12/4/25 – South Davis Library – Bountiful

Who are the Rhythm Red Devils? We are a community jazz band based in Davis County comprising of both seasoned musicians with over 50 years of big band performance and promising jr. high & high school students. The goal is to allow younger musicians that have a passion for music to experience playing side by side with some of the finest musicians in the community. Due to this mix of experience sometimes we experience what can only be described as a train wreck, but this is part of the learning process too.

Here are your Rhythm Red Devils​

Reeds

Doug Bailey – Alto Sax/Flute/Director
David Irvine – Alto Sax
Jon Coombs – Flute/Tenor Sax
Liv Johnson – Tenor Sax
Matthew Bailey – Baritone Sax

Trumpets

Brian Keegan
Camden Beckstrand
Jared Beckstrand
Becca “Boo” Bailey

Trombones

Aaron “Oz” Ozminski
Zach Allred
Parker Twelves
Peyton Wong
Parker Zollinger

Rhythm

Nick Moss – Piano
Craig Nybo – Bass
Rob Griffin – Guitar
Keith Moon – Drums

Vocals

Dane Anderson
Kori Robbins

Here is the playlist

1 Just A Closer Walk With Thee

  • Year: 2001
  • Arranged by: Jeff Anderson
  • Page Number: New
  • Book Number: Red Folder
  • Beats Per Minute: ♩ = 76
  • Key Signature: Bb
  • Time Signature: 4/4


  • a traditional gospel song and jazz standard that has been performed and recorded by many artists. Performed as either an instrumental or vocal, "A Closer Walk" is perhaps the most frequently played number in the hymn and dirge section of traditional New Orleans jazz funerals. The title and lyrics of the song allude to the Biblical passage from 2 Corinthians 5:7 which states, "We walk by faith, not by sight"[1] and James 4:8, "Come near to God and He will come near to you."[2]

2 The Man I Love

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Page Number: New
  • Book Number: Red Folder

3 When You Wish Upon A Star

  • Audio Example:
        NOTE: This is an example only! You CAN NOT play along with this.
  • Year: 1940
  • Written by: Leigh Harline and Ned Washington
  • Arranged by: Unknown
  • Page Number: New
  • Book Number: Red Folder
  • Beats Per Minute: ♩ = 83
  • Time Signature: 4/4


  • "When You Wish Upon a Star" is a song written by Leigh Harline and Ned Washington for the 1940 Disney animated film Pinocchio, based on the children's fairy tale novel The Adventures of Pinocchio by Italian author Carlo Collodi.[1] The original version was sung by Cliff Edwards in the character of Jiminy Cricket,[1] and is heard over the opening credits and in the final scene of the film. The recording by Cliff Edwards and Chorus was released by Victor Records as catalogue number 261546 and 26477A (in the US) and by EMI on the His Master's Voice Label as catalogue number BD 821. Edwards recorded another version in 1940 for an American Decca Records "cover version" of the score of Pinocchio, conducted by Victor Young and featuring soprano Julietta Novis and The King's Men. It was first released on a 4-record 78-RPM album set, and years later as one side of an LP, backed by selections from The Wizard of Oz. A recording with Christian Rub (with Mister Geppetto's voice), Cliff Edwards and Chorus was released by Victor Records as catalogue number 26479B (in the US) and by EMI on the His Master's Voice label as catalogue number BD 823. It won the 1940 Academy Award for Best Original Song.[1] It was also the first Disney song to win an Oscar. "When You Wish Upon a Star" is widely considered as the signature song of The Walt Disney Company and is often used as such in the production logos at the beginning of many Disney films since the 1980s.

