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/Director David Irvine – Alto Sax Jon Coombs – Flute/Tenor Sax Dale Reese – Tenor Sax Jonathan Peterson – Tenor Sax Matthew Bailey – Baritone Sax
Trumpets
Brian Keegan Camden Beckstrand Becca “Boo” Bailey
Trombones
Aaron “Oz” Ozminski Zach Allred Danny Tunblom
Rhythm
Nick Moss – Piano Kurt Warren – Bass Rob Griffin – Guitar Keith Moon – Drums
Vocals
Dane Anderson Kori Robbins
Here is the playlist
1 Summer Wind
Audio Example: NOTE: You CAN play along with this example. May be playable
Don Azpiazú and His Havana Casino Orchestra singles chronology
"The Peanut Vendor (El manisero)"
(1930)
"With My Guitar and You"
(1930)
"El manisero", known in English as "The Peanut Vendor", is a Cubanson-pregón (street vendor's cry) composed by Moisés Simons. The song has been recorded more than 200 times,[1][2] Sales of its sheet music topped 1 million, and it also was the first million-selling 78 rpmrecording of Cuban music in the U.S.<[3]
"The Peanut Vendor" was inducted into the Latin Grammy Hall of Famein 2001 and was added to the Library of Congress's National Recording Registry in 2005.[4] It also has appeared in more than a half-dozen films, from the 1930s through the 2020s.
History
Maní, maní, maní… si te quieres por el pico divertir, cómprame un cucuruchito de maní...
Maní, el manisero se va, caballero, no se vayan a dormir, sin comprarme un cucurucho de maní.
First two verses of "El manisero"
The score and lyrics of "El manisero" were by Moises Simons (1889–1945),[5] the Cuban son of a Spanishmusician. It sold over a million copies of sheet music for E.B. Marks Inc., earning $100,000 in royalties for Simons by 1943.[6][7] Its success led to a 'rumba craze' in the US and Europe which lasted through the 1940s. The consequences of "The Peanut Vendor"'s success were far-reaching.
The number was first recorded for Columbia Records in 1927 or 1928 by Rita Montaner, a leading singer and actress of the period.[8] The biggest record sales for "El manisero", however, came from the recording made by Don Azpiazúand his Havana Casino Orchestra in New York in 1930 for RCA Victor. The vocalist was Antonio Machín, who had recorded it the year before with a sextet that he led.[3] The band featured a number of other star musicians, including Julio Cueva(trumpet) and Mario Bauza (saxophone)[7] The total copies of 78 rpm recordings sold by Victor is unknown, but the song's sales easily topped a million, a first for Cuban (or even Latin) music.[9]
The lyrics were in a style based on street vendors' cries, a pregón; and the rhythm was a son, so technically this was a son-pregón. On the record label, however, it was called a "rumba-fox trot", reflecting its Cuban origin and the 44 rhythm that suits the fox-trot dance. Thereafter, the term rhumba (the anglicized spelling of rumba) was used as a general label for Cuban music, as salsa is today, because the numerous Cuban terms were not understood abroad. Rhumba was easy to say and remember.
On the published score both music and lyrics are attributed to Simons, though there is a persistent story that they were written by Gonzalo G. de Mello in Havana the night before Montaner was due to record it in New York. Cristóbal Díaz says "For various reasons, we have doubts about this version... 'El manisero' was one of those rare cases in popular music where an author got immediate and substantial financial benefits... logically Mello would have tried to reclaim his authorship of the lyrics, but that did not occur."[10] The second attack on the authorship of the lyrics came from none other than the great Fernando Ortiz. For Ortiz, the true author was an unknown Havana peanut seller, of the second half of the 19th century, who served as the basis for a danza written by Louis Moreau Gottschalk.[11] Of course, it may be that elements of the song were to be found in real life. The English lyrics are by L. Wolfe Gilbert and Marion Sunshine; the latter was Azpiazú's sister-in-law, who toured with the band in the US as singer. The English lyrics are, in the opinion of Ned Sublette, of almost unsurpassed banality.[12]
"The Peanut Vendor" had a second life as a hit number when Stan Kentonrecorded it with his big band for Capitol Records, in 1947. This was also a great and long-lasting hit, re-recorded by Kenton twice with the band, and played by him later in life as a piano solo. The Kenton version was entirely instrumental, with the rhythmic pattern emphasized by trombones.
