142
Manha de Carnaval
Luiz Bonfa
In the style of Luiz Bonfa
Soundtrack to the film Black Orpheus

  
1959


rit.

  
     
 = 42

          
      

  
II I

   
IV

       
  
II I II II I

 
       
1

   
 
      
           
  
    
  
II III II

  
     
   
    

5

  
       
    
       
    
III
IV


   
          
     
 
7

 
         
           
      

  
    
  
 
10

     

 
             
      
Manha de Carnaval 143

 
 
rit

     
            
12

    
  
      

      
    
    
rit.

   
                  
Dm7 Am(maj7) D7sus4 Am6 Dm E7 Asus4

  
15

      

  

     
   

II
III
Bossa Nova  = 88

       
       
A Am Bm7(5) E7 Am Bm7(5) E7

       

II I

  
      
Am Dm7 G7 Cmaj7 B 7 A7

       
21

 
   
Dm7 G7 C6 Am7

      
  
25

      


   
Bm7(5) E7 Am E Bm7(5) E7

   
29

      

  
  
B

   
Am Bm7(5) E7 Am Bm7(5) E7

     

144 Manha de Carnaval

   
Em7(5) A7 Dm Dm(5) Dm6

      
37

   
 
Dm7 C Bm7(5) E7 Am Fmaj7

      
  
41

  

 
       
Bm7(5) E7 Am Bm7(5) E7

      
45

 rit.

   
                 
Dm7 Am(maj7) D7sus4 Am6 F6 E7 Am(add9)

 
49

   
      
   
    
II
III
145
Reflections on Ives and Whittier (excerpt)
Bertram Turetsky
Compositions and Improvisations
Rubato
1982

       
All notes played as harmonics, sounding as written.

         
 
arco

-

                
  
[1]

 
     
     

[1]
146
Utviklingssang
Carla Bley
In the style of Carla Bley and Steve Swallow
Carla Bley Trios
Slow  = 70 2013

Am       
optional 8va

    
A

 
GA DA

       
     
FA EA Am
5

Am        
    
F7A DA
9

  
          
 
 
bs. 2 enters


II III II

       
     
FA F7A E7A Am
13

           
      
  

        
    
B Em G Fmaj7 E9sus4

   
       
     
 
      

       
     
Dm9 EC Am C B7  911 Dm E E7
21

   
     
    
 
Utviklingssang 147

Am        
    
GA DA
25

    
 
         

     

       
    
FA EA Am
29

    
         

  
 
148
Gaia
Gary Peacock
As played by Gary Peacock and Ralph Towner
Oracle
1994
Straight  = 154

      
    








 
   
          
 
    

  

      
5

     
  

            
   

             
 
9

    
  
    
       
   
  

        
13

    
  
 
         
  
   

             
 
17

    
  
          
   
   

Gaia 149

        
21

    
  
        
     
   

    
      
   
25

   
   
   
      
    


  
 

 
   
29

    
     

   
  

        
33


   
150
Ghosts (First Variation)
Albert Ayler
As played by Gary Peacock and Albert Ayler
Albert Ayler Trio Spiritual Unity
1964

       
Freely  = 100

      
          
  

   
          


March  = 100

   

  
5



     
A

         
  
      
  
          
  

  
        
       
13


   
    
        
  

  
             
  
B

   
 
     
   
      

      
        
 

21

   
 
     
    
Ghosts (First Variation) 151

         
       
 
C

   
   
     
         

          
     
 

29

    
       
      

152
Beauty is a Rare Thing
Ornette Coleman
As played by Ornette Coleman
accidentals carry through each line
This is Our Music


  
1960

        
Freely (slow) ( = 60)

 



    
A

  
 

 

   
             
 
moving


[1]

    

       
[1]

 
B

            
open solo
D.C.

Form is AABA followed by open group improvisation.

 
Letter C is then played to fine.

               
tpt

 
       
   
alto


C

      
    

  
           

     
 
alto

    
    
tpt

 

    

rit.

     

  
153
M
Donny McCaslin
As played by Donny McCaslin
Donny McCaslin Declaration
2009

  
Straight  = 165


                  
          

   
         
A

 
Em11 E(omit3)D Am(maj7)C

    
  
 
    
      
    

       
       
  

  
     
Em11 E(omit3)D Am(maj7)C

        
8

 
         
      
     

       
     
  

    
Am11 G6 F6

      
12

  
     
     
      
     
        
 
154 M

   
  
D C69

   
15

  
       
 
     
     

   
B

               
A  maj7 Am7(add 6) G6 A  maj7

     

      

  
 


 
   

   
    

   
             
Am7(add 6) G6 Fmaj7

   
   
22

           
                
  

Counter melody can replace lower voice on repeat (if played as a duet).
155
Anthem
Ralph Towner
Anthem

    
              
2000

  
Expressively

   
=

    
     

       
 
        

         
  

          
    
     
8

           
      
       
12

      
     
   
16

                
 = 69

  

   
A

     
[19]

  
             

   
  
        
 
         
         
           
156 Anthem

             
        

24

 
           
       
     
      
         
       

              
          
 
28

  
            
        
     
  
       
          
          

           
        
32 Fine




 
         
  
       
    
 
        
      

          
   
B

   
     
  
            
      
       

              
        
   
Anthem 157

         
      
 
40

   
           
    
     

             
      
 

    

              
   
44

    
            
       
         

              
     
      
  

   
         
    
48

  
        
      
     

            
        

       
             

 
52

  

              
         



              
  
         
158 Anthem

      
           
   
56

             
        

             
       

     
       
         
60

   
             
    
       
  
             
 
       

    
            
64

      
       
 
       
        
V.S.
Anthem 159

  
  
C Bm G Bm A F m A

   
     
 
    
 

        

 

        
Bm G Bm A

          
72

   
  
         
    
 

 
  
      
   

      
    
Bm G Bm A F m A

      
     
76

     
  
        
    

  
     
        

 

  
  
G Em7 F m Bm Bm

    
     
80

      
    
    
      
  
      
  
160 Anthem

       
     
D Bm G Bm A F m A

            
 
    

     
 
 



    
    

  
      
   
Bm G Bm A



   
88

  
  
       
  
   
  
    
 

    

  
 
    
Bm G Bm A F m A

      
92

    
     
      
    
 

    
         
   

       
G Em7 F m Bm Bm A C

   
  
96


    
  
     

 
 
        
 
   
Anthem 161

            
  
E

         
D F D A C A C

      
     

          
     
   
     
      
  
  

     
 
D F D A C DC

        
104

    
    
         

   
        


          
  
  
GB A F G A  Bm F m G A 

   
108


     
   
  

         
 

 
D.S. al Fine

   
Bm DF G Gm7(5) Asus4

      
112

     
     

  
        
162
Whisper Not
Benny Golson
In the style of The Jazztet
Here And Now
1962
 = 101

 Em7 
Swing


              
A Cm Cm7B  Am7(5) D7(9) Gm7F (5) A7(9)

 
 
     
          
               



 
Dm7 Bm7(5) Em7(5) A7(9) Dm7 Em7 Fm7 G7(9)

           
5

 
  
 
         
      

 
      
Cm Cm7B  Am7(5) D7(9) Gm Gm7F Em7(5) A7(9)

      
 
9


             
  
  


             
  



 
Dm7 Bm7(5) Em7(5) A7(9) Dm7 Em7 Fm7 B 7(9)

           
13

     
          


   
 
          
 
Whisper Not 163

        
         
B

     
Am7(5) D7 Gm7 C7

  
  
             

      
   

 

               
   

      
   
Em7(5) A7(9) Dm7(5) G7(9)

 
   

21


        
   

     
       
   

 
 
C Cm Cm7B  Am7(5) D7(9) Gm Gm7F Em7(5) A7(9)

        

        
       
  

    
           


 
 
Dm Bm7(5) Em7(5) A7(9) Dm7 A 7 G7(9)

             
29

 
        
          


 
     
       
      
164
Jelly Roll
Charles Mingus
In the style of Charles Mingus and Jimmy Knepper
 = 132 Charles Mingus Mingus Ah Um

 
Swing

          
1959

 
B  m7 E7 B  m7 E7 B  m7 E7

     
 
   
    sim.     
     
             
 
snap/slap


          
 
        
A 7 D 7


5


            
          


       B 7
             
           
A 7 G7 G 7
F7

  
8

           
       


   
                              
E7 A 7 A B  m7 E7

   
12


             
  pizz. 
 
      

 
 

          

Jelly Roll 165

                   
        
B  m7 E7 B  m7 E7 B  m7 E7 A 7
16


              
       
    


                            

   

 G7
    
D 7 A 7 G 7

                    
20

  
                   
   


      
   
   
         

     
                 
F7 B 7 E7

   
24

 
   
           
     
     


        
                
     
1. 2.

   
  
A 7 A 7

 
27 

  
          

     
            
      

solos on form, last time to coda
166 Jelly Roll

      
         
         


31

  
      
 
                 
      
 
  
               
   

          
   
             

 
36

 
      
         
           


       
         
 
             
dbl. x feel-----------------------------------------

 

                 
  
40


                 
      

    
           


      
         

43


        
        

 
    
        

   

167
We See
Thelonious Monk
As played by Paul Motion and the Electric Bebop
Band
Swing  = 188

       
Play Monk and Powell

      
1999


B A 7 G 7 Cm7 F7

   
A

         
             

           
 

   B 7     
         
Fm7 E maj7 A 7 C7 F7sus4 F7(5)

           

5

          
           
  
 
    


        
        
B Cm7 F7 Cm7 F7

     
       
         
     


        
        
Cm7 F7 Cm7 F7

     
13

       
         
     

               
B A 7 G 7 Cm7 F7

 
C

        
             

         

168 We See

   B 7                  
Fm7 E maj7 A 7 C7 F7sus4 F7(5) B 

           

21

          
         
 


      
169
Lament
J.J. Johnson
J.J. Johnson & Kai Winding
Ballad Jay & Kai

 
1955

      
   
C pedal

 
 

                   
Fm9 E m9 A 13 D  maj7 Gm7(5) C7  911

 
A

    
   

          
          
A7  59 

   
Fmaj7 Am7 D7 Gm7

 
9

 

    
     
C B 

 
Dm7 Am7 Dm7 Gm7 C7(9)

       
13

 E m9        
                 
Fm7 A 7 Gm7(5) C7  59 

          
       
17

   

                   
B Fm9 E m9 A 13 D  maj7 Gm7(5) C7  911

        
  
 

               
9
Fmaj7 Am7 D7 Gm7 A7

  
5


  
 
25

          
           
Dm7 C B  Am7 Dm7 Bm7(5) B  m7 E7(11)

   
    
        
29


        

              
Fmaj7C Dm7 Gm7 C7 F69 Dm7 D 7(11) C7  59 

  
33

  
170
Ornithology
Benny Harris
As played by Charlie Parker
Complete Savoy Live Performances/
Complete Dial Sessions

  
Swing  = 220

         
1948 & 1946

 
    
1

     
Gmaj7 Gm7


 

  
          
     
        
  
C7 Fmaj7 Fm7


4

        
             
B 7 E7 Am7(5) D7
8

         
1.

           
Gm6 Bm7(5)

 
11

     
     
           
E7 Am7 D7
14

     
2.

      

Gmaj7 Cm7 F7 Bm7 B  m7

  
17

     
        

Am7 D7 G69


20
Ornithology 171

             
       
  
  
2 Gmaj7 Gm7 C7


 

      
             
   
Fmaj7 Fm7 B 7
27

           
              
E7 Am7 (5)D7 Gm6

      
31


             
 
     
     

G6 Am7 D7 Bm7 E7 Am7 D7

  
35

           
         
       
Gmaj7 Gm7 C7


lay back


39

                   
              
Fmaj7 Fm7 B 7
43

    

            
              
E7 Am7(5) D7 Gmaj7 Cm7 F7


47

       
                     
Bm7 B  m7 Am7 D7 G69

 
3

  
51


172
Dig (Donna)
Jackie McClean
As played by Miles Davis
Miles Davis Volume One

 
Swing  = 164 1952

           
      
 F7

  

A

       

  
             
            
    
B 7


5

           
  
      
E7

   
9

    B  m7
                 
bass solo fill....

   
  
A  maj7 E7 A  maj7 Gm7 C7


13

             
      
 F7

 

B


      

  
             
            
    
B 7


21

           
       
 
      
Fm7 C7 Fm7 E7

 
 
25

 


                
      
A  maj7 F7 B  m7 E7 A  maj7

      

29

            

solo break
Dig (Donna) 173


 F7
          
 

     
  
33

         

            
   
B 7

  
37

 

       
         
     
   
E7

  
41

          
  
    
A  maj7 B  m7 E7 A  maj7 Gm7 C7


45

          
     
      
F7

    
49

        
           
B 7


53

  
        
 
           
   
Fm7 C7 Fm7 E7

  
57

        
                     
A  maj7 F7 B  m7 E7 A  maj7

 
61
174
Donna Lee
Electric Bass
As played by Charlie Parker
Left hand fingerings indicated below the staff The Complete Savoy And Dial Studio Reocrdings

     F7
1947

   
Swing  = 216

                
   
A B 7

   

1 2 1 4 3 2 2 1 4 3 1 4 1

2 4 2 1 2 1 4 2 1 0 1 2 0

 A 7
3 2 1 4 3 4 3 4 1 4 1 4 1 4 1 0

    
                
3 2

  
B  m7 E7 A E m7

     
5

1 0 4 2 1 2 1 4 2 4 2 1 4 2 1 4 4 2 1 4 2 2 1 2 1 4 3 2 4

      
1

                  
 
D  maj7 G 7 A F7

  

9

4 2 1 4 4 2 4 2 1 2 1 2 3 4 2 1 4

3 1 4 1 2 4 2 1 2

              
              
 
B 7 B  m7 E7


13

1 4 3 2 3 1 3 1 4 3 2 1 4 1 4 2 1 4 4 2

1 4 2 1 2 4 2 1 4

     F7
   
                
   
A B 7

  
17

3
  1 4

  
                  
Gm7(5) C7 Fm

 

21

3 4 1 3 4 3 1 4

1 4 1 1 4

1 4 1 1 3 4 0

            
            
    
Fm C7 Fm B 

 
25

2 1 2 1 2 1 2 2 4 2 4 2 1 2 1 4

1 4 1 1 2 4 2 1 4 3 1 4 2 1 4 3 2

   
            
  
Cm7 F7 B  m7 E7 A

  
29

1 4 3 3 2 4 3 1 4 3 2 1 4 2 1 2 2
175
Quasimodo
Charlie Parker
As played by Charlie Parker
Complete Dial Sessions
1947
Swing  = 144 A