4 Li’l Darlin’

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1958
  • Written by: Neal Hefti
  • Arranged by: Neal Hefti
  • Page Number: New
  • Book Number: Red Folder
  • Beats Per Minute: ♩ = 84


  • Li'l Darlin'" (copyrighted in 1958 as "Lil' Darlin'")[1] is a jazz standard, composed and arranged in 1957 by Neal Hefti for the Count Basie Orchestra[2] and first recorded on the 1958 album, The Atomic Mr. Basie (Roulette Records). The composition, in the words of jazz writer, Donald Clarke, is "an object lesson in how to swing at a slow tempo."[3] Gary Giddins expands on the importance of tempo in the performance of 'Lil' Darlin,' saying that "in the enduring 'Li'l Darlin', [Hefti] tested the band's temporal mastery with a slow and simple theme that dies if it isn't played at exactly the right tempo. Basie never flinched."[4] Hefti envisioned the piece to be played at a medium swing tempo, not as a ballad.[5] History The Jazz Discography (online), as of June 24, 2019, lists 324 recordings of the work. With lyrics added Around 1958, Jon Hendricks wrote and arranged lyrics to "Li'l Darlin'" and his vocal trio, Lambert, Hendricks & Ross, performed it with Basie on May 26, 1958, in a New York studio (Roulette, initially, unissued; session No. 13064). In 1963, Mel Torme sang "Li'l Darlin'" with the Basie Band on The Judy Garland Show. Ella Fitzgerald recorded "Li'l Darlin'" as "Don't Dream of Anybody But Me"" on her 1971 album, Things Ain't What They Used to Be. Vocalist Mark Murphy recorded it in 1961, as did Hendricks & Company in 1982, and vocalist Kurt Elling in 2001.[2] Big band, combos, and solosits "Li'l Darlin'" rapidly became small-group and solo instrument standard. Notable guitarists to record the piece include Joe Pass, Charlie Byrd, George Benson, Tal Farlow, Barney Kessel, Kenny Burrell, Howard Alden, George Van Eps and Howard Roberts.[2] Pass performed it live at the Montreux Jazz Festival in 1979.[6][7] Martin Taylor published his arrangement of the piece in a 2000 issue of Guitar Techniques. TV and videography The Basie arrangement without lyrics was often used as the closing theme for The Tonight Show Starring Johnny Carson.[8][9] "Sweetie Pie" – composed and arranged by Don Sebesky and recorded March 1962 as "Easy Chair" on Maynard Ferguson's Maynard '64 (Roulette R-52107) – has been described by its publisher, Sierra Music Publications, as "Li'l Darliln'-ish," owed its similarity as a swing ballad.[11] (audio)

5 Christmas Time Is Here

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1965
  • Written by: Vince Guaraldi & Lee Mendelson
  • Arranged by: David Pugh
  • Page Number: 7
  • Book Number: 1
  • Beats Per Minute: ♩ = 90
  • Time Signature: 3/4


  • "Christmas Time Is Here" is a popular Christmas standard written by Vince Guaraldi and Lee Mendelson for the 1965 television special A Charlie Brown Christmas,[1] one of the first animated Christmas specials produced for network television in the United States.   Two versions were included on the album A Charlie Brown Christmas: an instrumental version by the Vince Guaraldi Trio and a vocal version by choristers from St. Paul's Episcopal Church in San Rafael, California, who had previously performed with Guaraldi on At Grace Cathedral (1965).   "Christmas Time Is Here" was composed by jazz pianist Vince Guaraldi to accompany the opening of the 1965 television special A Charlie Brown Christmas. It was originally written as an instrumental, but producer Lee Mendelson decided that the song needed lyrics. Mendelson recalled, "When we looked at the show about a month before it was to go on the air, I said, 'That's such a pretty melody; maybe we should try and find some people to put some lyrics to it.'" When he was unable to find someone available, he wrote the lyrics himself:
    So I sat down with an envelope — I'll never forget this — at our kitchen table and wrote 'Christmas Time Is Here' in about ten minutes. It was a poem that just came to me — never changed the words to this day. It was only about a minute long. And Vince got a bunch of little kids together to sing it.[2]
    The vocals for the song were provided by the children's choir at St. Paul's Episcopal Church in San Rafael. Guaraldi had previously performed with the ensemble at his May 1965 "jazz mass" performance at Grace Cathedral.[3] The song has since become a perennial Christmas classic. Drummer Jerry Granelli of the Vince Guaraldi Trio commented, "It's amazing: Vince finally wrote a standard. 'Christmas Time Is Here' has been recorded as a standard, and Vince always wanted to write a standard. So he made it."[2]

