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 Rick Nef – Tenor Sax Dale Reese – Tenor Sax Jonathan Peterson – Tenor Sax Matthew Bailey – Baritone Sax
Trumpets
Camden Beckstrand Jared Beckstrand Becca “Boo” Bailey
Trombones
Aaron “Oz” Ozminsky Chloe Potter Scott Turner
Rhythm
Nick Moss – Piano/Vocals Craig Nybo – Bass Rob Griffin – Guitar Keith Moon – Drums
Vocals
Dane Anderson
Here is the playlist
1 Memories Of You (Ted Heath)
Page Number: New
Book Number: Red Folder
Beats Per Minute: ♩ = 85
Key Signature: Eb
Time Signature: 4/4
2 Music To Watch Girls By
Audio Example: NOTE: You CAN play along with this example.
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 It's Oh So Nice
Audio Example: NOTE: You CAN play along with this example.
Year: 1968
Written by: Sammy Nestico
Arranged by: Sammy Nestico
Page Number: 65
Book Number: 1
Beats Per Minute: ♩ = 110
Key Signature: Ab
Time Signature: 4/4
No notes available
5 Fancy Pants
Audio Example: NOTE: You CAN play along with this example.
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.
7 Girl From Ipanema
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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
8 May Each Day
Audio Example: NOTE: This is an example only! You CAN NOT play along with this.
Year: 1963
Written by: George Wyle
Arranged by: Unknown
Page Number: 62
Book Number: 1
Beats Per Minute: ♩ = 73
Time Signature: 3/4
May each day in the week be a good day May the Lord always watch over you And may all of your hopes turn to wishes And may all of your wishes come true
May each day in the month be a good day May you make friends with each one you meet And may all of your daydreams be mem'ries And may all of your mem'ries be sweet
The weeks turn to months and the months into years There'll be sadness and joy, there'll be laughter and tears But one thing I pray to heaven above May each of your days be a day full of love
May each day in the year be a good day May each dawn find you happy and gay And may all of your days be as lovely As the one you shared with me today
May each day of your life be a good day And good night.
9 Tea for Two Cha Cha Cha
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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."
10 The Chicken
Audio Example: NOTE: You CAN play along with this example. Bass player's nightmare, I mean dream!
Year: 1969
Written by: Pee Wee Ellis
Arranged by: Kris Berg
Page Number: 42
Book Number: 1
Beats Per Minute: ♩ = 110
Time Signature: 4/4
The Chicken is a cool jazz funk standard composed by Pee Wee Ellis, saxophonist and member of James Brown’s band in the 60s. The Chicken first appeared as a B-side of a 1969 James Brown single called The Popcorn but was later made famous by Jaco Pastorius, who made it his signature song.
11 Beyond The Sea
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Year: 1946
Written by: Charles Trenet & Albert Lasry
Arranged by: Matt Amy
Page Number: 57
Book Number: 1
Beats Per Minute: ♩ = 120
Time Signature: 4/4
"Beyond the Sea" is the English-language version of the French song "La Mer" by Charles Trenet, popularized by Bobby Darin in 1959. While the French original was an ode to the sea, Jack Lawrence – who composed the English lyrics – turned it into a love song.[1] "Beyond the Sea" has been recorded by many artists, but Bobby Darin's version released in late 1959 is the best known by many, reaching No. 6 on the Billboard Hot 100, No. 15 on the USR&B Chart, and No. 8 in the UK Singles Chart.[2] in early 1960. Before Bobby Darin's version, two instrumental recordings reached the Top 40 of the Billboard Hot 100. Benny Goodman's version charted in 1948, and was featured in the Cary Grant/Betsy Drake romantic comedy Every Girl Should Be Married. Roger Williams' recording reached No. 37 in 1955.[3] The first recording of "Beyond the Sea" was by Harry James and His Orchestra on December 22, 1947, and the first recording of "La Mer" was by French jazz musician Roland Gerbeau in December 1945. American R&B singer George Benson recorded an R&B version of the song under the title "Beyond The Sea (La Mer)." It was released on Warner Bros. This version entered the UK Singles Chart on 20 April 1985. It peaked at no. 60 and remained on the chart for three weeks.[4]Robbie Williams released a version of the song on his album Swing When You're Winning in 2001, which was used in the end credits of the 2003 Disney·Pixaranimated film Finding Nemo.[citation needed]Deana Martin recorded Beyond the Sea in 2013. The song was released on her album Destination Moon in 2013 by Big Fish Records.[citation needed]
12 Over The Rainbow
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Year: 1939
Written by: E.Y. Harburg and Harold Arlen
Arranged by: Dave Wolpe
Page Number: 2
Book Number: 1
Beats Per Minute: ♩ = 65
Key Signature: Bb
Time Signature: 4/4
"Over the Rainbow" is a ballad by Harold Arlen with lyrics by Yip Harburg.[1] It was written for the 1939 film The Wizard of Oz, in which it was sung by actress Judy Garland[2] in her starring role as Dorothy Gale.[1] It won the Academy Award for Best Original Song and became Garland's signature song.
