Hu,r^i
1""Jq P;r"r*
80 Gomposi$ons
bU
flrrangeil lor Piano
L';v'-^a; *1'--;v
llEllllllU D0Rllilil
Dg
W[tfEn DIUIS lr.
KENNY DORHAM by Michael Cuscuna 3 WALTER DAVIS /r. 4 ABOUT THE MUSIC 5
Back Road a Blue lnterlude ss Blue Spring zr Brown's Town r z Buffalo s+ Butch's Blues +r Dorham's Epltaph zs Escapade z The Fox
ro
High Seas
-ao.
Jdzz-Classfc
-:.e
K.D.'g Gab Ride +o Rarioka
+z
La Mesha a Newport News r + Night Watch t s An Oscar For Osear +s Passr'on Spring r g Pedro's Time r o 'Philly'Twist z+ Poetic Spring zo
<+
Spring Cannon zz Stage West Sunrrlse ln Mexieo 2s Sunset zg
Speculate
Trompeta Toccata
r
se
s
Una Mas r r Whistle Stop -ro Windmill
zo
l,'.'-*"L'J*:ft $',*01"1 SEGOI|D FLOOR ilUSIG
3
,orninFairfield,Texas,onAugusttotheseT."n.intechnique,.but.hew1
tramieda|*.|certainlvtheirpeer',,',:]*|]lYli1iil:
surprising normal and ra
-_-,.-_.,iciallyintegratedlI|Histechnioue.wasnotcomparabletothe cniiahoo-a,balancingtheelementsir||academicor.thevirtuos.o.Hiswas.a academia,theWildfrestandthenaggingl|Rersonal.swlewith,facility:Pu+..
musethaidevelopedinhisbrain.T[;-l|executehismusical.imagination.The muSewon.Dorham,attheageof21,l|virtuos.iwhoprecededandfollowedhim wasinthefirstDizzyGillespTeorchestra|.|i1ttr.ejazz.lineage,universallypraisehis *.;. on 52nd Street in New York in theheat L1" 1 RlaVinS, his thought
pro.cesses and his
ofthebeboprevolution.Hewas2000l|writtenmusic.,Hewas,|"l|i'"1]i-': milesfromhisbirthplaceandchildhood|ry;xffilYhothoroughlyintegratedthegutand
environmentand4million"lightyearsll*.'"i;l,::lL.,,it.,tonesaremany.He away from its consciousness'
Dorhamwasnot";1ffifi:i,*,*
I
I il::ffi;i'111i$'fri!i"l;"ffi, theGillespieband;heuriJii*,.atr.,.l$re,l.T:'::.Si]Yl3"'k{ootev,1!|o-t1s pivotal position as a trul
roleofghostwriterfortheoverwort"dlwilffiW,ffi{f|Watkins.ln1,956,neior,1.e|1!;']a3
u',,ung"71"o-poserGilFuller,whowasl||ro?he1l:9:ili::,yl.lrd:::|.:?:}. translatingthelanguageorimuttg'oupl|11euinag':k".,Y,-Y!:ll.^i:1Y:'*
bebopintobelievableuigu"^Jp'"p"i.lxiY..lWlI."ll:rl"'^:ll]T:::i"^:Ti:jlgT and sixties he led variety of short-lircd a
tions.
lnthenextcoupleofyears,K.D.,slF.iW|31se.mblesii91:::i1:9j::l.Yl":::' presenceontrumpety1;{;;?ri,^dll,lB'x1'il}::.'["'xTiljy.ffi::1""ill,' or Billv t'1'^':Y,t'-'#' in the bands
I i,li[ i)".'o];'*"'L."""""0 rater Joe
Hampton'Mercer'"''ti*:r!'ij*"" I ^a'-
ffii*:'"^ffi:#Ifo*,xj;:!"'* f' earlybebopsessionsr'auvs"""isiiit,5.?:.I1l:T:"19!:1Ll':r":T^:
first incarnation of Art
I
Messengers. He quickly found a spot on
kennyctaire,MaxRoa#,Mitt,;u"t.'onI.lre"s1ur1jul::i?::::i1'}:"y:::::: andoihers.Andf,o,,,J:,::**m;'::m1:ffiIi:?:iH'#ff}!i.l.'" stood beside one of the
andspontaneo,,"n.,gy.,ou,".iintt,,.R..||Effi.standardj",:.:',",i.f'"i":]i,.l:.II'*
histoiyofjazz,Charliei,arker.-..andsixties,ajazz,date,wouldusually (.,.,nyDorhamwasalsoexercisingconsistofacoupleofheadtunesand K.D. in 1967 (photo: RaYmond Ross) anddevelopinghisalreadyconsiderable@kaymondRoss)bluesbytheleader,perhapsatuneor two from the sidemen and a standard abilities. arranging anJ composing Artho ugh ih e tidar wive-or betor simple lines grafted on t
made,
of standards or riff tune
fi E lll IUU D 0 n I
changes perfectly acceptab[evehicles, From the 1954 ,i Dorham was one of the earty
moderns
photo
session
mil
for Kenny's first
i t"iirr-\ioii oti i bn"r.
olbum
]," hY..itrl.J#UgU"ffi to Dorham that his corn. is a testament
positions
Y"I:
f,ttqY..,ntly. used on record
totruIytacklethecnattengeottoLttydatesonw.tri1n|e.a]aT'-1qli'.
originalcomposition.Sinc"eajazzsoloistE.Examplesi,:l,9:'?ill,yR-ollins,Art isorshouldbeaspontanJo*,.o,po'.'TaylorandFreddieHuuu1j'
itisnosurprisethatthe;;;'i;";;,yo1tau11n:i:Y:l,*".':-l*"| ,?:', rors such as Parker, such as Blakey, Roach a
9l:Tfr."