6 A Big Band Christmas

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1998
  • Arranged by: Carl Strommen
  • Page Number: 6
  • Book Number: 1
  • Beats Per Minute: ♩ = 65
  • Key Signature: Varies
  • Time Signature: Varies

7 White Christmas

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1942
  • Written by: Irving Berlin
  • Arranged by: Michael Sweeney
  • Page Number: 5
  • Book Number: 1
  • Beats Per Minute: ♩ = 116
  • Time Signature: 4/4


  • "White Christmas" is an Irving Berlin song reminiscing about an old-fashioned Christmas setting. The song was written by Berlin for the 1942 musical film Holiday Inn. The composition won the Academy Award for Best Original Song at the 15th Academy Awards. Bing Crosby's record topped the Billboard chart for 11 weeks in 1942 and returned to the number one position again in December of 1943 and 1944. His version would return to the top 40 a dozen times in subsequent years. Since its release, "White Christmas" has been covered by many artists, the version sung by Bing Crosby being the world's best-selling single (in terms of sales of physical media) with estimated sales in excess of 50 million physical copies worldwide.[3] When the figures for other versions of the song are added to Crosby's, sales of the song exceed 100 million.[4][5][6] Accounts vary as to when and where Berlin wrote the song.[7] One story is that he wrote it in 1940, in warm La Quinta, California, while staying at the La Quinta Hotel, a frequent Hollywood retreat also favored by writer-director-producer Frank Capra, although the Arizona Biltmore also claims the song was written there.[8] He often stayed up all night writing. One day he told his secretary, "I want you to take down a song I wrote over the weekend. Not only is it the best song I ever wrote, it's the best song anybody ever wrote."[9]

8 Have Yourself A Merry Little Christmas

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1943
  • Written by: Hugh Martin & Ralph Blane
  • Arranged by: Dave Wolpe
  • Page Number: 4
  • Book Number: 1
  • Beats Per Minute: ♩ = 75
  • Key Signature: 4/4


  • "Have Yourself a Merry Little Christmas" is a song written in 1943[2][3][4] by Hugh Martin and Ralph Blane and introduced by Judy Garland in the 1944 MGM musical Meet Me in St. Louis. Frank Sinatra later recorded a version with modified lyrics. In 2007, ASCAP ranked it the third most performed Christmas song during the preceding five years that had been written by ASCAP members.[5] In 2004 it finished at No. 76 in AFI's 100 Years...100 Songs rankings of the top tunes in American cinema.

9 Jingle Bell Rock

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1957
  • Written by: Joe Beal & Jim Booth
  • Arranged by: Jerry Nowak
  • Page Number: 3
  • Book Number: 1
  • Beats Per Minute: ♩ = 120
  • Time Signature: 4/4


  • "Jingle Bell Rock" is an American Christmas song first released by Bobby Helms in 1957. It has received frequent airplay in the United States during every Christmas season since then, and is generally considered Helms' signature song. "Jingle Bell Rock" was composed by Joseph Carleton Beal (1900–1967) and James Ross Boothe (1917–1976), although both Helms and session guitarist on the song Hank Garland disputed this (see Authorship controversy section below). Beal was a Massachusetts-born public relations professional and longtime resident of South Ocean Avenue in Atlantic City, New Jersey, and Boothe was an American writer in the advertising business.[4][5][6][7][8][9]

10 Christmas Waltz

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1954
  • Written by: Jule Stein & Sammy Kahn
  • Arranged by: John Berry
  • Page Number: 2
  • Book Number: 2
  • Beats Per Minute: ♩ = 140
  • Time Signature: 3/4


  • The “Christmas Waltz” is a Christmas song written by Sammy Cahn and Jule Styne. It was first recorded and released by Frank Sinatra in 1954. The song’s wistful lyrics and melodic waltzyy rhythm capture the romantic and nostalgic feelings associated with the holiday season. Over the years, various artists, including Doris Day and Frank Sinatra, have recorded their versions of the song, contributing to its enduring popularity as a classic Christmas tune. The “Christmas Waltz” has become a timeless favorite, evoking a sense of warmth and festive joy during the holiday season.c

