CONTENTS Tunes included in this volume are: 1. The Double Up 8. Party Time 2. Sidewinder 9. The Gigolo 3. Ceora 10. Morgan The Pirate 4. Something Cute 11. Zambia 5. Kozo's Waltz 12. Speedball 6. Totem Pole 13. Stopstart 7. Mr. Kenyatta 14. Our Man Higgins Introduction. Discography Soloing by Jamey Aebersold . Nomenclature Scale Syllabus . e CONCERT KEY SONGS & CHORD/SCALE PROGRESSIONS ® Bb INSTRUMENT SONGS & CHORD/SCALE PROGRESSIONS. e Eb INSTRUMENT SONGS & CHORDISCALE PRO! SIOBS .. Qe BASS CLEF INSTRUMENT SONGS & C| \\"- FRE: ° AX Will be played only once @end of the last recorded chorus. All copyrights ed No portion of this book maygfreproduced in any way GpINTRODUCTION Lee Morgan (1938-1972) was one of the most important trumpet players of the style known as “hard-bop’ He is probably best known for his playing, which was sassy, blues inflected, and bop informed. However, his body of recorded work also includes many catchy and challenging jazz compositions as well. Tunes. such as Sidewinder, Speedball, and Ceora have become jazz standards that every literate musician should know. Morgan recorded at least 25 records as a leader for Blue Note between 1956 and 1971. All of the tunes (except Kozo’s Waltz) on this volume come from seven of those recordings. Asa player, his early influences were primarily Clifford Brown and Dizzy Gillespie. Morgan was something of a jazz prodigy. He joined Dizzy Gillespiefs big band as a featured soloist when he was barely 18 years old. Before his twentieth birthday he had released six albums under his own name on the Blue Note label and had appeared as a sideman on such great recordings as Gillespie's “At Newport’, Coltrane’s "Blue Train’, Johnny Griffin's "Biowin’ Session’, and Jimmy Smith's “House Party” In 1958, Morgan joined Art Blakey and the Jazz Messengers for the first of two lengthy periods (1959-61 & 1964-65). During this time Blakey recorded Kozo’s Waltz on his “A Night In Tunisia” album Drug problems caused Morgan to leave the Blakey band in 1961 and his career was relatively dormant until 1963. His first album as a leader upon his return from this hiatus was “The Sidewinder’. Sidewinder and Totem Pole are from this date. The title track was very popular and spawned dozens of other tunes with catchy melodies that attempted to capture the infectious dancing feel of Billy Higgins drumming on the original With 1964's “Search for the New Land,” Morgan’s compositigns begal fo meraggsRhe gent ignavations of the John Coltrane Quartet with Morgan's funky lyricism Mr. KOMgya did Mo} 10 fat from this session. e In 1965, Morgan recorded two classicgiates, {he Wig ali “Combread”. The Gigolo is a wallet displays the continued influence of Cof\ge ar IDV is a swinging blues in the key of Db (Check out Lee & Wayne Shorter on the qgginal’ ing The “Cornbread” session gives us Our Man Higgins, perhaps the best example of the {faScination with the whole-tone scale. As such, it takes its place in a line of musical evolutio from Fletcher Henderson's “Queer Notions” to Coltrane's, ‘One Up, One Down And Beyond”. °C fealso is the premier recording for perhaps Morgan's best- loved