                                    
E 69 G Fm7 C7 F7 Gm7(5) C7

      
 

A  m7 D7       
   
              
Fm7 E Dm7 G7 6 (5)

    
9

 
5

       E m6
               
          
Cm7 B  Am7(5) D7(add 9) Em7 Gm7 (5)

    
9

      Cm7  F7
   
            
          
Dm7 G7(add 9)
Fm7 B 7 E7 (5)

   

13

                                
B E 6 G  7 Fm7 C7 F7 Gm7(5) C7

    
 

A  m7 D7  
                 
          
Fm7 E maj7 B  m7 E7

     

21

 D7 

                      
     
A  maj7 Dm7(5) G7 Cm7 Am7 (5)

      
25

   

           
    
              
Gm7 C7 Fm7 B 7 E maj7 Fm7(9) B 7

  
29


176
Segment
Charlie Parker
As played by Charlie Parker The Complete Charlie
 = 238

 
Swing Parker On Verve

   
    
                  
1949

       
1 Bm Cm7 F7 Bm (5) Cm7 F7 (5)

     

    
                     
Bm Cm7 F7 Bm Cm7
(5) F7 (5)


5

   

     
    
                         
Bm Cm7 F7 Bm
(5) Cm7 F7 (5)


9

  

 
                          
Bm Cm7 F7 Bm (5)

    
13

 

       
   
                
Fm7 B 7 E m

 
17

 

         
          
             
E m7(5) A 7 D  maj7 Cm7 F7 (5)

 
21

 

         

                      
Bm Cm7 F7 Bm (5) Cm7 F7 (5)

   
25

  

   
                
         
Bm Cm7 F7 Bm
(5)

      

29

 
Segment 177

  
            
2

     
Bm Cm7(5) F7 Bm Cm7(5) F7

 
  

                
 
Bm Cm7(5) F7 Bm Cm7(5) F7

        

37

 

  
                   
    
Bm Cm7(5) F7 Bm Cm7(5) F7

  
41

 

 
            
          
Bm Cm7(5) F7 Bm

  
45


      
          

         
Fm7 B 7 E m

  
49

 

         
                     
  
E m7(5) A 7 D  maj7 Cm7 (5) F7

  
53

      
              
Bm Cm7(5) F7 Bm Cm7(5) F7


57

         
                    
Bm Cm7(5) F7 Bm
61



178 Segment

   
      
Cm7(5) 

  
3

    
Bm Cm7(5) F7 Bm F7

      

 


          

           
Bm Cm7(5) F7 Bm Cm7(5) F7

  
69

            
        
Bm Cm7(5)F7 Bm Cm7(5) F7

  
73

 Bm 
    
                  
Bm Cm7(5) F7


77

 


Fm7            
   
B 7 E m

      
81

              
  
            
E m7(5) A 7 D  maj7 Cm7(5) F7


85

  

  
                      
 
Bm Cm7(5) F7 Bm Cm7(5) F7

    
89

                
    
   
        
Bm Cm7(5)
F7 Bm

    
93
179
Remember Rockefeller at Attica
Charles Mingus
As played by Charles Mingus
melody played by trumpet and tenor Changes One
1975

    
Swing  = 220

     
 
B  m7 E9 A  maj7 F7(add 9)

   
A

      
 

       
           
B 7(add 11) E13(11) A  maj7 D9(11)

       
5

           
              
D  maj9 C7(9)


9

              
              
F7(5) B 7(9)


13

            
 
    

   
 
E m7 A 13


17

       
D7     
      
  
D  maj9 D

   

21

            
   

B

 
G  maj7 Gm7(5) C7 Fmaj7



                   
   
Emaj7 Fm7(5) B 7 E maj7 A7(add 11)


29

A  maj7       
        
     
D7 D  maj7 C7(9)

  
33


180 Remember Rockefeller at Attica

   

 

          
     
           
9
F7(11) B 7   E m7 (11) A 13

   
5


37

 

       

C

   
D  maj7 B  m9 E9

         
41

 

   
                
 
A  maj7 F7(9) B 7(11) E9

   
45

  
    
A  maj7 D9 D  maj7

  
49

  
tenor solo

     
 
 
      
2 B  m7 E9 A  maj7 F7(add 9)

 

     
        
B 7(add 11) E13(11) A  maj7 D9(11)

   
56

      
          

D  maj9 C7(9)

 
60

      
    
      
F7(5) B 7(9)


64

       
          

E m7 A 13


68


       
       
      
D  maj9 D7


72
Remember Rockefeller at Attica 181

       
   
G  maj7 Gm7(5) C7 Fmaj7

    
76

       
           

Emaj7 Fm7(5) B 7 E maj7 A7(add 11)


80

       
    
A  maj7 D7 D  maj7 C7(9)

     

84

     
            

F7(11) B 7  95  E m7(11) A 13


88

  
              

D  maj7 B  m9 E9


92

       
    
   
A  maj7 F7(9) B 7(11) E9

 
96


      
      
A  maj7 D9 D  maj7


piano solo 2 choruses
100

(cont.)
182 Remember Rockefeller at Attica

      E9       
           
5 B  m7 A  maj7 F7

   
(add 9)

    
1

    D9
    
                    
B 7(add 11) E13(11) A  maj7 (11)

 
5

        
        
          
D  maj9 C7 (9)

   
9

      
                      
F7(5) B 7 (9)

  
13

    
  
 A 13
 
 
    
          
E m7

 
17

                        
       
D  maj9 D7

 
21

  Gm7
   

                    
G  maj7 C7 Fmaj7
(5)

      
 
25

 

           
         
  
  
Emaj7 Fm7(5) B 7 E maj7 A7(add 11)

     

29

   
           



        
A  maj7 D7 D  maj7 C7 (9)

     
33
Remember Rockefeller at Attica 183

  
         
 
               
 
F7(11) B 7  95  E m7(11) A 13

 
37

     
           
      
D  maj7 B  m9 E9

      
41

 
                            
  
A  maj7 F7 B 7
(add 9) E9 (11)


45

        
    
    
A  maj7 D9 D  maj7


49
184
Theme For Ernie
Fred Lacey
As played by John Coltrane and Paul Chambers
John Coltrane Soultrane
1958
Ballad  = 62

        

A

  
Fm7 B 7(9) E m7 A 7 D  maj7 G7

            
      


   
      
   

  
  
Cm7 F7 B  m7 E7(9) A 6 Fm7

           
4

     
     
  

   
     
B  m7 E7(9) A 6 Gm7 C7 Fm7 B 7(9)

        
7

     
 
   
    
     

      
   
E m7 A 7 D  maj7 G7 Cm7 F7

                  
10

   
 
    
   

   
   
B  m7 E7(9) A 6 Fm7 B  m7 E7(9)

                        


13


 

 
         
       
  
Theme For Ernie 185


B

  
                    
A 6 B  m7 Cm7 D  m7 G 7 C  maj7


16

      

        
       

       
 
 
Bm7 E7 Amaj7 Fm7 G 7

                     
19



  

 
        
     
   
  

     
        
     
Dm7 G7 Cm7 F7 B 7 B 7(9) B  m7 E7(add 9)

 
         
22

     

        
     

     
  
C

   
Fm7 B 7(9) E m7 A 7 D  maj7 G7

         
Z---

      
   

   
     
           
  
  

    
      
Cm7 F7 B  m7 E7(9) A 6 Fm7

               
28

 
  

 
       
  
186 Theme For Ernie


                  
B  m7 E7(5) D  m7 G 7 C  maj7 E7(add 11)

  

31


 


        
  
 

  
 
Amaj7 E7 A  m7 Gm7 C7

                  
34

    
    
     
      
187
Evidence
Thelonious Monk
As played by Andy Gonzalez
Jerry Gonzalez Ya Yo Me Curé
2-3 rumba clave  = 136 1993

 
"Gandinga" groove


                      
     
open on cue

       
 
    
                   
     

 
       
A

      
E maj7 C7 Fm7 B 7

 
    
      
          
 

     
           
E7 A  m7 D 7 Gm7 C7 F7(5) B 7(9)

     
10


               
    

 
               
E maj7 C7 Fm7 B 7

 
 
14

  
      
          
   

    
           
E7 A  m7 D 7 Gm7 C7 F7(5) B 7(9)

   
18

 
     
 
   
   
   

188 Evidence

    
      
B

        
B  m7 E7(add 11) A  maj9 D 7

  
 
     


      
 
  

 
                 
Gm7 C7(9) F13(5) B 7(5)

  
26

  

         
   

 
       
C

      
E maj7 C7(5) Fm7 B 7

 
    

   
   
 
 
 
  

              
E7 A  m7 D 7 F7(5)

        
34


   
   
   
    


*The upper part of the introduction is taken from the album "Obatala" (1988).
189
Subconscious-Lee
Lee Konitz
Lee Konitz Live At The Half Note
optional 8va m. 1-14 1959


            
                     
Swing  = 232
C7 Fm

  

        
   
          
G7 Cmaj7
5

     
                 
C7 Fm


9


            
  
         
G7 Cmaj7

    
13

  

  F7      
I II III I

   
              
    
Cm7 B  maj7 (9)

     
17



II I II I II III  II I

                
                   
A 7 G7

 
21

   
II I II I I

                        
                  
C7 Fm

    
25

  
II I II I II I II I

           
 
            
G7 Cmaj7

         
29

 
I II I III I
190
26-2
John Coltrane
As played by Kenny Werner
The Melody
2015
Swing  = 198

  
   
A

    
Fmaj7 A 7 D  maj7 E7 Amaj7 C7 Cm7 F7

                     


   

     
             
     

B  maj7
D 7 G  maj7 A7 Dm7 G7 Gm7 C7

  
 
5

  

  
        
Fmaj7 A 7 D  maj7 Amaj7 C7 Cm7 F7

                   


9

   

    
              
B  maj7 A 7 D  maj7 E7 Amaj7
C7 Fmaj7

         
   
13

  

                   
       
B


Cm7 Em7 A7 Dmaj7 F7 B  maj7

  
 

       
         
      
E m9 A 7 D  maj7 Gm7 C7

   
21

   
 
C

     
Fmaj7 A 7 D  maj7 E7 Amaj7 C7 Cm7 F7

                  
      

         
         
B  maj7 A 7 D  maj7 E7 Amaj7 C7 Fmaj7

       

29


191
Lopsy Lu
Electric Bass Stanley Clarke
As played by Stanley Clarke
Stanley Clarke
1974


Shuffle  = 126

    
Eb/Ab

        
A

          
2nd x


            

   
        
        
3

       

        
         
            
5

             

  
                      
     
8

            

      
 
E D A


    
B

           
           

       
1.2. 3.

                    

 
G D D

    

       
13

   

Letter A as interlude;
Letter B for solos

     
    
E


16

        
III. Basslines
193
Lady Be Good
Gershwin
Bassline by Walter Page
Count Basie & Lester Young Jones Smith Inc.
1936
Swing  = 188

        

A

  
G6 C7 G6 Bm B 7

    

          
    
Am7 D7 G6 D7


5

        
   
G6 C7 G6 Bm B 7

   
9

     
      
Am7 D7 G6 C6 G6 G7

   
13

    
        
B


C6 F7 G6

 

   
        
   
A7 D7
21

         

C

 
G6 C7 G6 Bm B 7

   

 
     
     
  
Am7 D7 G6 D7
29

             
  
2 G6 C7 G6 Bm B 7
194 Lady Be Good

             
  
Am7 D7 G6 D7
37

             
  
G6 C7 G6 Bm B 7
41

   
            
Am7 D7 G6 C6 G6 G7
45

        
    
C6 F7 G6

  
49

           
    
A7 D7
53

             
  
G6 C7 G6 Bm B 7
57

 
           
  
Am7 D7 G6 D7
61

       
     
3

  
G6 C7 G6

       
  

   

Am7 D7 G6 G  7 Am7 D7
69

      
        
G6 C7 G6 G  7


73
Lady Be Good 195

       
  

    
Am7 D7 G6 C6 G6 G7
77

    F7       
    
C6 G6 B 7
81

           
    
A7 D7
85

     
        
G6 C7 G6

 
89

     
  

    
Am7 D7 G6

 
93
196
Bye Bye Blackbird
Ray Henderson
As played by Paul Chambers
Miles Davis Round About Midnight
1956
Swing  = 122

    
A Fmaj7

 
Fmaj9 F6

    
 

  
  
F6 B 13 Am7(5) D7(9) Gm7 Gm6 C7 D7(9)

     
5



    
    
     
Gm D7(9) Gm7 C7

    
9

 


           
 
Gm7 C7 C7(9) F6

     
13

  

     
      
B


Am7(5) D7(9)

   

         
    
Gm7 C7(9)

    
21

    
C Fmaj7 B 13 Am7(5) D7(9)

     
 

       
   
Gm7 C13(9) F6 Gm7 C7

 
29


197
Trouble (No. 2)
Harold Logan, Lloyd Price
As played by Bob Cranshaw
Stanley Turrentine Hustlin’
1964
Shuffle  = 148

 
            
G7 C7 G7 C7

    

 
               
G7 C7 G7 C7

     
5

      
     
G7 C7 G7 C7

    
9

 

          
1

   
G7 C7 G7 C7

        

    
          
G7 C7 G7 C7

    
17

     
  
    
G7 C7 G7 C7

    
21

 

     
     
     
G7 C7 G7 C7

       
25

    
      
G7 C7 G7 C7

     
29

 


             
G7 C7 F6 F6 G6

     
33

 
198 Trouble (No. 2)

 
           
2

  
G7 C7 G7 C7

   

 
               
G7 C7 G7 C7

   
41

     
      
G7 C7 G7 C7

    
45

 

              
G7 C7 G7 C7

       
49

     
          
G7 C7 G7 C7

  
53

 

     
   
G7 C7 F6 F6 G6

     
 
57


199
All the Things You Are
Jerome Kern
As played by Larry Gales
Thelonious Monk Live at the It Club
1964
Swing  = 162

       
          
Fm7 B  m7 E7 A  maj7 D7

 

   
          
D  maj7 Dm7 G7 Cmaj7

 
  
5

           
     
Cm7 Fm7 B 7 E maj7 A7

  
9

    
      
A  maj7 Am7 D7 Gmaj7 E7

      
13



    
        
Am7 D7 Gmaj7

      
17

           
  
Fm7 B7 Emaj7 C7

 
  
21



         
    
Fm7 B  m7 E7 A7 A  maj7

  
 
25

       
       
D  maj7 G 7 Cm7 B 7

  
29

             

B  m7 E7 A 6


33
200
Satin Doll
Duke Ellington
As played by Sam Jones
Live in Rome (televised) Oscar Peterson Trio
1969
Swing  = 137