11 Beyond The Sea

12 Santa Baby

  • Audio Example:
        NOTE: This is an example only! You CAN NOT play along with this.
  • Year: 1953
  • Written by: Joan Javits and Philip Springer
  • Arranged by: unknown
  • Page Number: New
  • Book Number: Red Folder
  • Beats Per Minute: ♩ = 83
  • Key Signature: C
  • Time Signature: 4/4


  • "Santa Baby" is a song performed by American singer Eartha Kitt with Henri René and His Orchestra and originally released in 1953. The song was written by Joan Javits and Philip Springer, who also used the pseudonym Tony Springer in an attempt to speed up the song's publishing process. Lyrically, the song is a tongue-in-cheek look at a Christmas list addressed to Santa Claus by a woman who wants extravagant gifts such as sables, yachts, and decorations from Tiffany's. The lyrical content of "Santa Baby" proved controversial, resulting in temporary bans of the song in the Southern United States. Music critics gave mixed reviews to the single, with some calling it too suggestive for a holiday-themed song. Springer was initially dissatisfied with "Santa Baby" and called it one of his weakest works. It has since been included on lists of both the best and worst Christmas songs ever written. In the United States, "Santa Baby" became the best-selling Christmas song of 1953 and found more success, retrospectively, when it entered various component charts by Billboard in the 2000s and 2010s. Elsewhere, it peaked on the record charts in Canada, France, Germany, Switzerland, and the United Kingdom. As of 2014, Kitt's version had sold more than 620,000 copies, having appeared on her self-titled and first extended play in 1954. "Santa Baby" has been parodied, referenced, and featured in various films and television series. It has also been covered by many artists, such as Madonna, Kylie Minogue, Taylor Swift and Trisha Yearwood. Other musicians, including Ariana Grande and Gwen Stefani, released covers of the song as singles. Many of the cover versions experienced major commercial success, with Minogue's version reaching the top 40 of the UK Singles Chart and selling over 600,000 copies. Madonna's cover has sold 270,000 copies in the United States and was subject to discussion by many music critics, who believed her version revived the popularity of the song. However, Kitt disliked Madonna's association with the track. Grande's cover was released as a duet with Elizabeth Gillies and managed positions on charts in several countries such as Australia, the Netherlands, and Sweden. Michael Bublé's version has been named multiple times as one of the worst Christmas songs ever.[1][2]

13 Let It Snow, Let It Snow, Let It Snow!

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1945
  • Written by: Jule Styne & Samy Kahn
  • Arranged by: Frank Comstock
  • Page Number: 10
  • Book Number: 1
  • Beats Per Minute: ♩ = 120
  • Key Signature: 4/4


  • "Let It Snow! Let It Snow! Let It Snow!", also known as simply "Let It Snow", is a song written by lyricist Sammy Cahn and composer Jule Styne in July 1945 in Hollywood, California, during a heat wave as Cahn and Styne imagined cooler conditions.[1][2] The song was first recorded that fall by Vaughn Monroe, was released just after Thanksgiving, and became a hit by Christmas.[3] Despite the lyrics making no mention of any holiday, the song has come to be regarded as a Christmas song worldwide due to its winter theme, being played on radio stations during the Christmas and holiday season, and having often been covered by various artists on Christmas-themed albums.[4] In the Southern Hemisphere, it can be played during the winter months of June, July, and August; and in New Zealand, some play it at Matariki.

14 A Time For Love

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1966
  • Written by: Johnny Mandel & Paul Francis Webster
  • Arranged by: Sammy Nestico
  • Page Number: New
  • Book Number: Red Folder
  • Beats Per Minute: ♩ = 60
  • Key Signature: Eb
  • Time Signature: 4/4


  • "A Time for Love", a song written by Johnny Mandel and Paul Francis Webster for the film An American Dream, 1966

15 Night Train To Kansas City

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1948, 1954, 2000
  • Written by: Luther Henderson, Jr., Leonard Ware, Jerry Leiber, and Mike Stoller
  • Arranged by: Eric Burger
  • Page Number: 40
  • Book Number: 1
  • Beats Per Minute: ♩ = 130
  • Key Signature: F
  • Time Signature: 4/4