composition, Ceora. This beautiful ian's poetic answer to the 1960s Bossa Nova craze. ‘Something Cute and The Double Uj Party Time are from a Vij Many of these tunes gers i Blue Note recordingadgs a 197 On the CD release of thal again that a great t Lee Morgan met an musical passion ang creatiyit Steve Allee, bee) are true to the feel anggaayit work here, Be pEpanglf to for yourself! e -_ C Gp Pat Harbison March 22, 2003DISCOGRAPHY Alltunes are composed by Lee Morgan. This is a selected discography only. The original recording of each tune is listed first, Subsequent recommended recordings are listed in alphabetical order by artist ‘The Double Up ‘The Gigolo Original recording: Lee Morgan, Charisma, Blue Note Original recording: Lee Morgan, The Gigolo, Blue Note 50961, (1966) 84212, (1965) Sidewinder Morgan the Pirate Original recording: Lee Morgan, Sidewinder, Blue Note Original recording: Lee Morgan, Search for the New 84167, (1963) Land, Blue Note 84169, (1964) Ray Charles, GeniuseSoul-Jazz, Rhino 72814 Zambia Tom Harel, Neholas Payton, Lew Solel Trumpet Legacy, Original recording: Lee Morgan, Delighttulee, Blue Note Wilestone 9286, (1998) ‘4249, (1968) Eddie Henderson, Lee Morgan Tribute, NYC 6016 (1994) Speedball Lie Morgan Live atthe Lighthouse Blue Note 35228(1870) Original recording: Lee Morgan, The Gigolo, Blue Note Claudio Rout, Free Whee The Music of Lee Morgan ‘e212, (1965) Reserv 136, (1994) Bobby Broom Wat’ and Waitin Crss Cross 11951807) Tut island Sting Quartet Metropolis, Windham Hil WO- Keith Copeland, Postcard from Vancouver, Jazz Focus ora, (1388) 23, (1998) sora Cchares Garand, intensity, OIC P-10041, (1972) Grint recording: Lee Morgan, Combread, Blue Note Ede Henderson Tribute to Lee Morgan NYC ‘4222, (1905) 6016, (1998) Benny Carter. Elegy it Blue, Music Masters 65115 (1894) _ Milt Jackson's Big 4 with Ray Brown, Montreux 75, ONC Joey DeFrancesco, Ballads and Blues, Concord Jazz 84, (1575) tbs, (2002) Lee MorganiLve a he Lighthouse, Blue Note 35228, Robin Eubanks, Wake Up Call, Sirocco Jazz 101, (1987) John Fedchocks New York Big Band, On the Edge, Reservoir 159, (1998) David Friesen, Name of a Woman, ntutton 334, (2002) Stove Grossman wiGedar Watton Tro, Small Hote Dreytus 656128, (1983) Eddie Henderson, Lee Morgan Tribute NYC 60181994 Blue Eddie Henderson Think on Me, Steeplechay aa banks, Second Take, TCB 20602, rec. 2 ~ favion tl Pacts of Hope, Soul Note TARA LTON., ASteW Houten, stove Hougrton, Rhino 78186, 1884) Hal Melia, Waduyathink, Postive 78 os lc Alar Hor, Co sb S31 198 Hendrik Meurkens, In a Sentimental Our Man Higgins 5a, (1999) Original recording, Lee Morgan, Combread, Blue Note Frank Morgan Lament.Contemporary COM 4222, (1965) Claudio Rout, Free Wheelin: The Music o§ Claudio Roat. Free Wheelin: The Music of Lee Reservar 136, (1994) Morgan, Reservoit 136, (1998) bby Waser Round Top Rod 167, (9 mathing Gute Sigalacraing Lee Mower Charsng Original recording: Art Blak: Note 84049, (1 Eddie Henderson, Tribu ‘Totem Pole ‘Original recording: Ley 84157, (1961 Bill Warfield Big Ban IPCO86007-2, (1988) Mc. Kenyatta Original recording: Le Blue Note 24188 tee) Peter Bernstein Somethi Steve