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YELLOWJACKETS FOUR CORNERS rr KEYBOARDS SEO COlaTONT: a Dey ~ 3 0007 00011 0824 oN YELLOWJACKETS FOUR CORNERS Complete Transcriptions for: ACOUSTIC PIANO & SYNTHESIZERS SOPRANO & ALTO SAXOPHONES FIVE STRING BASS & FRETLESS BASS DRUMS & PERCUSSION ‘Transcribed by Steven K. Tyler & Craig Hara Conyrant ©1888 by HAL LEONARD PUR, marae Cyr ‘arts POUR AENE TS RUSS FERRANTE s KXSS MIDI Keyboard Controller, Yamaha QX-1 Sequencer Yamaha TX-7 Synthesizer Modules. Prophet VS Digital Synthesizer, Roland MKS20 Digital Piano Module(used en mast cuts ie the album), Roland Super JX Synthesizet. Yamaha DX7 Synthesizer, Linn Drum Machine, PPG Wave Synthesizer, plus various acoustic keyboards, JIMMY HA‘ P For live performance: Mike Tobias S-string, Yamaha BBS000 5-string, For studio: The same instruments plus a Yamaha BB1200S, 4-string with 1 parametric equatizer. Valtey Arts Fender, Mike Tobias Classic 4-string MARC RUSS O Selmer Mark VI 1967 alto sax, Myer mouthpiece, Rico phastic-coated #4 or #4 1/2 reeds, Yamaha power jtors. Audix microphones. WILL KENNEDY Remo drums, Paiste cymbals, Martin drumsticks FOUR CORNEI = MCA $904, 1987 STAR TREK IV soundtrack - MCA 6195, 1986 SHADES - MCA 5752. 1980 SAMURAI SAMBA - Warner Bros. 25204-1, 1984 MIRAGE A TROI Warner Bros. 23813-1, 1983 CASINO LIGHTS/LIVE IN MONTREUX: Various artists - Warner Bros, 23718, 1982 YELLOWJACKETS - Warner Bros, 3573, 1981 YELLOWJACKETS FOUR CORNERS 124 126 INDIGO 69 MILE HIGH 63> OPEN ROAD 8 OUT OF TOWN 80 PAST PORTS 95 POSTCARDS 107 ROOM WITH A VIEW 48 SIGHTSEEING 310 WILDLIFE YELLOWJACKETS YELLOWJACKETS are Russ Ferrante on keyboards, Jimmy Haslip on bass, Mare Russo on saxophones, and Will Kennedy on drums; all of whom have earned formidable reputations in the past as highly artistic musicians and composers. Ferrante, Haslip and drummer Ricky Lawson all gigged in the rhythm section of Robben Ford's band, and they subsequently played together on Ford's album The Inside Story, Ferrante, who started with a classical and gospel background, moved into jazz and improvisation in his teens, and then into R&B bands in the San Francisco Bay area. He originally ioined Ford's blues band to tour in the mid-70's. One leg of the tour was made with the great R&B and blues singer. Jimmy Witherspoon, an ex- perience which Ferrante considered "a great education." He then worked with several other bands before joining Ford in L.A. in'78. Haslip came from a musical family that played a full range of recordings at home from classical and jazz to salsa. He originally played trumpet, but found the electric bass sound appealing after hearing Latin music at school dances. His initial gigs were with combination jazz, rock and R&B musicians at local bars. Known for his flexibility, by the mid-70's he was getting many calls from well-known musicians to play and record with them. On the road with Flora Purim and Airto and their drummer Ricky Lawson, he met Ford's roommate who