  • Night Train To Kansas City is a combination of two great songs with a fun solos section in the middle. We never know quite what is going to happen when this song is called up. "Night Train" , published in 1948, has a long and complicated history. The piece's opening riff was first recorded in 1940 by a small group led by Duke Ellington sideman Johnny Hodges, under the title "That's the Blues, Old Man". Ellington used the same riff as the opening and closing theme of a longer-form composition, "Happy-Go-Lucky Local", that was itself one of four parts of his Deep South Suite. Forrest was part of Ellington's band when it performed this composition, which has a long tenor saxophone break in the middle. After leaving Ellington, Forrest recorded "Night Train" on United Records and had a major rhythm & blues hit. While "Night Train" employs the same riff as the earlier recordings, it is used in a much earthier R&B setting. Forrest inserted his own solo over a stop-time rhythm not used in the Ellington composition. He put his own stamp on the tune, but its relation to the earlier composition is obvious.[3] "Kansas City", published in 1954, was written by Jerry Leiber and Mike Stoller, two nineteen-year-old rhythm and blues fans from Los Angeles. Neither had been to Kansas City, but were inspired by Big Joe Turner records.[3]
    I'm goin' to Kansas City, Kansas City here I come (2×) They got a crazy way of lovin' there, and I'm gonna get me some I'm gonna be standing on the corner, of Twelfth Street and Vine (2×) With my Kansas City baby, and a bottle of Kansas City wine
    Through a connection to producer Ralph Bass, they wrote "Kansas City" specifically for West Coast blues/R&B artist Little Willie Littlefield.[2] There was an initial disagreement between the two writers over the song's melody: Leiber (who wrote the lyrics) preferred a traditional blues song, while Stoller wanted a more distinctive vocal line; Stoller ultimately prevailed. They taught the song to Littlefield at Maxwell Davis' house, who arranged and provided the tenor sax for the song.[2] Littlefield recorded the song in Los Angeles in 1952, during his first recording session for Federal Records, a King Records subsidiary. Federal's Ralph Bass changed the title to "K. C. Loving",[4] which he reportedly considered to sound "hipper" than "Kansas City". Littlefield's record had some success in parts of the U.S., but it did not reach the national chart.

16 On The Sunny Side Of The Street

17 We Wish You A Merry Christmas

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Written by: Arthur Warrell
  • Arranged by: Bryan Kidd
  • Page Number: 1008
  • Book Number: 2
  • Beats Per Minute: ♩ = 90
  • Key Signature: 4/4


  • "We Wish You a Merry Christmas" is an English Christmas carol, listed as numbers 230 and 9681 in the Roud Folk Song Index. The famous version of the carol is from the English West Country The Bristol-based composer, conductor and organist Arthur Warrell (1883-1939)[1] is responsible for the popularity of the carol. Warrell, a lecturer at the University of Bristol from 1909,[2] arranged the tune for his own University of Bristol Madrigal Singers as an elaborate four-part arrangement, which he performed with them in concert on December 6, 1935.[3] His composition was published by Oxford University Press the same year under the title "A Merry Christmas: West Country traditional song".[4] Warrell's arrangement is notable for using "I" instead of "we" in the words; the first line is "I wish you a Merry Christmas". It was subsequently republished in the collection Carols for Choirs (1961), and remains widely performed.[5] The popular version begins as follows:
    We wish you a merry Christmas We wish you a merry Christmas We wish you a merry Christmas and a happy new year Good tidings we bring to you and your kin We wish you a merry Christmas and a happy new year
    Many traditional versions of the song have been recorded, some of which replace the last line with "Good tidings for Christmas and a happy new year". In 1971, Roy Palmer recorded George Dunn of Quarry Bank, Staffordshire singing a version close to the famous one, which had a familiar version of the chorus, but used the song "Christmas is Coming" as the verses; this recording can be heard on the Vaughan Williams Memorial Library website.[6] Amy Ford of Low Ham, Somerset sang a version called "The Singers Make Bold" to Bob and Jacqueline Patten in 1973[7] which again used a similar chorus to the famous version and can be heard via the British Library Sound Archive.[8] There are several supposedly traditional recordings which follow the famous version exactly, but these are almost certainly derived from Arthur Warrell's arrangement. The greeting "a merry Christmas and a happy New Year" is recorded from the early eighteenth century;[9] however, the history of the carol itself is unclear. Its origin probably lies in the English tradition wherein wealthy people of the community gave Christmas treats to the carolers on Christmas Eve, such as "figgy pudding" that was very much like modern-day Christmas puddings;[10][11][12] in the West Country of England, "figgy pudding" referred to a raisin or plum pudding, not necessarily one containing figs.[13][14][15] In the famous version of the song, the singer demands figgy pudding from the audience, threatening to not "go until we get some". The song is absent from the collections of West-countrymen Davies Gilbert (1822 and 1823)[16] and William Sandys (1833),[17] as well as from the great anthologies of Sylvester (1861)[18] and Husk (1864),[19] and The Oxford Book of Carols (1928). In the comprehensive New Oxford Book of Carols (1992), editors Hugh Keyte and Andrew Parrott describe it as "English traditional" and "[t]he remnant of an envoie much used by wassailers and other luck visitors"; no source or date is given.[20] The famous version of the song was completely unknown outside the West Country before Arthur Warrell popularised it.[2]

