Chords for George Shearing, Marian McPartland and Billy Taylor Remember
Tempo:
63.85 bpm
Chords used:
B
G
Bm
Bb
Bbm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Well, you know, I talked with Diz a long time ago, and I was trying to
I said, well, Dizzy Gillespie, as a composer and an arranger,
many of the things that you have done have really colored the vocabulary that almost all jazz musicians use,
since you are the kind of architect of bebop, taking the things that birds seem to do naturally and organizing them and codifying them and all that.
And, you know, many of the things that Diz did seem to come from some of the earlier pianists, like Tatum and some of the other people that he worked with.
[Ab] [Bb]
[E] [Db]
[F] [E] [N] And he said that when he discovered [Eb] just this particular chord,
[Bbm] he said that [B] the whole melody of Night [Eb] in Tunisia was there, because to take an E-flat chord, [Bbm] add the seventh, the ninth, [F] the raised eleventh, and the [Bbm] thirteenth,
and he said all he had to do was just play the notes.
[N]
And yet all of the things that he seemed to do led logically into other kinds of explorations, like [Gm] Tad Damerons.
[E]
[G] [Bm] But the thing that really interests me coming out of that period was [N] a lot of people don't realize how [Bb] complicated in the beginning Thelonious Monk was when he wrote
[Bm] That was very early in the
I don't even know the name of it.
[Am] That's the theme.
[B] Nobody, everybody used that on 52nd Street.
It was called 52nd Street theme.
Everybody used it, but nobody played the release.
[D]
[Gm] [B] That's Monk.
No one thinks of him as writing that kind of thing, but of course he wrote it.
[G] So [Bm] it's logical that he would do something like that.
Well how about
[D]
Bud Powell.
[F] Bud Powell.
[Bb] That one came to mind.
Paris [G] Parisian Therapeutic.
Parisian Therapeutic, right.
I mean that's another example.
I [N] guess he got his ideas maybe from listening to Monk.
He and Monk used to go to Mary Lou Williams' house a lot, and they would just exchange ideas.
Many of the things that they came up with were almost interchangeable.
I mean they had a real
the three of them had a tremendous exchange,
because Mary Lou was using many of the harmonies that Monk and other guys were using back in the 30s,
before music evolved into bebop.
I think a lot of people don't realize what a tremendous influence she was on a lot of people,
and how ahead of herself.
She was always a little bit ahead of herself.
I admired her so much, that woman.
Always interested [Bm] me how, as much as I love, and I think the Lunceford band is probably one of my all-time favorite bands,
when they get [Bbm]
the
[Gb] [G] Two or three riffs going on at one time, it's just marvelous.
And yet now we come to [Ab] the bebop era, where we have very [Am] complex single lines.
[Bb] [Am]
[Db] [C] [B]
Yeah.
Did [C] they read?
They must read.
Oh yeah.
Dizzy, in his first band, in the Onyx, had charts on
[Gb] Don Byas and Oscar [B] Pettiford were the only two guys that read it.
Everybody else was guffling with it.
What about the big Dizzy's big band?
Was Bird and T-Bar?
Well Bird read very well.
He [A] was forced to, because he came around
I guess Joe Jones and some of the other guys tell that story about him coming in and thinking that everything was supposed to be played in E flat or some particular key.
And getting thrown out of the club because he couldn't play the tunes that everybody was jamming on.
And really hurt his feelings.
He really went in the woodshed and came out really playing very well.
Because he worked at it very hard.
Hours spent learning to read the notes to the things so he could learn them quickly.
But he read well.
And as a [Ab] matter of fact, I remember I was house pianist in Birdland.
I was working on my piano lesson, which at that particular time was one of the pieces of Debussy, the one in E.
And when I was
The Arabesque?
The [B] Arabesque, yeah.
And so I [Bm] told
Bird came in and he said, what's that?
I said Arabesque in E.
And he said, oh I know that.
I said, oh really?
And he took out his horn and played
[B] You're [G] kidding! You're right.