4 Waltz Medley
Written by: Dave Tanner
Arranged by: Dave Tanner
Page Number: New
Book Number: Red Folder
Key Signature: Eb
Time Signature: 3/4
This is an experimental piece I received several years ago. There are no recordings in existence of this piece that are freely available. Lets give it a try!
5 Fly Me To The Moon
Audio Example: NOTE: You CAN play along with this example.
Year: 1954
Written by: Bart Howard
Arranged by: Sammy Nestico
Page Number: 17
Book Number: 1
Beats Per Minute: ♩ = 112
Key Signature: Ab
Time Signature: 4/4
"Fly Me to the Moon", originally titled "In Other Words", is a song written in 1954 by Bart Howard. The first recording of the song was made in 1954 by Kaye Ballard. Frank Sinatra's1964 version was closely associated with the Apollo missions to the Moon.
In 1954, when he began to write the song that became "Fly Me to the Moon", Bart Howard had been pursuing a career in music for over 20 years, Howard wrote the song for his partner of 58 years, Thomas Fowler.[2] He played piano to accompany cabaret singers, but also wrote songs with Cole Porter, his idol, in mind.[3] In response to a publisher's request for a simpler song,[4] Bart Howard wrote a cabaret ballad[5] which he titled "In Other Words". A publisher tried to make him change some words from "fly me to the Moon" to "take me to the Moon," but Howard refused.[6]Many years later Howard commented that "... it took me 20 years to find out how to write a song in 20 minutes."[6]
He used his position as a piano accompanist and presenter at the Blue Angel cabaret venue to promote the song,[4] and it was soon introduced in cabaret performances by Felicia Sanders.[3]
The song was composed in 3/4time signature but was changed to 4/4 by Quincy Jones in his arrangement.[7][permanent dead link][citation needed]
6 Mood Indigo
Audio Example: NOTE: You CAN play along with this example.
Year: 1930
Written by: Duke Ellington, Irving Mills & Albany Bigard
Arranged by: Sammy Nestico
Page Number: New
Book Number: Red Folder
Beats Per Minute: ♩ = 74
Key Signature: 4/4
"Mood Indigo" is a jazz song with music by Duke Ellington and Barney Bigard and lyrics by Irving Mills.[1]
Although Irving Mills—Jack Mills's brother and publishing partner—took credit for the lyrics, Mitchell Parishclaimed in a 1987 interview that he had written the lyrics.[2]
The tune was composed for a radio broadcast in October 1930 and was originally titled "Dreamy Blues". It was "the first tune I ever wrote specially for microphone transmission", Ellington recalled. "The next day wads of mail came in raving about the new tune, so Irving Mills put a lyric to it." Renamed "Mood Indigo", it became a jazz standard."[3]
The main theme was provided by Bigard, who learned it in New Orleans, Louisiana from his clarinet teacher Lorenzo Tio, who called it a "Mexican Blues". Ellington's arrangement was first recorded by his band for Brunswick on October 17, 1930. It was recorded twice more in 1930. These recordings included Arthur Whetsel (trumpet), Tricky Sam Nanton (trombone), Barney Bigard (clarinet), Duke Ellington (piano), Fred Guy (banjo), Wellman Braud (bass), Sonny Greer (drums). Ellington blended muted trumpet, muted trombone, and clarinet.
Ellington took the traditional front-line—trumpet, trombone, and clarinet—and inverted them. He chose Yvonne Luanauze (real name Eve Duke) as the band’s vocalist because her mellow timbre was similar to the sound of a saxophone.[4] At the time of these first three recordings in 1930, the usual voicing of the horns would be clarinet at the top (highest pitch), trumpet in the middle, and the trombone at the bottom (lowest pitch). In "Mood Indigo" Ellington voices the trombone right at the top of the instrument's register, and the clarinet at the very lowest. This was unheard of at the time, and also created (in the studio) a so-called "mike-tone"—an effect generated by the overtones of the clarinet and trombone (which was tightly muted as well). The "mike-tone" gives the audio-illusion of the presence of a fourth "voice" or instrument. Ellington used this effect in "(In My) Solitude" (1932), "Dusk" (1940), and many other pieces throughout his career. The Ellington band performed and recorded the song continuously throughout its 50 years, both in its original form and as a vehicle for individual soloists.