18 A Child Is Born

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1970
  • Written by: Thad Jones
  • Arranged by: Thad Jones
  • Page Number: 67
  • Book Number: 1
  • Beats Per Minute: ♩ = 68
  • Key Signature: Eb
  • Time Signature: 3/4


  • "A Child Is Born" is a jazz instrumental that was later recorded with lyrics added. It was written in 1969 by the jazz trumpeter Thad Jones with lyrics added independently by Alec Wilder after hearing the Thad Jones-Mel Lewis Orchestra perform the instrumental.[when?] The instrumental and the song have been recorded by a number of musicians including Tony Bennett, Stanley Turrentine and Bill Evans[1] (also released on Christmas with Sinatra & Friends), Richard Davis, Kenny Burrell, Dee Dee Bridgewater, Hank Jones and Helen Merrill.[2]

    Possible contribution of Roland Hanna to A Child Is Born

    Jazz historian Mark Stryker, in his book Jazz from Detroit, provides the following account of the writing of "A Child Is Born":

    An intriguing twist to [Roland Hanna and Thad Jones'] relationship is that Hanna almost certainly composed “A Child Is Born,” the gentle waltz credited to Jones and his most- covered song. (Alec Wilder even wrote lyrics to it.) The precious melody unfolds in simple quarter notes and dotted half notes and sounds nothing like Jones— there’s no syncopation— and everything like Hanna’s Romanticism. David Berger, who was at the Village Vanguard for most of the band’s gigs in the early years, remembers Hanna developing the song over many weeks during his improvised solo features; Jones showed up one night with a full- band arrangement of what Hanna had been playing. Hanna confirms this story in his Fillius Jazz Archive interview. He doesn’t mention the song by name, but it could only be “A Child Is Born.”
    “I said, ‘Thad, isn’t that my tune?’ He said, ‘No, it’s mine.’” Hanna chuckled as he recounted the story. If there were ever any hard feelings, he appears to have let them go. He excuses Jones’ pilfering as akin to Ellington appropriating melodies improvised by his sidemen. “I never faulted [Thad] for that because he was just doing what bandleaders did,” Hanna said. “If you throw an idea out there, he’d take it and write it down.”

    Hanna never contested Jones’ authorship publicly, but he told friends privately that he wrote the song. “I gifted it to Thad” is how he put it to pianist Michael Weiss.[3]

    Lyrics

    Now, out of the night / New as the dawn / Into the light / This Child / Innocent Child / Soft as a fawn / This Child is born

    One small heart / One pair of eyes / One work of art / Here in my arms / Here he lies / Trusting and warm / Blessed this morn / A Child is born

    Form

    "'A Child Is Born' is a 32 bars long song in 3/4 time, and when soloing over it, jazz musicians "usually omit the last two bars", leaving a "30-bar solo form".[4] The original was recorded in B-flat major. It features a slow, lengthy introduction on the piano, lasting over a minute. Bob Yurochko in his book A Short History of Jazz refers to it as a "beautiful ballad" of mainstream jazz.[5]"