Oh my goodness.
And so I asked, much later I asked Sir Yvonne about it.
And I said, you know, that really surprised
I told her the story.
I said, it really surprised me.
She said, it wouldn't surprise me because on the bus with
I guess it was in the Eckstein band.
I must have been in the [A] Eckstein band.
He would take Stravinsky scores and play permutations of different parts.
He'd play the part forward, then he'd play it backwards.
Then he'd say, well when do we start?
If I start in the middle of the phrase and went that way.
Uh-huh.
Or how about that way?
And he would do all of these things.
And so he drove the guys on the band nuts because they [B] weren't particularly interested in what he was working on.
Yeah, right.
What are you doing?
[Bb] Come on already.
Talking about Sass, do you remember that [N] story?
Somebody asked her to sing my reverie.
And she said, I don't think I remember it.
So I do.
You know, look around at me.
[Dm] So she started.
[G] And she couldn't remember the next
I said, well, Dizzy Gillespie, as a composer and an arranger,
many of the things that you have done have really colored the vocabulary that almost all jazz musicians use,
since you are the kind of architect of bebop, taking the things that birds seem to do naturally and organizing them and codifying them and all that.
And, you know, many of the things that Diz did seem to come from some of the earlier pianists, like Tatum and some of the other people that he worked with.
[Ab] [Bb]
[E] [Db]
[F] [E] [N] And he said that when he discovered [Eb] just this particular chord,
[Bbm] he said that [B] the whole melody of Night [Eb] in Tunisia was there, because to take an E-flat chord, [Bbm] add the seventh, the ninth, [F] the raised eleventh, and the [Bbm] thirteenth,
and he said all he had to do was just play the notes.
[N]
And yet all of the things that he seemed to do led logically into other kinds of explorations, like [Gm] Tad Damerons.
[E]
[G] [Bm] But the thing that really interests me coming out of that period was [N] a lot of people don't realize how [Bb] complicated in the beginning Thelonious Monk was when he wrote
[Bm] That was very early in the
I don't even know the name of it.
[Am] That's the theme.
[B] Nobody, everybody used that on 52nd Street.
It was called 52nd Street theme.
Everybody used it, but nobody played the release.
[D]
[Gm] [B] That's Monk.
No one thinks of him as writing that kind of thing, but of course he wrote it.
[G] So [Bm] it's logical that he would do something like that.
Well how about
[D]
Bud Powell.
[F] Bud Powell.
[Bb] That one came to mind.
Paris [G] Parisian Therapeutic.
Parisian Therapeutic, right.
I mean that's another example.
I [N] guess he got his ideas maybe from listening to Monk.
He and Monk used to go to Mary Lou Williams' house a lot, and they would just exchange ideas.
Many of the things that they came up with were almost interchangeable.
I mean they had a real
the three of them had a tremendous exchange,
because Mary Lou was using many of the harmonies that Monk and other guys were using back in the 30s,
before music evolved into bebop.
I think a lot of people don't realize what a tremendous influence she was on a lot of people,
and how ahead of herself.
She was always a little bit ahead of herself.
I admired her so much, that woman.
Always interested [Bm] me how, as much as I love, and I think the Lunceford band is probably one of my all-time favorite bands,
when they get [Bbm]
the
[Gb] [G] Two or three riffs going on at one time, it's just marvelous.
And yet now we come to [Ab] the bebop era, where we have very [Am] complex single lines.
[Bb] [Am]
[Db] [C] [B]
Yeah.
Did [C] they read?
They must read.
Oh yeah.
Dizzy, in his first band, in the Onyx, had charts on
[Gb] Don Byas and Oscar [B] Pettiford were the only two guys that read it.
Everybody else was guffling with it.
What about the big Dizzy's big band?
Was Bird and T-Bar?
Well Bird read very well.
He [A] was forced to, because he came around
I guess Joe Jones and some of the other guys tell that story about him coming in and thinking that everything was supposed to be played in E flat or some particular key.
And getting thrown out of the club because he couldn't play the tunes that everybody was jamming on.