               
    
A

    
Cm7 F7 Cm7 F7 Dm7 G7

    
   

                  
       
C7 B7 B  maj7(11)

        
5

   

               
       
    
Cm7 F7 Cm7 F7 Dm7 G7

   
9

   

       
     
       
C7 B7 B  maj7(11)

       
13

    

    
                      
B


Fm7 B 7 Fm7 B 7 E 6


            
                   
Gm7 C7 Gm7 C7 Cm7 F7 G 7 F7 D 7(9)

  
21

               
    
C

    
Cm7 F7 Cm7 F7 Dm7 G7

   
   

         
             
C7 B7 B  maj7(11)

       
29

    
201
The Days of Wine and Roses
Henry Mancini
As played by Ray Brown


Oscar Peterson Trio We Get Requests

 
1964

  
Swing  = 154

  
1

   
Fmaj7 E7 D7

   

       
 
           
Gm7 E7 G7 C7

 
5

  

    
              
Fmaj7 Am7 D7 Gm F Em7(5) A7

   
9

  

     
      
Dm7 G7 Gm7(5) C7

  

           
13

     

   
    
     
Fmaj7 E7 D7

  
17

 

           
          
Gm7 E7 G7 C7

 
21

   

    
        
  
Fmaj7 Am7 D7 Bm7(5) E7

     
25

   


           
Am7 D7 Gm7 C7 F6

   
29
202 The Days of Wine and Roses

      
      

2 Fmaj7 E7 D7

  

        
    
Gm7 E7

   
37

  

         
    
Fmaj7 Am7 D7 Gm F Em7(5) A7

    
41

    
     
  
Dm7 G7 Gm7(5) C7

 
 
45

        
       
Fmaj7 E7 D7

  
49

       
   
 
Gm7 E7

     
53

    
     
Fmaj7 Am7 D7 Bm7(5) E7

        
57

 


3

   

                
Am7 D7 Gm7 C7 F6 D7C7 Gm7 Fmaj7

 
61

 
203
My Funny Valentine
As played by Paul Chambers
Ballad The Miles Davis Quintet
Cookin’ with the Miles Davis Quintet

      
1956

       
E maj7 Fm7 Gm7 Fm7 E maj7 Fm7 Gm7 Dm7(5) G7

           
Bb pedal

           
A Cm69 A 7 G7 Cm69 F7

     
   

                  
A  maj7 Gm7 G  m7 Fm E Dm7(5) G7

 
9

  
         
   
  
Cm69 A 6 G7 Cm69 F7

      
13

  

     
swing 16ths

       
A  maj7 Am7 D7 Gm7 C7 Fm7 B 7 B 7(9)

          
17

 

       
   
        
   
 
B


E maj7 Fm7 Gm7 Fm7


  

                
         
E maj7 Fm7 Gm7 Fm7


23

  
 
     
       
E maj7 Dm7(5) G7 Cm7 Bm7 B  m7 E7 A  maj7 Dm7(5) G7

       
25

 

  A 7  G7

              

Cm69 Cm 6

    
C 9

     
 
204 My Funny Valentine

 
       
F7 A  maj7 Dm7(5) G7 Cm Bm7

       
 
32

   B 7      
            
B  m7 E7 A  maj7 Gm7 G  m7 Fm7 E maj7 Fm7

        
36

 

       
      
2

    
Gm7 Dm7(5) G7

  
40


205
Stella by Starlight (2004)
Victor Young
As played by George Mraz
Joe Lovano I’m All For You
Swing  = 176 2004

        
            
B  6 F C  F B  F C  F

   

     
        
B  F C  F B  F

  
5

 

           
 
A Em7(5) A7(9) Cm11 F13

     
   

    
             
B 7sus4 B 7(9) E maj9 A 13(11)

   
13

 

     
                      
B  maj7 Em7(5) A7(9) Dm6 B  m6


17

  

     
        
Fsus4 C B  m6 Am7(5) D7(9)

         
21

       
    
B

           
A 7 G7  59  Cm11

       

 
                   
A 7(11) B  maj7 Cm7 C 7 B  maj7D

    
29

 
206 Stella by Starlight (2004)

            
    
C Em7(5) A7  59  Dm7(5) G7(9)

      
  


                
Cm7(5) F13(5) B  69

    
37

    
207
So What
Miles Davis
as played by Paul Chambers
Miles Davis Kind of Blue

  A
1958

        
       

    
Swing  = 135

       

*  
       
             
 
1. 2.

       

6

    

        


    
B

 
         
   
 
   
21

    
           
C

   

         
   
   
29

     
       
2 Dm11

     

       
        

37

    
  
Dm11

        
41


208 So What

     
            
45

        
        
49
Eb-11

   
              
53

   
      
  
Dm11

    
57

    
           
61

   
 
3 Dm11

            

   
        
     
69

     
     
     

73
Dm11

    
        
    
77

       
        
81
Eb-11
So What 209

  
              
85

  
         
Dm11

    
89

      
     
    
93

* PC plays the notated Db in measures 16, 18, 20, and 22 as D natural on the recording.
210
Impressions
John Coltrane
As played by McCoy Tyner


Swing  = 270 John Coltrane Quartet
Live at the Village Vanguard

   
1961
A

    
          
Dm7G

       
           
   
   


   
               
 
5

     
           
   
   


   
        
B

    
      
    
    
 
          
       
   


   
       
    
      
        
13


 
          
       
   


   
   
C

         
Dm7G

    
    
           
  
   


   
              
 
21

     
           
  
   
211
Impressions
John Coltrane
As played by Jimmy Garrison
John Coltrane Quartet
Live at the Village Vanguard
 = 270

 
Swing

 
1961

     
A

         
Dm7G

      
            
5

        
  
    
Dm7G
9

        
        
13

    
B

         
E m7A 

   

     
      
 
        
21

       
      
 
C Dm7G

        
        
29
212 Impressions

 
              
2

 
Dm7G

     
         
   
37

   
              

Dm7G
41

   
    
   
  
  
45

        
        
E m7A 


49

      
            

53

                  
Dm7G

 
57

                

61
213
Joshua
Victor Feldman
As played by Ron Carter
Miles Davis Seven Steps to Heaven
1963

         
Swing  = 227

                

          
  
A

      
Dm9

 

          
          
9

   
1.

  
        
Dm9 Cm9 B  m9 Cm9 Dm9

    
13


2.

   
B

    
Dm9 Fmaj7 Fm7 B 7alt.

   
17

 

   

piano

 
 

           
E maj7 E m7 A 7alt. D  maj7

  
21

     
   
Cmaj7(11) B  m13 FE A13(9) C Dm7

    
25

     

 

  

 

         
29

             

 

Dm9 Cm9 B  m9 Cm9 Dm9

    
34
214 Joshua


2

        
Dm7

       

   
      
      
43

    
          

Dm7 Cm7 B  m7 Cm7 Dm7


47

 
Dm7
        
        

51

         

        
55

        
    
Dm7 Cm7 B  m7 Cm7 Dm7

      
p.o.


59

         
  
Fmaj7 Fm7 B 7(9) E maj7 E m7 A 7(9)

 
63

   
            
D  maj7 G7alt. Cm7 B  m7 E7alt. A7alt.

      
67

         
  
Fmaj7 Fm7 B 7 E maj7 E m7 A 7

 
71
Joshua 215

      
       

D  maj7 G7alt. Cm7 B  m7 E7alt. A7alt.

   
75

         
  
Fmaj7 Fm7 B 7(9) E maj7 E m7 A 7(9)

 
79

 
       
D  maj7 G7alt. Cm7 B  m7 E7alt. A7alt.

    
p.o.

 
83

 

          

Dm7

       
87

      
   
      
91

    
    
  
Dm7 Cm7 B  m7 Cm7 Dm7

    
95

       
   
3

    
Dm7

     

           
   
 
103

    
    
     
Dm7 Cm7 B  m7 Cm7 Dm7

 
107


216 Joshua

       
      
Dm7


   
111

      
 
        
115

     
      
 
Dm7 Cm7 B  m7 Cm7 Dm7

     
119

    
      
  
Fmaj7 Fm7 B 7(9) E maj7 E m7 A 7(9)


123

 A7alt.
       
D  maj7 G7alt. Cm7 B  m7 E7alt.

         
127

        
  
Fmaj7 Fm7 B 7(9) E maj7 E m7 A 7(9)

  
131

 
       
D  maj7 G7alt. Cm7 B  m7 E7alt. A7alt.

    
135

            
  
Fmaj7 Fm7 B 7(9) E maj7 E m7 A 7(9)

 
139

  
  
   
D  maj7 G7alt. Cm7 B  m7 E7alt. A7alt.

      
143


Joshua 217


        
Dm7

        
147

             
    

151

   
     
   
Dm7 Cm7 B  m7 Cm7 Dm7

    
155

    
 
4

    
Dm7

     

     
      
     
163

   
     
   
Dm7 Cm7 B  m7 Cm7 Dm7

     
167

           
 
  
Dm7

 
171

       
       


175

  Cm7 
          

Dm7 B  m7 Cm7 Dm7

   
179
218 Joshua

     
      
Fmaj7 Fm7 B 7(9) E maj7 E m7 A 7(9)

 
183

           
  
D  maj7 G7alt. Cm7 B  m7 E7alt. A7alt.

     
187

           
  
Fmaj7 Fm7 B 7(9) E maj7 E m7 A 7(9)

 
191


          
D  maj7 G7alt. Cm7 B  m7 E7alt. A7alt.

      
195

  

  
        
 
Fmaj7 Fm7 B 7(9) E maj7 E m7 A 7(9)


199

   
         
D  maj7 G7alt. Cm7 B  m7 E7alt. A7alt.

    
203

           
    
Dm7

   
207

     
        
 
        

211

   
      
  
Dm7 Cm7 B  m7 Cm7 Dm7

     
215
219
Conga Jam
Candido Camero
As played by Candido Camero & Andy Gonzalez
Straight  = 106 Candido and Graciela Inolvidable

   
2004

 
      
A

bs.
        

    
              
tuned A-C-D

congas
     

          
      
5

    
          
    

     1.   
      
2.

      
9


         
   
          

        
        
 
14

     
    
         
18

     
                   
22

           
                    
26
220 Conga Jam

          
        
30

 

          
          
34

   
   
    
38

   
   
    
42

       
          
 
46

   

       
          

50

   

   
   
                 
54

       
               
58

       
                
62
Conga Jam 221

   
     
          
66

        
      
       
70

   
         
      
74

   
         
        
78

                   
    
 
82

           
      
   
86

                   
    
 
90

              
     
94

             
   
  
98
222 Conga Jam

      
       
     
102

      
       
     
106

           
    
   
110

   
           
   
open conga solo then D.C. al Coda

   
114

      
ral.

  
       


118

 
    
     
        

223
My One and Only Love
Guy Wood
As played by Bob Cranshaw
Sonny Rollins The Standard Sonny Rollins
1964


Ballad  = 50

           
  
A A  69 Fm9 B  m7 E7 E7 Fm7 D  maj7 G7(9) C13(9) F7  59 

   
   

          
             
B  m7 B  m A  Gm7(5) C7 Fm7 B 7 B  m7 E7 Cm7 F7 B  m7 E7

    
5

   

  
            
A  69 Fm9 B  m7 E7 E7 Fm7 D  maj7 G7(9) C13(9) F7  59 

       
9

     

   
              
B  m7 B  m A  Gm7(5) C7 Fm7 B 7 B  m7 E7 A  69 G7

    
13



         
  
B

   
Cm9 D  maj7(11) Cm Cm6 D  maj7(11)

       

   
  
     
    
Cm Cm(maj7) Cm7 F7 Bm G 7 F7 Bm E7 A7

     
21

  
 

   
         
C


A  69 Fm9 B  m7 E7 E7 Fm7 D  maj7 G7(9) C13(9) F7  59 

       
 

    
         
B  m7 B  m A  Gm7(5) C7 Fm7 B 7 B  m7 E7

   
29

 


1

        
   
A 6
A 6 Fm7

   
9
32

 
224
One Finger Snap
Herbie Hancock
As played by Ron Carter
Herbie Hancock Empyrean Isles
1964
Swing  = 267

      
    
N.C.

   

             

E7sus4

   
5

      
        
E m7 A 7 E m7 A 7

  
9

       
    
 
Gm7(5) C7(9) Fm7(5) B 7(9)

   
13

  
       
 
E maj7 Dm7(5) G7

      

l.h.
17

         
      
2

   
N.C. Z--- Z---

     

  
               
E7sus4


25

   A 7   
           
E m7 A 7 E m7


29

          
   
   
Gm7(5) C7 Fm7(5) B 7(9)


33
One Finger Snap 225

    
        
 
E maj7 Dm7(5) G7(5)

  
37

      
      
3

 
C7

  

              
E7sus4

   
45

      
          
E m7


49

          
   
  
Gm7(5) C7 Fm7(5) B 7(9)


53

     
      
E maj7 Dm7(5) G7

      

57

          
    
 
4 C7



   
        
E7sus4

     
65

 
        
    


E m7


69

           
      
Gm7(5) C7 Fm7(5) B 7(9)


73
226 One Finger Snap

    
          
E maj7 Dm7(5) G7

  
77

      
      
 
5 C7

 


            
  
E7sus4

  
85

       
         
E m7

 
89

     
     
   
Gm7(5) C7 Fm7(5) B 7(9)

  
93

    
         
E maj7 Dm7(5) G7

   
97

           
   
 
6 C7



  
         
E7sus4

      
p.o.
105

              
 
E m7

 
p.o.


109

     
      
   
Gm7(5) C7 Fm7(5) B 7(9)

  
113
One Finger Snap 227

  
             
E maj7 Dm7(5) G7

  
117

                
    
7 C7


p.o. sim.

