Jazz Piano 2

8/3/2019 Jazz Piano 2

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TRANSCRIBED by BRIAN PRIESTLEY

For this series of books, Brian Priestley has painstakingly transcribed note-for-note superb recorded performances by innovative jazz pianists, like ArtTatum, Jelly Roll Morton, Thelonious Monk, John Lewis, Duke Ellington,

Oscar Peterson, Chick Corea, Earl Hines and many others whose creativebrilliance spans decades of jazz history.

Title Artist Page

My Funny Valentine Bill Evans 5

Body and Soul Art Tatum 10

Miserere from II Trovatore Jelly Roll Morton 14

Autumn Leaves

(Les Feuilles Mortes) Keith Jarrett 18

Dark Eyes Tommy Flanagan 24

Ack Varmeland Du Skona John Lewis 26

Honeysuckle Rose. Nat King Cole 30

Ad Lib Blues Count Basie 36

The Night Has A Thousand Eyes McCoy Tyner 38

Nice Work If You Can Get It Thelonious Monk 43

BRIAN PRIESTLEY is the presenter of a weekly jazz programme on BBCRadio London, and has written biographies of Charles Mingus, CharlieParker and John Coltrane. He is also a pianist and arranger who hasplayed at such clubs as Ronnie Scotts, Pizza Express and the Bass Clef,and is a Tutor in jazz history for Oxford University and jazz piano lorGoldsmiths College, London. Some transcriptions first commissioned bythe College are included in this series by permission.

Special thanks to Johnathan Gee and expecially to Robin Marsden fortheir help.

First Published 1986

© International Music Publications

Exclusive Distributors

International Music Publications

Southend Road, Woodford Green,

Essex 1GB BHN, England. "

Photocopying of this copyright material is illegal. 215-2-144



FOREWORD

It is perhaps reassuring that even the great pianists play wrong notes occasionally.

Since these solos are transcribed from actual recordings, wrong notes played cleanly

are retained while misfingered notes are represented by 'x', Notes played very lightly

(,ghosted') are shown in brackets.

The tempo markings are in each case those of the recorded performances, but it is

worth pointing out that with due care and attention to timing and phrasing, each solo

can be made to swing successfully at as much as 40% less than the original speed.

Chord sequences have been shown in a relatively simple form, even where there is

considerable deviation in the piano part. In this way, the deviations may be

appreciated as such, and accompanying players such as bassists or guitarists can

have a basic sequence to work from. With the exception of a couple of shorter

pieces, the chord symbols are only given for the first chorus. The intention is that

even the pianist should memorise the sequence, and apply its lessons not only to the

subsequent transcribed choruses but also, as soon as possible, to his or her own

improvisations.

BILL EVANS

The enormously- influential BILL EVANS is seen here in a solo (performed with

gUitarist Jim Hall on United Artists UAJS 15003) which is in one respect untypical:

bars 39-102 represent one of the few recordinqs where the performer's individual

left-hand voicings are silenced, As with the John Lewis transcription in this volume, it

is an equally good exercise to improvise an appropriate left·hand part (Without

disrupting the flow} as it is to play the right-hand part and make it swing without

accompaniment.

ART TATUM

The most technically-qifted of all the jazz pianists, ART TATUM, is shown here

working at a slow tempo where it is at least possible to follow with your ears if not

your fingers. Playing this solo through (even bit by bit), reveals the amazing variety of

his phraseology and the brilliant logic of his chromatic passing. chords. Improvised

between two Lionel Hampton solos on Pablo 2310 775, these 32 bars make a

striking contrast with the sparse Duke Ellington Version in the first volume of Front

Line Jazz Piano Solos.

JELLY ROLL MORTON

In the early years of this century, when JELLY ROLL MORTON claimed to havecreated this arrangement (recorded for the Library of Congress and reissued on

Classic Jazz Masters CJM 7), every ragtime and jazz pianist made a speciality of

adapting one or more pieces from the European classical repertoire. A relatively

simple and unflashy lesson in how to go about doing this, the Miserere provides

useful comparisons of different elaborations of the same material (bars 11-21 and

28-37; bars 44-59 and 60-75).

KEITH JARRETT

Now that KEITH JARRETI has returned to improvising on popular standards for the

first time in about 15 years, it is interesting to study this early instance of his work

With the Charles Lloyd Quartet (Atlantic 1459). His flair for extremely long but

percussive rrqht-hand lines is evident throughout By contrast, i 85·96, he builds

tension with repetitive phrasing in a distant key, ignoring the chord-sequence until

the next chorus.



TOMMY FLANAGAN

Until recently TOMMY FLANAGAN seemed destined to be thought of as the perfect

accompanist. Indeed, the record from which this solo was transcribed (by drummer

Jo Jones on Pablo 2310 799) contains instructive examples of his backing work. But

these two choruses of Dark Eyes also show him taking a simple melodic-minor scale

and creating the most delightful musical architecture.

JOHN LEWIS

This Swedish folk song has been recorded as Song of the Fir Tree by Billy Mayerl,

Dear Old Stockholm by Miles Davis and John Coltrane, Standinaoiar: (Stan Getz),

Tomorrow is Another Day (King Pleasure) and even as Swedish Folk Song by Wade

Legge. JOHN LEWIS's version (a hard-to-find 1956 recording on Oriole or

Versailles) has a simple reading of the tune (bars 5·32) followed by a solo which

delicately traces all the harmonies through the right-hand alone.