Kahn, Let'sfEall J Ray Vega, Bopere coral Party Time Original recording: Lee Morgan, The Procrast Note 33579, (1 — ZSOLOING by Jamey Aebersold 1. Keep your place - don't get lost. If you do get lost LISTEN to the rhythm s will often give a little crash at the beginning of new sections. If you hit a note that is not what you intended, move it up or down a half-step and you'll probably be back in the scale (or chord). Re- member, jazz music usually moves in two, four and eight bar phrases. You're never far from a new phrase beginning. 2. Play right notes. This really means play the notes you hear in your head...the notes you would sing with your mouth. Having the scales and chords in front of you on a piece of paper is merely a guide They don't provide the actual music that's going to be played. THAT comes from YOUR imagination. If you've got the scales, chords, and chord/scale progression MEMORIZED it provides courage to your imagination and allows you to operate from a more creative natural basis. It allows you to take some chances. It helps remove FEAR. 3. Using REPETITION and SEQUENCE is natural in music. It's found in all types and styles of music. The novice improvisor often feels that if they repeat an idea, everyone knows they are going to repeat it, so why do it; plus it's not original enough for your EGO so you don't play it. WRONG! The listener needs to hear some repetition and sequence or else they can’t remember anything you play. Repeti- tion and Sequence are the glue that holds solos together. The usual number of times something is repeated depends on you but the average is 2 or 3 and then mind will tell you when to repeat and/or when to use sequence. It’s a part of the way wg hear rflusic pl by, 8. 4, CHORD TONES (the 1, 3, 5, & 7 of a scale) agmgre notes to ta! @ LE lust sing a phrase and see if you don''t follov®this UX. Outtefs HEAR chord thes Qst so it's. natural to begin and end there. Pluss NX 1d Me Mtener what we're listening for - APnonic stability. 5, SOUND: Be sure that you are g }08d, full sound on your instrument (or voice). Don't let the scales and chords or the progressiol intimidate you. Sound is foremost and is the FIRST thing a person latches onto when you Sing let your voice or instrument rinfout. 6. LISTENING: There’ ay ay those musicians who hy r musician is a result of willie by listening to them Mave g listen to others they'll jUSSsmug true. The ego hates listened to anyone 7. Everyone has tge abil to have desire and distance between your mind al fingers are alreagy pl When asked, “ th Lagree!NOMENCLATURE +or#=raise 1/2 step - orb =lower 1/2step H=Halfstep W = Whole step Because jazz players, composers, educators and authors haven't agreed on a common nomenclature for writing chord and scale symbols, the novice will have to become familiar with several different ways of writing the same scale sound, Listed below are the most common symbols in order of usage—most-used to least-used. The symbol that is boldface is the fone | use most often. Notice that throughout this book you will see CA and C to designate a major chord/scale sound. | am doing this so you can begin to get