         
             
E7sus4 p.o.


sim.
125

   
           
E m7

   
129

           
   
Gm7(5) C7 Fm7(5) B 7(9)

   
133

  
             
E maj7 Dm7(5) G7

  
137

         
     
 
8 C7



     

       
E7sus4

  

145

             
 
E m7

  
149

           
    
Gm7(5) C7 Fm7(5) B 7(9)

  
153
228 One Finger Snap

    
          
E maj7 Dm7(5) G7

  
157

             
   
9 C7



            
 
E7sus4

   
165

     
           
E m7


169

             

Gm7(5) C7 Fm7(5) B 7(9)

  

173

                
E maj7 Dm7(5) G7

 
10

   
177
229
Take the A Train
Billy Strayhorn
As played by Charles Mingus
Live in Norway (video recording)
April 12th, 1964

 
Swing  = 200

  
  
C6 D7

 
1

      

        
       
Dm7 G7 C6 Dm7 G7


5

   
         

C6 D7

 
9

    
        
Dm7 G7 C6 C7

  
13

         
       
Fmaj7
17

 
 
         
D7 Dm7 G7

   
21

   
        
C6 D7

   
25

      
    
    
Dm7 G7 C6

   
29

      
2

 
C6 D7

       
230 Take the A Train

       
    

Dm7 G7 C6 Dm7 G7

  
37

     
     
 
C6 D7

    
41

Dm7
           
G7 C6 C7

    
45

                
Fmaj7
49


          
D7 Dm7 G7

    
53

    
       
C6 D7

   
57

    
         
Dm7 G7 C6

 
61
231
Tune Up
Miles Davis
As played by Paul Chambers
Miles Davis Quintet
Up Swing  = 155 Cookin’ with the Miles Davis Quintet
1956

     
1

        
Em7 A7 Dmaj7

  

  
    
      
Dm7 G7 Cmaj7

 
5

  
            
Cm7 F7 B  maj7


9

             


Em7 F7 B  maj7


13

   
     
Em7 A7 Dmaj7

      
17

      
       
Dm7 G7 Cmaj7

 
21


        
      
Cm7 F7 B  maj7
25

 
              
Em7 F7 B  maj7
29
232 Tune Up

        
      
2 Em7 A7 Dmaj7

  
      
Dm7 G7 Cmaj7

      
37

             
  
Cm7 F7 B  maj7
41


             
Em7 F7 B  maj7

 
45

  
   
Em7 A7 Dmaj7

       
49

 

       
       
Dm7 G7 Cmaj7


53

             
  
Cm7 F7 B  maj7
57

   
         
Em7 F7 B  maj7

  
61

             
 
3


Em7 A7 Dmaj7
Tune Up 233

        
     
Dm7 G7 Cmaj7

 
69

            
   
Cm7 F7 B  maj7
73

         
     
Em7 F7 B  maj7


77

  
    
Em7 A7 Dmaj7

        
81

      
       
Dm7 G7 Cmaj7

 
85

    
        
 
Cm7 F7 B  maj7


89

  

        
Em7 F7 B  maj7

   

93

    A7         
  
4 Em7 Dmaj7

      
       
Dm7 G7 Cmaj7

 
101
234 Tune Up

          
Cm7 F7 B  maj7

    
105

              
Em7 F7 B  maj7

 
109

  
         
Em7 A7 Dmaj7

   
113

     
         

Dm7 G7 Cmaj7
117

    
         
 
Cm7 F7 B  maj7
121

    F7        
   
Em7 B  maj7
125

     

     
5


Em7 A7 Dmaj7

  

     
          
Dm7 G7 Cmaj7
133

            
   
Cm7 F7 B  maj7
137

              
Em7 F7 B  maj7

 
141
235
Confirmation
Charlie Parker
As played by Ron Carter
Ethan Iverson The Purity of Turf
2016
Swing  = 172

    
         
F6 Em7(5) A7 Dm7 G7

     


  
    
Cm7 F7

 
4

           
         
B 7 Am7(5) D7 G7 C7

   
 
5

    A7
      G7
   Cm7 
    
F6 Em7(5) Dm7 F7

  
9

    

   
        
B 7 Am7(5) D7 Gm7 C7 F6

     
13

           
  
Cm7 F7 B  maj7

   
17

C7 
  
           
        
E m7 A 7 D  maj7 Gm7


21

          
  
F6 Em7(5) A7 Dm7 G7 Cm7 F7

       
25
236 Confirmation

 
    
B 7 Am7(5) D7 Gm7 C7 F6

    
29

            
2

    
F6 Em7(5) A7 Dm7 G7 Cm7 F7

 

    

         
B 7 Am7(5) D7 A  m7 D 7 Gm7 C7

  
37

       
    
    
F6 Em7(5) A7 Dm7 G7 Cm7 F7
41

  

           
     
B 7 E7 A 7 D 7 Gm7 C7 F6


45

   
         
  
Cm7 F7 B  maj7

 
49

              
     
E m7 A 7 D  maj7 Gm7 C7

  
53

    

           
   
F6 Em7(5) A7 Dm7 G7 Cm7 F7


57

 

  
          
B 7 E7 A 7 D 7 Gm7 C7 F6

  
61
Confirmation 237


               
F6 Em7(5) A7 Dm7 G7 Cm7 F7

  
3

  

     
     

B 7 Am7(5) D7 G7 C7

   
69

        
     
F6 Em7(5) A7 Dm7 G7 Cm7 F7

 
 
73

    
             
B 7 Am7(5) D7 Gm7 C7 F6

   
p.o.


77

   
           
Cm7 F7 B  maj7

   
81

     
        
   
E m7 A 7 D  maj7 Gm7 C7

  
85

         
  
F6 Em7(5) A7 Dm7 G7 Cm7 F7

    
89

       
          
B 7 Am7(5) D7 Gm7 C7 F6

   
93

            
   
4 F6 Em7(5) A7 Dm7 G7 Cm7 F7

   
238 Confirmation

       
     
B 7 Am7(5) D7 G7 C7

      
101

             
  
F6 Em7(5) A7 Dm7 G7 Cm7 F7

       
 
105

 

           
   
B 7 Am7(5) D7 Gm7 C7 F6

   
p.o.


109

        
      
Cm7 F7 B  maj7

 
113

        
    

E m7 A 7 D  maj7 Gm7 C7

   
117

           
   
F6 Em7(5) A7 Dm7 G7 Cm7 F7

    
 
121

   
     
 
B 7 Am7(5) D7 Gm7 C7 F6

        
125

bass solo

             
5

    
F6 Em7(5) A7 Dm7 G7 Cm7 F7


p.o.



 

    
    

B 7 Am7(5) D7 G7 C7

   
133
Confirmation 239

            
   
F6 Em7(5) A7 Dm7 G7 Cm7 F7

 
137

               
B 7 Am7(5) D7 Gm7 C7 F6

   
141

       
     
Cm7 F7 B  maj7

   
145

               
E m7 A 7 D  maj7 Gm7 C7

   
p.o.
149

            
      
F6 Em7(5) A7 Dm7 G7 Cm7 F7

 
p.o.

 
153 p.o.

   
      
   
B 7 Am7(5) D7 Gm7 C7 F6

   
157

         
 
6


F6 Em7(5) A7 Dm7 G7 Cm7 F7

     

 
       
    
 
B 7 Am7(5) D7 G7 C7

  
165

     
   
F6 Em7(5) A7 Dm7 G7 Cm7 F7

  
  
169

 
240 Confirmation


            

B 7 Am7(5) D7 Gm7 C7 F6

    
173

    F7       
    
Cm7 B  maj7


177

           
 
E m7 A 7 D  maj7 Gm7 C7

   
181

    
         
F6 Em7(5) A7 Dm7 G7 Cm7 F7

  
185

      
  
B 7 Am7(5) D7 Gm7 C7 F6

          
189
241
Segment
Charlie Parker
As Played by Dave Holland
A Dave Holland Trio Triplicate
1988
Swing  = 160

            
            
Bm Cm7(5) F7 Bm Cm7(5) F7

 

    
           
 
Bm Cm7(5) F7 Bm Cm7(5) F7

   
5

    
         
   
Bm Cm7(5) F7 Bm Cm7(5) F7

   
9

          
         
 
Bm Cm7(5) F7 Bm


13

              
       
Fm7 B 7 E m

 
17

    
              
E m7(5) A 7 D  maj7 Cm7(5) F7

  
21

       
       
Bm Cm7(5) F7 Bm Cm7(5) F7

   
25

   
       
      
Bm Cm7(5) F7 Bm

 
  
29


242
All the Things You Are
Jerome Kern
As played by Bob Cranshaw
Sonny Rollins Sonny Meets Hawk
1963
Swing  = 192

       
Fm Emaj7(5) G6 E m

 

    
GF Cmaj9 G 7

 
5

     
       
1

 
Fm B  m7 E7 A

   

        
    
 
       
D Dm7 G7 C

 
13

 
 
       
 
Cm Fm B 7 E

 
17



          
   
A Am7 D7 G

      
21

    
              
Am7 D7 Gmaj7

          
25

  
        
  
Fm7(5) B7 Emaj7 C7

     
29

  
             
            
      
Fm Bm E7 A 6

 
33

 
        
D  maj7 G 7 Cm7 F 7 Bm F7

   
37
All the Things You Are 243

     
  
B  m7 A7 A 6

 
41

      
        
2

   
Fm Bm E7 A  maj7



    
         
D  maj7 Dm7 G7 Cmaj7

  
 
49

     
      
 
Cm7 Fm7 B 7 E maj7

    
53

      
          
A  maj7 Am7 D7 Gmaj7

  
57

Am7   
  
     
D7 Gmaj7

    
  
61


               
Fm7 B7 Emaj7 C7

   
65



        
   
 
Fm Bm E7 A  maj7

   
69

    
   

D  maj7 D  m7 Cm7 B 7

      

73




              
 
B  m7 E7 A  maj7 C7

 
77
244 All the Things You Are

           
3

 
Fm Bm E7 A  maj7

    


 
            
  
D  maj7 Dm7 G7 Cmaj7

 
85

     
    
   
Cm7 Fm7 B 7 E maj7

   

89

       
   
  
A  maj7 Am7 D7 Gmaj7

    
93


       

 
 
   
Am7 D7 Gmaj7

 
97

     
      
Fm7 B7 Emaj7 C7

    
101

 

         
  
Fm Bm E7 A  maj7

     
105

 
      
   
D  maj7 D  m7 Cm7 B 7

     
109

       
       
   
B  m7 E7 A  maj7 C7
113

    
         
4 Fm Bm E7 A  maj7

   
All the Things You Are 245

   
              
D  maj7 Dm7 G7 Cmaj7


121

      
 
Cm7 Fm7 B 7 E maj7

        
125

        
    
 
A  maj7 Am7 D7 Gmaj7

  
129



  
     
 
Am7 D7 Gmaj7

        
133

             
Fm7 B7 Emaj7 C7

     
137



  
         
 
Fm Bm E7 A  maj7

 
 
141

     
   
   
D  maj7 D  m7 Cm7 B 7

    
145

      
   
B  m7 E7 A  maj7 C7

     
 
149


246
Little Pixie II
Thad Jones
As played by Richard Davis
Thad Jones/Mel Lewis Big Band Live at the Village
Swing  = 224 Vanguard
1966

         
1

     
 

       
     
5

    
      
        
 
7

  
 
           
  
     
11

   

         
             
15


     
           
   
19

  
    
  
             
23


    
              
 
27

 

                  
          
31

       
   
            
2

    


  
             
   
39


Little Pixie II 247

      
   
            
43

 
          
       
 
47

           
     
  
51

    
 

  
    
   
55

         
 
        
59

           
       

63

       
3

         

              
   
71

             
      
75

        
          
79

        
         
83


248 Little Pixie II

  
 
              
87


 
         

   
 
91

          
       

95

          
4

            

                    
  
103

 
                
107

         
        
111

   
     
  
    
115

 

     
 
 
        
119

   
           
  
123

      
        
         
5

      
127
249
Tip Toe
Thad Jones
As played by Dennis Irwin
The Mel Lewis Jazz Orchestra
trumpet solo
The Definitive Thad Jones Vol. 2
Swing  = 157 1990

              
 
1

     

          
      

5

       
           

9

       
        

   
13

         
          
17

          
       
21

         
          

25

      
      
 
        
29

        
2

        

250 Tip Toe

           
         
37

   
       
      
41



        
         
 
45

         
     
   
49

    
            
 
53

  
        
    
 
57

     

           

G

  
61


cont.
Tip Toe 251


 ()                 
            
unis. (w trbs.)

     
66

 

          
                 
 
70

            
           
       
74

  
    
                     
H

         
79

  

    
 
     
              

  

     
84

 

      
                     

I

   
   

                
    
    
  
 

93

       
J

           
straight

M. 66 contains a Bb in the published part, but is played as an F on this recording.


252
Jeru
Gerry Mulligan
As played by Joe Shulman
Miles Davis Birth of the Cool
1949
Swing  = 178

                
A

 
E A 6 D 7 Cm7 F7 Fm7 B7

 

             
   
Em7(5) A7  59  A  m6 D7(9) E7(9) E7(9) Fm7 Dmaj7


5

                 
E A 6 D 7 Cm7 F7 Fm7 B7


9

            
    
Em7(5) A7 A  m6 D7 E7 E7 Fm7 Dmaj7


13

    
          
B  m7 Bm7 Cm7 D  maj7 E7sus4 Em7 Dmaj7 Cmaj7 F7 Gmaj7


B

   

                 
A 6 Amaj7 B6 Bmaj7 B  m7(5) A13

   
21

              
 
A  m7 Dm7 D 7(add 9) Gm7(5) G 7 Fm7 E7

     
25

               
C

 
E A 6 D 7 Cm7 F7 Fm7 B7


Jeru 253


           

       
Em7(5) A7 A  m6 D7 E7 E7 Fm7 Dmaj7 Gmaj7 Cm6 Fm7(5)


33

            
  
B  m7 A7 A 7 G7(5) Cm7 F7(5) Fm7 E9

  
38

              
Em7(5) A7 A  maj7 A7 Gm7 G  m7 Fm7 Em7(5)

   
42

             
 
B  m7 A7 A 7 G7(5) Cm7 F7 Fm7 E9

  
46

          
  
Em7(5) A7 A  maj7 A7 Gm7 G  m7 Fm7 E7

    
50

            
    
B  m7 Em7 A7 A


54

      
       
A  m7 Dm7 G7 Gm7 G  m7 Fm7 E7

   
58

             
  
B  m7 A7 A 7 G7 Cm7 F7 Fm7 E7

 
62

               
   
Em7(5) A7 A  maj7 A7 Gm7 G  m7 Fm7 Em7(5) E

   
66
254
Ezz-Thetic
George Russell
As played by Bob Cranshaw
Grant Green Solid
1964


Swing  = 258

            
         

    
    
A

  
Cm11

     

          
     
Cm11

 
14

       
   
Fm7 B 7(9) E m7 A 7(5)

      
18

  
   
Dm7(5) G7 Cm9

          
22

   
      
     
Cm11

 
26

   
       
Cm11

      
30

        
   
Fm7 B 7(9) E m7 A 7(5)

     
34

       
    
Dm7(5) G7 Cm9

      
38
Ezz-Thetic 255

    
       
B


Fm7 B 7 E maj7 C7

     

     
      
   
Fm7 B 7 E maj7

  
46

  
     
C7 Fm

   
     
50

 
       
Am7(5) D7 A 7 G7

         
54

  
    
