CONTENTS Tunes included in this volume are: 1. Sponge 6. Song For Barry 2. African Skies 7. And Then She Wept 3. Inside Out 8. Slang 4. Funky Sea, Funky Dew 9. Above & Below 5. Some Skunk Funk 10. Straphangin’ INTRODUCTION... BRECKER BROTHERS Bi BRECKER BROTHERS DISCOGRAPH' TRACK-BY-TRACK COMMENT: NOMENCLATURE... LIST OF HISTORICALLY SIGNIFICANT RECORDINGS.. e CONCERT KEY SONGS & CHORD/SCALE PROGRESSIONS. ® Bb INSTRUMENT SONGS & a PROM Ge e Eb INSTRUMENT SONGS & coma PR @ oass cLerinsTRUMEN: son Oh All Rights gy “a copyrights um No portion of this*book reproduced in any way with ppIntroduction This is an album for the musician who has gotten comfortable with some standards and bebop tunes and is looking for something a little more contemporary. The tunes presented here will definitely be a stretch for anyone who is used to traditional II-V-| movement. There have been brothers working together in jazz before, like Benny and Harry Goodman, Can- nonball and Nat Adderley, and the Marsalis brothers, but never on as equal footing as the Brecker brothers. As a team they have worked over several decades with an incredibly diverse list of artists including Horace Silver, Hal Galper, the Average White Band, Todd Rundgren and Frank Zappa. Indi- vidually they have recorded and toured with an even greater variety of musicians. The Breckers were born into a musical family in Philadelphia in the postwar forties (Randy in 1945, Michael in 1948). Both spent some time at Indiana University in the sixties and (at different times) both impressed the judges at the Notre Dame Jazz Festival before going to New York. Randy arrived first in 1966. He became a charter member of Blood, Sweat & Tears but left to join Horace Silver before the band’s biggest successes. Michael followed Randy to New York a couple of years later. In 1970 they helped form the jazz-rock group Dreams, a direct ancestor of the original Brecker Brothers band that formed and recorded for Arista Records in 1975 (many of the Arista tracks have been reissued on a couple of RCA/Novus CDs; see the discography). Before it broke up in 1982, the band gamered a hit single (Sneakin’ Up Behind You), seven Grammy nominations and countless gigs. A decade later the Brecker Brothers reformed to record and tour; their 1994 album “Out of The Loop" was awarded two Grammies. This play-a-long album has been assembled by George Whitty, who has served as keyboardist and producer in the second edition of the band. The selection of tuneggme evenly drawn from the repertoires of the original band and its ‘90s incamation. Similarly, @andy Ad Michagem@plit gemcomposing chores down the middle, each contributing five tracks to the sgt. The SNtgerd{them; hall oggeycom- ments on each track elsewhere in this booklet, bu} mplifying Vprdy migt jelgful: b c fe Barry Rogers was a trombonist who w@ked' YAK with ral AS bull rec| the mid sixties to the late eighties withgartist#gs diyersQasWon Carter, Cal Tjader, Pucho ani Latin®y Soul Brothers and Don Groinick. He Wig. a ember of Dreams and did countless sideman record dates with the Breckers. th Whortly before the recording of “Return of the Brecker Brothers” prompted Michael's tun Berry. In 1991-92 Michael toured for fM jonths with Paul Simon's ‘Rhythm of the Saints’ band, which included several musicians from Afric g be no surprise to hear an African influence in some of his writing, particularly in Song for Bag gs. Incidentally, the version of the latter that features McCoy Tyner (whom Mfchael 1996 