better acquainted with various nomenclature. ‘A = major scale/chord or major seventh (C.A). A (7) after a letter means to lower the 7th note of the scale, making it a Dominant 7th quality (C7). A dash (-) when located beside a letter means to lower the third and seventh of the scale 1/2 step, thus making it a minor tonality (Dorian minor) (C-). « means half-diminished (Ci). C-& means a minor scale/chord with a major 7th, -3 means 3 halt-steps (a minor 3rd). CHORD/SCALE TYPE ABBREVIATED CHORD/SCALE SYMBOL 3 MAJOR (Ionian) (WWHWWWH) C DEF GABC. ‘Crmaj, Cma, Cma7, Cmaj7, CM, CM7, Cmafa, Cmajt3, CF 2 DOMINANT SEVENTH (Mixolydian) (WWHWWHW) sth mode of Major CDEFGABDC LeACORE MCS a MINOR SEVENTH (Dorian) (WHWWWHW) 5 aaa perier ch sie COED EGABbo —_[C-]C-7,Cmi,Cmi7,Cm7, Cmin, Cmin7,Cm9,Cmt1,Cm13, TYDIAN (Major scale with #4) (WWWHWWA) Fi ee aero (CA+4] Cmaj+4, CM+4, CA+11, CABS, CmajbS 3 HALF-DIMINISHED (Locrian) (RWWHWWWy 7th mode of Major C Db Eb F Gb Ab Bb pmnTIBe) ZB) HALF-DIMINISHED #2 (Loorian #2) (WHWHWWW) th mode of Melodic Minor GD Eb F Gb Ab Bb C Coup Coo DIMINISHED (WHWHWHWH) C D Eb F Gb Ab AB C LYDIAN DOMINANT (Dom. 7th with #4) (WWWHWHW) 4th mode of Melodic Minor CDEFFGABDC WHOLE-TONE (wwwwww) + CDEFYG# EC C745, DOMINANT SEVENTH Using a Dim. Scale (Hl 49 49 Ob Eb C7944, C13b9+11 DIMINISHED WHOLE-TONE (Atered +9+5 4913 7th mode of Melodic Minor Db C7alt, C7b9+4, C7941 LYDIAN AUGMENTED (Major with #4 & 3rd mode of Melodic minor coe Icas4) CAS MELODIC MINOR (ascending only) gWHW\ (maj7), CmiA, C-A (Melodic), Cmé SUSPENDED 4th (W-3WWi COFGA I believe in a reduced chord without feeling inhibited or limit When we speak of “quality | have tried to standardize where I may have used a diel Heel the improvisor needs letters and alterations that appear gg what is being heard in the ‘contains many altered toned Remember: 2nd’s are the same as Sigg, 4th’ aro Ne is the same as the 9th, D. Often r will simply write thes” BA (melodic minor), F- (phrygian), ®iphry) ppINTRODUCTION to the SCALE SYLLABUS Each chordiscale symbol (C7, C-, CA+4, etc.) represents a series of tones which the improvisor can use when improvising or soloing. These series of tones have traditionally been called scales. The scales listed here are the ones | most often hear musicians play. | have listed the Scale Syllabus in the key of C Concert so you can have a frame of reference and can compare the similarities and differences between the various chords/scales. This SCALE SYLLABUS is intended to give the improvisor a variety of scale choices which may be used over any chord—major, minor, dominant 7th, half-diminished, diminished and sus 4. Western music, especially jazz and pop, uses major, dominant 7th, dorian minor and Blues scales and chords more than any other. Scales and chords used less often are the half-diminished, diminished and sus 4. If we agree on these five chord/scale families as being the most predominant, then we can set up categories and list substitute scales beneath each heading...see the Scale Syllabus page. You should also check out Volume 26 "The Scale Syllabus" for more help with scales. Each category begins with the scale