recommended him to Ford when they reached L.A. Ferrante, Hastip and Lawson cut a group demo “almost for the Tun of it” with Ford. They were surprised when they were signed immediately to ‘Warner Bros. Records. YELLOWJACKETS was released in 1981 with most of the writing coming from Ferrante. The name came from a long list of possible group titles. Haslip said, "...1€ seems to express where the music was at - a lot of energy and colors - and it stuck." However, Ford couldn't really be an official member of the group since he was signed to another record company. He played on part of the next Yellowjackets album, MIRAGE A TROIS. in 1983, and then embarked on his solo carver. The album also featured Richard Elliot on Lyricon and guitarist Mike Miller on some cuts. On other cuts, the then new syn- thesis technology - sequencing - added new layers of electronic, but me- Jodic, sound to the group's distinctive music. After finding that the group really didn't click with the various other in- strumentalists they tried, the members worked with other groups for about a year: Ferrante with Joni Mitchell, Hastip with Al Jarreau, Law- son with Stevie Wonder. Toward the end of the year, MIRAGE A TROIS was nominated for a grammy for "Best Jazz/Fusion Album,” and the group once again was getting offers for gigs. Working as a trio in '84, they started thinking about a new album and looking for another instrumentalist - a different sound. Ata gig, playing with Marilyn Scott, who was using the Tower of Power horn section, the group heard Mare Russo, who sat in with Yellowjackets and im- pressed everyone. A few months later, the high-note blowing Russo was asked to join the group. Russo's influences were the jazz/rock sounds of the lite 60's/ carly 70's and the jazz giant saxophonists such as Adderley, Davis, Col- trane and Parker. His high register ability stems from a gig blowing "over" a very loud disco band and hours of work perfecting the sound. In the late 70's, he toured and recorded with Narada Michael Walden and then joined Tower of Power for four years, which included touring with Huey Lewis. The next album, SAMURAI SAMBA, was cut with Russo in the group. Where in the past, Yellowjackets had an R&B-tinged jazz sound, this al- bum had more "dance grooves” and even a vocal Their MCA debut, SHADES, was recorded in 86 with a great deal of improvisation and not a lot of sequencing or drum machine. This Lp was definitely back in the jazz vein with the group's distinctive R&B touches. SHADES was on Billboard's charts for 30 consecutive weeks and gar- nered the group its first Grammy Award for "Best R&B Instrumental Performance.” Aiso in '86, the group had a wonderful time contributing musical compositions and performances to the motion picture "Star Trek IV." At this point, Ricky Lawson left the band and Will Kennedy joined at Russo's recommendation. Kennedy had played with Russo on many Latin-jazz gigs, and had just the right amount of heavy javz and taste of rock background