album “Tales From the Hudsony the Brecker Brothers’ regamaing. It is strongly whey, leaming them you shqui q that will make you moder the more styles you mast ae e ‘of the Loop” (GRI ing ging, African Skies, and And ppThe Brecker Brothers Bio Over the last three decades, Randy and Michael Brecker have carved out an indelible niche in the world of music. Hailed by pop and jazz critics alike, The Brecker Brothers band they founded in 1975 was one of the first acts signed to the then-fledgling Arista Records. Recording six albums and garnering seven Grammy nominations from 1975-1982, the Brecker Brothers were a band of immeasurable influence and seminal in the birth of fusion. With Randy's virtuosic trumpet work and sense of composition (reflected in such classics as Some Skunk Funk) and Mike's burning saxophone and innovative work on the EWI, over the years the band attracted some of the finest players on the scene: Terry Bozzio, Hiram Bullock, Dennis Chambers, Steve Gadd, Don Groinick, Steve Khan, Will Lee, Chris Parker, David Sanborn, Mike Stern, Luther Vandross, Dave Weckl, Lenny White—among others. In constant demand as session players, the Breckers also recorded together and alone on literally hundreds of albums for a list of who's. who in pop and jazz including Lennon, Zappa, Springsteen, Corea, Metheny, Parliament Funkadelic, Steely Dan, etc. Add to all that the legendary Seventh Avenue South, a jazz club run by the Breckers in Manhattan from 1977-1986, a magnet for the hottest players in town. With so much activity, Michael and Randy each won the NARAS MVP award so many years in a row that they had to be retired from their respective instrumental categories. After a hiatus of nearly a decade, the brothers reunited in 1992 for the GRP album “Return of the Brecker Brothers,” which earned three Grammy nominations. After a world tour, they returned to the studio in 1994 to record “Out of the Loop,” which won two Grammys—for Besgeontemporary Jazz Performance, and Best Instrumental Composition for Michael's Aggican SHfes. On t, ni ore, they became the first international contemporary jazz group to p&yorm in Weajglafd Chife—VecilBithig salc-out shows in Beijing and Shanghai. In 1996, the buathd¥s turned a@ailto thl lo furs) ach recording a new album in the process Mi Tales Frc e PRfBsol wo(bratfimys (bringing his total to seven) for Beg. JazAgsi fal’Performance and Best Jazz Ins¥nentalw Solo in 1997. Randy's “Into the Sur lealigd M1997, won the Grammy for Best Contemporary Jazz Performance in 1998. The Breck bers — Discography Nowaigs See It (Now om The Hudson © Twoxgetis From The Edge * Denotesgflammy.winning releaseThe Brecker Brothers Track-By-Track Comments by Randy and Michael Brecker Randy Brecker Compositions: ‘Above & Below—The first eight notes in the melody of the introduction find their way, disguised by ornamentation, into the melody of the body of the tune and then again as the roots of the blowing changes. Hence the title, ‘Above & Below.’ ‘And Then She Wept—A lyrical tune featuring descending !!-V’'s and a melody that is constantly reharmonized and altered. Inside Qut—As the title implies, the idea of this tune was to take a standard “inside” blues slowly “out,” both harmonically and melodically. ‘Some Skunk Funk—As with ‘Inside Out,’ the idea was to take the tools of a standard idiomatic funk composition and extend the parameters. Incidentally, | did have a friend years ago who kept a pet skunk in her apartment. e Sponge—Written around the same time as ‘Some Skunk FUMMAF @ature: looping getygonal parts and a “screaming” guitar melody, “\ . ~ M er Compositions: Q African Skies—Originally writte coy Tyner in mind, this tune is strongly influenced by West African 12/8 and 6/8 rhythmMgee! 