Blues by the Bar. (Master Class with Buzz Feiten). For Guitar. Guitar Educational. Softcover with CD. Guitar tablature. 48 pages. Published by Cherry Lane Music (HL.2501549). ISBN 1603782621. With guitar tablature. 9x12 inches. This book/CD master class gives you over 70 cool riffs that sound great over each portion of the blues progression. They're presented in two-measure chunks – organized by where they fall in a standard 12-bar progression – so you can enrich your blues vocabulary and assemble your own solos with authentic riffs and licks as played by blues master Buzz Feiten! Includes complete solos, plus jam tracks for an uptempo shuffle and a slow blues, featuring Buzz himself performing with a great band!

Chet Baker - Candy by Chet Baker. Live/DVD. DVD. MVD #MVD5211D. Published by MVD (HL.321266). A 1985 video recording features legendary jazz trumpeter Chet Baker joined by Michel Graillier and Red Mitchell on piano and Jean-Louis Rassinfosse on bass. Also includes an interview with Baker. Songs: Candy • Love for Sale • Sad Walk • Red's Blues • My Romance • Tempus Fugue It • Nardis • Bye Bye Blackbird.

Limehouse Blues by Jim Weisheit. For little big band (Alto sax, Tenor sax, Baritone sax, 2 Trumpets, 1 Trombone, Piano, Guitar, Bass, Drums). Medium difficult. Score and set of parts. Published by Walrus Music Publishing (WA.60246). Bright swinging arrangement of this classic big band favorite. Tune recorded by Stan Kenton and Glen Miller. Open section for all to solo. Big ensemble. Tpt. 1 top note "G". Scored for A/T/B/2 Tpts/1 Bone/P/G/B/D.Complete transposed score.

Blues While You Wait by Glen Cashman. For big band (5 Saxes, 4 Trumpets, 4 Trombones, Guitar, Piano, Bass, Drums). Medium to difficult. Score and set of parts. Published by Walrus Music Publishing (WA.56630). Very playable medium modern sounding blues with an underlying Killer Joe vibe, flexible solo sections and ample rhythmic interest. Trumpet 1 to written high D. 5/4/4/G/P/B/D.

Grease the Wheel and Let'R Roll Blues by Tom Dossett. For big band (5 Saxes, 4 Trumpets, 4 Trombones, Guitar, Piano, Bass, Drums). Medium to difficult. Score and set of parts. Published by Walrus Music Publishing (WA.54470). Great easy going blues number to let your keyboard player shine. For a different sound, try a jazz organ. Short opening keyboard solo sets the mood and later opens up for invividual styling. 1st trumpet to high C. 5/4/4/G/P/B/D.

School of Mandolin: Rhythm Changes by Joe Carr. For Mandolin. Improvisation. School Of. Jazz. Beginning-Intermediate. Book/CD Set. 32 pages. Published by Mel Bay Publications, Inc (MB.21073BCD). ISBN 9780786677016. Jazz. 8.75" x 11.75" inches. Unlock the secrets of moving chord rhythm for bluegrass, blues and swing. Using eleven tunes in six keys including old-time fiddle tunes, bluegrass instrumentals and swing progressions, Joe Carr shows how to create interesting moving chordal backup for practically any song. Mandolin players can now duplicate the 'every-two-beats' chord style associated with western swing guitar. A single-note solo is included for each tune. Chord arrangements are shown in diagrams, standard notation and tablature. Companion CD included.

Deep Texas Blues. (The Early Blues of Lightnin' Hopkins). By Ernie Hawkins. For Guitar (Electric). Licks and Phrases. Grossman-Gtr Workshop. Blues. Beginning. DVD. Duration 186 minutes. Published by Grossman's Guitar Workshop (MB.GW828SDVD). In this second DVD lesson devoted to the guitar playing of Lightnini Hopkins, Ernie Hawkins dives into Lightnin's early catalogue from the Aladdin and Gold Star record labels. There was an amazing variety to Lightnin's early work. Listening to his early recordings we hear an artist at his prime. He effortlessly employing widely different rhythms, keys and tunings. The deeper we listen to these songs, the deeper our insight into what a master of Texas blues Lightnin' Hopkins really was. Lightnin's style itself came along at the perfect time: the advent of the electric guitar. His style, strong rhythms punctuated by his flowing but compact lead lines created a stinging and heart-tearing evocative sound. Lightnin's guitar style and technique worked great for both the acoustic or electrical guitars. The blues of Freddy King, Albert Collins, the Vaughn brothers, Billy Gibbons, testify to the power of this style. Lightnin' connects the generations of players, starting with Blind Lemon Jefferson, for whom he was lead-boy in the early 1920s. Standing tall at the center of the Texas Blues story is Lightnini Hopkins. In this double DVD set, Ernie Hawkins covers songs in unusual keys such as: drop D(Sugar Mama), in drop D but played in the key of A (Santa Fe Blues), in G (Bad Luck and Trouble), as well as in the usual blues in A, Come Back Baby and the country gospel Needed Time in the key of E. As a bonus, Ernie teaches his version of Lightnin's Hideway, the Freddy King tune coming back home to Lightnin'. Ernie teaches phrase by phrase and then uses the split-screen so you can carefully study what each hand is doing. Detailed tab/music booklets are included as PDF files on both DVDs. 186 minutes * Level 2/3 i Detailed tab/music PDF files on the DVDs.