     
C

  
Cm11

 

Cm11    
     
   
   
62

      
   
Fm7 B 7(9) E m7 A 7(5)

        
66

     
     
Dm7(5) G7(9) Cm9

      
70
256
Tempus Fugit
Bassline by Ray Brown
Bud Powell Jazz Giant
Fast Swing  = 144 1949

            
1

 
Gm A7 Dm Em7(5) A7 Dm

  

           
    
Gm A7 Dm B 7 A7 Dm


5

          
Gm A7 Dm Em7(5) A7 Dm

    
 
9

          
  
Gm A7 Dm B 7 A7 Dm

   
13

 

         
Em7(5) A7 Bm7(5) E7

    
17

       
      
A7(5) D7(5)

  
21

   
          

Gm A7 Dm Em7(5) A7 Dm

 
25

           
   
Gm A7 Dm B 7 A7 Dm



29

  A7          
Gm Dm Em7(5) A7 Dm

  
2

 

       
      
Gm A7 Dm B 7 A7 Dm

  
37
Tempus Fugit 257

        
  
Gm A7 Dm Em7(5) A7 Dm

     
41

      A7  
       
Gm A7 Dm B 7 Dm


45

 
         
Em7(5) A7 Bm7(5) E7

       
49

         
 
A7(5) D7

     
53

          
  
Gm A7 Dm Gm A7 Dm

   
57

     A7    
      
Gm A7 Dm B 7 Dm


61

            
3

  
Gm A7 Dm Em7(5) A7 Dm

 

        
    

Gm A7 Dm B 7 A7 Dm

 

69

      
    
Gm A7 Dm Em7(5) A7 Dm

     
73

          
      
Gm A7 Dm B 7 A7 Dm
77
258 Tempus Fugit

    

        
Em7(5) A7 Bm7(5) E7

  
81

        
  
A7(5) D7(5)

     
85

   
      
   
Gm A7 Dm Em7(5) A7 Dm

  
89

Gm  A7     
       

Dm B 7 A7 Dm


93
259
What’s Going On
Marvin Gaye
Electric Bass As played by James Jamerson
Marvin Gaye What’s Going On
1971
Slight swing 16th  = 98

      

Emaj9

                  
         


           
A

   
Emaj9 Cm9

           
  

   
          
   
Emaj9 Cm9

          
9

        


                
Fm7 B7

 
13

     

     
                         
Emaj9 Cm9

 
17

  

                   
  
Emaj9 Cm9

          
21

       
              
Fm7 B7

        
25

   

 
B Fm7 B7 Fm7

                      
     
260 What’s Going On

     
            
B7 Fm7 B7

      
32

  

                                
Emaj9 Cm9 Emaj9 Cm9

     
35


            
C Am9

           

           


            
43

            
                

B7sus4

 
47

 

                  
D

    
Emaj9


50

  

                 
Cm9 Emaj9

       
        
53

  

   
  
Cm9 Fm7

    
              
57

  

      
   
E

       
B7

  
61


261
Lover
Rodgers and Hart
As played by Paul Chambers
John Coltrane The Last Trane
1958
Fast swing  = 200

          
 
1


E7(11) Am7 D7

 

       
        
A  m7 D 7 Gm7 C7

 
5

              
  
Fm7 B7 Fm7 B 7


9

          
   
E C7 F7 B 7

   
13

              
  
E7(11) Am7 D7


17

             
A  m7 D 7 Gm7 C7

    
21

              
  
Fm7 B7 Fm7 B 7


25

         
   
E B 7 E Am7 D7

    
29

                
Gmaj7 E7 Am7 D7

 
33

   
       
   
Bm7 E7 Am7 D7

   
37
262 Lover

       
        
B  maj7 G7 Cm7 F7

 
41

                 
B  maj7 F 7 Bmaj7 B 7


45

               
 
E7(11) Am7 D7


49

       
        
A  m7 D 7 Gm7 C7

 
53

                

Fm7 B7 Fm7 B 7


57

       
E


61

               

2


E 6 Am7 D7



       
        
A  m7 D 7 Gm7 C7

 
69

        
        
Fm7 B7 Fm7 B 7


73

   
            
E maj7 C7 F7 B 7

 
77
Lover 263

     
          

E7(11) Am7 D7


81

       
        
A  m7 D 7 Gm7 C7

 
85

     
        
  
Fm7 B7 Fm7 B 7


89

                 
E B 7 E Am7 D7


93

            
    
Gmaj7 E7 Am7 D7


97

             
   
Bm7 E7 Am7 D7


101

       
        
B  maj7 G7 Cm7 F7

 
105

  
            
 
B  maj7 Fm7 B 7


109

           
 
E7(11) Am7 D7

    
113

           
   
A  m7 D 7 Gm7 C7

  
117
264 Lover

                

Fm7 B7 Fm7 B 7


121

              
      
E Fm7 B 7 E maj7


125
265
Windows
Chick Corea
As played by Miroslav Vitous
Chick Corea Now He Sings, Now He Sobs
1968
Swing  = 212
1


Bm7

           

   
Gm9(5) C13

             
5

  
      
Fm9

  
9

  

  
     
D7sus4
13

       
      
Emaj7(11)

 
17

       
       
Emaj7(11)

  
21

    
      
A 13 A13 A 13 A13

   
25


  
         
  
A 13 A13 A 13 A13

 
29

   
     
Emaj7(11) D C B

 
33

  
 
B  m7(5) A  E7G

   
37
266 Windows

          
A  m7 G  D 7F


41

     
 
Emaj7(11) D C C13
45



     
  
   
2

   
Bm7

    

       
Gm9(5) C13

        
53

   
 
  

    
Fm9
57

   
      
D7sus4

 
p.o.

 
61

      
        

Emaj7(11)


65

    

        
    
Emaj7(11)


69

A 13 
        
A13 p.o. A 13 A13

  
73

       
A 13 A13 A 13 A13

         
77
Windows 267

        
   
 
Emaj7(11) D C B
81



   
   
         
B  m7(5) E7


85

  

   
         
 
A  m7 D 7
89


     
    
   
Emaj7(11) D C C13

     
93


268
Windows
Chick Corea
As played by Roy Haynes
Swing  = 212 Now He Sings, Now He Sobs
1968

   
composite rhythms

                
1 Bm7

                  
5 Gm9(5) C13

                  
9 Fm9

                     
13 D7sus4

                   
17 Emaj7(11)

                    
21 Emaj7(11)

                
25 A 13 A13 A 13 A13

 

                
29 A 13 A13 A 13 A13

                
33 Emaj7(11) D C B

                  
37 B  m7(5) A  E7G
Windows 269

                 
41 A  m7 G  D 7F

                 
45 Emaj7(11) D C C13

   

                   
2 Bm7

                  
53 Gm9(5) C13

                  
57 Fm9

                 
61 D7sus4

                    
65 Emaj7(11)

                  
69 Emaj7(11)

                  
73 A 13 A13 A 13 A13

                  
77 A 13 A13 A 13 A13
270 Windows

               
81 Emaj7(11) D C B

 

                   
85 B  m7(5) E7

                
89 A  m7 D 7

                      
93 Emaj7(11) D C C13

  
271
Nemesis
Kevin Eubanks
Bassline by Dave Holland
Dave Holland Quartet Extensions
1989
Broken swing  = 190

                        
   
G7(9) open on cue

      
 

   
            
1:20


E13(5)

   
5

 

 
            
9

     

 
             
13

  

  
            
 
17

     

          
     
B  maj7(11)

  
p.o.
21

            
       
B  maj7(5)


25

   
 
       
   
 



A7(5) p.o. A  maj7(11)
29

  
              
A  maj7(11)

 
33
272 Nemesis

   
        
Cm9 B  m9

       
37

 

        
    
 
Em7D

   
41

                    
 
A  maj7(5)

       
44

 
4/4+4/4+3/4

 
                 
 
G7(9) 3x

 
48

   
                
 
49

       
    

52

         
    
55

       
       

            
  

        
    
   
Nemesis 273

         
  
  

          
      

          
   
 

              
      

        
    
 

          
    
   

             
  

          
   

     
     
 

           
        
  
274
El Ray
Tony Moreno / arr. Marc Mommaas
As played by Ugonna Okegwo
Tony Moreno Quintet Short Stories
2016

          
Straight  = 80

       
     

                         
        
5

 
            
       

  
9

             
    
13

 

      
         
         
16

 

            
   
         
 
21

   
                  
       
26

  
    
         
31

                     
          
35


El Ray 275

 
                     
   
39

      

    
      



  
44

    
 
 
     
    
49

 

         
      
53

         
        
55

     
             
  
58

   
IV. Solos
277
You’d Be So Nice to Come Home To
Cole Porter
As played by Paul Chambers
Paul Chambers Bass on Top
1957
Swing  = 160

                 
                
Gm6 B 7(11)

   

                         
    
E7(11) D7  59 

 
5

 

             

1 Gm6 Am7(5) D7(add 9) Gm6

           

                  
Fm7 B 7 E maj7

    
13

            
             
Am7(5) D7 Am7(5) D7 Gm6

 
17

                 
           
Em7(5) A7(9) Am7(5) D7

  
21

 

            
     
Gm6 Am7(5) D7(9) Gm6


25

 

                      
Fm7 B 7 E maj7

   
29

 
278 You’d Be So Nice to Come Home To

      
              
Cm7 F13(9) B  maj7 Am7(5) D7(9) Gm6

 
33

           
      
C7(5) F7(9) B  69 D7

  
37

              
2

          
Gm6 Am7(5) D7(9) Gm6

 


                              
Fm7 B 7 E maj7

 
45

    
              
        
     
Am7(5) D7 Am7(5) D7 Gm6


49

 

             
     
     
Em7(5) A7(9) Am7(5) D7


53

  

                    
      
Gm6 Am7(5) D7(9) Gm6

  
57

        
          
     
Fm7 B 7 E maj7

     
61

  
                             
Cm7 F13(9) B  maj7 Am7(5) D7(9) Gm6

    
65


You’d Be So Nice to Come Home To 279

           
         
C7(5) F7(9) B  69 D7

  
69

        
                
3 Gm6 Am7(5) D7(9) Gm6

           
                   
Fm7 B 7 E maj7

 
77

                              
Am7(5) D7 Am7(5) D7 Gm6

 
81

                         
Em7(5) A7(9) Am7(5) D7

  
85

          


         
Gm6 Am7(5) D7(add 9) Gm6

  
89

   

                
            
Fm7 B 7 E maj7

 
93

    
                         
Cm7 F13(9) B  maj7 Am7(5) D7(9) Gm6


97

       
            
C7(5) F7(9) B  69 D7

  
101

 
280 You’d Be So Nice to Come Home To

 
       
             
  
4

 
Gm6 Am7 D7 (5) (9) Gm6

   

                             
Fm7 B 7 E maj7

 
109

                              
Am7(5) D7 Am7(5) D7 Gm6

 
113

 
                           
Em7(5) A7 Am7 (9) (5) D7

   
117

 

                 
    
Gm6 Am7(5) D7(add 9) Gm6

 
121

   
                          
Fm7 B 7 E maj7

 
125

          
                     
Cm7 F13(9) B  maj7 Am7(5) D7(9) Gm6

 
129

           
         
C7(5) F7(9) B  69 Am7(5) D7

 
133


281
On Green Dolphin Street
Bronisław Kaper
As Played by Miles Davis
Miles Davis Sextet 58 Sessions
1958

  
    
Swing  = 169 E maj7 G  maj7

   
1

   
 

       
     
Fmaj7 Emaj7 E maj7

   
5

     
                   
Fm7 B 7 E maj7

 
9

          
   
      
A  m7 D 7 G  maj7 Fm7 B 7


13

         

  
      
G  maj7(11)


17

             
Fmaj7(11) Emaj7(11) E maj7(11)

    

21

   
              
Fm7 E Dm7(5) G7(add 9) Cm7 B  Am7(5) D7(add 9)

   
25

   

Gm7 C7 Fm7 B 7 Gm7 C7 Fm7 B 7

   

29
282 On Green Dolphin Street

           
          
2 E maj7 G  maj7

   

           
      
Fmaj7 Emaj7 E maj7

       

37

        
           
Fm7 B 7 E maj7


41

A  m7       
            
 
D 7 G  maj7 Fm7 B 7


45

       
E maj7 G  maj7

  
     
49

           
Fmaj7 Emaj7 E maj7

       

53

  

    B    
        
       
Fm7 E Dm7(5) G7(add 9) Cm7 Am7(5) D7(add 9)

   
57

 B7   
      
 
Gm7 C7 Fm7 Gm7 C7 Fm7 B 7

      
61

  
     
Gm7 C7 Fm7 B 7 E maj7

 
65
283
Perdido
Juan Tizol
As played by Oscart Pettiford
Swing  = 160 Deep Passion
1956

     
                           
A Cm7 F7 B7(9) B6 A 7 G7 D 13(9)

 
cello (8va)

 
                
    
   
Cm7 F7 B7  59  B6 G7

 
5

     
                           
Cm7 F7 B7(9) B6 A 7 G7 D 13(9)


9

     
              
Cm7 F7 B7  59  B6

      
13

  

      
       
B

   
Am7 D7 Dm7 G7

    

     
              
Gm7 D 7 C7 Cm7 F7 D 7(11)


21

     
                           
C Cm7 F7 B7(9) B6 A 7 G7 D 13(9)

           
                 
9
Cm7 B7 B6 F7


5
29


284 Perdido

     
                     
2

    
9
Cm7 F7 B6 A7   Dm7 G7 (9)


5
bass

       
            
    

Cm7 F7 B6 Dm7 G7(9)

 
37

 

      B 6  
            
           
9
Cm7 F7 A7   Dm7 G7(9)


5
41

        
        

           

Cm7 F7 B6


45

        
                           
D7 G7

 
49

            
        
      
C7 F7

 
53

             
   
A7  59  

     
Cm7 F7 B6 Dm7 G7(9)

  
57

     
              
Cm7 F7 B6

            

61
Perdido 285

  
cello (8va)

     
            
3

 
Cm7 F7 B6 A7  59  Dm7 G7(9)

  

 
                  
     
Cm7 F7 B6 Dm7 G7(9)


69

 

     
                
Cm7 F7 B6 A7  59  Dm7 G7(9)

         

73

         
                  
Cm7 F7 B6

 
77

   
          
D7 G7

            
81

 

  
                         

C7 F7 G7(9)

 
85

       
           
Cm7 F7 B6 A7  59  Dm7 G7(9)

     
89

          
                
Cm7 F7 B6


93
286 Perdido

                
     
4

  
9
Cm7 F7 B6 A7   Dm7 G7(9)


5

  
               
   
         
Cm7 F7 B6 Dm7 G7(9)

 
101

         
                
9
Cm7 F7   B6 A7 Dm7 G7(9)

  
5


105

                
            
Cm7 F7 B6


109

          
              
D7 G7

 
113

    
                     
C7 F7

    
117

 

 
                 
     
Cm7 F7 B6 A7  59  Dm7 G7(9)


121

              
                
Cm7 F7 B6 G7(9)


125

  
287
Rhythm-a-Ning
Thelonious Monk
As Played by Charlie Rouse
Thelonious Monk Criss Cross
1962
Swing  = 204

 
              
B

        
 

 
                           
B 7
5


            
B 7

      
9

   

             
       
        
B 7 B


13

   
                
     
D7 G7(add 11)

 
17

            
    
         
C7(add 11) F7

 
21

          
         

        
B Bmaj7 B 7


25


  
               
E Cm7 F7(add 9) B

         

29

 
288
Autumn Leaves
As played by Chet Baker

   
Swing  = 180 Chet Baker She Was Too Good to Me

  
1974

        
B  m7 E7 A  maj7 D  maj7

  
1

        

             
       
Gm7(5) C7 Fm

   
4

            
          
 
B  m7 E7 A  maj7 D  maj7


8


                 
Gm7(5) C7 Fm

         
12


          
      
Gm7(5) C7 Fm

         
16

  
      
        
B  m7 E7 A  maj7 D  maj7

    
20

 Fm  B 7   E m7 A 7
        
             
Gm7(5) C7


24

        
                
D 7 C7 C ped.