NAT KING COLE

One of the greatest popular standards ever to have been written by a jazz musician,

Honeveuckte Rose, here represents a great popular Singer at the time when he was

also a great jazz pianist. Recorded in 1947 (and last avallable on Capitol One-Up

OUM 2007) this sprightly solo with its hints of polytonality, shows why NAT KING

COLE influenced a whole generation of pianists from Oscar Peterson to Bill Evans.

COUNT BASIE

The simple and straightforward style of COUNT BASIE sounds (and looks) easy toreproduce, unless yOU get a chance to record yourself and compare with the original

performance, On this Lester Young/Benny Goodman session (from Jazz Archives JA

42), bars 1·24 allow the rhythm-section to be featured, while from bat 25 the

ensemble enters and gradually builds up steam. Perhaps the only way to achieve

sufficiently-dynamic timing is to imagine you are trying to stimulate an entire group

to greater rhythmic excitement.

McCOY TYNER

This transcription is a brilliant example of simplification of a chord-sequence seen in

its more conventional form (as played by Horace Silver) in the first volume. of FrontLineJaze Piano Solos. The rhythmic figure McCOY TYNER uses to accompany the

majority of the melody (bars 17-49) becomes the basis for an improvisation in which

oriental-soundinq pentatonic phrases are contrasted with dense chromatic

movement. The original performance can be heard on Milestone MSP 9044.

THELONIOUS MONK

This solo by THELONIQUS MONK brings back warm memories for me as I was

present when it was recorded in 1971 (Black Lion BLP 30119). It affords an

excellent example of his ability to improvise on the original melody as well as the

chord-changes already built into Gershwin's tune. Note also that Monk's ownvoiclngs invariably contain fewer notes than other pianists would use, and not only

'look wrong' but can sound wrong unless played with the necessary conviction.



MY FUNNY VALENTINE 5

Words by LORENZ HARTMusic by RICHARD RODGERS

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---__--__-----------------------18 AUTUM N LEAVES

(Les Fe'uilles Mortes)English Lyrics by JOHNNY MERCER

French Lyrics by JACQUES PRE VERTAdditional Verse Lyric by GEOFFREY PARSONS

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24 DARK EYES

TRADITIONAL

J = 208

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25

16

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26

ACK VARMELAND DU SKONA

TRADITIONAL

~ - .1

/ ·

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t - - - ·:- "

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( J - ca 184)

5 f) 1 ~ •

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l ··

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J 2 -P -

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4,1.

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27

1 7

I fj I I

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33

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30

HONEYSUCKLE ROSE

Words and Music by ANDY RAZAF and THOMAS WALLER

Slow J = 80

f J ,/ ~ fL - - ~ ~ ~. . '"t '~ J _ '3' __~ ~~-..-r-31/

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31

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36 AD LIB BLUES

TRADITIONAL

J = 148

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..------------------------ .... "... " ""."~--

38 THE N IGHT HAS A THOUSAND EYES

Words by BUDDY BERNIERMusic by JERRY BRAININ

/

fJlJ,

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· • •·

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39

17

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NICE WORK IF YOU CAN GET IT 43

Words by IRA GERSHWINMusic by GEORGE GERSHWIN

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© Copyright 1937 and 1984 by Gershwin Publishing Corporation. Copyright renewed.Chappell Music Ltd., 129 Park Street, London WIY 3FAInternational Copyright Secured All Rights Reserved Made in England



44

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5/90 Printed by Halstan & Co. Ltd., Amersham, Bucks., England



TRANSCRIBED by BRIAN PRIESTLEY

For this series of books, Brian Priestley has painstakingly transcribed note-for-note superb recorded performances by Innovative jazz pianists, like ArtTatum, Jelly Roll Morton, Thelonlous Monk, John Lewis, Duke Ellington,Oscar Peterson, Chick Corea, Earl Hines and many others whose creativebrilliance spans decades of jazz history.

My Funny Valentine

Body and Soul

Miserere from II Trovatore

Autumn Leaves

(Les Feuilles Mortes)

Bill Evans

Art Tatum

Jelly Roll Morton

Keith Jarrett

Dark Eyes Tommy Flanagan

Ack Varmeland Du Skona John Lewis

Honeysuckle Rose Nat King Cole

Ad Lib Blues Count Basie

The Night Has A Thousand Eyes McCoy Tyner

Nice Work If You Can Get It Thelonious Monk

BRIAN PRIESTLEY is the presenter of a weekly jazz programme on BBCRadio London, and has written biographies of Charles Mingus, CharlieParker and John Coltrane. He Is also a pianist and arranger who hasplayed at such clubs as Ronnie Scotts, Pizza Express and the Bass Clef,and is a Tutor in jazz history for Oxford University and jazz plano forGoldsmiths College, London. Some transcriptions first commissioned by

the College are Included In this series by permission.

Also available in this Series and on sale now in your local music shop.

JAZZ PIANO 1 ORDER REF: 09167

JAZZ PIANO 3 ORDER REF: 16114

JAZZ CLARINET 1 ORDER REF: 09827

JAZZ CLARI NET 2 ORDER REF: 09973

JAZZ FLUTE ORDER REF: 16131

JAZZ TRUMPET ORDER REF: 16132

Jazz Piano 2

Documents

Transcript of Jazz Piano 2