The Music of Louis Armstrong. (Arranged for Fingerstyle Guitar). By Ernie Hawkins. For Guitar (Fingerpicking). Technic. Grossman-Gtr Workshop. Jazz. Intermediate-Advanced. DVD. Duration 163 minutes. Published by Grossman's Guitar Workshop (MB.GW1000DVD). This DVD lesson could be titled The Music of Louis Armstrong for Finger-picking Guitar or Gary Davis Meets Louis Armstrong. Born in 1896, the brilliant Piedmont guitarist Gary Davis came of age in the teens and the twenties. He was in his prime during the Jazz Age and his playing shows it. His guitar style and techniques came out of the twenties. It enabled him to play like a band. His thumb playing the rhytmic sections of the band while his index finger soloed over this. Rev. Davis only used his thumb and index fingers to pick. When asked why he replied with a smile: "That's all I need!" In Rev. Davis's playing you can hear the drive of Louis Armstrong as well as Louis's bugle call riffs. Rev. Gary Davis's style is made to order to play Louis Armstong tunes on guitar. As I learned most of what I know and do on the guitar from Rev. Gary Davis, this is how I see it and how I have approached arranging the tunes on this DVD lesson. Once you find the right key on the guitar these early jazz masterpieces seem to fall right into place. Putting CornetChop Suey into the key of C, for instance, enables you to play the patented 'Gary Davis Slow Drag G form C run' throughout as the statement of the initial melody. This lesson is over 2 hours and forty minutes. The arrangements are for the intermediate to advance players. They are multi-section compositions with lots of fingerpicking challenges. But all your hard work will be very worthwhile as these tunes are some of the greatest in the early jazz repertoire. Ernie teaches phrase by phrase and then uses the split-screen so you can carefully study what each hand is doing. Detailed tab/music booklets are included as PDF files on both DVDs. Tunes include: Potato Head Blues, Basin Street Blues, Cornet Chop Suey, Weather Bird and It's A Wonderful World.

People Get Ready (with This Train). By Curtis Mayfield. Arranged by Sheldon Curry. Choir Sacred. This edition: InstruTrax CD. CD; Choral (Sacred); Choral Octavo; Worship Resources. Belwin Choral Series. Blues; Folk; Sacred. Published by Belwin Music (AP.36936). Curtis Mayfield's R&B classic paired with folk song classic "This Train Is Bound for Glory" results in a good feeling musical adventure suitable for both church and school. Belwin Choral presents a fresh new arrangement with easy to learn vocals and optional instrumentation intended for singers and players of all ages and skill levels. Perfect any place, anytime. Get on board! Related scripture: Psalm 103:19; Isaiah 6:3; Romans 8:18Inst. Parts Available (choral); Recorded Acc. Available.

Louis Armstrong - Live in Australia 1964 by Louis Armstrong. Live/DVD. DVD. MVD #MPI001-9. Published by MVD (HL.321267). This rare jewel, including such hits as “Blueberry Hill”, “High Society”, “Mack The Knife”, and many more captures the genius in all his glory. Outstanding! Louis Armstrong's virtuosity and stunning technique made him one of the most influential artists of the century. This recording is a testament to his unparalleled talent. Recorded in 1964.