In 1975, the 1931 release of "Mood Indigo" by Duke Ellington on Brunswick Records was inducted into the Grammy Hall of Fame.[5]
7 Blue Moon
Audio Example: NOTE: You CAN play along with this example.
Year: 1934
Written by: Richard Rodgers & Lorenz Hart
Arranged by: Dave Wolpe
Page Number: New
Book Number: Red Folder
Beats Per Minute: ♩ = 112
"Blue Moon" is a popular song written by Richard Rodgers and Lorenz Hart in 1934 that has become a standard ballad. Early recordings included those by Connee Boswell and by Al Bowlly in 1935. The song was a hit twice in 1949, with successful recordings in the U.S. by Billy Eckstine and Mel Tormé.
In 1961, "Blue Moon" became an international number-one hit for the doo-wop group the Marcels, on the Billboard 100 chart and in the UK Singles Chart, and later that same year, an instrumental version by the Ventures charted at No. 54. Over the years, "Blue Moon" has been covered by many artists, including Frankie Avalon, The Beatles, Frank Sinatra, Jo Stafford, Ella Fitzgerald, Ray Stevens, Billie Holiday, Al Bowlly, Elvis Presley, Bobby Vinton, Sam Cooke, the Platters, the Mavericks, Dean Martin, Amália Rodrigues, Yvonne De Carlo, The Supremes, Cyndi Lauper, New Edition, Bob Dylan, Chromatics, and Rod Stewart. Bing Crosby featured the song in a medley on his 1962 album On the Happy Side. Cowboy Junkies interpolated a version of the standard in "Blue Moon Revisited (Song for Elvis)", on the second and subsequent releases of their sophomore album The Trinity Session. The song also serves as the anthem for the Premier League football club Manchester City.
8 Girl From Ipanema
Audio Example: NOTE: You CAN play along with this example.
Year: 1963
Written by: Carlos Jobim
Arranged by: Glenn Osser
Page Number: 19
Book Number: 1
Beats Per Minute: ♩ = 112
Time Signature: 4/4
The song was composed for a musical comedy titled Dirigível ("Airship"), then a work in progress of Vinicius de Moraes. The original title was "Menina que Passa" ("The Girl Who Passes By"); the first verse was different. Jobim composed the melody on his piano in his new house in Rua Barão da Torre, in Ipanema. In turn, Moraes had written the lyrics in Petrópolis, near Rio de Janeiro, as he had done with "Chega de Saudade" ("No More Blues") six years earlier. While firmly rooted in bossa nova, "The Girl from Ipanema" includes influences from blues and Tin Pan Alley.[9]
During a recording session in New York with João Gilberto, Antônio Carlos Jobim and Stan Getz, the idea of cutting an English-language version came up. Norman Gimbel wrote the English lyrics. João's wife, Astrud Gilberto, was the only one of the Brazilians who could speak English well and was chosen to sing. Her voice, without trained singer mannerisms, proved a perfect fit for the song.[10] However, she was never credited or received any royalties, and received only $120 for her part.[11]
The key the song is played in traditionally has varied depending upon the origin of the recording. While the original Ribeiro version was in the key of G, most Brazilian performances use D♭ and most American versions use F.[9]
Astrud Gilberto and Getz appear as themselves and perform the song in the 1964 film Get Yourself a College Girl.