28



           
    
            
32
Autumn Leaves 289

      
     
2

         
B  m7 E7

  
36

        
           
A  maj7 D  maj7 Gm7(5) C7

     
40

     
        
     
Fm B  m7 E7


44

      
        
 
A  maj7 D  maj7 Gm7(5) C7

   
48


             
      
      
Fm Gm7(5) C7


52



        
       
Fm B  m7 E7

           
56

       
             
A  maj7 D  maj7 Gm7(5) C7


60

             
   
 Fm
     
B 7 E m7 A 7 D 7 C7

 
64

      
     
        
C ped.


68

      
        

72
290
Lady Bird
Tadd Dameron
As played by Fats Navarro
The Tadd Dameron Septet

   Fm7
 = 174 Fats Navarro Memorial Album


Swing

  
        
1948

                 
C 6
9 B 7 (5)

 

                       
C69 Bm7 E7 B  m7 E7

           
5

           
               
A 6 Am7 D13 D7

 
9

 

 
  
               
Dm7 G7(9) Cmaj7 E7 A  maj7 G7

         
 
13

       
    

      
C69 Fm7 B 7(5)

       
17

                     


        
C69 Bm7 E7 B  m7 E7

 
21

      

       D13
     
                  


A 6 Am7
 
25

      
             
Dm7 G7(9) Cmaj7 E7 A  maj7 G7

 
29

 
291
When Your Lover Has Gone
As Played by by Paul Chambers
Sonny Rollins Tenor Madness
1958

                  
Swing  = 108


  
1 E maj7 E m6 A 9

  

        
      
F13 A  m6 D 9sus4 D 9

    
6

            
   
E maj7 G7  59  Cm7 F9 Am7(5) D7

  
10

          
      
Gm7 C7(5) Fm7 B 7(add 9) E maj7 C7(add 9) Fm7 B 7(add 9)

 
14

 

    
          
E maj7 E 6 E m6 A 9

    
18

           
     
F13 A  m6 D 9sus4 D 9

 
22

         
     
E maj7 G7 Cm7 D 9 E maj7 G7 C7

  
26


             
 
Fm7 B 7(add 9) E maj7 C7(add 9) Fm7 B 7(add 9)

   
30

          
       
2 E maj7 E m6 A 9


292 When Your Lover Has Gone

          
       
F13 A  m6 D 9sus4 D 9


38

              

E maj7 G7 Cm7 F9 Am7(5) D7

  
42

    
            
Gm7 C7(5) Fm7 B 7(add 9) E maj7 C7(add 9) Fm7 B 7(add 9)

 
46

        
       
E maj7 E m6 A 9

  
50

          
       
F13 A  m6 D 9sus4 D 9

 
54

     
           
E maj7 G7 Cm7 D 9 E maj7 G7 C7

  
58

          
  
Fm7 B 7(add 9) E maj7 C7(add 9) Fm7 B 7(add 9)

     
62

          

3

 
E maj7 E m6 A 9

     

           
       
F13 A  m6 D 9sus4 D 9


70

          
   
E maj7 G7 Cm7 F9 Am7(5) D7

    
74


When Your Lover Has Gone 293

             
      
Gm7 C7(5) Fm7 B 7(add 9) E maj7 C7(add 9) Fm7 B 7(add 9)


78

    
            
E maj7 E m6 A 9

 
82

          
      
F13 A  m6 D 9sus4 D 9

  
86

               
5
E maj7 G7  add 9  Cm7 D 9 E maj7 G7 C7

   
90

           
  
Fm7 B 7(add 9) E maj7 C7(add 9) Fm7 B 7(add 9)

   
94

(cont.)
294 When Your Lover Has Gone

   
                           
11 E maj7 E 6 E m6

  
       

     
                                  
A 9 F13

   
101

   
                                   
A  m6 D 9 E maj7 G7

    
104

                                   
Cm7 F9 Am7(5) D7

       
107

 
                                  
Gm7 C7(5) Fm7 B 7(add 9) E maj7 C7(add 9)

    
110

  

                  
   
      
Fm7 B 7 E maj7
(add 9) E 6

 
113

 

              
           
E m6 A 9 F13

    
116

     

                   
             
A  m6 D 9sus4 D 9


119

        
                 
G7  59 

 
E maj7 Cm7 D 9 E maj7

           
122
When Your Lover Has Gone 295

                        


      
G7 C7 Fm7 B 7(add 9)

      
125

                 
   
E maj7 C7(add 9) Fm7 B 7(add 9) E maj7

  
128


296
Moody’s Mood for Love
James Moody
As played by James Moody
James Moody and his Swedish Crowns Vintage
50’s Swedish Jazz Vol. 6

   
Ballad
A 1949

                      
Cmaj7 Am7 Dm7 G7 Dm7 G7

                 
          
    
Cmaj7 F7 Em7 E  7 Dm7
4

        G7
                   
 
Dm7 Em7 A7 Dm7 G7
7

             
     
Cmaj7 Am7 Dm7 G7
9

    
               
 
Dm7 G7 Cmaj7 F7


11

 


                  
      
     
Em7 E  7 Dm7 Dm7 G7(9)
13

 
                 
Cmaj7 B Dm7 G7(9)

  
      
16

  
            
 
Cmaj7 A7(9) Dm7 G7 Cmaj7

       
18
Moody’s Mood for Love 297

      
         

           
Fm7(5) B7(9) Em6 Am7 D7
21

    
C


                 
   
Dm7 G7(9)Cmaj7 Am7 Dm7 G7


24

                  
        
Dm7 G7 Cmaj7 F7 Em7 E  7

  
27


 

                  


 
 
Dm7 G7

 
30

    
              
Cmaj7 Em7 E  7 Dm7

     
32


298
Stardust
Hoagy Carmichael
As played by Oscar Pettiford
Oscar Pettiford Vienna Blues:
The Complete Session

             
Rubato 1959

         
 
D  maj7 G 9 F7(9)

    
   

            
             
     
B 7


4

 

        
                    
 Fm7


E m7 A 7 B  m7

 
5


rall.

                
      
Gm7 C7 E m7 A 7 D7


7

   

                           
       
D  maj7 G 9 F7(9)


9


                     
   

    
B 7

 
12

  

  Fm7
  
                    
  
E m7 A 7 B  m7

   
13

             
straight  = 61

          
E m7 A 7 D  maj7 B 7(9)


15


Stardust 299

             
 
E m9

   
    
A

  
   

       B 7
                
   
Fm7 B7 D  maj7 Fm7

  
(9)

  
20

  
       
        
               
E m7 B 7 E m7 A 7sus4

 
23

      

   
   
A 7sus4 A 7(9) D  maj7 E7 Fm7 B  m7

  
           
 
26

     


                  
       
E13 B  m7 E7 A 7sus4

    
29

   

         

B

 
                
 

A 7 G E m9

  
32

   


 
                             
Fm7 B7 D  maj7

 
35

   

      
       
    
        
Fm7 B 7 E m7 B 7(9) E m7


38

 
300 Stardust

B  m7 
   

   
                    

Fm7 B13 D  maj7

   
41

 
       
                
   
Fm7 B 7 (9) E m7 A 7

 
44

 

                 

D  maj7 A 7 D  maj7 D 7(5)

    
47


301
I’ll Remember April
Latin  = 116 Solo by Idris Muhammad
John Hicks Trio Is That So?
1990

                         
4:32
1
composite rhythm

       

                        
5

       

                         
9

       

                        
13

     

                          
B

     

                          
21

     

                            
25

    

                          
29

  

                         
C

     

                            
37

      
302 I’ll Remember April

                       
41

     

                         
45

  

                          
2

                            
53

   

                       
57

   

                              
61

                           
B

   

                            
69

   

                             
73

   

                           
77

   
I’ll Remember April 303

                      
C

     

                            
85

                       
89

      

                   
93

  
304
Giant Steps
John Coltrane
Solo by Larry Grenadier
Pat Metheny Trio → Live
Straight  = 160 2000

          

1 Bmaj7 D7 Gmaj7 B 7 E maj7 Am7 D7

     

      
                
Gmaj7 B 7 E maj7 F 7 Bmaj7 Fm7 B 7

       
5

                 
E maj7 Am7 D7 Gmaj7 Cm7 F 7

        
9

 

       
        
    
  
      
Bmaj7 B 7 Fm7
E maj7 Cm7 F 7

    
13

  

     
---M

      
             
2 Bmaj7 D7 Gmaj7 B 7 E maj7 Am7 D7

      
      

              
              
Gmaj7 B 7 E maj7 F 7 Bmaj7 Fm7 B 7

  
21

                  
             
E maj7 Am7 D7 Gmaj7 Cm7 F 7

  
25

 

         
        
  
  
Bmaj7 Fm7 B 7 E maj7 Cm7 F7

    
29

   
Giant Steps 305

    
           
Bmaj7 D7 Gmaj7 B 7 E maj7 Am7 D7

  
3

     

          
              
Gmaj7 B 7 E maj7 F 7 Bmaj7 Fm7 B 7

   
37


                     

  
E maj7 Am7 D7 Gmaj7 Cm7 F 7

 

41

       
      
        
Bmaj7 Fm7 B 7 E maj7 Cm7 F 7

  
45

              
 
Cmaj7(11)

           
49

           
 
      



 
53
306
Nardis
Miles Davis
As played by Scott LaFaro and Bill Evans


Bill Evans Trio Explorations
1961


Swing  = 158

         
A

    
Em9 Fmaj9 Emaj7 B7 Cmaj7(11)

              
  
     
 
 
          
 
    

  
         


  
  
    
Am11 Fmaj13 Bmaj7(5)E Em11

                
5

     
  
       
  
 

 
    


       
         
Em9 Fmaj9 Emaj7 B7 Cmaj7(11)

          
  
9

  
  

           
     
  
 
       
 


  
 
Am11 Fmaj13 Bmaj7(5)E Em11 B 7(11)

                   


13

      
    
    
    
 

 
    

Nardis 307


   
B

   
Am11 Fmaj7(11) Am11 Fmaj7(11)

          


 
            
 

     
 



            
Dm9 G7sus4 G9 Cmaj7 Fmaj7(11)

         
21


       
       

     
  


         

C

      
Em9 Fmaj9 Emaj7 B7 Cmaj7(11)

          
 
    
 
 
           
  

    
    


  
  
Am11 Fmaj13 Bmaj7(5)E Em11

                  
29

      
  
     
   
  

 
    
308 Nardis

  
        
   
2

 
Em9 Fmaj9 Em9 B7 Cmaj7(11)

Am11    Fmaj13 
             
  
Am11 Em11 B7  59 
37

 

      Fmaj9
 Em9




       
Em9 B7 Cmaj7(11)

     
      
41

  

         
  
 
Am11 Fmaj13 B7 Em11

   
  
45

   

               
    
   
Am11 Fmaj7(11) Am11 Fmaj7(11)


49

   

      
        
Dm7 G7 Cmaj7 Fmaj7(11)

  
53

   

 Em9
                
      
Em9 Fmaj9 B7 Cmaj7(11)

 
 
57

 

               
       
   
Am11 Fmaj13 B7 Em11


61

      
Nardis 309

     Fmaj9
       
        
3

 
Em9 Em9 B7 Cmaj7(11)

  
  

         
 
B7  59 

  
Am11 Fmaj13 Am11 Em11

      
  
69

  

                  
  
Em9 Fmaj9 Em9 B7 Cmaj7(11)

      
73

   
       
     
Am11 Fmaj13 B7 Em11

      
 
77


                         
Am11 Fmaj7(11) Am11 Fmaj7(11)

   
81

     G7
       Cmaj7
 
  
        
 
Dm7 Fmaj7 (11)
85

   

          Cmaj7
  

   
Em9 Fmaj9 Em9 B7 (11)

     
89

 

Am11
   Fmaj13
   B7 Em11
      
       
93

  
310 Nardis

         
           
4 Em9 Fmaj9 B7 Cmaj7(11)

   
 

   
                 
Am11 Fmaj13 Em11 B7  59 

    
101

   

     
      
              
Em9 Fmaj9 Em9 B7 Cmaj7(11)

   
105

   
       
     
Am11 Fmaj13 B7 Em11

        
  
109

  

             Am11
     
             
Am11 Fmaj7(11) Fmaj7 (11)

113

    

                 
    
Dm7 G7 Cmaj7 Fmaj7 (11)

              
117

  

      
        
  
Em9 Fmaj9 Em9 B7 Cmaj7(11)

    
121

   

    Fmaj13
 
          
Am11 B7 Em11 5

   
             
125

     
311
Lazy Bird
John Coltrane
As Played by Paul Chambers
John Coltrane Blue Train
1958
Swing  = 253

            
  
1 Am9 D7 Cm9 F7 Fm9 B 7

 

     
E maj7 Am7 D7 Gmaj7 A  m7 D 7

          
5

            
  
Am9 D7 Cm9 F7 Fm9 B 7


9

      
E maj7 Am7 D7 Gmaj7

         
13

         
    
Bm7 E7 Amaj7 B  m7 E7

 
17

       
    
Am7 D7 Gmaj7 A  m7 D 7

   
21

    
         

Am9 D7 Cm9 F7 Fm9 B 7


25

    
   