19 How Sweet It Is (to be loved by you)

  • Audio Example:
        NOTE: You CAN play along with this example. The recording fades out at 1:30.
  • Year: 1964
  • Written by: Edward Holland, Lamont Dozier & Brian Holland
  • Arranged by: Mark Taylor
  • Page Number: 27
  • Book Number: 1
  • Beats Per Minute: ♩ = 120
  • Time Signature: 4/4


  • "How Sweet It Is (To Be Loved By You)" is a classic song that was originally written by the legendary songwriting team of Holland-Dozier-Holland, and made famous by Marvin Gaye in 1964. The song's upbeat melody and catchy lyrics make it a timeless classic that has been covered by many artists over the years. The song's message is simple yet powerful - the joy and happiness that comes from being loved by someone special. It's a reminder to cherish the love we have in our lives and to be grateful for those who love us unconditionally. With its feel-good vibe and universal message, "How Sweet It Is (To Be Loved By You)" continues to be a beloved favorite among music fans of all ages. -ChatGPT



20 Silent Night

  • Audio Example:
        NOTE: You CAN play along with this example.
  • Year: 1818
  • Written by: Franz Xaver Gruber and Father Joseph Mohr
  • Arranged by: Paul Clark
  • Page Number: 1009
  • Book Number: 2
  • Beats Per Minute: ♩ = 83
  • Key Signature: Eb
  • Time Signature: 3/4


  • "Stille Nacht" was first performed on Christmas Eve 1818 at St Nicholas parish church in Oberndorf, a village in the Austrian Empire on the Salzach river in present-day Austria. A young Catholic priest, Father Joseph Mohr, had come to Oberndorf the year before. In the aftermath of the Napoleonic Wars,[1] he had written the poem "Stille Nacht" in 1816 at Mariapfarr, the hometown of his father in the Salzburg Lungau region, where Joseph had worked as an assistant priest.[4] The melody was composed by Franz Xaver Gruber, schoolmaster and organist in the nearby village of Arnsdorf [de], now part of Lamprechtshausen. On Christmas Eve 1818, Mohr brought the words to Gruber and asked him to compose a melody and guitar accompaniment for that night's mass, after river flooding had possibly damaged the church organ.[1][5] The church was eventually destroyed by repeated flooding and replaced with the Silent-Night-Chapel. It is unknown what inspired Mohr to write the lyrics, or what prompted him to create a new carol.[4] According to Gruber, Karl Mauracher, an organ builder who serviced the instrument at the Oberndorf church, was enamoured of the song, and took the composition home with him to the Zillertal.[6] From there, two travelling families of folk singers, the Strassers and the Rainers, included the tune in their shows. The Rainers were already singing it around Christmas 1819, and once performed it for an audience that included Franz I of Austria and Alexander I of Russia, as well as making the first performance of the song in the U.S., in New York City in 1839.[1] By the 1840s the song was well known in Lower Saxony and was reported to be a favourite of Frederick William IV of Prussia. During this period, the melody changed slightly to become the version that is commonly played today.[4][6] Mohr's autograph, 1820/1825 Over the years, because the original manuscript had been lost, Mohr's name was forgotten and although Gruber was known to be the composer, many people assumed the melody was composed by a famous composer, and it was variously attributed to Haydn, Mozart, or Beethoven.[4] However, a manuscript was discovered in 1995 in Mohr's handwriting and dated by researchers as c. 1820. It states that Mohr wrote the words in 1816 when he was assigned to a pilgrim church in Mariapfarr, Austria, and shows that the music was composed by Gruber in 1818. This is the earliest manuscript that exists and the only one in Mohr's handwriting

 


BAND MEMBERS: bring your own stand and arrive in time for downbeat at 6:30 PM. Setup will begin as early as 6:00 PM.

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Date

Dec 04 2025

Time

Setup as early as 5:45 DB @ 6:15
6:15 pm - 8:15 pm
Bountiful Library (South Davis Branch)

Location

Bountiful Library (South Davis Branch)
725 S Main St, Bountiful, UT 84010

We preform downstairs in the large auditorium.

Category
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