[:?:l.TiiX]ftpF[!:i,,![l?* themajorcomposerS',.iiuiHo'"'.u,o."']1-1:o,?y",1i:.I,:l1iY:-,I:T:-u* Silver,Theloniou,vron[,'a.nnycotson-manyfans.tt,nisJu|t'rr:,!1:"j andRandyWeston*o,iauitu.a'u*nFa.been'compteh.l9,:!,"il,,i'.9^"::.1'"^l: 'r.
tohishighlyindividualizeJ'tvr."rLL.o1e]ras,''"'p-:9.,1.^I:llfi1:l':T'.: playing.-He.wasapianisiorsorts(ptay.mjndand9utpll.1.tl",?l,.b^t|1]l]: ingitoccasionally,even"ni.'.ijiiigi,.dlimpressive.P::'Py^1"^".::::fi1:.i*
an"dusingitforaiianginginacompolsing)amanwhosecreativetalentsspanbig harmony the very origins of bebop, the founding of funk and hard p"rt+ire singel H"e had theiefore a thorough sense of ""J ina "iti possibilitieiand an unsnakable sense of lyricism. His solos .
bands,
and participation in.the experimentation of Cecil Taylor, John ?op not did he ln fact, and Andrew Hill? coltrane digestible' and completely weie at'once abstract The quickest route to Kenny Dorham and the mostpersonally play the trumpet per se: he played musii. lt just happened to come gratifying is an intimate knowledge of his compositions, followed through the trumpet. quickiy by the warm, individual sound of his spontaneous inventions by previously occupied in the forties, he had sat in chairs Roach the trumpet. Max through he 1956, ln Fats Navarro. ioined Dizzy Gillespieand equal was not he three cases In all death. Brown's -MICHAEL CUSCUNA Cfifoia ,pon
Kenny Dorhom died on December 5, 1972
alter Davis
Jr.
isa highly respected
labels, Blue Note and New Jazz. His initial association with Blue Note, recording as a sideman, led to his first date as a leader on August 2,1959DAVIS CUP (Blue Note BLP4018). As one of Blue Note's staff recordingartists, Walter appeared on records with Lee Morgan, Donald Byrd, Wayne Shorter, .f ackie McLean, Charlie Rouse, Sam Jones, Paul Chambers, Art Blakey, Art Taylor and others. ln May of 1960 Walter began a recording association with Philly .f oe
jazz pianist, composer and atranger. He was born in Richmond, Virginia, on September 2, 1932, but was raised in East Orange, New Jersey. He received considerably more than a traditional high school education there. Besides working with Babs Gonzales'
'Three Bips and a Bop,"
he was
befriend-
ed by major jazztalents Bud Powell, Charlie Parker, Max Roach, Thelonious Monk, Art Blakey, Walter Bishop J r.
and Sonny Rollins. Without insistence
from these artists that he finish his
ILLY JOE'S BEAT/Atlantic RLP 340) that has continued to the present (DAMERONTA-To Tadd Wth Love/Uptown UP27.11 and LOOK, STOP AND LISTEN/Uptown UP27.1$. Walter continued playing, recordirg and arranging in the sixties, working in the jazz field with occasional excursions into other musical areas (recording with Dr. John and The Rolling Stones, for example). He traveled to India in the late sixties where he sought and found spiritual renewal. .lones (PH
sdrooling, Walter is sure he would have succumbed to the ever-present temptation to drop out of school and .join tteiazz world full time. He did take several temporary absences, like the time he played with Charlie Parker and Max Roach at the Apollo Bar on l25th Street in New York City. That vas Walter's first NYC gig, at the end of 1 949. Walter continued working with
hrker, Roach, Miles Davis, Hank lVlobley ard Charles Mingus. Then he joined
ln the seventies Walter toured and Dizzy Gillespie, playing with the quintet recorded with Sonny Rollins, then reand traveling through the Middle East, joined Art Blakey and the Jazz MessenWalter ot the piano, 1983 (photo: Scott Sternboch) South America and Europe in 1956 gers, adding seven original compositions rit} Dizzy's big band. ln 1958,Walter recorded with this band to his list of resided in Paris for ayear, bringing recorded compositions. Walter also 'hard bop" to the European continent recorded several albums for foreign vith Donald Byrd, Bobby )aspar, Arthur Taylor and Doug Watkins, record companies as a leader, including three for Nippon Columbia and, late in 1959, with Art Blakey and the Jazz Messengers (this (Japan) and solo piano albums for Owl (France) and Red (ltaly). group included Lee Morgan, Wayne Shorter and Jymie Merritt). Along with Iectures, workshops and private teaching, Walter continues Earlier in 1959 Walter was in the New York area recordingfor two to spread the message ofjazzthrough performancesand recordings. _DON SICKLER
W[LfEn DIUIS lr.