E maj7 Am7 D7 Gmaj7 A  m7 D 7

      

29

      
      
2

 
Am9 D7 Cm9 F7 Fm9 B 7


312 Lazy Bird

      
      
E maj7 Am7 D7 Gmaj7 A  m7 D 7

  
37

     
        

Am9 D7 Cm9 F7 Fm9 B 7


41

       
 
E maj7 Am7 D7 Gmaj7 D 7

      
45

   
Bm7 E7 Amaj7 B  m7 E7

           
49

       
    
Am7 D7 Gmaj7 A  m7 D 7

   
53

         
     
Am9 D7 Cm9 F7 Fm9 B 7


57

E maj7   
     
Am7 D7 Gmaj7 A  m7 D 7

    
61

        
 
3

 
Am9 D7 Cm9 F7 Fm9 B 7

   

     
     
E maj7 Am7 D7 Gmaj7 A  m7 D 7

    
69

     
          
Am9 D7 Cm9 F7 Fm9 B 7
73
Lazy Bird 313

         
E maj7 Am7 D7 Gmaj7

      
77

  
    
Bm7 E7 Amaj7 B  m7 E7

        
81

          
 
Am7 D7 Gmaj7 A  m7 D 7

   
85

     
         

Am9 D7 Cm9 F7 Fm9 B 7
89

E maj7
    
   
     
4

  
Am7 D7 Gmaj7 A  m7 D 7

 
93

(cont.)
314 Lazy Bird

  
bass solo

     

   
Am9 D7 Cm9 F7 arco Fm9 B 7
1

        
     
E maj7 Am7 D7 Gmaj7 A  m7 D 7

  
5

             
            
Am9 D7 Cm9 F7 Fm9 B 7

 
9

              
          
E maj7 Am7 D7 Gmaj7

  
13

      
    
    
     
Bm7 E7 Amaj7 B  m7 E7

 
17

           
         
       
Am7 D7 Gmaj7 A  m7 D 7

 
21

           
              
Am9 D7 Cm9 F7 Fm9 B 7

   
25

 

                           

E maj7 Am7 D7 Gmaj7 A  m7 D 7

   
29
315
What is This Thing Called Love
Cole Porter


In the style of Hank Jones
Hank Jones Live at Maybeck Volume 16

 
1992

  
Freely A7  95  D 7(5) C7(9) Fm6

     
A

          
                
  
     
               
   


  G7
      
Dm7(5) G13sus4 G13(9) G7  95  Cmaj9 E 69 A 13 (9)

           
5

        
    

 
          
        
 


        
                  
E7(9) D7  59  D 7  59  C7(9) G 7(9) Fm7

       
9

     
       
   
              
        

   



   
   
D7  59  G7  59  G7  59  Cmaj13

 
          
13

         
 
           
      



316 What is This Thing Called Love

  
           
  
     
B

 
D7  95  G7  59  G 7(11) F7  59  B  maj7 B  maj7(5) B  maj13 B  maj7(5)


      
        
            
      
      


  
rit.

      
   
     
       
        
A 7 Dm7 G7(9)

 
          
21

  

     
    
 


 
 
a tempo

  
      
C

      
Gm7(5) A  m(maj7) C7  99  Fm6

      
 

      
    
  
             

    


 
Fm G13(9) C6 G Cmaj7

           
   
29 Dm

                



tempo

 
 
         
      


  
   
 
    
Fm(maj7) Cmaj7 G13(9)

  
32

    
   
           
   

What is This Thing Called Love 317

     
        
Em7 A13 Dm11 G13

     
   
35

     
          
    
  
318
All of Me
Marks & Simons
As Played by Johnny Hodges
Duke Ellington The Great Paris Concert

   
 = 102


Swing 1963

     
A 6 C7

         
 
 

               
                
F7 Bm

 
5

     


                
      
C7

    
8

        

        
 
 Fm
 
B 7

            

11

  

                     
       
B  m7 E7 A


15

     

     
F7 
           
  
C7

             
18

  

   B  m    

               

 
     
D


22

      

      F7    
          
         
D Cm7 B  m7

 
26

  
All of Me 319

          
         
   

 
E7 A


  
30

   

A                  
   
          
C7

  
33

   

  B  m   
    
        
        
F7

  
37

    

             
            
C7


40

    

  
                          
Fm B 7

      

43

 

                       
          
B  m7 E7


46

     


            
 
A C7

            
49

    B  m 
     
    
 
F7

          
53

  

 

      
 
                 
D D Cm7


57

 

320 All of Me

    
       
     
     
F7 B  m7 E7


60

 
 
      
                  
A E7 A


63

 
321
I Want to Be Happy
Vincent Youmans
As played by Sonny Rollins, Thelonious Monk,
Tommy Potter, and Art Taylor
Thelonious Monk and Sonny Rollins


1954

            
Swing  = 192

 
 
  
              
     

      
             

5

 
                    

                    
A


E 6 E7 Fm7 B 7




  
      
     
 
      
     
 
      
          


  E 6 D7 C7 G7 F7    
             
   
Fm7 B 7 C 7 B 7 E7


13



         
  
     

   
     
         
      
          

322 I Want to Be Happy


         

             
E 6 E7 Fm7 B 7

    
17


 
  
      


 

 
   
 
 
      
        
 

  E 6
               
   
 
Fm7 B 7
B 7 (5)

 
21


   
   

            
      
               
 
  
           
  
    

      
                    
B B  m7 E7 E7 A  maj7 A  m7 D 7

    



 
       
       
       
    
    
          
  
I Want to Be Happy 323

  E7
   
   
        
E 6 D 7 C7 G 9 F9 B9 B 9 (5)


29



     
           

        
  

 
   

    
 
          


       


  
             
C E 69 E7 Fm7 B 7




 
   
  



 
        
     
   
       
          
  

        
              
Fm7 B 7 C7 (9) Fm7 B 7

   
37


   
                
       

     
             
    
     
       
   
324 I Want to Be Happy

            Fm7

              
    
2

  
E 6 E 7  B 7



     D7 C7  G7 F7   


     
Fm7 B 7 E 6 C 7 B 7 E7

          
45

       
 E 6

         

E7 Fm7 B 7

           

49


     
                
Fm7 B 7(5) E 6 D 7 E 6

 

 
53



   

 
     
B  m7 E7 E7 A  maj7 A  m7 D 7

               
         
  
57

       G9   
         
            
E 6 D 7 C7 F9 B9 B 9 E7 (5)


61

 

  
               
       
E 69 E7 Fm7 B 7



65

 

   
        
      
Fm7 B 7 E 6 D 7 C7 G 7 F7 C 7 B 7 E7

        
69

 

 
        
3 E 6 E7 Fm7 B 7

         

 
I Want to Be Happy 325

       
                
Fm7 B 7 E 6 D 7 C7 G 7 F7 C 7 B 7 E7

      


77

  B 7  
   
                   
E 6 E7 Fm7



81

    
                       
         
Fm7 B 7(5) E 6 D 7 E 6

 
85

   

   
                       
B  m7 E7 E7 A  maj7 A  m7 D 7


    
89

 

          
         
E 6 D 7 C7 G 9 F9 B9 B 9 E7(5)

      

93

 

      

           

E 69 E7 Fm7 B 7

 
97

 Fm7
        
     
B 7 E 6 D 7 C7 G 7 F7 C 7 B 7 E7

       

 
101

            B 7   
    
4

               
E 6 E7Fm7

           
           
Fm7 B 7 E 6 D 7 C7 G 7 F7 C 7 B 7 E7

 
109


326 I Want to Be Happy

      Fm7
            
    
E 6 E7 B 7

     
113

   
                 
Fm7 B 7(5) E 6 D 7 E 6

    


117

 


      
               
B  m7 E7 E7 A  maj7 A  m7 D 7

        
121

 

   

 
                           
E 6 D 7 C7 G 9 F9 B9 B 9 E7(5)

 
125

       

   
                       
E 69 E7 Fm7 B 7

     
129


                  

Fm7 B 7 E 6 D 7 C7 G 7 F7 C 7 B 7 E7

     

133

     
                
 
E 6 E7 Fm7 B 7

 
5

   

 
                  
Fm7 B 7 E 6 D 7 C7 G 7 F7 C 7 B 7 E7

 

141

  
I Want to Be Happy 327

             
                  
E 6 E 7  Fm7 B 7

 
145

  

     D 7

       
          
    
Fm7 B 7 E 6
(5) E 6

 
149

          
           
B  m7 E7 E7 A  maj7 A  m7 D 7

      

153

  D 7    C7   
          
Z--- E7(5)

  
E 6 G 9 F9 B9 B 9

     
  
157

     
         
E 69 E7 Fm7 B 7


161

       G7 F7 C 7 B 7 E7
             
 
Fm7 B 7 E 6 D 7 C7

            

165

         
    
Z---


E 6 E7 Fm7 B 7
6

                

     
   
       
        
Fm7 B 7 E 6D 7 C7 G 7 F7 C 7 B 7 E7

   
173

 

              
  
       
E 6 E7 Fm7 B 7

         
177

 
328 I Want to Be Happy

           
                
Fm7 B 7 E 6 D 7
(5)E 6

        
181

  A  m7
  
    
     
B  m7 E7 E7 A  maj7 D 7

                  
185

  
         
   

E 6 D 7 C7 G 9 F9 Z--- B9 B 9 E7(5)

  

           
189


         
               

 
E 69 E7 Fm7 B 7

    
193

        G7
        
    

Fm7 B 7 E 6 D 7
C7




197

      
     
7

 
F7 C 7 B 7 E7


200
329
Windows
Chick Corea
As played by Chick Corea
piano right hand Chick Corea Now He Sings, Now He Sobs
1968
Swing  = 212

  
2

           
Bm7

        
49

             
Gm9(5) C13

  
53


            
    
Fm9


57

 
       
 

D7sus4

  

61

          
         
Emaj7(11)


65

 

     
         
Emaj7(11)

         

69

  
           
A 13 A13 A 13 A13

    

73

 
 
                    
   
A 13 A13 A 13 A13

   
77

 

 D  
      
Emaj7(11) C B

           

81
330 Windows

        
       
B  m7(5) A  E7G

    
85

 

    
           
A  m7 D 7

       
89

 
          
     
Emaj7(11) D C C13


93

 

   
     
   
3

 
Bm7



            
     
Gm9(5) C13

   
101

   

   
       

Fm9

         

105

 
D7sus4

      

    
109


 

    
       
Emaj7(11)

  
113

  


     

   
 
    
Emaj7(11)

    
117


Windows 331

               

A 13 A13 A 13 A13

       

121

     
   
A 13 A13 A 13 A13

      
125

     
                   

Emaj7(11) D C B

   
 
129

 
  
133 
       
B  m7(5) E7

       
 
 
   
        
   
A  m7 D 7(9)

 
137

Emaj7 
         
   
(11) D C C13

     
141

    

 
332
All the Things You Are
Jerome Kern
As played by Brad Mehldau


straight  = 281 and Larry Grenadier
accidentals carry over dotted barlines Brad Mehldau Trio Art of The Trio 4

   D maj7
1999

        


                 
B  m7 E m7 A 7

 
  
 
   
         
    

      
                   
G  maj7 C7 Fmaj7

                 
3


 B  m7  
 
               
     
Fm7 E7 A  maj7

  
5

  
     
          
    
       


    
               
D  maj7 G7 Cmaj7

           


8

      
 
           
         
    


  Cmaj7
          
         
Dm7 G7

 
10

  
       
          


  
                     
Bm7(5) E7 Amaj7 F7

  
12

    
       
      
           

All the Things You Are 333

   

                
B  m7 E m7 A 7(9) D  maj7


14

  
               
        
        


  
 
             
G  maj7 G  m(maj7) D  F A7

            
16

     

             
 
            


  
         
     
Dmaj7 A 7 D6 B 7

       
18

     
      
                       
    


        
       
2

       
E m7 A  m7 D 7 G  maj7

 
   
     
       
     


 
             
C  maj7 F7 B  maj7

   
22

   
   
    
     
 



  
               
B  m7 E m7 A 7 D  maj7

   
24

 
      

    
       
 
All the Things You Are


334


    
G  maj7 Gm7 C7 Fmaj7

   
26

   
    
           
    

 


   
            
Gm7 C7 Fmaj7

  
  
28

  
      
  
         


 
                  
Em7(5) A7(9) Dmaj7 B 7

 
30

          


        
 



   
                      
E m7 A  m7 D 7 G  maj7

  
32

 
 
  
  



 

  

     

  
 
  


 
            
Bmaj7 Bm7 G  6 B  D7(9)

        
34

      

    
               
        
   


 
     
Gmaj7 D 7 G  maj7 E7

       
36

 
      
    
          
        
All the Things You Are


335

  
3


Gm7 Cm7 F 7 Bmaj7

    
    
           
  
       
 


   
       
Emaj7 B 7 E maj7

 
40

      
        
             


     
          
E m7 A  m7 D 7 G  maj7

     
42

     
      
    
       
  


  
     
Bmaj7 F7 B  maj7

    
44

     
   
  
      



  B  maj7
         
    
        
Cm7 F7

  
46

 
        
  
 


  
     
      
Am7(5) D7(9) G E7

  
48

       
    
 
  

336 All the Things You Are

 
         
Gm7 Cm7 F 7 Bmaj7

 
50

    
      

           
   
 


       
Emaj7 Em7 BD G7

  
52

        
        

  
              
   
       



        
Cmaj7 F 7 Bmaj7 G 7

  
   
54

         
            
  
    
  


 
 
     
4 Cm7 Fm7 B7 Emaj7

 
                
       
  
           
    


   
     
    
Amaj7 E7 A  maj7

 
    
58

 
 
      
          
     



    
         
Gm7 Cm7 F 7 Bmaj7

    
60

    
     
       
       
    
All the Things You Are


337

   
      
Emaj7 B 7 E maj7

         
62


     
            
       


              
 
Fm7 B 7 E maj7

       
64

   
         
           
         


G7 

       
Dm7(5) Cmaj7 G 7

            
66

 
    
      
  
      


    
 
         
Cm7 Fm7 B7 Emaj7

   
68

   
  
     


      
   



Amaj7 Am6 EG C7

        
70

             



          
        


   
Fmaj7 B7 Emaj7 C7

  
        
72

     
 
      
      


338 All the Things You Are

   
5 Fm7 Bm7 E7 Amaj7

      
 
bs.

