JAZZ CURRICULUM MB21420
MOVEABLE SHAPES CONCEPTS FOR REHARMONIZING ii-V-I’s
T M
BY SHERYL BAILEY n iversity Series M elel B ay G uitar U niversity
MEL BAY PUBLICATIONS, INC. #4 INDUSTRIAL DRIVE PACIFIC, MO 63069
JAZZ CURRICULUM
MOVEABLE SHAPES CONCEPTS FOR REHARMONIZING ii-V-I’s BY SHERYL BAILEY n iversity Series M elel B ay G uitar U niversity
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© 2009 SHERYL SHERYL BAILEY. BAILEY. ALL RIGHTS RESERVED. RESERVED. EXCLUSIVE SALES SALES AGENT AGENT MEL BAY PUBLICATIONS, PUBLICATIONS, INC. INTERNA INTERNATIONAL TIONAL COPYRIGHT COPYRIGHT SECURED. B.M.I. B.M.I. MADE AND AND PRINTED IN U.S.A. U.S.A. No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher.
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Contents Preface ....................................................................................................... .................................3
Chapter 1: Move it or Lose it ..................................................................................................... ...............4 Chapter 2: A Cut Above ............................................................................................. .............................10 Chapter 3: The Combined Effort..............................................................................................................16 Chapter 4: A Major Discovery .................................................................................................. ..............22 Chapter 5: From Major to Minor .............................................................................................. ..............28 Chapter 6: Tune In....................................................................................................................................34 About the Author ......................................................................................................... .............39
Acknowledgements I would like to acknowledge the following colleagues for their inspiration, guidance and work on this project: Kyle Clark (Finale Set-up) Jimmy Wyble Jack Wilkins John Maione Corey Christiansen Bruce Saunders I hope the material here will bring you inspiration and spark your creativity to new levels. Love and Light, Sheryl Bailey 2
Preface Introduction: The fundamental chord progression for jazz improvisors is the II-V-I. It is the bread and butter of standard and contemporary jazz harmony. This book presents a modern concept for improvising over this essential chord progression. By superimposing chords and scales onto the II, V, and I we will create substitutions that alter and extend the basic chord sounds. The result will be fresh and exotic sounding harmonies.
How the book is organized: Each chapter focuses on a particular substitution and begins with chord voicing studies. It is important to play through these studies to learn their unique sound and to open your ear. I suggest recording a bass line to play along with to fully hear the substitutions. Also use these chords in comping or chord solos to cement them into your playing. The latter part of each chapter focuses on single note lines. The first two pages of these studies clearly outline the substitutions. The second two pages use chromaticism and contain wider melodic leaps, making the substitutions less obvious.
Comments on chord voicings: The chord voicings in this book are, for the most part, derived from basic drop-2 and drop-3 voicings. I’ve added extensions to the basic forms. If you are unfamiliar with the basic drop-2 and drop-3 chord shapes, study them. Drop-2 Concept for Guitar, Guitar, by Charles H. Chapman, available at www.melbay.com, is a great place to start. The extensions available for the basic chord types are listed below for handy reference: Minor 7: 9, 11, 6, maj7 Dominant 7: f9, 9, s9, 11, s11(f5), f13(s5), 13 Major 7: 9, s11, s5, 6 There are many rules for usage, but, because those rules are derived from how they sound, my advice is to experiment. You’ll learn much faster by doing than by memorizing rules. When you discover the ones that sound good to you, add them to your style.
Comments on notation: I’ve I’ve often notated enharmonic notes (notes ( notes of the same pitch which are spelled differently) so they correspond to the chord substitution rather than the original chord. For example, instead of B on a G7 chord, C f is used as a part of an A f-(maj7)/G substitution.
Editors Notes: -7 refers to minor 7th chords. Chord symbols with a slash ( / ) are chords above bass notes. For example: F-7/G = Fmin7 above a G bass note. In the single note studies keep in mind that accidentals are in effect for the bar in which they occur, and are cancelled at the following bar line.