And really hurt his feelings.
He really went in the woodshed and came out really playing very well.
Because he worked at it very hard.
Hours spent learning to read the notes to the things so he could learn them quickly.
But he read well.
And as a [Ab] matter of fact, I remember I was house pianist in Birdland.
I was working on my piano lesson, which at that particular time was one of the pieces of Debussy, the one in E.
And when I was
The Arabesque?
The [B] Arabesque, yeah.
And so I [Bm] told
Bird came in and he said, what's that?
I said Arabesque in E.
And he said, oh I know that.
I said, oh really?
And he took out his horn and played
[B] You're [G] kidding! You're right.
Oh my goodness.
And so I asked, much later I asked Sir Yvonne about it.
And I said, you know, that really surprised
I told her the story.
I said, it really surprised me.
She said, it wouldn't surprise me because on the bus with
I guess it was in the Eckstein band.
I must have been in the [A] Eckstein band.
He would take Stravinsky scores and play permutations of different parts.
He'd play the part forward, then he'd play it backwards.
Then he'd say, well when do we start?
If I start in the middle of the phrase and went that way.
Uh-huh.
Or how about that way?
And he would do all of these things.
And so he drove the guys on the band nuts because they [B] weren't particularly interested in what he was working on.
Yeah, right.
What are you doing?
[Bb] Come on already.
Talking about Sass, do you remember that [N] story?
Somebody asked her to sing my reverie.
And she said, I don't think I remember it.
So I do.
You know, look around at me.
[Dm] So she started.
[G] And she couldn't remember the next
Key:
B
G
Bm
Bb
Bbm
B
G
Bm
Well, you know, I talked with Diz a long time ago, and I was trying to_
I said, well, Dizzy Gillespie, as a composer and an arranger,
many of the things that you _ have done have really colored the vocabulary that almost all jazz musicians use,
since you are the kind of architect of bebop, taking the things that birds seem to do naturally and organizing them and codifying them and all that.
And, you know, many of the things that Diz did seem to come from some of the earlier pianists, like Tatum and some of the other people that he worked with.
[Ab] _ _ _ [Bb] _
_ _ [E] _ _ [Db] _ _ _ _
[F] _ _ _ _ [E] _ _ [N] And he said that when he discovered [Eb] just this particular chord,
[Bbm] _ he said that [B] the whole melody of Night [Eb] in Tunisia was there, because to take an E-flat chord, [Bbm] add the seventh, the ninth, [F] the raised eleventh, and the [Bbm] thirteenth,
and he said all he had to do was just play the notes.
_ [N] _
And yet all of the things that he seemed to do led logically into other kinds of explorations, like [Gm] Tad Damerons.
_ _ _ [E] _
_ [G] _ _ _ _ _ [Bm] But the thing that really interests me coming out of that period was [N] a lot of people don't realize how [Bb] complicated in the beginning Thelonious Monk was when he wrote_ _ _ _ _ _ _
_ [Bm] That was very early in the_
I don't even know the name of it.
[Am] That's the theme.
[B] Nobody, everybody used that on 52nd Street.
It was called 52nd Street theme.
Everybody used it, but nobody played the release.
_ [D] _ _ _ _ _ _
_ _ _ _ _ _ _ _
[Gm] _ [B] That's Monk.
No one thinks of him as writing that kind of thing, but of course he wrote it.
[G] So [Bm] it's logical that he would do something like that.
Well how about_
_ [D] _
Bud Powell.
[F] Bud Powell.
_ _ [Bb] That one came to mind.
_ Paris_ [G] Parisian Therapeutic.
Parisian Therapeutic, right.
I mean that's another example.
I [N] guess he got his ideas maybe from listening to Monk.
He and Monk used to go to Mary Lou Williams' house a lot, and they would just exchange ideas.
Many of the things that they came up with were almost interchangeable.
I mean they had a real_
the three of them had a tremendous exchange,
because Mary Lou was using many of the harmonies that Monk and other guys were using back in the 30s,
before music evolved into bebop.