for the Yellowjackets. In 1987, they were named "Contemporary Jazz Group of the Year" by Cashbox magazine, Nominated for a Grammy in 1987 for "Best Jazz Fusion Performanc and receiving a 4-star review in Downbeat, FOUR CORNERS with its wealth of melodic and rhythmic ideas has "...1 pinpointed direction, more so than any of our former records,” Haslip says. "We all grew up hearing different music, and (now) we're trying to distill it down to a cohensive statement - not a bit of this and that, but a group concept.” The upbeat mood of the band made the FOUR CORNERS sessions go smoothly and easily. "We didn't labor at all,” Russo noted, "In the past weld spend time refining things, but we didn't want to tamper with this. I's much more spontancous. Ferrante agrees, "We're four musicians who have made the Yeltowjack- ets our top priority. We really wanted fo figure out what felt good, what our audiences liked. and what we liked. We all got in sync on this Lp ~ nothing has jelled quite like this. Will Kennedy feels that ”...we're playing from our hearts...this is posi- tive musie that’s fun to play. ‘A wealth of melodic and rhythmic ideas are found in FOUR COR- NERS. "Out Of Town’ is an energetic piece featuring Russo's soaring ax and Ferrante’s inventive keyboard work, who feels this tune is almost boogie or swing..." While Haslip adds that "...this takes us back to our roots - we're swinging!” "Wildlife" has shifting polyrhythms influenced by guest percussionist Alex Acuia. “This started out as just a mood and evolved into a full song," says Kennedy. "Sightseeing" also highlights heated rhythms trom Kennedy and Acuna "Mile High” is bright, bouyant and melodic - a radio station favorite Written in Denver, the tune is a straight ahead shuffle, “Past Ports" has a floating Kind of feeling, a slow and a fast song at the same time, "Will is playing a fast, bop-like beat, and Jimmy is playing whole notes on bass,” says Ferrante In the ballad department are "Room With A View" and "Open Road, which feature Ferrante's melodic, subtly textured synthesizer parts. "My goal with these tunes was to write something straightforward - simple yet pretty.” he said ‘Geneva’ is an ethereal mood piece with only strings and synthesizer. “This is another first for us - a piece without a rhythmic pulse,” Haslip points out, The peppy, salsa-flavored "Indigo" came out of a jam session and is the extra cut on the CD version of this group of tunes that is broadbased and international in feel. Philosophically, Haslip states, "We're trying to keep progressing...that means searching for new ways of expression, kind of stretching the boundaries of what we do, without erasing the places we've come from. We just want to bring good music to people.” OUT OF TOWN By RUSSELL FERRANTE ‘and JIMMY HASLIP Bright jazz feel, ‘Nto Saxophone Keyboards Fe Uf sins as 2rd time only Dons tse Syath, +0, "wns ler He Synth Synth, bongos ‘Synth, clap, bass drum : : Tacet It time ASax mp A Sax Keyboards are Roland MKS20 