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Chapter 1: Move it or Lose it Let’s explore moving -7 chords within the II-V-I progression in the key of C. Here is the chord progression we will jazz up: | D-7 | G7 | Cmaj7 | Cmaj7 || 1) In measure one, use a D-7 arpeggio or the D dorian scale. 2) In measure two, move the D-7 arpeggio up a minor-third to an F-7 arpeggio or the F dorian scale and play them over a G bass note. The F-7 arpeggio played over G creates G7(sus4, f9, f13). Using the F dorian scale over G creates G7(sus4, f9, s9, f13). 3) In measures three and four, use any of the following: a Cmaj7 arpeggio, the C ionian scale (also known as the C major scale), the C lydian scale, or the C bebop scale (a major scale with a passing note between the 5th and 6th scale degrees). F-7/G = G7(sus4, f9, f13) F dorian /G = G7(sus4, f9, s9, f13) Now our progression looks like this: | D-7 | G7 | D-7 or D dorian | F-7 or F dorian
| Cmaj7 | Cmaj7 | Cmaj7, C ionian, C lydian, or C bebop
|| ||
The following are chord voicings that substitute F-7/G for G 7. Having a repetoire of voicings that apply these substitutions will expand your chord vocabulary and give conviction to the lines you play. Use these voicings as much as possible. Hearing is believing!
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D-7(9) 2134
3fr.
2
D-7(11) 1314
5
134
4121
5fr.
3fr.
1114
D-7(9)
F-7/G
2
2
3334
10fr.
314
6fr.
1
34
8fr.
6 C 9 ( 11) 11) 21131
1fr.
1fr.
6 C (maj7) 9
9fr.
1
2344
D-7(11)
F-7(9)/G
Cmaj7
1314
2314
2413
5fr.
1fr.
Cmaj7
F-7(9)/G 3
2113
1fr.
F-7/G
11 D-7( 9 ) 21341
C6 9
F-7/G
5fr.
8fr.
5fr.
2
5
Cmaj7
G7
D-7
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2
3
1
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5 3
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D-7
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D-7
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9 10
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11
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10 9 10
9 10 10
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9
Cmaj7
G7
D-7
5
3
Cmaj7
10 11 11 7
6
7 10
G7
8
5
Cmaj7
2
3
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5
Cmaj7
G7
D-7
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5
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G7
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D-7
10 6
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9 10
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6 10
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10 10
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G7
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7 10 10 9
8 10
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11
10 10
6
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G7
5
7
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7
D-7
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11 7
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Cmaj7
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G7
8
9
Cmaj7
9 10
5
8
Cmaj7
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D-7
7
8 10 11 11
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G7
D-7
7
Cmaj7
G7
D-7
10 10
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Cmaj7
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D-7
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9 10 10 9 10
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11 11
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D-7
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10 10
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10 9
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Cmaj7
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11 11
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11 10 10
10 8
11
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4
10 9
12
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Cmaj7
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3
Cmaj7
G7
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G7