5
tr" art form of jazz has produced ! a number of important composers: Kenny Dorham is certainly one of them. Ffis compositions have always been highly regarded by his peers and are valuable additions to the repertory of 'lzz-This book contains thirty of his ompositions presented f or jazz piano ttrough the eyes and ears of fellow artist and friend Walter Davis J r. Walter takes great pride in his own irwolvement in this publication. He knew Kenny on both personal and pro-
The tempo indications shown on
I
each arrangement are taken from the record i ngs.
il{sw s 'lfl.-/.+"+
.r-1
Even eighth-note notation adopted for reading ease. The eighth notes are to be -, ) )= ) .h
(:{
"#d*n
tffi
played with a triplet feeling, except in Latin compositions or sections or unless otherwise indisated. @ indicates the first complete measure of the melody. Tenths and other stretches have
fessional levels, and he remembers Kenny playing many of his compositions fq him at the piano. Before creating tfrese piano arrangements, Walter reviewed the original recordings of the cornpositions, in most cases listening to Kenny playing his own tunes, so he sould not miss any of the subtleties in Kenny's music. These compositions have all been recorded by major jazz arlists; the original recording credits appear above each arrangement. The compositions are grouped in approximate reverse dronological order, the first composition, La Mesha, having been recorded in 1963, while An O*or For Oscor was on Kenny's first album as a leader, recorded in 1953. Most of the original :lbums are no longer available, but new recordings by other artists and reissues keep Kenny's nnrsic alive. A partial listing including more current recordings of some of the compositions in this book is shown below.
ilbour rhc llllusie
Bbe Spring
Buffalo
$ageWest llc*port News AnOscar For Oscar
BUT BEAUTIFULIKenny Dorhom (Milestone M-47036) 1 9 59 I Kenny Dorham (Prest ige P-7754) KENNY DORHAM &. FRlENDlKenny Dorham (Jozzlond QUIET KENNYlKenny Dorhom (New Jazz NJ LP 8225)
J
LP 82)
The Kenny Dorhom Memorial Albumf Kenny Dorham (Xonadu 125)
THAT'S JAZZlChico Hqmilton (Worner Bros. 56-239)
BUT BEA lJTl FULlKenny Dorhom (Milestone M47036)
Passbn Spring Sfiq Cannon
KENNY DORHAM A. FRlENDlKenny Dorhom (Jazzlond JLP 82)
fidmill
P E RC U SS I O
N
D t SC U SS I O N I A
rr
B I ok
ey-M o x Roo ch (Ch
THE PENTAGONICedoT Walton (lnner City lC 6009)
Ihi*le
TWO
Stop
ess 2 A C M I
STARTING TlMElClifford Jordon (Jozzlond J LP 52)
Srrise ln Mexico lh ilas
AT THE TOPIFrank
been avoided wherever possible. When
they were unavoidable, we usually provided alternate notes. Chord symbols are provided. Occasionally enharmonic equivalents are used for reading ease. All of these arrangements can be played as individual piano pieces (as written) usingthe fine ending, or they can be opened up for improvised choruses. Please read the footnotes on the music itself for instructions on how to adapt the arrangements for solo choruses. lf there are no instructions on the music and if a separate ending leading to solo choruses is not indicated, to add solo choruses you should disregard any ending fermatas and solo on the chord progression of the composition. After your last solo chorus, repeat the melody once or twice as indicated, then take the fine ending, this time observing the fermatas. A discography of Kenny Dorham is available: The Kenny Dorhom Discogrophy by Bo Raftegard, Penningvagen 5, 5-653 46 Karlstad, Sweden. We hope you enjoy these jazz piano arrangements and this opportunity to study the compositions of a truly gifted jazz composer.
DAVE BAILEY (Jazzline 33-01) TOMMY FLANAGAN (Onyx 206)
Pessbn Spring Foetic Spring Sfirp Cannon
Spctrjate
has been
Wess-Johnny Coles (Uptown UP27.14)
405 )
This composition wos first recorded on PAGE ONElJoe Henderson (Blue Note BST 84140)
La Mesha )
=
KENNY DORHAT
ro.56 Ballad
obmT(rsl
Cbmajg
cb z(ret
[rztrsl]
"r(i3)
Vq'
1l sbmzbs
pbotbgl
nro(bij)
abg
ATbs
46 71bot
rll Gbgsus
Fm11
Dbm11
rll P48-SF-6
Gbzsus(bs) cbztbsl
rO rX5ge)
F9
ar
Ebm11
rs(fj)
c*a:o(l)
cbrs(toir)
l,-
copyright@1963, 1983 SECOND FLOOR MUSIC lnternotional Copyright Secured Mode in U,S,A. All Rights Reserved
-e \:/
This composition wos first recorded on orJR THtNGfJoe Henderson (Blue
Escapade Swins
)
=
"*lZA
Cm6
Note
BST A4152)
KENNY DORHA,W
erz(il)
GbmajZtilnl
"'(13)
Lr
3
l--'l
l-l
Abmajgta)
Dbgtgrrr
Gbmaj7
.I
F7
-3--
trt cl,maizbsl-;----r Bbm7 ffiJT."r I ln1
lz
,ffi 'fr'r-
)
e
A.bgtrrl
r*3---1 EbmT a1 -J--1
l'rlJ} -t
)
e
>
.t
I
Dbmajg
r
1-
gcoaa
T:$l
fr^l r-s-
r-l
$
**bst tii.
-LJUI
t
F7#absr
Gbmai?
Tl'7
rll nbz|"st\st
Db z(ile)
:horuses, rut
** To lo end thls this arrangement, take the
rttt,rtlf rnJf
tt
t
oE-*IrI
Coda the 2nd time through throush the melody. melodv. To adrt imnrnvice.l (^r^ add improvised sllo ^h^r,,.-" ch_oruses, play -r^,, +L^ the *^r^r_, melody twice (do not jump to the Coda), then solo on the chord progression of the compositi6n. After youlsoio .torur"r, ptay the melody twice, taking the Coda the 2nd time.
