Chords for NEA Jazz Masters: Mose Allison (2013)
Tempo:
117.65 bpm
Chords used:
C
F
Bb
Eb
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] [C] It's a hybrid of like all the different influences from Mississippi, just completely steeped in blues.
Where he lived was [Cm] the absolute delta.
You can hear it in his piano playing even, it's really evocative of the place.
[A] And that kind of [Bb] humility, it's like a musical manifestation of him.
[Ebm]
[Ab] Stole the blues.
[C]
[Db]
[C] [G] I used to go to the filling station and listen to the jukebox.
[Cm] That's how I learned about the country blues.
Big Bill Brunze had a song, Digging My Potatoes.
I [F] was playing trumpet at the time.
[A] And I like Louis [F] Armstrong for different reasons.
[C] He had a lot of [G] records that were ambivalent.
That word came to me in New [Fm] Orleans.
There's an ambivalent [Bb] street in New Orleans.
It's just the way I am.
[C] There was [Db] a pavilion where you go to dance and [Gm] he was in the band [C] there.
And then [F] we wrote to one [Cm] another for two and a half years.
[F] He was really fun to write to.
I saw you 21 days [Fm] in the two and a half [C] years.
And then we [F] decided we'd get married.
[Ab] It was always [Bb] hearing about some music going on and [G] it would take us about [F] 30 minutes to pack up.
And with the [C] ironing board on top, I remember that.
[Eb] Ever since the [Ab] world [Eb] ended, I don't go out as much.
I [Eb] always said I was going to [F] make a living [Eb] at music.
And [F] I had to come to New York to do that.
[Bb] I [Eb] think I saw that he [Gb] was so focused on [Eb] that and so dedicated to it.
And [Ab] also all the other musicians treated him as if he [Eb] were really something [D] special.
He had [C] this wonderful thing that made him so happy.
And I just admired that [Ebm] and I wanted to [Ab] have that.
[Eb] [Ab] [Eb] It was slow [Ab] at first [Bb] and [Ebm] eventually I got enough jobs to get known.
[Ab] I was pretty [C] much self-determined.
[Bb] The Jazz Loft [F] that was on 34th Street and [Bb] 3rd Avenue, they used to have jam sessions there every night.
I do know that [Bb] they have audio from [F] a session.
They're going, [Bb] Moe's, don't go home, it's only [F] midnight.
And he's like, no, I have to [C] go home, it's Christmas.
[Gm] Now people will [C] ask, oh, must have been so cool.
Growing up he must [A] have had [G] jam sessions of musicians in the house.
[Eb] You know, [C] absolutely not.
We didn't feel like he was famous.
When he was [Eb] home, it was [D] never about him.
[G] My definition of jazz is music that's [Bbm] felt, thought, and [C] performed simultaneously.
[G] And that's what I'm looking for every night.
[Bb]
[Bb] [F]
[Bb] [F] [F] Nobody plays [Gb] jazz all night.
The [Gb] jazz part is when you [F] get into [G] something that you haven't done before
and you're thinking [Eb] it and feeling it and performing it [Gm] right there.
Just another little middle [E] class white boy out trying to [G] have some [C] fun.
[G]
[A]
Thank you.
Where he lived was [Cm] the absolute delta.
You can hear it in his piano playing even, it's really evocative of the place.
[A] And that kind of [Bb] humility, it's like a musical manifestation of him.
[Ebm]
[Ab] Stole the blues.
[C]
[Db]
[C] [G] I used to go to the filling station and listen to the jukebox.
[Cm] That's how I learned about the country blues.
Big Bill Brunze had a song, Digging My Potatoes.
I [F] was playing trumpet at the time.
[A] And I like Louis [F] Armstrong for different reasons.
[C] He had a lot of [G] records that were ambivalent.
That word came to me in New [Fm] Orleans.
There's an ambivalent [Bb] street in New Orleans.
It's just the way I am.
[C] There was [Db] a pavilion where you go to dance and [Gm] he was in the band [C] there.
And then [F] we wrote to one [Cm] another for two and a half years.
[F] He was really fun to write to.
I saw you 21 days [Fm] in the two and a half [C] years.
And then we [F] decided we'd get married.
[Ab] It was always [Bb] hearing about some music going on and [G] it would take us about [F] 30 minutes to pack up.
And with the [C] ironing board on top, I remember that.