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5
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7
Cmaj7
6
8
D- 7
4
5
G7
6
4
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G7
D-7
7
Cmaj7
G7
D-7
3
5
4
3
5
8
1
5
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2
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5
3
5
1
2
G7
D-7
7
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7
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5
7
5
3
3
6
D-7
8
7
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5
7
5
9
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5
3
4
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8 10
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9 10 10
7
6
5
5
12 11 12 12
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6
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6
4
11
11 9
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10
10
9
7
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5
6
3
4
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7 10 8
7
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7
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7
10
10 9 10
Cmaj7
13
10 13 10
13 11 11 9
13 10 11 12 12
G7
7
5
3
9 10
10 13
5
3
Cmaj7
8 10
D-7
10 8
7
3
G7
9 10 12
5
4
7 5
5
Cmaj7
G7
D- 7
7
3
4
G7
D-7
8
Cmaj7
8
12
10
14
13
12
Cmaj7
10
11
8
10
11 10 10
9
8
7 10
9
7
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7 10 7
7
4
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Chapter 2: A Cut Above Above Let’s create an altered dominant 7th chord by substituting a -(maj7) arpeggio or melodic minor scale a half-step above the root. The chord progression we will create substitutions for remains unchanged throughout the text, until Chapter 6, when we will transpose it into different keys: | D-7 | G7 | Cmaj7 | Cmaj7 || 1) In measure one, use a D-7 arpeggio or the D dorian scale. 2) In measure two, play an Af-(maj7) arpeggio over a G bass note. The A f-(maj7) arpeggio over G creates G7( f9, f13). Using the Af melodic minor scale over G creates G7( f9, s9, s11, f13) aka G7alt. A f melodic minor has the same notes as the G altered Scale. 3) In measures three and four, use a Cmaj7 arpeggio, the C lydian scale, the C ionian scale, or the C bebop scale. Af-(maj7)/G = G7(f9, f13) Af melodic minor/G = G7(f9, s9, s11, f13) = G7alt. | D-7 | G7 | Cmaj7 | Cmaj7 || | D-7 or D dorian | Af-(maj7) or Af melo melodi dicc mino minorr | Cmaj Cmaj7, 7, C ion ion., ., C lyd lyd., ., or C bebo bebop p || Beginning in this chapter, the chord voicings, though constructed using substitutions over bass notes, will be named from the bass note as the root. It is up to you to record a bass line that contains those roots and to understand the chords from both perspectives.
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D-7 D- 7 21314
G7(
3fr.
6fr.
D-7(11) 2413
7fr.
5fr.
11
3334
2143
2314
2413
6fr.
5fr.
Cmaj7 2314
9fr.
9fr.
Cmaj7( 11) 11) 2413
4fr.
11 G7 ( 9 ) 9
10fr.
2fr.
Cmaj7
9 ) 9
31411
2143
1fr.
G 7( 13 ) 9
D-7(9) 2
4
4231
G7(
D-7(11) 1314
12
Cmaj7(9)
13 G7 ( 9 ) 9
D-7 D- 7 2314
3
13 ) 9
5fr.
11 Cmaj7( 9 )
9fr.
1
2344
8fr.
D-7
G7
5 7 8
5 7
5
6
6
8 7 5
D-7
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7
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12 14
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8 7 6 5
7 5
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15 13
12 16
13 12 13 15
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G7
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15 13 12 15 13
12 10 8
10 9
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4 7 6 4 5
5
Cmaj7
3 4
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Cmaj7
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D-7
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Cmaj7
G7
D-7
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Cmaj7
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13
7
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G7
12 11 12 14 15
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G7