Frank Sinatra recorded the song with Jobim in 1967 for their album Francis Albert Sinatra & Antônio Carlos Jobim.[12]Ella Fitzgerald recorded it for her two-disc set of Brazilian music Ella Abraça Jobim, released by Pablo Today in 1981. Ethel Ennis and Nat King Cole have also both recorded the song. A version by Gary Criss titled "The Girl From Ipanema / Brazilian Nights" from his album "Rio De Janeiro" reached number 19 in the Canadian RPM dance charts in August 1978.[13]Eliane Elias included the song in her albums Eliane Elias Sings Jobim (1998) and Brazilian Classics (2003).
Lyrics
Tall and tan and young and lovely The girl from Ipanema goes walking And when she passes, each one she passes goes "Ah!"
When she walks, she's like a samba That swings so cool and sways so gently That when she passes, each one she passes goes "Ah!"
Oh, but he watch her so sadly How can he tell her he loves her? Yes, he would give his heart gladly But each day, when she walks to the sea She looks straight ahead, not at him
Tall and tan and young and lovely The girl from Ipanema goes walking And when she passes, he smiles, but she doesn't see
Oh, but he sees her so sadly How can he tell her he loves her? Yes, he would give his heart gladly But each day, when she walks to the sea She looks straight ahead, not at him
Tall and tan and young and lovely The girl from Ipanema goes walking And when she passes, he smiles, but she doesn't see
She just doesn't see No, she doesn't see But she doesn't see
9 Killer Joe
Audio Example: NOTE: This is an example only! You CAN NOT play along with this.Original Benny Golson recording. Follow the style.
Year: 1960
Arranged by: Michael Sweeney
Page Number: 44
Book Number: 1
Time Signature: 4/4
"Killer Joe" was first released on the Jazztet's 1960 album titled "Meet the Jazztet." The composition became one of Benny Golson's most well-known and frequently performed pieces. The tune is characterized by its catchy melody and has been embraced by jazz musicians across generations.
The Jazztet's recording of "Killer Joe" features a distinctive hard bop sound and showcases the talents of the ensemble's members. Over the years, the composition has been covered by numerous artists and has become a jazz standard in its own right. Its enduring popularity is a testament to Benny Golson's skill as a composer and the timeless appeal of the piece.
10 Beauty and the Beast
Audio Example: NOTE: You CAN play along with this example.
Year: 1991
Written by: Howard Ashman and Alan Menken
Arranged by: John Berry
Page Number: 8
Book Number: 1
Time Signature: 4/4
Following a difficult period during where Walt Disney Feature Animation struggled to release successful animated feature films, the studio, inspired by their most recent animated success The Little Mermaid(1989), decided to adapt the fairy tale "Beauty and the Beast" into an animated musical film after a non-musical adaptation had been attempted that failed to impress Jeffrey Katzenberg, the chairman of Walt Disney Studios. Katzenberg ordered that production on the film be started over from scratch, hiring songwriting team Howard Ashman and Alan Menken, who had just recently completed scoring The Little Mermaid, to write the film's songs. Dion and Bryson were hired to record a pop version of – and draw media attention to – the film's title song. Ashman, who was initially hesitant to join the project, died of AIDS before the film's completion and the album's release.
Like the film, the soundtrack was a massive critical success, receiving universal praise and recognition from both film and music critics. The music featured on the album won several awards, including the Golden Globe Award for Best Original Score, the Academy Award for Best Original Score and the Grammy Award for Best Instrumental Composition Written for a Motion Picture or for Television. Its title track and only single, "Beauty and the Beast", achieved similar success, winning the Golden Globe Award for Best Original Song, Academy Award for Best Original Song and Grammy Awards for both Best Song Written for Visual Media and Best Pop Performance by a Duo or Group with Vocals. The soundtrack was also nominated for a Grammy Award for Album of the Year.
On December 18, 2001, the soundtrack was re-released as a Special Edition to coincide with the IMAX re-issue of the film and the upcoming two-disc Platinum Edition. The new release featured the film version of "Transformation", which had been replaced with an early unused version in some early pressings, the newly animated song "Human Again", the original instrumental intended for the "Transformation" scene, (titled "Death of the Beast (Early Version)" here) and demos for "Be Our Guest" and the title track. On September 14, 2010, the soundtrack was re-released again as a Diamond Edition soundtrack, to coincide with the successful Blu-ray and DVD Diamond Edition release of the film, the 1991 version of the soundtrack was released and included Jordin Sparks' cover of "Beauty and the Beast" as a bonus track. The soundtrack was reissued as the fourteenth entry in The Legacy Collection on February 9, 2018 and includes previously unreleased score.