         

Dmaj7 E m7 A 7 D  maj7

 
76

      
Cm7 Fm7 B7 Emaj7


78



 
Amaj7 B  m7 E7 A  maj7

        
80

         
 
B  m7 E7 A  maj7

 
82

         
Gm7 C7 Fmaj7 C7

     
84

  
Fm7 Bm7 E7 Amaj7

     
86

 

  
   
Dmaj7 Dm7 Cm7 Cm7 F7

       
88

  
B  maj7 E7 Amaj7 G 7

    
90

 
All the Things You Are 339

         
 
Cm7 Fm7 B7 Emaj7

  
6

 

        
   
 
 
Amaj7 B  m7 E7 A  maj7


94

          
    
Gm7 Cm7 F 7 Bmaj7

     

96

 

         
  
Emaj7 Fm7 B 7 E maj7

 
98

 


Fm7
  B 7    
E maj7
    
    
100

     
      
Dm7 G7 Cmaj7 G 7


 
102

  

 
    
Cm7 Fm7 B7 Emaj7

 
104

 

 Gm7  
    

Amaj7 Am7 EG C7

    
106

 

B7       
     
   
Fmaj7 Emaj7 G 7

 
108

  
340 All the Things You Are

         
Cm7 Fm7 B7 Emaj7

   
7

    

     
           
 
Amaj7 E7 A  maj7

 
112

 

          
  
Gm7 Cm7 F 7 Bmaj7

  
114

          

Emaj7 B 7 E maj7


116

 

           
Fm7 B 7 E maj7


118

     
    
    
Dm7 G7 Cmaj7 G 7

    
120

 

 
       
Cm7 Fm7 B7 Emaj7

 
122

Am7   
    

Amaj7 EG Gm7 C7

   
124



        
 
G 7

   
Fmaj7 B7 Emaj7

   
126

  
All the Things You Are 341

  Fm7   
      
8 Cm7 B7 Emaj7

  
  

          
   
    
Amaj7 E7 A  maj7

   
130

Cm7
           
      
Gm7 F 7 Bmaj7


132

   

  
        
Emaj7 B 7 E maj7

 
134

 

   E maj7  
    
Fm7 B 7

  
136

     
         
Dm7 G7 Cmaj7 G 7

 
138

  

      
   
  
Cm7 Fm7 B7 Emaj7
140

      

Amaj7 Am7 EG Gm7 C7

    
142



              
    
Fmaj7 B7 Emaj7 G 7


144

   
342 All the Things You Are

Cm7     
        
9 Fm7 B7 Emaj7

      
 

       
          
Amaj7 E7 A  maj7

 
148

  

         
    

Gm7 Cm7 F 7 Bmaj7

  
150

     
            
Emaj7 B 7 E maj7

 
152

 
 
        
 
Fm7 B 7 E maj7

 
154

  

    
         
Dm7 G7 Cmaj7 G 7

    
156

   

        
Cm7 Fm7 B7 Emaj7

  
158

 

    
  

Amaj7 Am7 EG Gm7 C7

  
160

       
 
Fmaj7 B7 Emaj7 C7

      

162
343
Pannonica


Thelonious Monk
Double time feel  = 80 Thelonious Alone in San Francisco
1959

   
2 Cmaj7 E m7 A 7 Dm7 B 7

           
                   


         
       
 
  


 
              
E maj7 A7 A 7 D 7

               
       
4

  
     
  
 



   
G  maj7(11) F7 E m7 A 13 G13 D  maj7(4)

         
         
6

          

         
       
  


  
           
Cmaj7

       


8

    
 
     
 


    
    
E m7 A 7 Dm7 B 7

          
    
          
10

 
   

Pannonica


344

  
             
E maj7 A7 A 7 D 7

        
                
12

 
     
  
 


       

G  maj7(11) F7 E m7 A 13 G13

         
         
14

      

  

           
      
   



                 
   
   
D  maj7(4) Gm7 C7(9) Cm7 F7(9)

               
    

16

    
 
            
  
  




  
         
  
   
G 7

  
straight...........

   
19


   
   
  


  G7alt.  
   
    
Bmaj7 Dm7

    
      
20

   

      swing
   
       
          
  
  
  

Pannonica 345

    
     
 
Cmaj7 Gm7 C7 Bm7 E9 E7(9)

           
      

22

    
 
  
 
  
   
 



rall.

   
Cmaj7


            

A7 D7 G7  95 

    
    

24

     

       
    
 


straight

 
E m7 A 7 Dm7 B 7

                  
26

    



     
  
   
 


 

   
     
E maj7 A7

 
 
28

  
      
  
 
  

 
      
       
[28]

     
       

346 Pannonica
freely rall.

  

A 7 D 9 G  maj7 F7

     
        

29

    

     
    
   
 


rit.

  
 
E m7 A 13 G13 D7(11) Dm7 G7  95 

                    
31

            
 
        
        
  
 
  



   
   
   
D  maj7(11)
33


 
  
 
       
 
347
Pannonica
Thelonious Monk
Solo Double Bass Arranged by Robert Sabin
≈ Double time feel  = 52 Thelonious Alone in San Francisco

 
1959

              
Cmaj7 E m7 A 7 Dm7 B 7

 
A

      
  
    
 
  



    l.h.   
           

      
E maj7 A7 A 7 D 7

       
  
4

 

       E m7       
    
      
G  maj7(11)
F7 A 13 G13

    

6


 

         
        
        
 
D  maj7(4) Cmaj7 sim.

   
8

       
III II I

     Dm7   

E m7
  
A 7
   
    
B 7

                          

10

    
III II I sim.

       D  7
     
        
       
E maj7 A7 A 7

     
12

 

        
          
G  maj7(11) F7 E m7 A 13 G13

  
          

14

  
348 Pannonica

      
      
D  maj7(4) B Gm7 C7(9)

      
       

  
16


 

          
 
Cm7 F7(9) F 7

        

 
18

   
  
 
 
    
     
Bmaj7 Dm7 G7alt.

      
     
20


 


  
                   
Cmaj7 Gm7 C7 Bm7 E9 E7(9) A7 D7 G7  95 


  
   
       

22

III II I  

    B 7 
        
            
Cmaj7 E m7 A 7 Dm7

  
C

   
 


freely

 
          
  
E maj7 A7

         
       
 
28


  I II
II I

              
    
[28]



Pannonica 349


 
A 7 D 9 G  maj7 F7

            
ral. tempo

 
tempo

     
29

 
//



   

D7(11) Dm7 G7  95 

            
   
E m7 A 13 G13

      
31


II

   
I

  
     
   
D  maj7(11) rall.

 


        
piu mosso
33





350
Tempus Fugit
Bud Powell
As played by Bud Powell
Bud Powell Jazz Giant
1949

      
1


Fast Swing  = 144

   
                       
Gm A7 Dm



          
       
Em7(5) A7 Dm Gm A7 Dm

     
5

 

         
                   
B 7 A7 Dm Gm DmA7


9

                    
           
Em7(5)
A7 Dm Gm A7 Dm


13

    A7   
        
          
B 7 Dm Em7(5) A7

 
17

           
     
         
Bm7(5) E7 A7(5)


21

            
  
D7(5) Gm A7 Dm

          
   
  
25


          
        
Em7(5) A7 Dm Gm A7 Dm



29

  

 
 
2 Gm

   
B 7 A7 Dm A7 Dm

          
33


Tempus Fugit 351

   
    
Em7(5) A7 Dm Gm A7 Dm

                      
        
37


                      
B 7 A7 Dm Gm A7 Dm

    
41

  

    
        
Em7(5) A7 Dm Gm A7 Dm

        
45

      
  

                
        
B 7 A7 Dm Em7(5) A7

    
49

        
       
     
Bm7(5) E7 A7(5)

 
53

D7       
                    
 
   
Gm A7 Dm


57

         
                  
  
Gm A7 Dm Gm A7 Dm
61

 
       
B 7 A7 Dm Gm A7 Dm


3

             

65

  


             
Em7(5) A7 Dm Gm A7 Dm

        
69

          
352 Tempus Fugit

Gm    A7
               
  
B 7 A7 Dm Dm

  
73



       
 
                   
Em7 A7
(5) Dm Gm A7 Dm

 
77


   A7    
         
   
B 7 A7 Dm Em7 (5)


81

 


             
Bm7(5) E7 A7(5)

     
85

 

       
   
D7(5) Gm A7 Dm

            
89

  
    
Em7(5) A7 Dm Gm A7

        
    
        
93


    
      
 
Dm B 7 A7 Dm

  

   
96

     
353
Santa Claus is Coming to Town
Coots and Gillespie
as played by Gary Peacock
Bill Evans Trio 64
1963


Swing  = 186

   
1

 
Gmaj7 G7 C69 F13 Gmaj7 G13 C69 F13

  


    
Bm7 Em7 E9(add 11) D9 E maj7 A  maj7

           
 
5

  

    
Gmaj7 G7 C69 F13 Gmaj7 G13 C69 F13

     
9

 

    
  
Bm7 Em7 E9(11) D9 G7 F7 E7 E7

           

13

 


 
           
Dm7 G7 Em7 A7 Dm7 G7 C69 F7

   
   
17

 

    
       
Em7 A7 Fm7 B7 Em7 A7

  

21

    


  

Gmaj7 G7 C69 F13 Gmaj7 G13 C69 F13

 
    

 
25

 
 

     
 
Bm7 Em7 Am7 D9 G6 D7

   
 
29


354 Santa Claus is Coming to Town

   
     
2

 
Gmaj7 G7 C69 F13 Gmaj7 G13 C69 F13

    
    

      
    
   
Bm7 Em7 Am7 D9 Gmaj7 A  maj7

 
37

C  
        
Gmaj7 G7 C69 F13 Gmaj7 G13 6
F13

   
9

  
41

   
    
  
Bm7 Em7 A7 D7 Gmaj7 E7

    
 
45



   
        
    
Dm7 G7 Em7 A7 Dm7 G7 C69 F7

  
49

  

  
 
       
Em7 A7 Fm7 B7 Em7 A7 Am7 D7

    
53

 
              
   
Gmaj7 G7 C69 F13 Gmaj7 G13 C69 F13

   
57

 

   

Bm7 Em7 Am7 D7 Gmaj7 A  maj7 D7

     
  
61


Santa Claus is Coming to Town 355

     
    
Gmaj7 G7 C69 F13 Gmaj7 G13 C69 F13

 
3

   

  
   
Bm7(5) E7 A7 D13 Gmaj7 A  maj7

  

    
69



          

Gmaj7 G7 Gmaj7 G13 C69 F7

    
73

 

    
      
Bm7 E7 A7 D7 G7 F7 Em7 E7

      
77

      
Dm7 G7 Em7 A7 Dm7 G7 C69 F7

        
81

        
Em7 A7 Fm7 B7 Em7 A7 Am7

   

   
85


      
Gmaj7 G7 C69 F13 Gmaj7 G13 C69 F13

   

     
89

 
      
    
Bm7 Em7 E9(11) D9 Gmaj7 Am7 D7

      
 
93

  
356 Santa Claus is Coming to Town

              
 
G6 G7 C6 F7 G6 C6 F7


4

      
  

  
              
Bm E7 Am D7 G6

         

101

 

        
       
G6 G7 C6 F7 G6 G7 C6 F7

         
105

        

     
               
 
Bm E7 Am D7 Gmaj7

     
[109] 111

   

       
 
Dm7 G7 Em7 A7 Dm7 G7 Cmaj7

     
           
  
 
113

    

          
      
         
Em7 A7 Fm7 B7 Em7 A7 Dmaj7 D7

  

117

    

  

G6 G7 C6 F7 G6 G7 C6 F7

     
   
                   
    
121

 

 
  
            
BmE7 Am D7 Gmaj7

             
   
125

  
Santa Claus is Coming to Town 357

       
G6 G7 C6 F7 G6 C6 F7

 
             
5

  
   

       
   
Bm E7 Am D7 Gmaj7

              
     
133

  

     
     
G6 C6 F7 G6 C6 F7

                
        
137

     

         
             
Bm E7 Am D7 Gmaj7 Em E m

        

    
 
141

 

 
                 
      
Dm7 G7 Em7 A7 Dm7 G7 Cmaj7

 
 
145

     

    
Em7 A7 Fm7 B7 Em7 A7 Dmaj7 D7

             
  
   
149


        
G6 G7 C6 F7 G6 C6 F7

          
      
154


          
Bm E7 Am D7 Gmaj7 Am D7

     
158


358 Santa Claus is Coming to Town

 
 
6

 
Gmaj7 G7 C69 F13 Gmaj7 G13 C69 F13

    
  


             

          
Bm7 Em7 E9(11) D9 E maj7 A  maj7

  
166

 
      
Gmaj7 G7 C69 F13 Gmaj7 G13 C69 F13

   
170



     
Bm7 Em7 E9(add 11) D9 G7 F7 E7 E7

         
 
174

  
          
Dm7 G7 Em7 A7 Dm7 G7 C69 F7

    
178


  
          
Em7 A7 Fm7(5) B7 Em7 A7

       
182


 
Gmaj7 G7 C69 F13 Gmaj7 G13 C69 F13

     
186

 

   
     
Bm7 Em7 E9(11) D9 C 7 Cm6 Bm7 Em7

      
190

    
  
Cm7(5) Cm6 Bm7 Em7 Cm7(5) Cm6 Bm7 Em7

    
194

  B  m7
poco rit.


      


   
Cm7(5) Cm7 Bm7 Am7 D7 F G D  maj7(5)

     
198
Dr. Robert Sabin is a bassist, composer, author, and
educator specializing in jazz and contemporary improvised
music. He has appeared alongside such artists as Oliver
Lake, Ingrid Jensen, Jean-Michel Pilc, Peter Bernstein,
Dick Oatts, Donny McCaslin, Matt Panayides, Rich Perry,
Rich Shemaria, Mark Stanley, Ingrid Jensen, John Yao, JC
Sanford Orchestra, Luis Bonilla, John Riley, Aaron
Johnson, Kenny Werner, Bruce Arnold, Tony Moreno, Vic
Juris, Combo Nuvo, Brian Lynch, Onaje Allan Gumbs,
Killer Ray Appleton, Victor Lewis, Chico O'Farril, Billy
Taylor, Vince Mendoza, Roland Hanna, Bob Mintzer, and
Dennis Charles. He has presented workshops for the
International Society for Music Education, International
Society of Bassist’s, Association for Popular Music
Education, University of Miami Frost School of Music, City
College, Manhattan School of Music, and the Jazz
Education Network as well as being featured in the
Online Journal of Double Bass Research. Sabin wrote his
Ph.D. dissertation “Gary Peacock: Analysis of Progressive
Double Bass 1963-1965” while studying with Peacock from
2009-2014 and doing extensive research on the early
1960s New York City avant-garde. Sabin currently serves
on the faculty of City University of New York and the
Manhattan School of Music Precollege.

You might also like