P48-SF-5
copyright@1983 SECOND FLOoR MUSTC tnternationol Copyright Secured Made in LJ.S.A.
8 This composition wqs first recorded on OUR THlNGlJoe Henderson (Blue Note BST 54152)
Back Road KENNY DORHAI'
)
= ,o.130 Swing
Dmzbs ob ztilul
f-a
Dmzbs
obzrilrrl
z(18)
rb zrrsl
_5T
-l
P48-SF-6
r-J-r
T-J-r
Ir.
Db
Dz(13)
7-- 3----1
Eb
z(18)
oz(ilsl
ET(1s)
Fz(18)
F7(i3)
*
r copyrisht @ 1983 SECOND FLOOR MUSTC Secured Mode in U.S.A. Att Rights Reserved
lnternotionol Copyright
r--J
nb zrret
Ebm6
Ebm11
AbT(1s)
c 11(te)
Dmrbs
DZbstisr Dbmajg
q(#)
Bb grrsr
DbmT
DmZb
last time*
Fm(maj7)
g7($ir')
x This last time ending_ end; the arrangement. To add improvised choruses, use the ending labeled to Solos and improvis6 on the
cho^rd progression of the composition. After your solo choruses, D.C. arrd take the last time ending.
P48-SF-6
S
t0 This composition wqs first recorded on OUR THlNGlJoe Henderson (Blue Note BST g4l S2)
Pedro's Time
=
ca.
KENNY DORHAM
138 Latin
ab z(rsl
G7
F7
cm6(e) DmTbu cz(i3
cb
ob grrsl
ztr:i
Fz
Ab ztrel
2. last time* |
w
Cm6
Azbs(fie) Abmajg
* This 2nd ending last time
ends the arrangement. To add improvised choruses, use the 2nd ending labeled to Solos and
improvise on the chord progression of the composition. After your solo choruses,
D.C. and take the 1st ending and the 2nd last time ending.
P48-SF-6
Copyrisht@1983 SECOND FLOOR MusIc lnternotion0l Copyright Secured Mode in u.S.A. Ail Rights Reserved
c7#5
G7
ll This composition wos first recorded on \JNA MASIKenny Dorhom (Blue Note BST 841 27)
Una Mas KENNY DORHA,}I
a'l_ ca.160l-atin rz$sr*gt
gbgtrsl
e
b
ts r*rrl
rz# sr$sl
eb z# sr*gr
gh
g
trsl
nbrst*rrr
Ab 9(13i
Cbmal7
E91rs1
pbg
Cm7b5
ssolobreak* This 2nd ending last time ends the arrangement. To add improvised choruses, use the 2nd ending labeled to Solos and improvise on the chord progression of the composition. After your solo choruses, D.C. and take the 1st ending and the 2nd last time ending.
P48-SF-6
copyright@1 963, 1983 SECOND FLOO R MUSTC lnternotionol Copyright Secured Mode in U.S,A, All Rights Reserved
-- ---.i
t2 This composition wasfirst recorded on
lN 'N OUT|Joe Henderson (Blue Note
BST
84166)
Brown's Town KENNY DORHAM
)
=
"o.140
Swing
eb g(rel
cgt*rrl
Cbmajg
A91rs1
Abg(rsl
Gb g (rsl
Ebm6(g)
-?)
4c -l
Ebm6(s)
P48-SF-6
copyright @1983 SECOND FLOO R M USIC lnternotionol Copyright Secured Mode in U.S.A, All Rights Reserved
F9(13)
E9(13)
|
-'-
v Lr=r
c
1
------r
r6($l') 9
E6(e)
7 {frm'
7 tnwFi
r-J----rr E
tl
T-t--
Lt-l C
9 13
A9 (18
9
tq"E7 ?qfrTarT
a
t
10
T8^
I -
Cbmajo
F9(13)
t g,, Ebmo(g)
T
-;]}
P48-SF-6
?q4fr7#
E9G3)
r t4 This composition was first recorded
by THE CHICO HAMILTON QUINTET on
Worner Brothers W(S) 1344
Newport News )
= ro.160
rzrrsl
KENNY DORHAM
Swing Bbmajg
FT#b
GTlstlsl P[ 71rsr
fa\
Eb
Azt!si
gtfirrl
c7#5
eb zbstrsl
c?(13)
l.lt Cm7bS(11) F7
eb z(rst
3
1'(13)
Ah
g(rst
A?(
gb
ztrsl
FmZ
Thr' Bb
zlrrt
c11b
s
cbzbs
copyright@l983 SECOND FLOOR MUSIC P48-SF-6
AbmT
F,bmajT
lnternotionol Copyright
Secured
Mode
in U'5,A, All Rights
Reserved
@
ebma;o
ATbu
Bbgt$ur
t5
czf stlgt obztrel czo3)
c?f 5
Ah zb srrsl
Abgtrsr
or(13)
Bb 7(13)
A?(;3) ebz(rsr
This composition wos first recorded on TROMPETA TOCCATA lKenny Dorham (Blue Note BST S4l St
Trompeta Toccata
C
)
KENNY DORHAM
bmaj Z($rrl
Cbmajztflnl , . --\u
3
BbmT(13) pb
rr
._.J ,
vi
U^
\, /4,
df)
mt
n{
/lt lvol
a
pzf
sttgl :-f
6,Gbmaj
ltl
t$d'hi
a cbe bs cbrtrrrt
-\----l
Gbmaizbs C
nr
t On the original recording, P48-SF-6
tltltlrl the melody was played rubato, then it was played in meter ( in Copyright
lntern0tionol Copyright
@1 98 3
S
ECO N
Secured
$
D F LOO R
Mode
u
at ),= ca.l32).'Ihe meter continued during the solo choruses
M tJSl C
in U.S.A. All Rights
Reserved
l
16 This composition was f irst recorded
on TR)MPETA T)CCATA lKenny Dorham (Blue Note
The Fox
)
@
= ca. 288 Swing Gbmajz($11)
KENNY DORHAM
Db
Abg(rel
r'S
,=
Ab
gtrsl
lBsus
Ab
lBsus
-1
Db
lBsus
Db
Db gtrel
9 (13)
1-€> .ltrvF\
cbg#s
P48-SF-6
s4t gt )
Abgtrsl
Ab13sus
a)
BST
Copyright@l983 SECOND FLOOR MUslc . lnternotionol Copyright Secured Mode in u.S.A. Ail Rights Reserved
DbmZ
--7------
::,
#-\
t7 Ebmg
A:m9
Dm9
Gb
maj ztf rrl
Ar9(rel
Ablssus
Ab
W
Ab grrsl
lgsus
obg(rsl
-+.-
+-
'F L"E'-]-
Db
-' -+{
.=*.-->
-23-|=
G* ob gtrsl
* This last time ending ends the arrangement. To add improvised choruses, use the ending labeled to Solos and improvise on the chord progression of the composition. After your solo choruses, D.C. and take the last time ending.