11 Tea for Two Cha Cha Cha
Audio Example: NOTE: You CAN play along with this example.
Year: 1924
Arranged by: Neil Richardson
Page Number: 89
Book Number: 1
Time Signature: 4/4
"Tea for Two" is a 1924 song composed by Vincent Youmans, with lyrics by Irving Caesar.[4][5] It was introduced in May 1924 by Phyllis Cleveland and John Barker during the Chicago pre-Broadway run of the musical No, No, Nanette.[6][4] When the show finally hit Broadway on September 16, 1925, Nanette was played by Louise Groody, and her duet with Barker of "Tea for Two" was a hit. The song went on to become the biggest success of Youmans' career.[7]
Background
Youmans had written the basic melody idea of "Tea for Two" while he was in the navy during World War I, and he used it later on as an introductory passage for a song called "Who's Who with You?" While in Chicago, Youmans developed the idea into "a song that the hero could sing to the heroine" for the musical No, No, Nanette. He soon after played his composition for Irving Caesar and insisted he write the lyrics then and there. Caesar quickly jotted down a mock-up lyric, fully intending to revise it later on. Youmans, though, loved the mock-up and convinced Caesar it was just right for the melody.[8][4]
It has been proposed, with little supporting evidence, that the phrase 'Tea for Two' was originally shouted by hawkers on the streets of 18th century England who wanted to attract business by lowering the price of a pot of tea from thruppence to tuppence. While this may be the case, 'tea for two' would have been a commonplace order for a couple in 19th-century English cafeterias.[9][10]
Musical characteristics
"Tea for Two" has an A1-A2-A3-B form, a range of just over an octave, and a major tonality throughout.[11][12] The song's original key was A♭ major with a pivot modulation to C major during the second "A" section.[11] It is rhythmically repetitive (as the entire song consists of eighth and quarter notes, except for a pattern of eighth, quarter, and eighth notes which briefly emerge in the second section) and has a relatively simple harmonic progression, as well as a simple yet charming melody.[11][12]
Charting recordings
January 1925: The Benson Orchestra of Chicago's instrumental rendition reaches number five on the US Billboard chart and stays there for five weeks.[13][9]
January 1925: Marion Harris's rendition reaches number one on the US Billboard chart and stays there for 11 weeks.[13][9]
1939: Art Tatum's rendition, for which he posthumously received a Grammy Hall of Fame Award, hits number eighteen on the US Billboard chart and stays there for a week.[13][9]
September 1958: Tommy Dorsey's rendition reaches number seven on the US Billboard chart and stays there for twenty weeks and number five on the weekly top 50 charts from the Toronto radio station 'CHUM' and stays there for thirteen weeks.[13][9]
October 1958: Tommy Dorsey's rendition reaches number three on the UK Singles chart and stays there nineteen weeks.[13][9]
Adaptations and notable covers
In 1926, Boris Fomin arranged it for inclusion in his operetta "The Career of Pierpont Blake" (Карьера Пирпойнта Блэка), with Russian lyrics by Konstantin Podrevsky, under the title "Tahiti Trot".[14]
In 1927, Dmitri Shostakovich arranged "Tea for Two", known in the Soviet Union as Tahiti Trot, from memory after conductor Nicolai Malko bet him he could not do it in under an hour. He completed the orchestration in 45 minutes.
The following artists covered the song: Benny Goodman (1937), Fats Waller (c. 1938–1939), Gene Krupa with Anita O'Day (c. 1942), Art Tatum, Stan Kenton with O'Day (1944–1945), Frank Sinatra and Dinah Shore (1947), Doris Day (1955), Duke Ellington, appearing on a 1999 expanded version of Ellington at Newport (1956), Bud Powell, The Genius of Bud Powell (1956), Teddy Wilson (1956), Anita O'Day, Anita O'Day at Mister Kelly's (1959).