I think a lot of people don't realize what a tremendous influence she was on a lot of people,
and how ahead of herself.
She was always a little bit ahead of herself.
I admired her so much, that woman.
Always interested [Bm] me how, as much as I love, and I think the Lunceford band is probably one of my all-time favorite bands,
when they get [Bbm]
the_
_ _ _ [Gb] _ [G] Two or three riffs going on at one time, it's just marvelous.
And yet now we come to [Ab] the bebop era, where we have very [Am] complex single lines.
[Bb] _ _ [Am] _ _ _ _
_ _ [Db] _ _ _ [C] _ _ [B]
Yeah.
Did [C] they read?
They must read.
Oh yeah.
Dizzy, in his first band, in the Onyx, had charts on_ _ _ _ _ _ _
_ [Gb] Don Byas and Oscar [B] Pettiford were the only two guys that read it.
Everybody else was guffling with it.
What about the big Dizzy's big band?
Was Bird and T-Bar?
Well Bird read very well.
He [A] was forced to, because he came around_
I guess Joe Jones and some of the other guys tell that story about him coming in and thinking that everything was supposed to be played in E flat or some particular key.
And getting thrown out of the club because he couldn't play the tunes that everybody was jamming on.
And really hurt his feelings.
He really went in the woodshed and came out really playing very well.
Because he worked at it very hard.
Hours spent learning to read the notes to the things so he could learn them quickly.
But he read well.
And as a [Ab] matter of fact, I remember I was house pianist in Birdland.
I was working on my piano lesson, which at that particular time was _ one of the pieces of Debussy, the one in E.
And when I was_
The Arabesque?
The [B] Arabesque, yeah.
And so I [Bm] told_
Bird came in and he said, what's that?
I said Arabesque in E.
And he said, oh I know that.
I said, oh really?
And he took out his horn and played_
[B] You're [G] kidding! You're right. _
Oh my goodness.
And so I asked, much later I asked Sir Yvonne about it.
And I said, you know, that really surprised_
I told her the story.
I said, it really surprised me.
She said, it wouldn't surprise me because on the bus with_
I guess it was in the Eckstein band.
I must have been in the [A] Eckstein band.
He would take Stravinsky scores and play permutations of different parts.
He'd play the part forward, then he'd play it backwards.
Then he'd say, well when do we start?
If I start in the middle of the phrase and went that way.
Uh-huh.
Or how about that way?
And he would do all of these things.
And so he drove the guys on the band nuts because they [B] weren't particularly interested in what he was working on.
Yeah, right.
What are you doing?
[Bb] Come on already.
Talking about Sass, do you remember that [N] story?
Somebody asked her to sing my reverie.
And she said, I don't think I remember it.
So I do.
You know, look around at me.
[Dm] So she started.
[G] _ _ _ And she couldn't remember the next
I said, well, Dizzy Gillespie, as a composer and an arranger,
many of the things that you _ have done have really colored the vocabulary that almost all jazz musicians use,
since you are the kind of architect of bebop, taking the things that birds seem to do naturally and organizing them and codifying them and all that.
And, you know, many of the things that Diz did seem to come from some of the earlier pianists, like Tatum and some of the other people that he worked with.
[Ab] _ _ _ [Bb] _
_ _ [E] _ _ [Db] _ _ _ _
[F] _ _ _ _ [E] _ _ [N] And he said that when he discovered [Eb] just this particular chord,
[Bbm] _ he said that [B] the whole melody of Night [Eb] in Tunisia was there, because to take an E-flat chord, [Bbm] add the seventh, the ninth, [F] the raised eleventh, and the [Bbm] thirteenth,
and he said all he had to do was just play the notes.
_ [N] _
And yet all of the things that he seemed to do led logically into other kinds of explorations, like [Gm] Tad Damerons.