tgsus
,bffi
'l------l -: ---.
Aa9(13)
finc
IB This composition was f irst recorded on TROMPETA TOCCATA lKenny Dorham (Blue Note BST S4l Sl )
Night Watch
)
= ,o.132 Swing
-rmf
KENNY DORHAM
obg(rsl oz(#s)
'fr7 Gm7 b5(
b1B)
GbmajTt*rrl Gbzt*rrt
d Bbm?
sbg
Abmajg
Gmzb5
--------'1-
Fm6
c zb stbst
Db
-..
F
r,
_
|.?,
rrrr
r rrr'
lJ'
,3,
13,a
F.
This 2nd end ing ends the a improvise on the chord pro
choruses play the melody twice (@@@), then our solo choruses,D.C. and take the 1st and 2nd endings.
P48-SF-6
SECOND FLOOR MUSIC Mode in U.S.A. All Rights Reserved
t9 This composition wos first recorded on BLUE SPRlNGlKenny Dorhom (Riverside RLp t2-297)
Passion Spring
)
KENNY DORHA,U
= *.138 Swing
@T"#T
BmZbS(11) nZ#Strsl
emrr
Bm11 E#5
Am11
D9
AmT
c7(be)
o#s
of aimz
Emzb5
ezffcrr
Dmzbs Bmzbb
ot(tB)Gz#
G7(be)
* This 2nd ending last time ends the
-9-G
arrangement. To add improvised choruses, use the 2nd ending labeled to Solos and improvise on the chord progression of the composition. After your solo choruses, D.C. and take the lst ending and the 2nd last time ending.
P48-SF-6
copyright@l959, 1983 SECOND FLOOR LtUSIC Secured Mode in U.S,A, All Rights Reserved
lnternotional Copyright
btbsr
A?#b({e)
O*trl
-l
Bmzhs E7f, 5(be)
20 This composition was first recorded on BLuE SPRlNGlKenny Dorhom (Riverside RLp l2-297)
Poetic Spring
KENryY DORHAM
Swing
)
ATsus
= ca. LZB
Dm
A7
t Lq*-l- h-
al
<)
Gm11 czfst#el
rnf
7
r'r' lr
(, Bml1
E7(be)
AmTbs
nz#srugl
FmajT
Dm
A7
.r_l
++-< P48-SF-6
r|--..|-{
tv
r
T= r) D7#s(Ie)
c*z
GTbs
Em7(11)
,
-fmaj?
obr
,7fi51bsr
F7
Bbmaj7
,rl;ffi: JIY
F,: lt'rrFi LrrJl
t
Copyright@1959, 1983 SECOND FLooR tt4ustc
lnternltionol Copyright Secured Mode in
BmTbE
tt
u.S.A. Ail Rights Reserved
7 v'*
2t I last time*
Bbl
Bbmz(rr) CTfS(lglFmajg
Am7
-6-
I
/:\
to Solos
AmTbs
This last time ending ends the
DT#s(be) Gmz(11)
Cz*srtgl
l
arrangement. To add improvised choruses, use the ending labeled to Solos and improvise
on the chord progression of the composition. After your solo choruses,D.C and take the last time ending.
This composition wos first recorded on BLUE SPRlNGlKenny Dorhom (Riverside RLP l2-297)
Blue Spring KENNY DORHA,}'
Fm7
P48-SF-6
813(fi11)Bb9($)
Bbe
c7(fle)
obgtrsl
Dbg(13)
Fml1
Fm7 F7(13)
rmo l1'
copyright@1959, 1983 SECOND FLOOR MUSTC Secured Mode in U,S,A. All Rights Reserved
lnternotion0l Copyright
Fmnl
B9b5
Gmzbs
E--_l
22 This composition wos first recorded on BLUE SPRlNGlKenny Dorhom (Riverside RLp l2-297)
Spring Gannon ) I
=
"o.232 C pedal
ntro
KENNY DORHAM
Swing
C9sus
C pedal
CTsus
4>€
U
Bbmaj?