most closely resembling the chord/scale symbol given to the left. The scales are arranged according to the degree of dissonance they produce in relation to the basic chord/scale sound. Scales near the top of each category will sound mild or consonant. Scale choices further down the list will become increasingly tense or dissonant. Each player is urged to start with the scales at the top and with practice and experimentation gradually work his way down the list to the more dissonant or tension-producing scales. You should work with a new scale sound on your instrument until your ears and fingers become comfortable with all the tones in the scale. Also try singing the scale with your voice. Improvise with your voice over the scale you are learning and then reproduce on your instrument what your voice has ggmted e Music is made of tension and release. Scale tones preduce el fon or io fic gmpovisor's ability to control the amount and frequency of tension angageledRe wil, in lalfyele: eyprin jer he is successful in communicating to the listener. R@nenf¥Er-Qoulhe play are ato a MfeneMl Red pages 43 to 0 45 in Volume 1 JAZZ: How To Play Andggaprc t Pode VOIDS) for a more detailed eMManation tension and release in melodic developme! Any of the various practice proc atterns listed in Volumes 1, 2, 3, 21, 24 or 84can be applied to any of the scale choices listed in this ibus. Needless to say, any Scale you want to learn should be transposed and practiced in all twelve keys. scale on the syllabus should prove hgfotul w} For additional information on sca code SC) by Dan Haerle, Jag Mprgvi (product code P-T (Treble-Cief) or P-B (Bastg Seb) Jerry Coker, and Repository of Scales & available from Jamey "ca store, or www.jazzbooks.ci Several play-a-lo Vol. 24 Major & Minor: Vol. 84D Cycles & I/V7's. You nf Keys; Vol. 47 Rhythm I and Vol. 68 Giant Steps— Scales and ch have playing music.SCALE SYLLABUS LEGEND: H = Half Step, W = Whole Step. A = Major 7th; + or # = raise H; bor-= lower H; » = Half-diminished; -3 = H (Minor Third) CHORDISCALE SYMBOL, c g FIVERASIC ¢ CATEGORIES T MAJOR: ‘CHOICES CAiCanbevritenC) c cat ca Cbs CANS 4 ALE Z DOMINANT Th SCALE CHOICES. G G a ow te 6 Cotas CTB(abohas 9&4) CHO alsobast9. 4, a DOMINANT 7h SUSPENDED 4th Chast Mav a Class were qh cG SMINORSCALE c Ge Cac? C-A¢r Thy Ceot2(Co9) Coot oewithout#2) appear to have only a raised +45,b7 & root (C, Db, Di, E, F SCALENAME WHOLE& HALFSTEP SCALE INKEY OF! ‘CONSTRUCT Mir WWHWWWH. CDEFGABC Dominant th Mivolyian) WWHWWHW CDEFGABbC Mincr(Dorin) WHWWWHW CDEDEGABBC HWWHWWW CDbEBFGDABBDC CEbGbBD WHWHWHWH CDEBFGHADABC, CHLGHACBY) WA HCONSTRUCTION SCALEINKEY OFC BASICCHORD INKEY OF C Majr(dontemphasizetesih) —— WWHWWWH CDEFGABC CEGBD Majo Penton: WW3W3 CDEGAC CEGB Lyla majors wih) WWWHWWH CDEFIGABC CEGBD Bebop Mace) WWHWHHWH CDEFGG#ABC CEGBD Hamenic Major WWHWH3H CDEFGAbBC CEGBD LyrAngnerad WWWWHWH CDER:GEABC CEG#BD Augen SHSHH CDHEGADBC CEGBD (@hModeo! Harmonic Minor SHWHWWH CD#EFEGABC CEGBD Diminisiel tevin wisp) HWHWHWHW CDbD#EF!GABOC CEGBD Blues Sole 3WHHSW CEDEFAGBOC CEGBD SCALENAME WAIICONSTRUCTION SCALEINKEY OFC BASICCHORD INKEY OFC Dernier 7 wwHWwHWw