JAZZ 2 TRUMPET - Trumpet, Books

JAZZ 2 TRUMPET - Trumpet, Books
Availability Available
Published 2nd May 2008
Cat No. JM48196
Price £7.99
Composer: Miles Davis
Category: Books

These transcriptions cover the major part of Miles Davis’ career, years from The Birth Of The Cool to Tutu. Trumpet parts are given pitch, chord symbols and bass guide at concert pitch.

Contents :

01. ALL BLUES
02. BEBOP LIVES (Boplicity)
03. BLUE IN GREEN
04. CIRCLE IN THE ROUND
05. COMPULSION
06. EIGHTY ONE
07. E.S.P
08. FAT TIME
09. FLAMENCO SKETCHES
10. FREDDIE FREELOADER
11. JEAN PIERRE
12. THE MAIDS OF CADIZ
13. MS. MORRISINE
14. SEVEN STEPS TO HEAVEN
15. SHHH
16. SID’S AHEAD
17. SO WHAT
18. SO WHAT Ensemble Version
19. STUFF
20. THATS RIGHT
21. TUTU

Foreword
BEBOP LIVES (Boplicity) is taken from the famous 1948 album THE BIRTH OF THE COOL. (Capitol T 1974 (11026)). This featured a nine-piece band of trumpet, trombone, French horn, tuba, alto saxophone, baritone saxophone, piano, bass and drums, and included several young musicians who were to become important names in the jazz world — Gerry Mulligan, Lee Konitz, John Lewis, Max Roach — playing arrangements by Gil Evans, Mulligan and Lewis. Bebop Lives was composed by Miles, who used his mother’s name, Cleo Henry, as a pseudonym. Although the nonet only worked together for one fortnight in 1948 the arrangements were recorded in 1949 and 1950. These recordings were highly influential, and there is no doubt that the whole of the 1950s WEST COAST school of jazz was founded on the style pioneered by the nonet.

COMPULSION was recorded early in 1953, with a sextet that included Charlie Parker and Sonny Rollins. It has been reissued on MILES DAVIS COLLECTOR’S ITEMS (Prestige PR
24022).

MAIDS OF CADIZ, by Leo Delibes (1 836-91) was included on the album MILES AHEAD (CBS 62496), with Miles on flugelhorn accompanied by a twenty piece orchestra under Gil Evans’ direction. This was recorded in 1957, and the interest aroused by the LP was sufficient for Maids Of Cadiz to be issued as one side of a 45rpm single. In 1960 the orchestra and Miles were the subject of an American TV recording of some of the Miles Ahead items (plus a quintet version of So What). This is still occasionally transmitted on British television.

SID’S AHEAD was recorded in April 1958, and appears on the MILESTONES album (CS 9428), played by a small group containing Cannonball Adderley on alto saxophone and John
Coltrane on tenor. Miles’ solo is accompanied only by drums and bass.

BLUE IN GREEN, FLAMENCO SKETCHES, SO WHAT, ALL BLUES and FREDDIE FREELOADER comprise the whole of the album KIND OF BLUE (Columbia 8163) recorded in March 1959. This album has been described by Ian Carr in his book on Miles Davis (Paladin, 1984) as ‘one of the seminal albums - . - one of the most enduring classics of jazz’. At the time of the preparation of this collection of transcriptions, nearly thirty years after the recording, the LP was still on sale in record shops.

SEVEN STEPS TO HEAVEN marks the record debut of one of Miles Davis’ most talked about rhythm sections, the one containing Tony Williams, Herbie Hancock and Ron Carter, formed in 1963. These players developed a new role for the rhythm section, much more interactive than hitherto. Seven Steps To Heaven was recorded in May 1963 (Columbia CL 2051).

ESP has been called the best studio album since KIND OF BLUE. The album is represented in this collection by the title track, ESP, and by EIGHTY ONE, the latter an altered blues with rock rhythms alternating with a swing feel. This was a radical approach at the time of recording in January 1965. (Columbia 9150)

CIRCLE IN THE ROUND, from the album of the same name (CBS 88471), has a theme that is harmonised throughout in parallel fifths between and tenor. The resultant hollow, shiftless, sound, combined with the vague harmonic support, gives a curious mock-archaic sound.

STUFF, recorded in 1968, presents something of a transcriber’s nightmare, because although the long theme is played four times, it is varied slightly each time, with bars removed and rhythms subtly changed. Only the first statement is represented here. This shifting and slightly ‘off-square’ character is echoed throughout the improvisation. In retrospect this aspect of the performance is of greater interest than the much vaunted borrowings from the pop music of the time. (Miles In The Sky CBS 85548)

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