MIDIed to Yamaha DX7 voices, ‘Cop © 1987 Banaue Muse, Te Mase La Ves Ma New Shas Moni and Pe Dele Mask "Sify Cento rd AdmumeredyHamaces Ms he Reerediermatonal Copy eure Bongos, B.D., Clap - continue simile at random A Sax 67013) oma ASax A Sax ASax Drs. Bees = cominue smile 16 ASax Drs. Piano’ Am7(o13) ASax Bo(add9) Db13 18 ASax Gom7is_Fm13 0 ASH Esmai7/F F7#5(09) ic A Sax F D7i9H13, Gro 13)F COIZE FI9/E> FI9—Bo13. Bb 9413. EH19)D5 D7t9613 Gri9H13/F 2 2 A Sax Sax Solo cro FIDO F7I%13 B13 BID 23 Fémaj7/D Dsus p13. G13 Ama /F F13. BIS Piano solo ime 1 pp Esmalz? Fi ® Jan feel Fry FI3 079 Gm7 G13 Fm? ET>13——Ebmaj?_Ab19_—CmrbS FS i (D7#913 G749513/F cro F13/E> Bb13. Quasi half-time jazz feel E513) AT#9613, 749513, GTI 13/F 79 FA3/E> Bo13_B9/D ED Edim? _Eb/F %6 A Sax Bo7H9H11 A Sax G13 Fo B13 Ebmaj9 Bb(add9) D513 Ors. 28 ASax Fr ASax Ors. ASax Gom7 45 Fmta 30 ASax Drums A Sax evton1 Ebm9 —ADISEY/ED Domi. G13. m9 F13 BH IBHTT(add AYE Ors. 3 WILDLIFE By RUSSELL FERRANTE, IMM HAs tnd ALEX ACENA Bright Afto-Latin me Syabester, Bb Soprano Saxophone Synthese Jungle Sounds Keyboard are Roland Super X with sequenced ths at beginn -Attmeasure 38, the Aivcan mallets oud isa DX? sound calcd “utamba 32 35 37 38 = Tatts @ 39 Pe rican Mallet” sounds diy rf Hand Claps™] he Drs. o Continue elas Hila continue simile pte Marimba tacet Voices 8 Sax 8. Sax Ula ie oo, cc cle ‘Add Marimba - tins, with voices Uilale-go, la He-go, ta tego, Cu 8. Sax ‘Syn Un se veory se-ve-ss, — se-velna, ta [rim - ba com pa-loy bom ~ be, ‘ate - go, tale-go, at End hand eleps Continue repeating 778 sequence Play random sparse ils DS. al Cota Continue sequence Solo E> Aeolian minor Solo around melody 8. Sax 7 Ors. Vamp and Fade Bsa : SIGHTSEEING By RUSSELL FERRANTE ‘and JIMMY HASLIP Moderato nthesize sri Sek ‘Synthesizer Synthesizer Piano} String MIDI Piano/ St. MIDI or Fy Hat Ors. BD. Acoustic Piano nrg © 1957 Barcta Mu eh Ms Yea Mw Shas ean Fre ite Me ‘nage Reed neon Cypser Piano) ‘Str. MID wd Acoustic Piano MIDI to String Synth Es7sus —— 50 Piano/ St. mii Cmaj7+t4 52 ‘Synth, solo a” Piano/ ‘tr. mii Ors. Piano) ‘st. MIDI Plano) Str. MiDi Pian , MID ‘Domaj9/A> be wm Synth. Pranol Bb13(+1159) MiDi: tr = _—— iN Piano | 5 Ab(addsy/c MiDi of —_¥ GH Alto Sax wich bass ak ‘Solo fa with Alt Sax === 614 Samba feet 56 x E7013) Fmaj7(+11) tix fa Fi3(+14) "ean wh sya iar) ‘eine Det sola fit one p Fmt4/8> Piano solo - Play 8 times 59 DS. al Coda 6 ‘copa © Solo simile “Ah” sounds Frmt1/B> Gr imi cons, cits Dmaj7(+11) ——— Fmai7(+11) a rth Emit 13(+11) cim7 Fiz Voices F19(+11) "Sate Bmo cim7 mit Dm11/6 Repeat and Fade wt Voices. “ein Ors. OPEN ROAD By RUSSELL FERRANTE Mystical ballad ‘Soprano ‘Saxophone ‘Synthesizer Keyboard String synth, SS > Bass Drums Sax ie Coma sine ado ptr onde ms wn eee eee eye vg —— a = = = Roland MKS20 is MiDIed to 2 or 3 diferent synths to create pads Comrie © 187 a es Cotabato Fa Dee Mae [AD ps Reseed inertia Cong Seed 4 Piano and strings Fi /9(n03e8) En(edaoy/e 8. Sax KB B Sax Cladaaye