D- 7
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Cmaj7
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12
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Cmaj7
G7
D-7
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D-7
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G7
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5 8
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7 10 10 9
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Cmaj7 3
5 6 5 4 3
5 4 2
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D-7
12 11 11
9 10 10
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12 10
15 12
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13 12 10
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12 15
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3
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4 5
3
5 4
10
9 12 9 10
9 12
12 11 11 10 9
Cmaj7
11 12 12
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11
12 11 11
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8 10 12 12
10 8
12 10 10 9
8
Cmaj7
G7
12
5
2
3
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Cmaj7
G7
D-7
14
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G7
D-7
10 12 13
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G7
D-7
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12 13 15
12 15 12
15
D-7
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Cmaj7
14 12 11
13 12 10
13 9
G7
10 8
8
10
12 10
D-7
9
3
5
6 5
7 5
8
6
11
9 11
10
9
8 11
4
6
4
3 4
6
5
10 13
12
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4
6
3
5
6
3
10 9
14 11
6
4
13
12 14
12
5
6
3
5
15
15 12
13
G7
D-7
9
10
7
10
9
7
8
3
5 3
5 4
5
Cmaj7
11 12
7
7
G7
10 14 12 10
12 11
Cmaj7
3
D- 7
9 12
Cmaj7
G7
5 4
6
12 11 10 12
10 8 7
12 10
12
14 11
12
Cmaj7
5
2
3
4
4
14
4
6
7
6 3
4 5
7 5 3
7
3
5
4
3
G7
D-7
7
8
7
11 10
7 10
8
9
D-7
10
9
10
9
8
8
9 11
12
9
9
12 11
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8
11 12 14 13 15
14
11
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D-7
10
9
12
12
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14 10
11
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8
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G7
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4
6
5
6
7
3
G7
6
5
4
8
7
6
5
10 8
10 8
10
12 10 10 9
6
10
7 10
9
Cmaj7
6
D-7
11
8 10 12 12
8
Cmaj7
G7
12
8 10
Cmaj7
11
12 10
D- 7
7
8
11
11
G7
12 11 10
6
Cmaj7
4
5
3
2
5
2
Cmaj7
4
3
6
6
15
4
3
6
7
5
4
5
5
7
10
10
7
Chapter 3: The Combined Effort In this chapter I will expand on all the previous concepts by combining them and adding a new substitution for I, creating fluid motion up in minor-thirds. 1) In measure one, use a D-7 arpeggio or the D dorian scale. 2) In measure two, move up a minor-third to F-7 or F dorian over a G bass note and then up another minor-third to an Af-(maj7) or Af melodic minor over a G bass note. Using these substitutions one after the other creates G7(sus4, s9, s13) moving to G7(f9, s9, s11, f13). 3) In measures three and four, move up another minor-third to B-7 over a C bass note. B-7 over C creates Cmaj7(9, s11). The related chord scale is B phrygian, which adds the additional color of 6 onto Cmaj7. B phrygian contains the same notes as C lydian. F-7/G or F dorian/G = G7(sus4, f9, f13) Af-(maj7)/G or Af melodic minor/G = G7(f9, s9, s11, s13) aka G7alt. B-7/C or B phrygian/C = Cmaj7(6, 9, s11) | D-7 | G7 | D-7, D do doria rian | F-7, F doria rian an and Af-(maj7), Af melodic minor
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| Cmaj7 | Cmaj7 || | B-7, B phrygian ||
D-7(9) 2413
G7 (
10fr.
D-7(9) 2
3334
D-7(11) 2413
7fr.
13 ) 9
6fr.
13 ) 9
2134
7fr.
6fr.
1234
6fr.
13 G7 ( 9 ) sus4
2314
2314
17
9fr.
2114
1fr.
2413
G 7 ( 13 9) 4231
G7(
13 ) 9
2413
23114
Cmaj7(
4fr.
G7 ( 13 ) 9
D-7(9)
2fr.
4131
G 7 ( 13 ) 9
9 ) G 7 ( sus4
D -7 2314
10fr.
1314
G7 (
C6 11) 9 ( 11)
G 7 ( 13 ) 9
2413
G7(
10fr.
13 ) 9
11 ) 9
21431
Cmaj7(
4fr.
7fr.
2fr.
11 ) 9
2314
4fr.
11 Cmaj7( 9 ) 6 4231
6fr.
Cmaj7(
1fr.
3
1
5fr.
11 ) 9 2
1fr.