_ _ _ [E] _
_ [G] _ _ _ _ _ [Bm] But the thing that really interests me coming out of that period was [N] a lot of people don't realize how [Bb] complicated in the beginning Thelonious Monk was when he wrote_ _ _ _ _ _ _
_ [Bm] That was very early in the_
I don't even know the name of it.
[Am] That's the theme.
[B] Nobody, everybody used that on 52nd Street.
It was called 52nd Street theme.
Everybody used it, but nobody played the release.
_ [D] _ _ _ _ _ _
_ _ _ _ _ _ _ _
[Gm] _ [B] That's Monk.
No one thinks of him as writing that kind of thing, but of course he wrote it.
[G] So [Bm] it's logical that he would do something like that.
Well how about_
_ [D] _
Bud Powell.
[F] Bud Powell.
_ _ [Bb] That one came to mind.
_ Paris_ [G] Parisian Therapeutic.
Parisian Therapeutic, right.
I mean that's another example.
I [N] guess he got his ideas maybe from listening to Monk.
He and Monk used to go to Mary Lou Williams' house a lot, and they would just exchange ideas.
Many of the things that they came up with were almost interchangeable.
I mean they had a real_
the three of them had a tremendous exchange,
because Mary Lou was using many of the harmonies that Monk and other guys were using back in the 30s,
before music evolved into bebop.
I think a lot of people don't realize what a tremendous influence she was on a lot of people,
and how ahead of herself.
She was always a little bit ahead of herself.
I admired her so much, that woman.
Always interested [Bm] me how, as much as I love, and I think the Lunceford band is probably one of my all-time favorite bands,
when they get [Bbm]
the_
_ _ _ [Gb] _ [G] Two or three riffs going on at one time, it's just marvelous.
And yet now we come to [Ab] the bebop era, where we have very [Am] complex single lines.
[Bb] _ _ [Am] _ _ _ _
_ _ [Db] _ _ _ [C] _ _ [B]
Yeah.
Did [C] they read?
They must read.
Oh yeah.
Dizzy, in his first band, in the Onyx, had charts on_ _ _ _ _ _ _
_ [Gb] Don Byas and Oscar [B] Pettiford were the only two guys that read it.
Everybody else was guffling with it.
What about the big Dizzy's big band?
Was Bird and T-Bar?
Well Bird read very well.
He [A] was forced to, because he came around_
I guess Joe Jones and some of the other guys tell that story about him coming in and thinking that everything was supposed to be played in E flat or some particular key.
And getting thrown out of the club because he couldn't play the tunes that everybody was jamming on.
And really hurt his feelings.
He really went in the woodshed and came out really playing very well.
Because he worked at it very hard.
Hours spent learning to read the notes to the things so he could learn them quickly.
But he read well.
And as a [Ab] matter of fact, I remember I was house pianist in Birdland.
I was working on my piano lesson, which at that particular time was _ one of the pieces of Debussy, the one in E.
And when I was_
The Arabesque?
The [B] Arabesque, yeah.
And so I [Bm] told_
Bird came in and he said, what's that?
I said Arabesque in E.
And he said, oh I know that.
I said, oh really?
And he took out his horn and played_
[B] You're [G] kidding! You're right. _
Oh my goodness.
And so I asked, much later I asked Sir Yvonne about it.
And I said, you know, that really surprised_
I told her the story.
I said, it really surprised me.
She said, it wouldn't surprise me because on the bus with_
I guess it was in the Eckstein band.
I must have been in the [A] Eckstein band.
He would take Stravinsky scores and play permutations of different parts.
He'd play the part forward, then he'd play it backwards.
Then he'd say, well when do we start?
If I start in the middle of the phrase and went that way.
Uh-huh.
Or how about that way?
And he would do all of these things.
And so he drove the guys on the band nuts because they [B] weren't particularly interested in what he was working on.
Yeah, right.
What are you doing?
[Bb] Come on already.
Talking about Sass, do you remember that [N] story?
Somebody asked her to sing my reverie.
And she said, I don't think I remember it.
So I do.
You know, look around at me.
[Dm] So she started.
[G] _ _ _ And she couldn't remember the next