Es6(addoo13 Bbmai7/ Ab(add9y/C ‘AbjB> fees iano and strings Ba/A> 3 7 8. Sax Fm6/9(n0Srd) Exfadd9y/G ——= Aom9{add6)/E> Awwaroyes Fem(35)/E> Piano only 5 8. Sax MILE HIGH : By RUSSELL FERRANTE, JIMMY HASLIP, MARC RUSSO, WILLIAM KENNEDY and BILL GABLE Bright 12/8 rock Ato Saxophone 10 ime only ‘Synthesizer Keyboard Drums ‘Sax racer It te A Sax 7 2ad time only Drs, rt 967 Barc nh be Yo os. Sh Mak Pe De Ma Spon Ma [ADE Reserved inert Cobpht Sea A Sax A Sax with sax n A Sax Drs. og Mea ged on 0, === Drs. A Sax ‘yt, BF m A Sax Solo brass B/C B/D__Ebmajast1 Diaddsy/Ft DS. al cola °°. ‘A Sax Drs. Gm? Dm? E>m7 Fm7 Gb/A> Cm7b8/G> A Sax Drs. SB BL/F_Cm7/E> Dm? &5/G Bb/F Feus/Gs ‘Solo - ad lib. 3rd time thru fade c Gaus/F Bb(edas) Bosus/Ab PAST PORTS By RUSSELL FERRANTE Soprano Sax : Bell sound Synthesizer Emsj7/A tmz /F8 Amaj7/8 — Gim7jct Keyboard Bass Drums S. Sax Synth, eB Tacet 1st ime Bass Freely Drs. Acoustic piano oprah © 190 Braid Mois Tenth Mut Vi Mun, New Shas Man Fae Det Me is Conga Aue ras AU Rg Reseed" nnonl xpi Se A sax simile Ors. 8 Sax kB . and a 4 continue simile 2 8. Sax ke 2nd time va Bass Ors. 8. Sax kB 2nd time a Bass 3 “Moog Sine Wave” sound ace It time 8 Sax 86 Emaj7/A Cim7/Ft Ride pattern 88 8. Sax KB Bass oe Light eym. fils Drs. = Play 5 timer Esus Tacet Ist time 8. Sax Se ‘stim only kB Bass Light cym. time Drs. : ‘Build wih each repeat follow soloist, Ctsus 8.Sax 8. Sax 8. Sax a 4 Sax Synth, Bomajg/c ‘Am7/D Play 3 timex z Tecet te time Ride pattern Emaj7/A Chm7/Fi Bich 8. Sax Gem7/ct POSTCARDS ‘By RUSSELL FERRANTE ‘and JIMMY HASLIP Rubato Ano Saxophone ‘Synthesizer = String synth, Omaj748 Dmaj7#5 Dmoj7H11 ——Bm7/E Fim? Keyboard Bass Drums A sax Gm7(add9)_Gm7(adds/9) FATH11 —— BmI7(add11)_Bm7(add11) Am#7(add11) Am7(add11) Brass coi sound is Roland Super X's “Euphonium choi” Sex is doubled occasionally with Yamaha TX? "votee, oprah © 1987 Baas Muse, Taha; Via Ms New Sr Me nd Pare Dee Mac hs Revered" Intemational Copyright Secured 96 Gmaj7(o19411) Ebm7 ‘Moderate jazz feel Gl A Sax E Piano BS7/A> _Gfadd9)#11 Drums set tempo “Brass Choir” sound 2nd time only a Gladdy1t —BH/C 2nd time — = sine C7susG___—Fladd9yA B/C __BBladd9) AMS _Abmaj7 98 A Sax Bm7+5 Eb(69) 2nd time only 2nd ime : ——* Bm7>5_E>(+9) A sax Br Bh{edds) Am —Abmaj7_—_Gladdo¥11) 100 Gtadaoy11 ‘A Sax Ors. 101 Asax Bom7 Ds/E> Cm Ors. A Sax =F Gladd9)$11 B/C FG A(add9y/E A/D Gmmaj9 102 String pad 103 BD _Fmajr(es) Fe Fmai7(s5) KB Ada ls 2nd time String pad Bass solo Fmaj7(i5) Fmai7($5) 108 Fmajz(it1) Gm7 Fledaay/a Bbme Domaj7(+11) Bess DE Drs. ; 7 Bass Drs. G(add)/8 Bo7811013 Avsust3 Ab13) = Gm1 c7 i: r Gladd9)/B BH7HID1S. Apsus3 Ad13. Gm11 Bass 105 e Bass Ors, pa CODA Alto solo > ps. stcoe @ emz Fim? Gmaj7__Ftm7 ASax E Jt tne only — ‘Synth, 1B Bass 106 Em? Fem7 C755 Bmi7 Em7 Fiz ‘A Sax Em7s5_Dmt7 Repeat and Fade Gm7 B/C D7sus 879811 E911 G/A_ Dsus Bbmaj7/E Bmtt A Sax Frsus D7»9#11 GOHT 5 BY/C Feus Cimaj7/E Dm1t ROOM WITH A VIEW 7 By RUSSELL FERRANTE Bright ballad ‘Soprano Saxophone Synthesizer