About five minutes into the film, Dorothy sings the song after failing to get Aunt Em, Uncle Henry, and the farmhands to listen to her story of an unpleasant incident involving her dog, Toto, and the town spinster, Miss Gulch (Margaret Hamilton). Aunt Em tells her to "find yourself a place where you won't get into any trouble". This prompts her to walk off by herself, musing to Toto, "Someplace where there isn't any trouble. Do you suppose there is such a place, Toto? There must be. It's not a place you can get to by a boat, or a train. It's far, far away. Behind the moon, beyond the rain", at which point she begins singing.
13 Peter Gunn
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In his 1989 autobiography, Did They Mention the Music?, Mancini states:
The Peter Gunn title theme actually derives more from rock and roll than from jazz. I used guitar and piano in unison, playing what is known in music as an ostinato, which means obstinate. It was sustained throughout the piece, giving it a sinister effect, with some frightened saxophone sounds and some shouting brass. The piece has one chord throughout and a super-simple top line.[4]
In the original recording of the song, the piano riff is played by John Williams, who went on to become an influential film composer. Mancini arranged the first single version of the song for trumpeter Ray Anthony in 1959. Recorded for Capitol Records at Radio Recorders[6] and featuring tenor saxophonist Plas Johnson, it reached number eight on the Billboard Hot 100, number 12 on the R&B chart,[7] and number 13 in Canada.[8]
Mancini has recorded several different versions of his theme music including "Señor Peter Gunn" on his 1965 album, The Latin Sound of Henry Mancini, and in a new arrangement for the 1967 movie Gunn...Number One!.[9]
Lyrics were added by Jay Livingston and Ray Evans and first recorded in 1965 by Sarah Vaughan in an arrangement by Bill Holman on her album Sarah Vaughan Sings the Mancini Songbook.[10] Mancini also recorded a vocal version titled "Bye Bye" that is on his 1967 soundtrack album Gunn...Number One!.[11]
In addition to the many different arrangements of the "Peter Gunn" theme recorded by Mancini, the music has also been recorded by numerous other artists. Versions that reached the record charts include:
Deodato released a version of the song in 1976, which reached number 20 on the US dance chart, number 84 on the Billboard Hot 100, and number 96 on the R&B chart.[7]
Art of Noise released a version of the song featuring Eddy in 1986, which reached number two on the US dance chart, number eight in the UK, number 14 in Canada,[15] and number 50 on the Billboard Hot 100. It was featured on their 1986 album In Visible Silence, and was awarded a Grammy for Best Rock Instrumental Performance.[16] In Canada, the song spent 20 weeks in the top 100,[17] and was number 84 in the year-end chart.[18]
The B-52's adapted Mancini's ostinato or riff and added lyrics for their song "Planet Claire".[19] It is used as the opening track on the group's 1979 self-titled debut album. In AllMusic review, Stewart Mason describes the instrumental opening to the song as "space sounds blend[ing] into a jumpy, speeded-up version of Henry Mancini's 'Peter Gunn' theme mixed with sounds that could have been lifted from one of Joe Meek's 'Telstar' follow-ups, followed by a lengthy wordless vocal and organ section that recalls the theme from Star Trek."[19] Released on an EP, it reached number 24 on Billboard's Disco Hot 100 chart.[20]
Pittsburgh-based rock band The Silencers included a pounding guitar-driven cover of the song on their 1980 LP "Rock and Roll Enforcers." It was the opening song of their medley video that premiered on the day that MTV began operation: August 1, 1981. It was the 40th song ever shown on the network (see list of all videos). The video was played in regular rotation on MTV and was voted the #3 most popular video of 1981.
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)
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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 Am I Blue
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Audio Example: NOTE: This is an example only! You CAN NOT play along with this.New audio is coming...
