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Title : "Work song"
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Musicians
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This page is established to provide a more in-depth background on selected music from the play list.
Project : Minor MiraclesProject : Work SongProject : Girl from IpanimaProject : Blue BossaProject : Samba Pa Ti |
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Minor Miracles Guitar by Jazzmandan, comping by D. Bloom.
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Title : "Work song"
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Musicians
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**Check out the guitar player in this group....
Nat Adderley began playing trumpet as a teenager growing up in Florida and played with local groups before switching to cornet in 1950. As his brother Julian "Cannonball" Adderley had, Nat played in a military band from 1951 to 1953, but his first important job was with the Lionel Hampton band from 1954 to 1955. In 1956 he joined his brother’s quintet but this group would disband after a year due to financial constraints. While brother Cannonball played with Miles Davis from 1957 to 1959, Nat played with trombonist J.J. Johnson and with band leader Woody Herman.
After his stint with Davis, Cannonball formed a second quintet and once again Nat joined, staying with this group until Cannonball’s untimely death in 1975. During this period Nat led some very nice sessions of his own, mostly for the Riverside label, and participated as a sideman in many classic sessions. He has made some fine recordings in the 1990s and played with some of the great young alto saxophonists, including Vincent Herring whose style owes much to Cannonball. Adderley’s playing remains in the hard bop vein, but with an obvious knowledge of bebop. His solos are lyrical, often blazing in the upper register, and contain rapid-fire runs that could rival some of the best of his peers.
| (Call) | (Response) | |
| Verse 1
Bars 1 through 8 |
Break-in up big
rocks on the chain gang,
Break-in up big rocks on uh chain gang, |
'cause I been
convict -e do' crime
break-in rocks an serv-in my time |
| Bars 9 through 12 | Hold it steady right there while I hit it | There I reckon that ought to git it. |
| Bar 13 through 16 | Been working an workin | but I still got so terrible long to go! |
| Verse 2
Bars 1 through 8 |
I committed the
crime, laud o
need-in,
Left the grocer store man a bleed-in |
Crime o be-in hungry
and
poor
when he caught me robbin his store |
| Bars 9 through 12 | Hold it steady right there while I hit it | There I reckon that ought to git it. |
| Bar 13 through 16 | Been working an workin | but I still got so terrible long to go! |
| Verse 3
Bars 1 through 8 |
Judge he say, Five
years- hard labor
The judge say, five years - o' labor |
on the chain gang
your goin to go
Heard my woman scream Lawdy, no! |
| Bars 9 through 12 | Hold it steady right there while I hit it | There I reckon that ought to git it. |
| Bar 13 through 16 | Been working an workin | but I still got so terrible long to go! |
| Verse 4
Bars 1 through 8 |
Wanna see my sweet
- honey
baby
Wanna lay down some where its shady |
wanna break this
chain off and run
Lawd it sure is hot in the sun |
| Bars 9 through 12 | Hold it steady right there while I hit it | There I reckon that ought to git it. |
| Bar 13 through 16 | Been working an workin | but I still got so terrible long to go! |
Need to work on arrangement which will allow the group to trade off on the strong lead lines of the melody while permitting room for improvisation
Everyone free to have fun with the vocals?? Just step up to the mic.
Further notes to be added as we work on this piece.
Antonio Carlos (Tom) Jobim circa 1960 |
Some of the records that contain this song:
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The English version of this song was first released in the LP "Getz/Gilberto", on MGM/Verve, 1964. A beautiful melody and lyrics captures the fantasy of every young man upon the sight of a beautiful women. Jobim introduced the bossa nova sound to the american public with this song in the early 1960's. By collaborating with Frank Sinatra he was able to introduce his music to the world. Another favorite of the AJC is Wave also written by Tom.
Heloísa Eneida Menezes Paes Pinto is the girl from Ipanema. Antonio Jobim (Tom) and Vinicius de Moraes used to patron the Veloso Bar, in the Ipanema neighborhood, corner of Prudente de Morais Street and Montenegro Street (lately named Vinicius de Moraes Street). They would sit on small tables placed on the sidewalk to have some beer and chat with friends. Several times they admired Heloísa's charming walk. Living very close, she used to go to the Veloso Bar to buy cigarettes to her mother. Inspired by her beauty, Vinicius and Tom wrote "The girl from Ipanema". The first of Vinicius' attempts to write the lyrics to Jobim's melody was unsuccessful. The song was first named "The Girls that passes by": "Tired of all many paths, without any poetry, without any birds, fearing life, fearing love, when in the afternoon, so pretty in the space, I saw the girl, strolling along, swinging her step, towards the sea." Both partners disliked the lyrics, but approved a second version that Vinicius wrote a little later. Heloísa only knew that she had been the inspiration for the song some two years and a half later. On May 1966, when she got married to the engineer Fernando Abel Pinheiro, Tom Jobim and her wife Thereza attended the ceremony. Heloisa had a daughter, and became a model and TV presenter. Nowadays she can be spotted mostly in Rio and Sao Paulo, still a charming woman, who will be always remembered as the inspiring force of one of the world's most famous songs.
Melody Guitar TabOpen this pdf file (remember you have to have the proper fonts installed from the Home page) for a tab version of the melody. Use this to help sharpen your sight reading skills.
Tall
and tan and young and lovely
The girl from Ipanema goes walking
And when she passes, each one she passes goes "a-a-ah!"
When she walks she's like a samba that
Swings so cool and sways so gentle,
That when she passes, each one she passes goes "a-a-ah!"
Oh, but I watch her so sadly
How can I tell her I love her?