Keyboard Roland MKS20 MIDIed to TX7 “voice/bell” sound. Synth line fs 4 Prophet VS MIDled to Roland Super x "woice” sound, yh @ 1987 Brace Mat: Tn Mate La Vr nN hse ‘Mtg Reserved verdana) Copreg Seed 108 110 Bo(addd) EnfaddsyG F/A Eb(add9y/a Ors. B/D F(noSrd)/E> Bb/F KB Bb(add9) cm7 os. Bo(add9)/D B/D m2 Drs. Ors. 113 Bo(add9) E>(add9y/G F/A ns 8. Sax Exfadd9yG Bb/F 8. Sax Gm7 D/A GmyBo By/D F(no3ra)/E> Bb/F Cladasy/e> 13 $ sax S/F F138 Bo(add9) Cm7 Drs. Sax BH(add9)/0 Bb/D Ors. 6 8. Sax Drs. 8. Sax Bojadd9) EbeddsyG —F/A Bass Ors. Synth. Drs. 71913 Ams u7 8 8. Sax Synth, Drs. Ors. ns Play 3 umes Solo ‘Abmaj7 (> FIG Em7 Am7 8. Sax suggested votengs Gmaj7/A> Bass Drs. Dmit cm1t Bit E79 Am7 19411 8. Sax Bomtt Am11 79 Gm7 erat KB Bass Drs. Bass Drs. Bmit im? ays 8. Sax Bm7 G/B Bo{add9)/D Ors. last DS. al Cada ity copa 8. Sax Synth. A13#9/C}__Dmo 3 Bo? 123 8. Sax Synth. Drs. SS CladdsyE Ebmt1. Drs. “ GENEVA By JIMMY HASUIP Rubato Stady : Told hs cord Crt ——— 126 NDIGO By RUSSELL FERRANTE, JIMMY HASLIP, "MARC RUSSO and WILLIAM KENNEDY Latin feel Saxophone A Sax Bomaj9(no3rd) cc A Sax Roland MKS20 MIDIed to TX7 “voice/bell” sound, Measure 49 strings are Prophet V3 and Roland Super JX nya & 1907 Hau Maen Ye nN Sh Mando Mn IAftgns Reesed™ nari yeah Seed A Sax Ors. A Sax Bass A Sax 17 128 A. Sax A Sax Fmaj7(add6) A Sax Drs. A Sax 129 Ebmajgstt 130 A Sax Ors. A Sax 131 A Sax 4749513 add synth, strings Drs. A Sax Ors. 132 26/906 a) Gomaig¢tt) ae Chmaiz ge? bg ee Abajo) 133 ASax ‘Amajo($11) A Sax Fmaj7(add6) E>maj7(add6) ‘Bomaj7(add6) 134 A Sax Drs. A Sax ‘Gmaj9(#11) 135 A Sax A Sax XB 136 A Sax Drs. 137 A Sax Ors. A Sax C7 13/E Ors. A Sax 138 A Sax Drs. A Sax A Sax Ors, 139 A Sax tet time only A. Sax Sax Gomajottt Ors. 40 A Sax A Sax ae719613 Drs. Mt A Sax A Sax Abmaj9itt Ors. A Sax Ors. uae A Sax A Sax A Sax Fmaj7(add6) E>maj7(add6) Bomaj7(add6) 143 ASax Ors. A Sax kB Ors. A. Sax Ors. hod oe ‘Transcribed scores are vocal and instrumental arrange- _ments of music from some of the greatest groups in musi ‘These excellent publications feature transcribed parts for lead vocals, backup vocals - lead guitar in notation and. tablature, rhythm guitar, bass, drums, and all of the var ‘ous instruments used in each specific recording session. ‘All songs are arranged exactly the way the artists record- ‘ed them. The Beatles - The Blue Book Can't Buy Me Love + Day Tripper * Here Comes The Sun Hey Jude « Lady Madonna + Penny Lane + Yesterday. 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YELLOW JACKETS FOUR CORNERS TRANSCRIBED SCORES for Pea On tb BROS a TLON BASS aan Here you have a little traveling music Peer et YELLOWJACKETS, Named ‘Contemporary Jazz Group of the Year by Cashbox, the group consists of the diverse keyboards of Russ Ferrante, the inspired funky bass of Jim Ea ee ee Neem re een colorful drums of Will Kennedy DA RAO NT STR plete, note-for-note ase) UO OS WILDLIFE SIGHTSEEING Cm) MILE HIGH TSO OM Kene TDS ROOM WITH A VIEW (AN THe) US. $18.95 ISBN 0-7935- ent