1 Straphangin’—Written durin the | @ in the late seventies. It's a funk flavored composition with altered id in the solos. Funky Sea, Funky DI behind the simple < Song for Barry—Usgg.a ute to the late, gre B we frequently af; 01 m1 ‘on “Un Dia CD Slang—An attemy well as some modal ofNOMENCLATURE +or#=ralse 1/2 step - or b= lower 1/2 step H=Half step 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 bold face is the one | 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 nomenciature. ‘A= major scale/chord or major seventh (CA). A (7) after a letter means to lower the 7th note of the scale, making ita 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 (CO). C-A means a minor scale/chord with a major 7th. -3 means 3 half-steps (a minor 3rd). CHORD/SCALE TYPE. ABBREVIATED CHORD/SCALE SYMBOL. MAJOR (lonian)(WWHWWWH) CDEFGABC © CAlcmaj, Cma, Cma7, C7, Cmaj?, CM, CM7, Cmaj9, Cmajt3 DOMINANT SEVENTH (Mixolydian)(WWHWWHW) Ia Sihmoseatitgr coer GABG _[C7]C9, C11, 013 ** MINOR SEVENTH (Dorian) (WHWWWHW) [el nd nedout apr" GDEDFGABDG [c=] c-7, cmi, Cmi7, Cm, Grin, Cmin7, Cm9, Crt, Crm13 LYDIAN (Major scale with #4) (WWWHWWH) 4th mode of Major CDEF#GABC + HALF-DIMINISHED (Locrian) (HWWHWWW) Io . 7th mode of Major C'Db EDF Gb Ab Bb C [C9] cmi7(bs), C75 HALF-DIMINISHED #2 (Locrian #2) (WHWHWWW) agua ‘6th mode of Melodie Minor cpevrcpassyc [CO#2] CaP. C C7, c7# 9 [CA+4] Cmaj+4, CM+4, CA+11, CAbS, Cmajps 4th mode of Melodic Minor WHOLE-TONE (WWWWWw) 09 DIMINISHED (WHWHWHWH) CDEbFGbADABC [B4 Cai Cam Cy cfs, c: f . 7 LYDIAN DOMINANT (Dom. 7thwith #4) (WWWHWHW) C7augrC7+5, C745 ~ DOMINANT SEVENTH es 79 [C7b9) C7b9+4, C1309411 DIMINISHED WHOLE-TONE (Alter —_ $9+5, 9b13 “Zh modo of Melodic Minor (6729) c7alt, c76942, c769+11 LYDIAN AUGMENTED (Majorwith #4 & #5) +5) 3rd mode of Melodic minor cD CASS) CA+5 imaj7), CmiA, C-A(Melodic), Cm6 (-3WHH-3W) (1,03,4.48 = Thes | believe in a reduced Chg and guidance without fe When we speak of qi Nd Ihave tried to standardize the there are instances wffere | feel the improvisor ‘The more numbers, let thoughts from the written gam al notation system. Tat ighy Mr and it contains marusfered chord symbol, why keep writing all (Ne Listen to Volume 26 "The ScalgsSyliabus. Remember: 2nd's are, fe as Sth’'s, 4th's are key of C.. . the 2nd, @, is the ggme as the 9th, D. Often a scale beside the chord syrg@@, such as Eb-A (melodic minor), v ppe 1. Sponge e J = 186 By Randy Brecker INTRO 8va Keyboard Voicings ee — Al FEV F“F Eb“ UF a [2 | ED /F oe Oe2) 1. Sponge - Cont. e B) 7 1.2. [B] Eb/A DbiA | EDIA IA EB DDB |S ee | o1p0 pe ae f —— hs = eee — ee = 3. Db/A Bb" DbAti1 > > = == z = = yy oa S = [C] tay 4 Times — DbAtll = D/E 5 VE » MA a i F/Db | naa F Reb A FDP be E ae a ee — a — ~ [pl SOLOS — FT PLAY 8 TIMES. Ee 2. African Skies e6 By Michael Brecker i — DyEb Dasa DLs Db DbadasyF EbaddyG AbA Eb/G GbA Bb/D DbA AbIC Db Dj B/G AbjED GbE F-7 (c] AbIC be be Eb AbIA— ADICe 2. African Skies — Cont. e Abg 5 A bet ; “a fen le th i rE pe i yQ- Te fps S¢Ofe : SSoSe5 ay Sy =| Dbyjeb _D~Teaait aS. = = = BL/D DbA ADR E z bea Jee 3. Inside Out e J =132 By Randy Brecker ‘SHUFI FLE py 8 Db/Gb Ft mn —™~ GT GbA/Ab pen GbA/Bb _Bb/A (Play 6 Times) oprah © 178 Rover Mu Tagg Copy Seared,” ANRigheReeredUsed by Perio 2 5e