CDEFGABbC CEGBaD MajorPenic ww3W3 CDEGAC CEGBOD Bap(Deminn) WWHWWHHH CDEFGABbBC CEGBOD Spanier eve H3HWHWW CDbEEGADBDC CEGBO(Db) yin Dominert WWWHWHW CDEFIGABbC CEGBaD iris WWHWHWW CDEFGADBDC CEGBOD Whole Toe(6anescale) www CDEF#G#BHC CDEFGABOBE SCALENAME, SCALEINKEY OFC REO Mince(Darian) CDEbFGABHC CEXGBBD. Panatnic Minor 3} CEDFGBEC CERGBDD. Bekep (Miner) WHHHWWHW CDEDEFGABOC CE»GBOD. Mabie Minor (asain WHWWWWH ‘CDBDFGABC CEGBD Bebop MinoeNo.2 CDEREGGHABC CEGBD. BasSale CEGBD HarronicMi CExGBD Dinished be with W CReGBD F CERGB CE_GBOD. tension than the basic dominant 7th sound and ret you to work with the first side ‘Tone scales and chords. 4) * org at NINONSCALEC Ihave found the order of pref€rence, choices. vi Gpe 1. The Double Up PLAY 15 CHORUSES (« = 116) By Lee Morgan Blues 3 7 Bh E — = + — —=£2——> = ot fyb. SSS ae 2. Sidewinder 8 By Lee Morgan PLAY 9 CHORUSES (¢ = 160) Funky, 16-Bar Bossa Blues. p57 —e@ 3. Ceora e@ PLAY 6 CHORUSES (¢ = 126) By Lee Morgan INTRO ADA Bb-7/Eb 2 2 2 ADA . et Eb7 ADA E>-7 Ab72) 3. Ceora — Cont. @e 4. Something Cute PLAY 9 CHORUSES (« = 238) G7 ial G — G7e 5. Kozo’s Waltz PLAY 13 CHORUSES (¢ = 176) Fast Jazz Waltz 8 By Lee Morgan _ _INTRO BbA _ BA —a BbA ‘ ' BA ‘ Gea aS ae [A] B)>7 F BT 3 — Bb7 B7 BOT = + =: te ee f= Is, [pte es RE Te Br 3 — Bb7 Er Eb7 be eo E7 a Eb-7__aby+4 Db7 PEt te EP b7 7 -e 6. Totem Pole PLAY 5 CHORUSES (e = 138) Even Eighths INTRO E>-$ e (Bass) LATIN E7 E>-§ capt itt tae f mie fe be tt [A] MELODY py_¢ Gg By Lee Morgan tect thtse 6. Totem Pole — Cont. @ Eb-§ F7 E7 Eb-§ Bb7+9@ 7. Mr. Kenyatta @ PLAY 7 CHORUSES (¢ = 216) Play 4x INTRO 6 AbT+4 By Lee Morgan Play 4x (continue Bass figure throughout) G-6 A Se eal 7 : G7 LATIN (8th note) A-T aee@ 8. Party Time e By Lee Morgan PLAY 14 CHORUSES (« = 112) EbTIYE@ 9. The Gigolo e6 By Lee Morgan PLAY 4 CHORUSES (¢ = 152) INTRO _ED-7 EA 2 G a ~ = z Cao aaa Sax o ¥1—t—¥ Bass Rhythm throughout Eb-7 a 3 Eb PP Gat oe BRIDGE Bb-7 Eb7 Bb-7 Eb7 Bo-y AbA Al c FF Aa Swi ba _—e 9. The Gigolo — Cont. @ Pom Rilsmngey wr ee EA eS _ aes we le SOLOS (Al eb-7 BAM@ 10. Morgan The Pirate ee PLAY 6 CHORUSES (e = 168) By Lee Morgan INTRO Ebtriad Etriad/Eb Ebtriad Yb a = = b= | ea rt tt Bass pedal (8vb) - - - - - - - - ---------------- D> (assye 10. Morgan The Pirate — Cont. G1 | en _ - 6 2 ” + hs Bee Ba _ = (ado) nene 11. Zambia PLAY 12 CHORUSES (« = 236) By Lee Morgan Bright Swing INTRO C7 D7 K 2 CT Do7 FC Raa 4 ey ty ep so oe - baa iw 2 - ¢ be c7 Db7 C7 MELODY —p7 aa D749 SSS = oe 3 DbT0 12. PLAY 10 CHORUSES (¢ = 184) Speedball By Lee Morgan [A] pb7 G7 ‘Ab~7/D> Db7 bb7 Bouncy 29. od fA - . b iS \ Ges bo Cee saps papeg apepcee Tedasy Do7 G7 ol a be + 4 pe ; Db7 = if: Citra SPs Papailepae libata dade he Ty bE Fre Bate mit, Meee 13. Stopstart e By Lee Morgan PLAY 9 CHORUSES (« = 240) G-1C ce FT “ep te . 7 oy - 4 Fide DA 4 S4 da bic F7 E Sy oe tee fo criPcPeiprer! halt PB SPE 3-7 : F he . Fe 14. Our Man Higgins e@ By Lee Morgan PLAY 14 CHORUSES (e = 240) 24-Measure aon rn Bb7w.t, ec BbTw. T abe; ee eee ig oe ae B] “SOLOS: Play 2 times (2 chorus Bb7w.t. (24-bar blues form) fe “The solo section alternates besa two chorus using blues chords.