In popular culture
In the 1975 documentary, Grey Gardens, Edith Ewing Bouvier Beale, or Big Edie, notoriously sings a slightly broken version the song for the Maysles brothers, as it was one of her favorite songs during her youth.
Bugs Bunny and Daffy Duck soft-shoe to “Tea for Two” in the Looney Tunes short Show Biz Bugs.
The song features prominently in the novel La invención de Morel (1940) by Argentine writer Adolfo Bioy Casares.
In the French–British WWII-set comedy film La Grande Vadrouille (1966) the humming of the "Tea for Two" melody is the secret code for the British bomber crew members to recognise each other in the Turkish baths at the Grand Mosque of Paris.
Occasionally on The Tonight Show Starring Johnny Carson, if a joke bombed during his monolog, the band would play "Tea for Two" and Carson would do a short soft shoe dance, which always got a laugh from the studio audience.
The pianist Yuja Wang will play "Tea For Two" as an encore, after, for example, playing all four Rachmaninov piano concertos at a concert.
The song is featured on The Offspring's 1997 album Ixnay on the Hombre, in the form of the track "Intermission."
12 Birdland
Audio Example: NOTE: You CAN play along with this example.
Year: 1977
Written by: Joe Zawinul
Arranged by: Michael Sweeney
Page Number: 31
Book Number: 1
Beats Per Minute: ♩ = 152
Time Signature: 4/4
Is a jazz/pop song written by Joe Zawinul of the band Weather Report as a tribute to the Birdland nightclub in New York City, which appeared on the band's 1977 album Heavy Weather. The Manhattan Transfer won a Grammy Award with their 1979 version of the song, which had lyrics by Jon Hendricks.[1]Quincy Jones won two Grammy Awards for the version of the piece he included on his 1989 album Back on the Block.[2] The leading Cuban band Los Van Van included an extended interpolation of the piece in their song Tim Pop/Birdland.
"Birdland" opens Heavy Weather, the 1977 album that marked the commercial peak of Weather Report's career. The composition is a tribute to the famous New York City jazz club named Birdland that operated on Broadway from 1949 through 1965 and hosted many great jazz musicians of the era. This was where Zawinul, who visited the club almost daily, heard performances by Count Basie,[3] Louis Armstrong, Duke Ellington, and Miles Davis. It was also where he met his wife, Maxine.[4] Looking back, Zawinul claimed, "The old Birdland was the most important place in my life."[5] The song was also named in honor of Charlie Parker. According to Jaco Pastorius in a 1978 interview, the studio version of the song released on Heavy Weather was recorded in just one take.[6]The Penguin Guide to Jazz Recordings comments that “Birdland” typifies the formula that made the band successful, and “is one of only a handful of contemporary jazz tunes that everyone seems to have heard.”[7]
13 Mam'selle
Audio Example: NOTE: This is an example only! You CAN NOT play along with this.
Year: 1947
Page Number: NEW
Book Number: 1
Time Signature: 4/4
"Mam'selle" is a bittersweet song about a rendez-vous with a "mam'selle" (mademoiselle) in a small café. The music was written by Edmund Goulding, the lyrics by Mack Gordon.
The song originally appeared in the movie, The Razor's Edge, with Tyrone Power in 1947.
Five versions of the song became top ten hits in 1947: by Art Lund,[1] by Dick Haymes, by Frank Sinatra, by Dennis Day, and by The Pied Pipers. Frankie Laine had a hit jazz version, renowned for its vibe solo by Lou Singer.