BmTbs
r-3--
DmZ
@ c pedal
ry-
G#aimz
Copyright@l959, 1983 SECOND FLOOR MUSIC Secured Mode in lJ.S,A. All Rights Reserved .
P48-SF-6
Gm?
lnternotion0l Copyright
C pedal
G7
Gbmaj7 F
+_--'--------------- -+
'T'--,.i Abgsus
-1
1.. ebtusl Dbmajg
(G7)
"*
rT t_-s--\-:-!-
* Kenny recorded this composition as shown, without solo ** A chord made up of perfect fourths. P48-SF-6
choruses.
Copyrisht@1983 SECOND FLooR MUStc . lnternotionol Copyright Secured Mode in u.S,A. Ail Riqhts Reserved
24 This composition wos first recorded
on WHISTLE STOPlKenny Dorhom (Blue Note BST 84063)
'Philly'Twist KENNY DORHAM
)
= ro.216 Swing
eb r(rsl
Abztrsl
F
AT(13)
t,,r
ff"e-
EdimT
nbztrst
ebz(rsl F
EdimT
UV?
eb gtrsi
gb z(rsi
I'
Cm7
Cf
mZ
t*+ tE
I
c7*5
Dm7
qrE-
T tF
c#aimz
w D
cf aimz
.'(rrt
E
copyrisht@l 983 SECOND FLOOR t4USlC P48-SF-6
lnternationol Copyright
Secured
Mode
+
i.
Itr
cg7
-(qI-
in
U,S,A. All Rights
Reserved
cr z(tT)
25
t(fr1)
Gb
maj
Z
Ai
tgt!nl
Emai7lrrry _, ' GbmajTl!rr) ^.^-
llr
cbrsrilrrl
F7i
5(
last time* e)
This last time_ending ends the arrangement. To add improvised choruses, use the ending labeled to Solos and improvise on the@ section only (Blue$. After your solo choruses,D.C. takingthe lst and 2nd endings intd@and the last time ending.
Solos
Ito
Abg tr:rl
ob tgsus
Bb 7(fe)
P48-SF-6
26 This composition was first recorded on IIHISTLE STOPlKenny Dorhqm (Blue Note BST 54063)
Windmill KENNY DORHAM
) I
=
Swing
Eberilrrl
"r.264 C oedal
[-{--:
ntro
:J4'
J',+q'
f
lr
v-
'
l+D-+
tt I
3i':g
pe obg#s
Gbmaircbotrst
o,
BbmT
(13)
AbmajT
ll
a u-
obzf"s
GbmajT
B7#s
L"i, Emaj
7
GmTbs(ni
C7f 5(f e)
C
p,bz
B7
rl\r
Q
I
/ ft+t-[e'H-t-H-r-z tr
+
L
tq
E€
ub
P48-SF-6
pedal
g
tret
Copyright@l983 SECOND FLOOR MUSIC lnternotionol Copyright Secured Mode in U.S.A. All Rights Reserved
e-
27 A7
O
fP t/
--r-
^l-
@
Abmajg
Gmzb5
Db 9(1s)
rr-: ,+
7+fr
-r-
I
cpedal
cbgrrst
cb9(13)
Gm7b5
Nbmaj7
C7(be)
gtirri
pedal
A7lr.s) Db sus
5
C7(be)
Amajgl*rtl Abmajg
ab ztrsl 6[ 91rsr G7 GbrnajT
ob gt$sr
T---J-------r
L---s BbmT
GmTb
c7(bs) B9(13) EmajT(0i EblSsus F7(rst
nb
I
zf srisr
TF
r
:
C
C
[-{---:
G7(13)
L---t '
',
Dbgsus
cb z#srilgl
r
eb z#srilst
I i
* The Coda ends the arrangement. To add improvised choruses, solo on the .chord progression (same @ to ttre coda sign. Aft"er your last solo .horrr, play the *.tody f-; @ ;;Jtfu.'irr.-C"all P48-SF-6
as
"Sweet Georgia Brown',) from
28 This composition was f irst recorded
on llH ISTLE STOPlKenny Dorham (Blue Note
Sunrise ln Mexico )
= cs.lr5z Emzbs r'#mzbs Gm
lntro
Amzbs
Gm -....; Bb
4^bE C
BST 54063)
KENNY DORHA,II
nGm Bb
Ebmaj
DTsus(bs) OZtbst
l$ttt
AZbS
EbmajTl!try
Gmlaaaol
Play 4 times Play 4 times
repeat and fade
(hst time only)"
Latin
(cm)
D.C.andrepeatandfadeasindicated. Thelntrosection(withrepeats)beginsandendsthisarrangement.Playthemelody(@-8measures)twice,then To add improvised choruses, play the melody twice, solo on the melody section, repeii the melody 1Z timesj, then D.C. and rbpeat anci fade. P48-SF-6
copyright@1983 SECOND FLOOR MUSTC lnternotionol Copyright Secured Made in U.S.A. All Rights Reserved
This composition wos first recorded
29
on wHISTLE SToP/Kenny Dorham (Blue Note BST s4063)
Sunset
= ca.l48latin
KENNY DORHAM
Dmajg(f"11)
lntro J \'
/
r g
7.liY
71
---
DmajZ(f
(,'
'7--
C#m11
--+'
r{> ry:1
t-
11)
v
..-+
trt
EfiT TI
L.L > 3
7- t-
'=_rT
rLr lr _r l-r.l i
7'---'-
=.r>
i I',
linc'
-.?* To add improvised choruses, solo on the chord progression from @. P48-SF-6
ruy
the @section twice both before and after your solo choruses.