[Eb] Ever since the [Ab] world [Eb] ended, I don't go out as much.
I [Eb] always said I was going to [F] make a living [Eb] at music.
And [F] I had to come to New York to do that.
[Bb] I [Eb] think I saw that he [Gb] was so focused on [Eb] that and so dedicated to it.
And [Ab] also all the other musicians treated him as if he [Eb] were really something [D] special.
He had [C] this wonderful thing that made him so happy.
And I just admired that [Ebm] and I wanted to [Ab] have that.
[Eb] [Ab] [Eb] It was slow [Ab] at first [Bb] and [Ebm] eventually I got enough jobs to get known.
[Ab] I was pretty [C] much self-determined.
[Bb] The Jazz Loft [F] that was on 34th Street and [Bb] 3rd Avenue, they used to have jam sessions there every night.
I do know that [Bb] they have audio from [F] a session.
They're going, [Bb] Moe's, don't go home, it's only [F] midnight.
And he's like, no, I have to [C] go home, it's Christmas.
[Gm] Now people will [C] ask, oh, must have been so cool.
Growing up he must [A] have had [G] jam sessions of musicians in the house.
[Eb] You know, [C] absolutely not.
We didn't feel like he was famous.
When he was [Eb] home, it was [D] never about him.
[G] My definition of jazz is music that's [Bbm] felt, thought, and [C] performed simultaneously.
[G] And that's what I'm looking for every night.
[Bb]
[Bb] [F]
[Bb] [F] [F] Nobody plays [Gb] jazz all night.
The [Gb] jazz part is when you [F] get into [G] something that you haven't done before
and you're thinking [Eb] it and feeling it and performing it [Gm] right there.
Just another little middle [E] class white boy out trying to [G] have some [C] fun.
[G]
[A]
Thank you.
Key:
C
F
Bb
Eb
G
C
F
Bb
_ [G] _ [C] It's a hybrid of like all the different influences from Mississippi, just completely steeped in blues.
Where he lived was [Cm] the absolute delta.
You can hear it in his piano playing even, it's really evocative of the place.
[A] And that kind of [Bb] humility, it's like a musical manifestation of him.
[Ebm] _
_ [Ab] _ _ _ Stole the blues.
[C] _
[Db] _ _ _ _ _ _ _ _
_ _ _ [C] _ _ [G] I used to go to the filling station and listen to the jukebox.
[Cm] That's how I learned about the country blues.
Big Bill Brunze had a song, Digging My Potatoes. _ _
_ I [F] was playing trumpet at the time.
[A] And I like Louis [F] Armstrong for different reasons.
[C] He had a lot of [G] records that were _ _ _ _ ambivalent. _ _ _ _
That word came to me in New [Fm] Orleans.
There's an ambivalent [Bb] street in New Orleans.
_ _ It's just the way I am.
[C] _ _ There was [Db] a pavilion where you go to dance and [Gm] he was in the band [C] there.
And then [F] we wrote to one [Cm] another for two and a half years.
_ [F] He was really fun to write to.
I saw you 21 days [Fm] in the two and a half [C] years.
And then we [F] decided we'd get married.
_ [Ab] It was always [Bb] hearing about some music going on and [G] it would take us about [F] 30 minutes to pack up.
And with the [C] ironing board on top, I remember that.
[Eb] Ever since the [Ab] world [Eb] ended, _ _ I don't go out as much.
_ I [Eb] always said I was going to [F] make a living [Eb] at music.
And [F] I had to come to New York to do that.
[Bb] _ I [Eb] think I saw that he [Gb] was so focused on [Eb] that and so dedicated to it.
And [Ab] also all the other musicians treated him as if he [Eb] were really something [D] special.
He had [C] this wonderful thing _ that made him so happy.
And I just admired that [Ebm] and I wanted to [Ab] have that.
_ [Eb] _ _ _ [Ab] _ _ [Eb] It was slow [Ab] at first [Bb] and [Ebm] eventually I got enough jobs to get known.
[Ab] I was pretty [C] much self-determined.
[Bb] _ The Jazz Loft [F] that was on 34th Street and [Bb] 3rd Avenue, they used to have jam sessions there every night.
I do know that [Bb] they have audio from [F] a session.
They're going, [Bb] Moe's, don't go home, it's only [F] midnight.
And he's like, no, I have to [C] go home, it's Christmas.