The Art Lund recording was recorded on February 20, 1947 and released by MGM Records as catalog number 10011. The record first reached the Billboard magazine charts on April 11, 1947 and lasted 11 weeks on the chart, peaking at #1.[2]
The Dick Haymes recording was recorded on March 6, 1947 and released by Decca Records as catalog number 23861. The record first reached the Billboard magazine charts on April 25, 1947 and lasted 8 weeks on the chart, peaking at #4.[2]
The Frank Sinatra recording was recorded on March 11, 1947 and released by Columbia Records as catalog number 37343. The record first reached the Billboard magazine charts on May 10, 1947 and lasted 4 weeks on the chart, peaking at #6 on the Best Seller chart, and #1 on the Jockey chart.[2]
The Dennis Day recording was released by RCA Victor Records as catalog number 20-2211. The record first reached the Billboard magazine charts on April 25, 1947 and lasted 5 weeks on the chart, peaking at #8.[2]The Pied Pipers recording was recorded on March 14, 1947 and released by Capitol Records as catalog number 396. The record first reached the Billboard magazine charts on May 2, 1947 and lasted 4 weeks on the chart, peaking at #9.[2]
The Frankie Laine recording was recorded on March 28, 1947 and released by Mercury Records as catalog number 5048.
The R&B vocal group The Ravens released Mam'selle as the "A" side their 1952 OKeh single, catalog number 6888.[3][4]
In the 1953 film Pickup on South Street, Moe (played by Thelma Ritter) plays the song on her phonograph in her one-room apartment.
Andy Williams released a version on his 1960 album, Under Paris Skies.
Barbershop Harmony Society 2006 quartet champion Vocal Spectrum recorded Tom Sando's arrangement of the song on their first CD.[5]
14 Sunny
Audio Example: NOTE: You CAN play along with this example.
Year: 1968
Written by: Bobby Hebb
Arranged by: Bobby Hebb
Page Number: New
Book Number: Red Folder
Beats Per Minute: ♩ = 100
Key Signature: G
Time Signature: 4/4
"Sunny" is a soul jazz standard written by the American singer and songwriter Bobby Hebb in 1963. It is one of the most performed and recorded popular songs, with hundreds of versions released and its chord progression influencing later songs. BMI rates "Sunny" No. 25 in its "Top 100 songs of the century".[2]
Background and composition
Bobby Hebb, 1966
Hebb's parents, William and Ovalla Hebb, were both blind musicians. Hebb and his older brother Harold performed as a song-and-dance duo in Nashville, beginning when Bobby was three and Harold was nine. Hebb performed on a TV show hosted by country music record producer Owen Bradley.
Hebb wrote the song after his older brother, Harold, was stabbed to death outside a Nashville nightclub.[3] Hebb was devastated by the event and many critics say it inspired the lyrics and tune. According to Hebb, he merely wrote the song as an expression of a preference for a "sunny" disposition over a "lousy" disposition following the murder of his brother.[4]
Events influenced Hebb's songwriting, but his melody, crossing over into R&B (#3 on U.S. R&B chart) and Pop (#2 on U.S. Pop chart), together with the optimistic lyrics, came from the artist's desire to express that one should always "look at the bright side". Hebb has said about "Sunny":
All my intentions were to think of happier times and pay tribute to my brother – basically looking for a brighter day – because times were at a low. After I wrote it, I thought "Sunny" just might be a different approach to what Johnny Bragg was talking about in "Just Walkin' in the Rain".
Chord progression's legacy
Its sixteen-barform starts with two repeats of a four-bar phrase starting on the song's E minortonic i chord followed by a V7–I to C major and a ii–V7 in the last bar to return to the first i chord:
The fourth and final four-bar phrase is a ii–V7–i that settles on the song's tonic:
𝄀 F♯m7 𝄀 B7 𝄀 Em 𝄀 𝄎 𝄂
Elements of this "Sunny" chord progression are found in some later jazz and pop songs, notably:[5]
Red Clay (title track of Freddie Hubbard's 1970 album Red Clay) loops the "Sunny" progression's first four bars for soloing (but modifies the first V7–I into a full ii–V7–I and modifies the ii–V7 in the last bar into a iiø–V7)
Audio Example: NOTE: You CAN play along with this example.
Year: 1930
Written by: Jimmy McHugh & Dorothy Fields
Arranged by: Mark Taylor
Page Number: New
Book Number: Red Folder
Key Signature: Ab
Time Signature: 4/4
"On the Sunny Side of the Street" is a 1930 song composed by Jimmy McHugh with lyrics by Dorothy Fields. Some authors say that Fats Waller was the composer, but he sold the rights to the song.[1] It was introduced in the Broadway musical Lew Leslie's International Revue starring Harry Richman and Gertrude Lawrence.