Year: 2024
Written by: Charles Fox & Robert Griffin
Arranged by: Robert Griffin
Page Number: New
Book Number: Red Folder
Beats Per Minute: ♩ = 124
Key Signature: Eb
Time Signature: 4/4
Arranged by our very own Robert Griffin
This arrangement is the first original chart by Robert Griffin that the Red Devils have played. It is based on the "Monday Night Football" theme or officially titled work "Score" by Charles Fox (circa 1970).
‘Score’
“Monday Night Football” began airing on ABC in 1970 and kicked off with an opening theme of “Score” composed by Charles Fox. The groovy, funky pop number was produced by Bob’s Band, headed by Bob Israel, who also created theme songs for other ABC shows such as “20/20” and “Nightline.”
“Score” remained the show’s intro song until 1975.
Composed in 1970 by Johnny Pearson, the tune that eventually became one of the most famous show intros in television history was first heard on “Monday Night Football” in the 1976 season-opening broadcast. The song was mainly used as background music for its first decade-plus of MNF airing and became a more integral part of the show’s opening in 1989, when it was modernized by Edd Kalehoff.
19 Contessa
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Written by: Lennie Niehaus
Arranged by: Lennie Niehaus
Page Number: 69
Book Number: 1
20 Mercy, Mercy, Mercy
Audio Example: NOTE: You CAN play along with this example.
Year: 1966
Written by: Josef Zawanul
Arranged by: Buddy Rich
Page Number: 54
Book Number: 1
Beats Per Minute: ♩ = 140
Time Signature: 4/4
"Mercy, Mercy, Mercy" is a jazz song written by Joe Zawinul (lyrics by Gail Fisher) in 1966 for Cannonball Adderley and which appears on his album Mercy, Mercy, Mercy! Live at "The Club". The song is the title track of the album and became a surprise hit in February 1967.[1] "Mercy, Mercy, Mercy" went to #2 on the Soul chart and #11 on the Billboard Hot 100 chart.[2] Original version The original version was performed by: Cannonball Adderley (alto saxophone), Nat Adderley (cornet), Joe Zawinul (piano, electric piano), Victor Gaskin (bass) and Roy McCurdy (drums). The theme of the song is performed by Zawinul on a Wurlitzer electric piano previously used by Ray Charles.[3] Musical analysis The first part of the theme is played twice and is completely made of notes from the major pentatonic scale of the first degree. The tune is in the key of B-flat major and has a 20-bar structure with four distinct sections. The chord progression is mainly made of dominant-seventh chords on the first, fourth and fifth degrees, giving the song a bluesy feeling although it does not follow a typical blues progression. The subdominant (IV) chord in the beginning section emphasizes this bluesy feeling. In the second section, the tonic chord alternates with a second-inversion subdominant chord, creating a parallel to the I-IV-V progression (in which the tonic moves to the subdominant).
21 Strasbourg - St. Denis
Audio Example: NOTE: You CAN play along with this example.
Year: 2008
Written by: R. Hargrove
Arranged by: W. Scott Gwinnell
Page Number: New
Book Number: Red Folder
Beats Per Minute: ♩ = 100
Key Signature: F
Time Signature: 4/4
A “jazz standard” is defined as “a musical composition which is an important part of the musical repertoire of jazz musicians, in that they are widely known, performed, and recorded by jazz musicians, and widely known by listeners” (forgive me for quoting Wikipedia, but I think that’s a pretty good description).
By these terms, one would be hard-pressed to find a modern composition that deserves the title of “standard” more than Roy Hargrove’s “Strasbourg-St. Denis.” The song is ubiquitous at jam sessions, played by young bands and musicians in schools and in the clubs, and heard wherever there is a jazz radio station.
Hargrove has been releasing terrific records since the beginning of the ’90s, but he really hit pay with “Earfood,” the album on which today’s song was originally released. It hit the stores in 2008 and features Hargrove’s working band, Justin Robinson on alto/tenor sax and flute, Gerald Clayton on piano, Danton Boller on bass, and Montez Coleman on drums. This band is one of the most consistent in recent memory, and their time together on the bandstand and on the road has led to an amazing chemistry between them.
It’s strong album all the way through, but “Strasbourg-St. Denis” is the centerpiece. A simple song built off of just a few repeating chords, it’s power lies in the super-tight groove set up by the rhythm section and the strong melody, which alternates between a dancing unison horn line and a displaced descending line. I don’t know for sure, but I think with these two contrasting lines Roy was trying to give us a flavor of the Paris metro stop for which the song was named.
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.