Yes, I would give my heart gladly
But each day when she walks to the sea
She looks straight ahead not at me
Tall and tan and young and lovely
The girl from Ipanema goes walking
And when she passes I smile, but she doesn't see
She just doesn't see
No she doesn't see
Play Notes
32 bar AABA format (...you may need to check me on this...Actually, I think I see a two 12 Bar A sections followed by a 24 bar B section and then return to the 12 Bar A)
This will be a great piece for us to work on melody embellishments and improvisation.
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June 3, 1963, Kenny Dorham, Trumpet; Joe Henderson, tenor sax; McCoy Tyner, piano; Butch
Warren, bass; Pete LaRoca, drums. |
Even the most hardcore jazz afficionados would probably have a hard time denying having felt the slow unswaying pulse of the bossa nova at one time or another. In fact, one can probably make a good argument that the massive invasion of the bossa nova in the early 1960's was perhaps the first ever real glimpse of what is known today as "Smooth Jazz." Back then, notables including Antonio Carlos Jobim, Joao Gilberto, Astrud Gilberto, Djalma De Andrade "Bola Sete", Herbie Mann, Sergio Mendes, Charlie Byrd and Stan Getz were making history performing soon to become Jazz classics like "Desafinado" , "Girl From Ipanema", and Kenny Dorham's composition "Blue Bossa".
Sharpnel Recording Artist George Bellas, <www.georgebellas.com>, sat in for a rehearsal and we worked on this tune. Listen to the short mp3 (32 bar, 40 sec) selection to hear this tune smoke.
"...George, thanks a lot, It was truly a treat for me to share the recording mic with you on this tune."
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Title |
Sheet Music | Key | Midi | mp3 | Composer |
| Blue Bossa |  |
Cm | |
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Kenny Dorham' |
"...The heart of the song is found in the melody, but the soul is captured in the improvisation over the chord progression", djh 2002.
The chord progression starts in the Key of Cm and change key to Db (Eb Dorian) for measures 9 through 12. It returns to Cm for the final four bars.
In order to play over the progression you have to recognize the key change along with appropriate scales (C Aeolian and Eb Dorian). Both are minor scales, listen to the mp3 to hear the back and forth scale changes.
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Contents: 1: Singing Winds, Crying Beasts 2: Black Magic Woman / Gypsy Queen 3: Oye Como Va 4: Incident At Neshabur 5: Se A Cabo 6: Mother's Daughter 7: Samba Pa Ti 8: Hope You're Feeling Better 9: El Nicoya |
Samba Pa Ti appeared on Santana's second Album, Abraxas, which is regarded by many as his finest work, In addition to Samba Pa Te, the Album also featured a Classic cover in the form of Peter Greens Black Magic Woman. As a 17 year old kid I fell in love with the sound of Santana's Guitar. This tune truly showcases his magical feel which he refers to as "musical shockwaves in the soul".
This is something our guitar players can have some fun with. The song is entirely in the Key of G. There are actually three parts to this song. After the first 16 bar intro theme has been played twice (total of 32 bars), there is an 8 bar bridge passage, then the main track comes in. From this point on the samba vibe kicks in and the whole tract consists of G and Am till the end. The transcription below barely does justice to true arrangement. I wanted to get something down on paper as a kick-start. More complete transcriptions are readily available.
I wanted to put this little ditty up front to hear:
This tune has been sung by the likes of Frank Sinatra and Bobby Darin. The example above is an interesting arrangement since it sounds like the verse has been entirely replaced by a smooth laid back horn. The Chorus is handled by one of my personal favorite female jazz singers, Diane Schuur from her album "Music is my Life". The track included has been converted to "Low-Fi", just to provide a taste and maintain the sites "no copy-write infringement policy".
The 32 bar standard jazz format starts out Bass and Vocal for the first 16 bars, then drums and vibes. Then the full band comes in with keys and horn. Vocals take it out at the end.
Enjoy, it is sure to bring a smile to your face.
| You'd Be So Nice to Come Home
to:
Writer(s): Comden/Green/Styne Verse: |
Chorus: You'd be so nice to come to You'd be so nice by the fire While the breeze on high, sang a lullaby You'd be all that I could desire Under stars chilled by the winter Under an August moon burning above You'd be so nice You'd be paradise, to come home to and love |
Haven't worked on a new project in some time. This effort was sparked by a Bob Dylan Youtube video
The image below highlights the arrangement The actual recording was removed due to space constraints .
Here are some details:
Recording by ProTool LE (V7.4).
Drums and bass from BIAB (www.pgmusic.com special thanks to MusicTrax)
Guitar effects from Guitar Rig 2
Vocal adjustments by Melodyne (www.celemony.com)
This effort was a collaboration. Your going to hear Mitch playing the Trumpet on the Melody
No the Sax is not Kurt, he had to cancel at the last minute. So he was replace by the Real Sax from Band In A Box.
The image below highlights the arrangement "Recording Removed due to Space Constraints"
Here are some details:
Recording by ProTool LE (V7.4).
Drums and bass from BIAB (www.pgmusic.com)
Guitar effects from Guitar Rig 2
Sax - RealTracks BIAB (www.pgmusic.com)
Trumpet - Mitch from AJC (also did a nice job on the vocals, however, muted for this mix)
Guitar by Jazzmandan
Actually a little long with 5 chorus's but I wanted to try lots of things.
This effort was another collaboration. Your going to hear Mitch playing the Trumpet
The image below highlights the arrangement
Thanks to all at pgmusic.com for input on the mix: - Click Here to hear mp3 final mix.
Here are some details:
Recording by ProTool LE (V7.4).
Drums and bass from BIAB (www.pgmusic.com)
Guitar effects from Guitar Rig 2
Trumpet - Mitch from AJC - Mitch laid down two tracks, they were both so good I just mixed them both...
Guitar - Jazzmandan
