Table Of Contents Exercises For Mastering Stride Pano «........ 4 Rosetta .... Tan Ain’t Misbehavin’ =... 14 Litele Rock Getaway ve 18 Old Fashioned Love poooneccoo Ft Nagasaki : : 126 Tve Got Rhychin I 30 1 Would Do Anything For You... 234 Honeysuckle Rose eetThis Is Judy Carmichael When juor Caracuaer was rr ribs oun he gander said he would give ty dollars to ‘any of his grandchildren who could ~play Maple Leaf Rag. Judy, who had Been struayling through plano lessons forfour years, asked her iano teacher if she could learn it. io. replied the teacher, who went ‘on to explain that Judy wasn’t good enough. So she went Home arid taught it to herself — note by note. “Ag p00 9 Teepe "uy secalls, "played i for my grand ather, took the fifty dolls, and taking lesons.” And, while chat may sound fike the end of a story, for Judy, it was merely a foreshadowing of the uni- gue career that lay belore her: in fact, many years later, an eerily sinilar scene would occur. She was majoring first in German, dhe pavelony at Calon Sat allege — playing rag while her Friends listened to the Beatles — when someone fold her about @ piang playing job on a boat in Newport Harbor. Although Judy on _ly knew five tunes, spunk had never Teen her weal point; she went to the Boat, audition and landed the job. “Hier audition piece was, of course, Maple Leaf Rag By 1972, Judy held eheee jobs a day (and/or night), seven days @ week — “because people said it was hard ro get music jobs, s0 I rook everything that came along.” As the “Jabs increased, so did her repertoire. However, the “honky-tonk stuff” she'd been adding to her collection of performance pieces underwent @ radical shot of inspiration when at ‘age twenty-one, Judy heard her fist Fats Waller album. .” judy remembers. “I WoFE out the album.” A listening “binge ensued as Judy immersed herself in recordings by Benny Moten's band with Count Besie, ear- fy Bing Crosby, che Boswell sisters, the Rhythm Boys, -. “Twas being in- fluenced by the whoie period sound cof the 1920s and early "30s," she By 1977, judy had moved to Disheyland' where she played on a Sffeet outside a cafe. Jackie Coon, a iwellenown Los Angeles studio musi- ian who was playing trumpet in @ big band ar Disneyland, stopped one day to listen to her. "You've got time, you swing, and you play the right changes,” Coon told her. It was the fist word of encouragement sheld ever received from a profes- sioaal-musician. But it wasn't the last ‘Next, Harold Jones, who had been Count Basie's drummer for five years stopped to listen. Jones then in- troduced Judy co Freddie Green, the Basie band’s guitarist for forty-five years, and singer Sarah Vaughan. With the quality encouragement of these three new friends behind her, Judy produced her first album, Tuo: Handed Stride on the Progressive label. Jones and Green were joined “Backup on the album by Marshal Royal and Red Callendar. “I'd never been in a studio,” Judy recalls, “and Twas scared to death.” But she didn’t let it show. Leonard Feacher, in his Los Angeles Times _teview.of the album, said: “Car- Tnichael is @ twenty-eight Year old planise from Costa Mesa who, unlike almost any otter twenty-cight year ‘Ig, is hooked on seride piano. Play- ing eight cunes written long before het birth, she shows a commanding knowledge of the genre, Fats Waller style. .. The only fault ig the albums extreme brevivy.” More recently, Judy is winning ac colades for strictly solo performances con her second album, Judy Car michael: Jaze Pino (also on the Pro gressive label). She has become Kool Jaze Festival favorite, and she can frequently be found filling the room at New York's popula jazz club, Hanratty’s. “The finest tribute to my music is my audience,” Judy states. *Whecher I'm playing in New York, L.A. or Paris, l'see the same faces again and again, and I know P've connected, ‘That's what ie's all about.’ Originally from Los Angeles jazt pianise Judy Carmichael now lives in New York City and maintains a busy schedile of concert and club date around the world. In addition, she is a-contributing writer for Sheet Music Magazine, The Jazz And Keyboard Workshop, and is a jazz panelist with the National Endowment for the ArtsAbout These Exercises... ; Mex ce ano won pled in ride, stvle: a style feeturing a bass pattern utllzing single base notes, octaves or tenths on the ft and chied beats and chords on the second and fourth. Understanding the approach and acticude of the carly stride players com add life and fun to all Ereative playing. In addition, playing side helps you think, play and listen independently and use Your lefvhand a5 a true chythmic and harmonic Compliment to your righthand, "The following exercises are figures, ifs and phrases astodated with stride plano, These devices Ean be utilized in a variety of ways as you will Siscover in the selections inthis Volume. Practice these figures until you can play chem sgl and wing Ken the time cose bug fon play too classically, Picture your fingers danc ing over the keys; cha’s che feeling you want. ractice the lechand separately so you can make ghefmpe ely and ot fone yor time seatcing Be able 0 piay these figures well before you go on to the fll artangements, This way youtl sight- read more easily sod better hear how each device Contcibutesto the melodic whole of the plece. Remember 10 listen! These devices do not have to be played exactly as written. Be creative, Use ~amiipa pare ofa figive or combine many figures. Certain musical ideas will appeal tO your ear more than others, Dont be afraid to use jst those ideas that fel right co you, The ideas that stand out £0 your cars are original choices that only you can imake, These choices wil form the basis of your sie: Test your snes, be creative, and have