J =84 4. Funky Sea, Funky Dew e phaeir BY Michael Brecker cM%e EAE ay Beast INTRO FH GF Funk Ballad ~ G-1IC_ BIG a] Sa7 pba Dba # ae DeWG EG, 4 ppadd 9 Ay ye" Gb7+I1 ries its Gb7411 Eat EDA pyzait CiAb pay Borgir aP Bb7+11 Bb7+1V/A pie b/Ab F/G Bb/C_ SOLOS (Pay 5 Tiges) eh wee 5. Some Skunk Funk e By Randy Brecker cn A > > ci79 p79 GT C749 Bb-13/G > EG FHG —te aa * = f a . \ COL f iy IE IE BbICE agi =p ~ Ew WY ° = en ree 5. Some Skunk Funk - Cont. e cick Eb/CH CH Eb/CH CE FRC Fiict_ct7 Fich cHe7 ATICE G/Eb Db/A_ Bb/FH Ab/E F#/D G/Ab —é Db_EbS_Eb/E Eb/F Db/A p79 Eb749 Eb749 — B7+9 C749 os b-13ic = Fine TO SOLOS F (improvise)@ 6. Song For Barry e [al ~ By Michael Brecker ee SE Seg ba eee pe tigger p= v LATIN FUNK Db Pedale 6. Song For Barry - Cont. e Gb+ll Dba AbIEb bere’ © ba cr B . ° - babte, - - FT F if D e (He Last X Only) c7 FT Bb~7 a @ a x SOLOS = Ee 16 — 7 “42 Bb-7 1e ee —— | —:] Imes. On 4th Time, Go to CODA6 7. And Then She Wept e J =50 By Randy Brecker Play 3 Choruses EDS Eb7+11 D-7/G G7D-7 G7 C-7F7 B-7E7+11 A-7 C-11 F7 A759 ATatt C79 cba F/G D-11 G7 C-7F7 B-7 E711 A-7 C-7F13 B/C} C7+11 Bb7at___ Eb-9 D/EB-6 B/Db D7 BA Eb9 Eb7bs Ab-a Ab-7 Eb7b9— Ab-9 G/EbEb7 = Ab-A_ Gat pb711 E79 ACT ED§Eb7+11__ D-7/G G7 D-7 G7 C-7 FT B-TE71 A-7— C-11 FT t A7b9 A7aK C7b9 GbA F/G D-11 G7 C-7 F7 B-7@ 711 ATbs C711 BLT Eb-9 D/EB-6 A7b9 — C7b9 PPT 0? Bba +1 — 1108 Historically Significant Recordings Ifyou want to learn to play jazz you have to listen, listen, listen. But many times students don't have any idea what recordings to buy. So we have created this list of 108 of the most important recordings in jazz. Most of the recordings listed are from the 40's 50's & 60's Bebop era. This is due to the strong influence this particular period of music has had on our current “Modern Jazz” scene today. We have purposely omitted a number of very early recordings because 1) many of those early recordings had very poor sound quality, 2) the artists recorded lots of material, and so they are represented by later recordings elsewhere on this list, and/or 3) the early recordings are not currently available on CD. If you have a turntable, you should start checking out yard sales and thrift stores—often you can find classic jazz recordings on vinyl for next to nothing For each record listed, you can see the artist name followed by the name of the album. All of these recordings are lable on CD (at presstime) from “Double-Time Records." The number to the left of each listing (eg—cd #726) indicates avi the "Double-Time" catalog number of that CD. Make a copy of this sheet and check off each recording as you add it to your collection. To check on prices, to order, or for a complete catalog of over 6000 jazz CD titles, contact: LEEPEEEEE EEL EEE ELE eae od #63 © #350 © #30 od 6345, esmiat ed 81126, 3 #598 3 £458 od e417 es aI716 0d 833 ed #340 ed #1620 ed #97 od #463 6d #3805, ed #109 (6d 84571 ‘ed 8601 od #421 ed #172 ed #316 ed #3085, ed #3638, ed #2856 ed #2434 a a ed 6015 ed 845, 6d #3523 ‘ed #608 ed #460 ed #471 ed #578 ed #538 ed #67 ed #2377 ed #557 ed #2502 ed #4527 ed #558 ess? ed #541 ed #31 ed 5112 ed #500 ed #3606, ed #3608, 6d #750 ed #2570 4 #725 4 #3019 ed #484 ed #563 “Double-Time Records" P.O. BOX 1244 NEW ALBANY, IN 47151-1244 PH 1(800}-283-8528 FAX (812)-923-1971 E-mail: dazz@thepoint.net CANNONBALL ADDERLEY - SOMETHIN’ ELSE HERBIE HANCOCK - MAIDEN VOYAGE CLIFFORD BROWN - STUDY IN BROWN, JOHN COLTRANE - BLUE TRAIN CANNONBALL ADDERLEY - & COLTRANE WAYNE SHORTER - SPEAK NO EVIL