Copyright@l983 SECOND FLOOR MUSTC . lnternotionol copyright Secured Mode in u.S.A. Art Rights Reserved
30 This composition wos first recorded
on
WH
ISTLE STOPIKenny Dorhqm (Blue Note BST 84063)
Whistle Stop )
= ca.Llz
lntro, -.-
ts
lJl
'i
u'(hi',)
J
Jl
gsus
Dgsus Dbgsus Cgsus Bgsus
Swing ) = ca. 264
*Ab
'
A9(ilrrl
3r Eb
KENNY DORHAM
,, (hil)
u'(hil)
Bbgsus
E7(13)
Ab
ebz
---'Eb
C
Ab6 Eb
* The@section is "rhythm changes."
P48-SF-6
nb z(rsl
copyright@1983 SECOND FLOOR MUSIC lnternationolCopyright Secured Mode in U,S.A. All Rights Reserved
BbmT Amaj7
Bm7
BcmT
r,bz abo
BbmZ
DbT
Ddimz
Gb gtre
cz#b(be)
BbmT
eb
cb grrst
cbg ce
rtrbsl
ebg
I-
Scoaa Ebgsus Dgsus
Dbgsus Cgsus
Bgsus
Bb gsus
'The coda ends
the arrangement. To add improvised choruses, do not take the Coda: solo on ,.rhythm. chaneies,, and back to 8 measures of "rhythm." After'your rurt roro .r,6rur, pr"v irr. P48-SF-6
.rl;a, f.; @;rd tut. the coda.
(@), ttie
bridge
(@)
32
,,(hI
l3
l'rJll A.9r$rrt
Db
gsus Cgsus
Bgsus
Bb gsus
Abmajg Bbgsus
Eb(aaag)
A
This composition was first recorded on 2 HORNS-2 RHYTHMlKenny Dorham (Riverside RLP 12-255)
Jazz-GIassic KENNY DORHAM
)=ro.g6
Swing
Fm
Eb
<)
L.-J_
t4 r
Ab
I
even eighth notes throughout
P48-SF-6
Copyright@l98j SECOND FLOOR MUSTC Secured Made in U.S.A. All Rights Reserved
lnternotionol Copyright
Dbm
Ab
Amaj
P48-SF-6
7
Eb
34
This composition wos first recorded on WHISTLE STOPlKenny Dorham (Blue Note BST 54063)
Buffalo
KENNY DORHAII4
= ct172
Swing
Bb7
9r-El
rl
l-
l-
rr
This 2nd ending ends the arrangement. To add improvised choruses, first play the melody twice, taking the 1st ending both times. Then solo on the chord progression of the composition. After your soio choruses,D.C. and take the ls1 and2nd, endings.
P48-SF-6
Copyrisht@1983 SECOND FLOOR MUSIC lnternotional Copyright Secured Mode in U.S,A, All Rights Reserved
35
This composition wos first recorded on A.T.'s DELIGHTIATt Toylor (Btue Note BST 54047)
BIue lnterlude
)
KENNY DORHAM =
"o.168 n-^
Swing
Fm
C 7#
Fm rfr
Ir.
o
5t$sl
Bbm
Gmzb s
ob grrsl
D7(*s)
.t
C Ttbsl
ebztrsl obt
Fm
v1-_
Gb7
tr T
l-
D+ t)
C7
'rr
Fm9(maj7)
r.\
* This 2nd ending
Fm (maj
A
t
7) t*
tt
I
ends the arrangement. To add improvised choruses, first play the melody twice, taking the lst ending both times. Then soloonthe chord progression of the composition. After your solo clioruses,D.C. and take the lsiand 2nd endings. P48-SF-6
copyright @ tgss SEC)ND FLOOR MUSTC lnternltionol Copyright Secured Made in U.S.A. All Rights Reserved
36 This composition was first recorded on A.T.'s DE_LIGHTlArt Toylor (Btue Note BST s4047)
High Seas
)
= ,o.144 Swing
cgf
r
s
agbs
l:bg
cbgrrsl
hac:
cb g(rsl r-
Y
h
,r
l\
l
:f: E*'+-it L
I
+]
#+
t Ll-l
cb rst$rrl
nb
P48-SF-6
Z1bo1 nbmg
Copyright@1983 SECOND FLOOR MUstc lnternqtionol Copyright Secured Mode in U.S.A. All Rights Reserved
-
Cbmajl
Dbm11
Agb5
''
r
EmajT
cbz(18)
abg
csf
EmaigJ
c7#
ending.
P48-SF-6
timei
F7 Emaj7
A
rstf,ril
cbgtrgl
bbT
cbzoel
nbg(ilrrl
cb This last time ending ends the arrangement. To add improvised choruses, use the ending labeled to Solos and improvise on the chord progression of the composition. After your solo choruses,D.C. and take the last time
last
qT:
cb7(13)
5
cbz(18)
t
-
_J
\qT, brfi
5
3B This composition wqs first recorded on THE
ARRlVALlKenny Dorhqm (Joro 5007)
Stage West KENNY DORHA,II
) = ,o.300 Swing
nbz
Bb zsus
rzf
srf gl
Dm7
Fpedal
ES7
P48-SF-6
Copyright@7983 SECOND FLOOR M IJSIC lnternotionol Copyright Secured Made in U.S.A, All Rights Reserved
F7(18)
E'27
r.,4.