D- 7
5 7 8
5 6
7
7
5 8
D-7
10
5
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5
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9
12
9 10 12 12
D-7
9
12
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G7
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7 10
7
10 9 10 12 12
8 12 10 10
D-7
9 10 7
9
11 10
7
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7
9
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9 10 6 10 9 10
8
10
8
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9
12 13 15
15 14
7
10
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15
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Cmaj7
10
8
9
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G7
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G7
10
7
Cmaj7
9
D-7
10 7
Cmaj7
10
8
7 10
7
G7
12 10 10 9
10 8
Cmaj7
G7
10
7
7
7 10
10
9
Cmaj7
7 8
8
7 9
18
6
7
10
10
7
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10 12
7
8 10
7 9
D-7
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D- 7
10 9
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7 10 8
10
D-7
6
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7 10 9
10
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7 9
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Cmaj7
11
8
10 8
9 11 8
7
9
9
7
11
G7
8
5
Cmaj7
G7
7
4
8
G7
5
7
Cmaj7
8
D-7
7
6
G7
6
7
5
8
5
D-7
7
Cmaj7
G7
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7
7 10
10
Cmaj7
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11 11
9
7
11
19
9
7
10
8
12 10 10
7
7
10 8
9
7
G7
D-7
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7
11 10 9
8
7
D-7
7
10
9
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7
7
10 8
7
9
10
7
9
10 11 11
11
8
9
9
9
8
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10
10
9
D- 7
11 10 10
8
9
8
11 10
9
8
5
5 8
7
9
9
7
9
7
7
8
8
7
8
8
8
7
7
10 7
10
10
10
9 10
Cmaj7
10 10
7
8
11
8
9
11
G7
7
7
9
7
9
Cmaj7
G7
7
10 7
7
10
11
G7
9 10
5
9
8
Cmaj7
8
D-7
5
6
8
8
D-7
6
10 8
11 9
G7
6
7
Cmaj7
7
9
7
9
7
9
10
Cmaj7
6 8
6
9
6
20
8
9
7
7 9
7
10
10
7
9
7
10
6
7
8
4
7
6
5
8
8
D-7
9
12 10 10
10
10 9
D-7
8
8
6
8
9
9 10 10
12 10
10
11
8
10 11 11
10 9 7
7
9
11 10 10
10
D-7
11
7
8
9
8
9
12
8
10
10 9
12 11
7
7
7
8
7 7
7 9
7
8
10 8
7
10 8
9
7
Cmaj7
8
7
8
11
9
11
11
9
G7
11 12 10 12
9
7
Cmaj7
G7
9 10 10
11 9 10
10
7
Cmaj7
8
12 10
7
5
G7
D-7
9
7
8
G7
10 12 12
10
Cmaj7
G7
D-7
8
9
7
7
7
9
7
9
Cmaj7
11 8 10
9 12 8
21
8 10
11
10
10 14 12
15 12
8
9
7
8
Chapter 4: A Major Discovery This time around let’s use maj7 chord structures and their related scales, as the basis for our substitutions. 1) In measure one, use Fmaj7 or F lydian over a D bass note. Both substitutions create D-7(9). The corresponding chord scale is F lydian. F lydian contains the same notes as D dorian. 2) In measure two, move up a minor-third to A fmaj7 over a G bass note. This creates G7 (sus4, f9, f13). The related chord scale is Af lydian. This scale over a G bass creates G7 (sus4, f9, s9, f13). 3) In measure three and four, move down a minor-second and play Gmaj7 over a C bass note. This creates Cmaj7(9, s11). The chord scale is G ionian. G ionian contains the same notes as C lydian. Fmaj7/D or F lydian/D = D-7(9) Abmaj7/G or Af lydian/G = G7(sus4, f9, s9, f13) Gmaj7/C or G ionian/C = Cmaj7(9, s11) | D-7 | G7 | Cmaj7 | Cmaj7 | Fmaj7 or F lydian | Afmaj7 or Af lydian | Gmaj7 or G ionian
22
|| ||
13 G7 ( 9 ) sus4
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12 11 10
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D-7
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14 10 12
10 9 12
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8 11 11 9
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G7
12 10 10 8
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12 11 10
7
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7 10 9
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G7
12 9 10
9 10
Cmaj7
14 17 15
17 15
17 16 14
17
Cmaj7
11 8
8
10
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26
10
12 9 10
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D-7
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6
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D- 7
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7
Cmaj7
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9
8
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27
11
10
10 8
9
7
7 10 8
7
10 7
4
Chapter 5: From Major to Minor This chapter merges ideas from the previous chapters with a new substitution for I. I like this particular combination because it lends itself to flowing lines. By following the natural logic of ideas that move from major to minor you develop smooth transitions and continuous motion. 1) In measure one, use Fmaj7 or F lydian over a D bass note. 2) In measure two, use F-7 or F dorian over a G bass note. 3) In measures three and four, move the F-7 arpeggio down a half-step to E-7 over a C bass note. This creates a Cmaj7(9) sound. The chord scale can be E aeolian or E phrygian depending on what colors use want. These are the same chord scales as C lydian and C ionian. Fmaj7/D or F lydian/D = D-7(9) F-7/G or F dorian/G = G7(sus4, f9, s9,s13) E-7/C = Cmaj7(9) | D-7 | G7 | Cmaj7 | Cmaj7 || | Fmaj7 or F lydian | F-7 or F dorian | E-7, E aeolian, or E phrygian ||
28
D-7(9)
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13 G7 ( 9 ) sus4
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8fr.