Ted Lewis did the first recording of the song in 1930 (Catalog #2144-D), followed by Harry Richman (Catalog # 4747) and both enjoyed hit records with the song.
The song was featured in the 1991 film JFK,[6] the 1995 film Father of the Bride Part II, in an episode of the sitcom Frasier[7] and in the fourth episode of the fourth season of Northern Exposure,[8] in 1992.[9] It was also used in the fourteenth episode of the third season of Cheers,[10] in 1985,[11] where several characters each sing part of the song one after the other, as if by contagion, after walking past each other.
17 Summer Samba - So Nice (Samba De Verao)
Audio Example: NOTE: You CAN play along with this example.
Year: 1964
Written by: Marcos Valle, Paulo Sergio Valle & Norman Gimbel
"Love Is Here to Stay" was the last musical composition George Gershwin completed before his death on July 11, 1937. Ira Gershwin wrote the lyrics after George's death as a tribute to his brother. Although George had not written a verse for the song, he did have an idea for it that both Ira and pianist Oscar Levant had heard before his death. When a verse was needed, Ira and Levant recalled what George had in mind. Composer Vernon Dukereconstructed the music for the verse at the beginning of the song.[2][8] Originally titled "It's Here to Stay" and then "Our Love Is Here to Stay," the song was finally published as "Love Is Here to Stay." Ira Gershwin said that for years he wanted to change the song's name back to "Our Love Is Here to Stay," but he felt it wouldn't be right since the song had already become a standard.[8]
The Goldwyn Follies
Ira Gershwin recalled, "So little footage was given to 'Love Is Here to Stay' — I think only one refrain — that it meant little in The Goldwyn Follies."[2] Oscar Levant remembers the producer for the film calling Gershwin into a conference one afternoon and insisting that he play the entire score for a panel of attendees. The experience infuriated George, who thought that he had progressed past this stage in his career as a composer.[9]S. N. Behrman visited Gershwin a few days before he died and wrote that George told him, "I had to live for this — that Sam Goldwyn should say to me, 'Why don't you write hits like Irving Berlin?' "[10]
19 Contessa
Audio Example: NOTE: You CAN play along with this example.
Written by: Lennie Niehaus
Arranged by: Lennie Niehaus
Page Number: 69
Book Number: 1
20 Moonglow
Audio Example: NOTE: This is an example only! You CAN NOT play along with this.
Year: 1933
Written by: Will Hudson, Eddie De Lange & Irving Mills
Arranged by: Johnny Warrington
Page Number: New
Book Number: Red Folder
Beats Per Minute: ♩ = 110
Key Signature: F
Time Signature: 4/4
I "Moonglow", also known as "Moonglow and Love" is a 1933 popular song. The music was by Will Hudson and Irving Mills and the words were by Eddie DeLange. Ignoring the seldom recorded verse, "Moonglow" is a 32-bar tune in the form of AABA. "Moonglow" appears in jazz fake books and lead sheets in the key of G, though it is also thought to originally be in the key of C.[1] The melodic riff of the A section is composed of a repeated minor third interval followed by a major third interval and then a repeated note. Harmonic movement is largely in an ascending circle of fourths, or with descending chromatic substitutions, but there is also movement between thirds or between major and minor seventh chords. Minor seventh chords are often played in first inversion in this tune, and may therefore be thought of and notated as six chords of the relative major. Rhythmically "Moonglow" is in 4 4 time. It is a foxtrot, typically played at a slow tempo, although some performers, notably Art Tatum, have played it faster. The rhythm is syncopated. Jazz players usually swing the eighth notes. Writer George T. Simon, while working on a compilation of music for The Big Band Songbook, contacted composer Will Hudson regarding "Moonglow", and Hudson explained how the tune came about. "It happened very simply. Back in the early '30s, I had a band at the Graystone Ballroom in Detroit, and I needed a theme song. So I wrote 'Moonglow'."
21 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
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.