_ _ _ [Gm] Now people will [C] ask, oh, must have been so cool.
Growing up he must [A] have had [G] jam sessions of musicians in the house.
[Eb] You know, [C] absolutely not.
We didn't feel like he was famous.
When he was [Eb] home, it was [D] never about him.
_ [G] _ My definition of jazz is music that's [Bbm] felt, thought, and [C] performed simultaneously.
[G] _ And that's what I'm looking for every night.
_ _ [Bb] _ _
_ [Bb] _ _ _ _ _ _ [F] _
_ _ [Bb] _ _ [F] _ _ [F] Nobody plays [Gb] jazz all night.
The [Gb] jazz part is when you [F] get into [G] something that you haven't done before
and you're thinking [Eb] it and feeling it and performing it [Gm] right there.
Just another little middle [E] class white boy out trying to [G] have some [C] fun.
_ [G] _
_ _ _ _ _ [A] _ _ _
_ _ _ _ _ Thank you. _
Where he lived was [Cm] the absolute delta.
You can hear it in his piano playing even, it's really evocative of the place.
[A] And that kind of [Bb] humility, it's like a musical manifestation of him.
[Ebm] _
_ [Ab] _ _ _ Stole the blues.
[C] _
[Db] _ _ _ _ _ _ _ _
_ _ _ [C] _ _ [G] I used to go to the filling station and listen to the jukebox.
[Cm] That's how I learned about the country blues.
Big Bill Brunze had a song, Digging My Potatoes. _ _
_ I [F] was playing trumpet at the time.
[A] And I like Louis [F] Armstrong for different reasons.
[C] He had a lot of [G] records that were _ _ _ _ ambivalent. _ _ _ _
That word came to me in New [Fm] Orleans.
There's an ambivalent [Bb] street in New Orleans.
_ _ It's just the way I am.
[C] _ _ There was [Db] a pavilion where you go to dance and [Gm] he was in the band [C] there.
And then [F] we wrote to one [Cm] another for two and a half years.
_ [F] He was really fun to write to.
I saw you 21 days [Fm] in the two and a half [C] years.
And then we [F] decided we'd get married.
_ [Ab] It was always [Bb] hearing about some music going on and [G] it would take us about [F] 30 minutes to pack up.
And with the [C] ironing board on top, I remember that.
[Eb] Ever since the [Ab] world [Eb] ended, _ _ I don't go out as much.
_ I [Eb] always said I was going to [F] make a living [Eb] at music.
And [F] I had to come to New York to do that.
[Bb] _ I [Eb] think I saw that he [Gb] was so focused on [Eb] that and so dedicated to it.
And [Ab] also all the other musicians treated him as if he [Eb] were really something [D] special.
He had [C] this wonderful thing _ that made him so happy.
And I just admired that [Ebm] and I wanted to [Ab] have that.
_ [Eb] _ _ _ [Ab] _ _ [Eb] It was slow [Ab] at first [Bb] and [Ebm] eventually I got enough jobs to get known.
[Ab] I was pretty [C] much self-determined.
[Bb] _ The Jazz Loft [F] that was on 34th Street and [Bb] 3rd Avenue, they used to have jam sessions there every night.
I do know that [Bb] they have audio from [F] a session.
They're going, [Bb] Moe's, don't go home, it's only [F] midnight.
And he's like, no, I have to [C] go home, it's Christmas.
_ _ _ [Gm] Now people will [C] ask, oh, must have been so cool.
Growing up he must [A] have had [G] jam sessions of musicians in the house.
[Eb] You know, [C] absolutely not.
We didn't feel like he was famous.
When he was [Eb] home, it was [D] never about him.
_ [G] _ My definition of jazz is music that's [Bbm] felt, thought, and [C] performed simultaneously.
[G] _ And that's what I'm looking for every night.
_ _ [Bb] _ _
_ [Bb] _ _ _ _ _ _ [F] _
_ _ [Bb] _ _ [F] _ _ [F] Nobody plays [Gb] jazz all night.
The [Gb] jazz part is when you [F] get into [G] something that you haven't done before
and you're thinking [Eb] it and feeling it and performing it [Gm] right there.
Just another little middle [E] class white boy out trying to [G] have some [C] fun.
_ [G] _
_ _ _ _ _ [A] _ _ _
_ _ _ _ _ Thank you. _