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D-7
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D-7
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G7
11 12
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13
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15
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7
8
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8 10 9
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8
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G7
12 10 10 8 9 10
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10
8 12 10 10
11
12
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15
12 14
11
10
9
7
8
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7
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10 9 12 10 10
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2
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14
15 12 14
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6
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3
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6
5
5 5
8
7
G7
8
14
7
7
5
7
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6
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12
Cmaj7
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8
9
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3 7
10
10 8
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8
13 15 11
D-7
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8
G7
14 13 14 15
6
9
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9
8
7
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8
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8
11 10 10
9 11
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8
10
9
8 12
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10 9
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8
8
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13 14
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12
D-7
4
13
13
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14
G7
5
3
2
6
5
3
D-7
5 3
5
6 5 3
5 4 2
3
10 12 10
13 12
5
3
2
5
3
6
2 5
5
5
3
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6
3
3
4
5
3
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10 12
11 9
10
14 12
12
14 12
15 10
4 2
5 2
3
3
2
5
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3
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2
4
2
3
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12 10 10 8
11 10
11
8
10
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9
15 12
Cmaj7
6
D-7
10
6
G7
13 12 13
12
14 12
12
Cmaj7
G7
D-7
12
Cmaj7
G7
9
7 9
10 7 8 10 10 7
8 10
Cmaj7
11
7
10
10
10
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8
7 11
10
9
10 7
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10
8
7
7
8 3
Chapter 6: Tune In The final chapter is an etude using all the substitutions. The first five choruses use the substitutions in the order listed below. The sixth and final chorus combines the substitutions. | DD-7 becomes: | DD -7 | DD-7 | D-7 | Fmaj7 | Fmaj7
| G7 G7
| Cm Cmaj7
| Cm Cmaj7 ||| |
| | | | |
| | | | |
| | | | |
FF -7 Af-(maj7) F-7 & Af-(maj7) Afmaj7 F-7
Cm Cmaj7 Cmaj7 B- 7 Gmaj7 E-7
Cm C maj7 Cmaj7 B-7 Gmaj7 E-7
|| || || || ||
The etude is based on a well-known jazz tune that works its way through three different keys: D, C, and Bf. To fit with the keys in the tune, the substitutions are transposed.