HORACE SILVER - SONG FOR MY FATHER DIZZY GILLESPIE - SONNY SIDE UP. MILES DAVIS - KIND OF BLUE JOHN COLTRANE - GIANT STEPS ‘J.J. JOHNSON - THE EMINENT, VOLUME 1 ERIC DOLPHY - OUT To LUNCH fp ‘OLIVER NELSON - BLUES & THE ABSTRACT TRUTH ere LEE MORGAN - THE SIDEWINDER #609 HANK MOBLEY - SOUL STATION MILES DAVIS - MILESTONES e012 WES MONTGOMERY - SMOAN AT THE HALE, fas LEE MORGAN - CORNGREAD Minus LARRY YOUNG - UNITY a ‘SONNY ROLLINS - SAXOPI dso? JOHN COLTRANE - MAINS: ae ed #1738 ed #77 0d #9689 0d #2450 3612 ed ait ed #3722 ed #5496 ed #322 od #56. ed #5493, ed #559 ed #502 ea #055 ed #59, MCCOY TYNER - THE REAL JOHN COLTRANE - A LOVE St JOHNNY SMITH - MOONLIGHT I PAUL CHAMBERS - CHAMBERS Ml JUNE CHRISTY - SOMETHING COOL Dizzy GILLESPIE - JAZZ APMASSEY, ART BLAKEY - A NIGHT A DIZZY GILLESPIE - DUETS BILL EVANS - UNDERCURRENT, GENE AMMON: TENO| KENNY BURRER- gory MILES Davis - Mafia go) ERROLL GARWER MILES, oangieLatie WES MONT JOE HENDERSON FRANK ROS FR WES MON is 7 ART FARMMR. MOR CARL FONTS Tal SONNY ROLLINS - TEN ART BLAKE - MOAN} THELONIORS MO} CHICK COR! He DEXTER GORDON - BALLADS, CHARLIE PARKER - Bag & DIZ JOE HENDERS LIFE, STRAYHORN MUST FREDDIE qjBBRRO- REgCLAY BILL EVANS - WAL DEBBY pp KENNY DORHAM - UNA MAS LESTER YOUNG - THE PRESIDENT PLAYS \WITHE OSCAR PETERSON TRIO JOE HENDERSON - IN'N OUT JOHN COLTRANE - & JOHNNY HARTMAN GRANT GREEN - FEELIN: THE SPIRIT NANCY WILSON - WITH C, ADDERLEY MILES DAVIS - COOKIN’ RED GARLAND - GROOWY MILES DAVIS - STEAMIN’ WITH MILES DAVIS. JOHNS gGRIFFg BLOWIN’ SESSION GRAMPOREE, N Top BLUE on coLTR, HY Hai BPE SAY HELLO Pan. MT AN MEE MEAT BDNTANA GRANT GREEN - IDLE MOMEN ART BLAKEY - UGETSU. ‘STANLEY TURRENTINE - SUGAR BILL EVANS - INTERMODULATION ART BLAKEY - A NIGHT AT BIRDLAND VOL. 2 FREDDIE HUSBARO - HUB TONES HANK MOBLEY - THE TURNAROUND! BUD POWELL - THE GENIUS OF LEE KONITZ - SUBCONSCIOUS-LEE STAN GETZ. STAN GETZ & BILL EVANS, MILT JACKSON - BAGS MEETS WES ui SMITH - BACK AT THE CHICKEN SHACK BLLINS - PLUS FOUR Bie WISTY MISS CHRISTY uRcE8. Slang e x By Michael Brecker (Use only this chord 1st X thru [A])C-7 (Use these chords 2nd x) Ab/C J =112 EbIC CA eI B Eb7 545 F7sus © Ss J || KEYBOARD VOICINGS 2 p— +8. == ee SS EbAti1__Eb7S" F755 ED7s08 DbA+11 oS Ar “- 138 8. Slang - Cont. e DI apc FIC EbIC BOC — Pie SOLO SECTION E | Play 3 times, then play [D] and take CODA. c-7 AbIC FIC BWC 8 LF Bb-7/Eb _C-7/F Bb-7/Eb Dba tit G EWG G13 EG D7a/G_G-7 G-7 DhG = == =} ¥ = *, 8 Eb7 A Play 2 Times ist X OnlyJ =138 DOUBLE-TIME FEEL ‘Ab7 sus 9. Above & Below e E/Ab Play 4 Times, Al E749 be- By Randy Brecker B-13/Ab Ab (add 9) be CiAb 7a Bb-11bS C-7/Eb FA AA GIA Gb Db749 E749 Ad —GIAb F/G Eye Gb/D Ab/E—_|-EbT@is 718 ADT sus F + + b = E SS Ce & cms A/Eb Gb/Eb > > > Sopre eee Cope Sere C& 1619 ery Mae MD "ara 15 | Pip taaa he i AA == Saase 9. Above & Below - Cont. e c SOLOS VAMP (Play 4 Times) 6 Ab7 sus E/Ab B-13/Ab Ab (add 9) o E7+9 F749 BA/C# Bb7 sus G7sus Ab7sus Eb7@lt_ Db7 alt E| (Play 6 Times) ET ET Db7(+11) e G/Ab © Swd ct6 10. Straphangin’ 8 By Michael Brecker FUNK [A] poo ELD FD Fba+sp pbp EDD Dsus 'F (M. Brecker plays this section an octave highoe) ‘= 5 —— o 3 pDbyp Ebp F/D Ab php ED EO Aral Dyp Ey FD Eba+sD aw 6 Ghyp “Cass Dats Daw | aE a 3 Dsus B] F7 F/A BIS Aza D7sus z bbp a 1s pee er bet a ~ Fine . e FT FIA BIE Atm Ehatt @butg Es ate he a ote - 2 FT F/A BUS ATA Dsus i e —s fi ao fe eo ae Dsus F7 F/ABI F Ata a x Tee hem = f9——e ceastteettatt =H SS TO SOLOS SOLOS D-11 PLAY 4 TIMES D-7 cr F7 ope ©1981 Gant See Man 17