EdimT
Gm7(rtl
P48-SF-6
C9
Ff m7
,el
F#m7
Gm7(11)Cg
F7# stf st
GTtt ?
rbb
Gb o*i) It -
D5
Ebe
sbzfrs
Eb7
)l-
*c
cbg ebg
tremolo
>,
Bb6
Scoaa
EdimT
(e)
Gz#stugl Czfls(f,e)
Bb7(ffi)
Cm7
.
,^.
cz bb($e)Fz#srugl
cmzbs(uicz*s
GmTbs
c7(#e) F7#5
To add improvised choruses, do not D.C. Play your solo choruses next (Blues). D.C. after your last solo chorus. P48-SF-6
Bbz(13)
tremolo
4t This composition was first recorded on THE ARRIvA LlKenny Dorham (Jaro 5007)
Butch's lues KENNY DORHAM a = ca.L44 Swing
A
F7
eb
o
F7
+
Fft'9)
+
1
mf
I
t_
ozb sr*sl
'
J9 add improvised
choruses, solo on the chord progression of the composition. Play the @ section twice both before and after your solo choruses.
P48-SF-6
Copyrisht@l983 SECOND FLOOR MUSIC Secured Mode in U.S.A. All Rights Reserved
lnternational Copyright
ob zcrel
42 This composition was first recorded on GOIN' UPlFreddie Hubbord (Btue Note BST g4056)
Karioka
KENNY DORHAM
)
= I
"r.252 ntro
Swing
grg(ilril
Ebmg
Fmzhs
Dmaie(tl)
Ebm(maj?) Ebmz
Emaj9(13)
Ebmg
FmTb5
ag#s
Ebm6
Ebmg
Ebm
nma;o(t|1)
P48-SF-6
AbmT
copyrisht@1983 SECOND FLOOR MUStc lnternotion0l Copyright Secured Made in u.S.A, All Rights Reserved
Ebm(maj7)
Eb
swrng
Emaj9(ts)
ngr*rl E9(*11)
GbmajT
m9
43 Dbgsus
Db
mz1rs1
cb Ztrsl
swiry
BbmT
Ebe
Ebmg
Ebm(maj7)
DmajT(18)
Dmaie(t;1)
Ebmz
Fmzbslrrl eSzfl
rbaimz
Eb
Ebm6
m9
Emaj9(13)
Ehm(maj7)
il optional ending
Ebmlaaasl
t
lhis
!a.st
time ending ends the arrangement.
19 u.A{ improvised choruses, use thJending labeled to Solos and improvise on the chor"d progression of the composition from (A (bar 5). After your solo choruses ,D.CYand take the last time ending. Either repmt and. fode to end or repeat and Tade into the 2-bar optional
P48-SF-6
fine ending.
E laaa
s1
ll
nb*t"aa
gl
44 This composition wqs first recorded on MAXlMox Roach euintet (Argolcodet 623)
Speculate
)=cu3o0Sw mg
@
KENNY DORHArtl
ebgtul
Abmaj7 Gb7
F7
?)
-r
ebg(ter
rt
v
717,
\t
Abmajz
egbs
Lr7 r
)
ebg(rst
P48-SF-6
r-t=/
t.
nbz
Ab ma je
=T? t) tJ
Cbr
L-f
E7
1-
/-
Abmaj
Trt 9
copyright@1983 SECOND FLOOR MUSTC lnternotion0l Copyright Secured Mode in U.S,A. All Rights Reserved
hT ,V
45
P, r-E
c7(fe)
t
__a
-
''l
/
1-
4.
;
Bb9(13)
F'b7
-Bb
pedal
l-JJ--l
1
)
a
@
Bb7
Abmajz cbl
A7(13)
F71ra;
llast
Abmajg
time*
Ito sotos * This last time ending ends the arrangement. To add improvised choruses, use the ending labeled to Solos and improvise on the chord progression of
the composition. After your solo choruses , D.C. and take the last time ending. P48-SF-6
46 This composition wos first recorded on
40
YEA RS OF
J
AZZlThe Best of Blue Note, Box 2
K.D,'s Gab Ride KENNY DORHAM I
)
= co.184 Swing I
ntro
D91ts1
nzbs(re) Amajg
Dbmaig
sh zf s tbsl
ab
r#st$sl
Cmtbb
Dbmajo
BbmT
-tttr
e)
P48-SF-6
4.,
l1l l1r7
I
ir*t
copyright@l 983 SECOND FLOOR M UStc Secured Mode in U.S.A, All Rights Reserved
lnternotional Copyright
*
t
47
@Ab
m7
c?f
Dbgsuslrsy
lbg(rel
Gbmajg
F#m7
ebmzbs
Azbstrel
B91rs1
CmzbS
sb z#s0st
Fmzbs
5
B9suslrsy
DbmT* F7
a
i.
!+
r I
* The melody
Bb
EbmT
m7
b**
ry
VI
+*
Ab11
A
I
i
lry
tiru
-b
ends in the minor. However, to add improvised choruses, substitute Dbmaj7 for DbmT and disregard the fermata. Solo on the chord progression from @. After your solo choruses, return to@ and end the arrangement with the DbmT fermata-
P48-SF-6
4B This composition was first recorded
on KENNY DORHAM QUlNTETlKenny Dorham (Debut DLP 9)
An Oscar For Oscar Swing
)
KENNY DARHAM
= ca.216
Fm7trrl Bb 7
Eb!gTrrri
b-t
Cmaj9
ltbz
Fm7(11) Bb 7
P48-S F-6
Em7
Em7
Copyrisht @1 98 3 S ECO N D F LOO R lVl US I C lnternationol Copyrisht Secured Mode in U.S,A. All Rights Reserved
A7
abt