34
A7
E-7
7
6
7 10
9
7
8
9
Dmaj7
10 8
7 7
9
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G7
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12 1 1 10 10
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10 10
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13
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F7
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E-7
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10 11 10
15 12
Dmaj7
7
G7
9
10
8
10
10
13 12
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10
10
13
Bfmaj7
F7
14
10
G-7
7
12
12
10
8 12
E-7
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A7
9
E-7
A7
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9
10
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8
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9
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8
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10 10
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G7
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12 10 10 9
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Dmaj7
8
10
10
10 9
8
7
11
11
10
9
8
8
11
8
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7
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11
8
7
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7
8
5
7
9
10
8
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8
9
6
5
8
7
10
8
9
8
6
6
5
8
12 1 2 10
5
7
9
7
10
9
9
9
7
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12 9 10
10
8
A7
E-7
7
5
5
8
6
7
8 10 10
7
10 10
9
8
7
8
8
Dmaj7
7
8
5
7
6
5
9
9
G7
D-7
10
Bfmaj7
8 10
6
7
8
A7
7
10
Bfmaj7
F7
9 10 9
11
7
10
F7
10
9
9
Cmaj7
C-7
11
9
8
7
6
7
5
7
6
7
Cmaj7
9
6
8
9
6
5
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5
8
7
5
8
5
C-7
Bfmaj7
F7
10
11
10
9
12
8
7
10
9
E-7
7
7
9
7
6
9
9
11
7
10 10
10 10
9
D-7
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10 10
5
5
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9
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8 10
7
10 8
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4
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2
9
8
7
7
9
8
7
6
10
5
7
7
11
9
8
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11
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10 14 1 2
A7
E-7
9
9
10
7
9
8
7
12
9
7
5
8
9
8
6
7
10 6
8
5
8
7
6
7
6
8
Bfmaj7
8
9
8
38
10
6
8
10 11
9
8
8
7 10 10 8
9
G-7
F-7
10 10
5
1
Bfmaj7
E-7
9
7
Cmaj7
7 10 9
10 8
8
Dmaj7
F7
7
5
Bfmaj7
10
7
9
C-7
9
6
G7
10 9
8
7
A7
E-7
8
8
7
7
F7
6
9
10
G-7
10
7
10 6
7
(E-7 A7)
8
About the Author Guitarist Sheryl Bailey is rated among the foremost bopbased guitarists to have emerged in the 1990’s. Her attack can be direct and hard swinging, but she also exudes subtlety, elegance of phrase and a pure, warm, liquid sound. Bill Milkowski has written about her: “a modernist burner with an abundance of Pat Martino-style chops, Bailey prefers angular lines, odd harmonies and the occasional touch of dissonance as she sails up and down the fretboard with fluid abandon.”—JazzTimes Magazine, Februrary 2005 Her musical activities aren’t confined to groups working strictly in the orthodox, bop based jazz tradition, as she has toured and recorded with bassist, Richard Bona and is a member of David Krakauer’s Klezmer Madness. Other artists are tenor saxophonist, Gary Thomas, Urban Folk and Jazz artist, KJ Denhert, and pop diva, Irene Cara. While her mid 1990’s CD Little Misunderstood sees her playing with total familiarity and command of the fusion idiom, her latest releases, Reunion of Souls, The Power of Three, and Bull’s Eye represent her love of contemporary straightahead jazz. In 1995 Sheryl was awarded third place in the Thelonious Monk International Jazz Guitar Competition, and has toured South America on behalf of the US State Department as a Jazz Ambassador, honoring the music of Duke Ellington. She currently leads her own trio, The Sheryl Bailey Three (Gary Versace on Hammond B3 and Ian Froman on drums). Her 2002 release, The Power of Three was critically acclaimed and charted in the top 20 of the Jazz Week radio charts. The trio conjures the essence of the Grant Green / Larry Young / Elvin Jones band of the late 60’s. She is also in demand as an educator. Sheryl has been an Assistant Professor of Guitar at the esteemed Berklee College of Music since 2000, and has been a popular clinician at the National Guitar Summer workshop, The T he Stanford Jazz Workshop, Workshop, The Duquesne Jazz Guitar G uitar Seminar, Uarts in Philadelphia, and at Southern Cross University in Lismore, Australia. Sheryl’s latest release is titled, Bull’s Bull’s Eye. The CD features nine new compositions and tightly woven improvisations from the trio. A track from the disc, “Old and Young Young Blues” was featured in the Master Anthology Anthology of Jazz Jazz Solos, vol. IV IV (20387BCD) by Mel Bay Publications Inc. She keeps a hectic itinerary touring, teaching, and recording. 39