A Minor Case of the Birthday Blues - Score only by Lauren Bernofsky (1967-). For string orchestra. FJH String Orchestra. Score only. Full set (score and parts) also available: ST6251. Grade 3.5. Score only. Duration 3:15. Published by The FJH Music Company Inc (FJ.ST6251S). Even the most humbug-y of audience members will have to laugh at this new take on the traditional birthday song. After the melody is presented in a minor key, it works its way through a series of tongue-in-cheek "serious" transitions before arriving at a zany calypso setting (complete with maracas and claves!). Through all its silliness, the piece is actually a great teaching tool for many techniques your students will encounter in symphonic music, such as imitation, chromatics, tremolo, triplets, and more. Don't forget the cake! About FJH String Orchestra More emphasis on bow technique and independence of lines. For the accomplished middle, high school, college, or professional group. Grade 3 and up

A Minor Case of the Birthday Blues by Lauren Bernofsky (1967-). For string orchestra. FJH String Orchestra. Full set (score and parts). Score only also available: ST6251S. Grade 3.5. Score and parts. Duration 3:15. Published by The FJH Music Company Inc (FJ.ST6251). Even the most humbug-y of audience members will have to laugh at this new take on the traditional birthday song. After the melody is presented in a minor key, it works its way through a series of tongue-in-cheek "serious" transitions before arriving at a zany calypso setting (complete with maracas and claves!). Through all its silliness, the piece is actually a great teaching tool for many techniques your students will encounter in symphonic music, such as imitation, chromatics, tremolo, triplets, and more. Don't forget the cake! About FJH String Orchestra More emphasis on bow technique and independence of lines. For the accomplished middle, high school, college, or professional group. Grade 3 and up

A "Blues" Blast Off by Gerald Sebesky. For concert band. Jazz. Grade 1. Score and parts. Published by Northeastern Music Publications (NS.100231).

Tropical Flutes by Gerald Sebesky. For concert band. Jazz. Grade 1. Score and parts. Published by Northeastern Music Publications (NS.100230).

Band Room Swing by Andrew Balent. For concert band. Jazz. Grade 1.5. Score and parts. Published by Northeastern Music Publications (NS.100227).

Whistle Blues by Benny Goodman. Edited by Jeffrey Sultanof. Arranged by Mary Lou Williams. For big band (5/3/3/4). Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8889). Williams wrote Camel Hop and Roll 'Em for Benny Goodman while she was still with Andy Kirk’s band, and in late 1946, Williams started writing for him again. At the time, he had his own radio show with pianist Victor Borge, and in 1947, he would begin a new recording contract with Capitol Records. Goodman recorded Williams's Lonely Moments and Whistle Blues, a novelty that was recorded a few times during 1946 and 1947. Although the original parts exist for the Goodman version of Whistle Blues, we have decided to issue the stock arrangement of this piece instead. It is very similar to the recording made by Milt Orent’s orchestra for Moe Asch’s Disc label (Asch would later create the legendary Folkways label), and is a more interesting treatment of the material. The original publication has a bit of history. In 1947, Goodman’s publishing company Harman Music issued both Lonely Moments and Whistle Blues as octavo-sized stock arrangements with Goodman’s image on the cover. The copyright notices on both are credited to Harman, but this was an error. It is believed that Goodman thought that he was buying the copyrights themselves and released the stocks with that understanding, but Williams refused to sell them to him. Both publications were promptly withdrawn. I was fortunate to obtain copies of both from Gene Goodman, who ran Goodman’s publishing company (the actual owner of the company was Harry Goodman, who'd played bass for Benny during the thirties).

Where Or When by Frank Sinatra. Edited by Jeffrey Sultanof. Arranged by Billy Byers. For big band (vocal with 5/4/4/4). Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-9085). Here is Billy Byers's great arrangement as recorded by Frank Sinatra with Count Basie at the Sands Hotel in 1966. This has been engraved from the original score - this is not a transcription. There are no saxophone doubles.

Skyliner by Charlie Barnet. Edited by Jeffrey Sultanof. Arranged by Billy Moore, Jr.. For big band (6/4/4/4). Swing. Medium-difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8284). Here is the definitive arrangement of Skyliner from the original published parts. This is not a transcription. This arrangement, written by Billy Moore, Jr. and recorded in 1944 by Charlie Barnet, features a tenor saxophone soloist that doubles on soprano (this was Barnet's part). In addition to that tenor/soprano part, there is a standard reed section of 2 altos, 2 tenors, and a baritone. The arrangement featured a written introductory piano solo. We have retained this solo but have included chord changes in the event that your pianist wishes to improvise. The soprano sax part can certainly be played on the clarinet.

Royal Garden Blues by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For big band (5/3/2/4). Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8457). Here is Gil Evans's arrangement of the Clarence and Spencer Williams classic blues standard Royal Garden Blues. This chart was written as a piano feature for Claude Thornhill. The reeds are arranged as: clarinet; alto saxophone/clarinet; tenor saxophone; tenor saxophone/bass clarinet; and baritone saxophone. The Horn in F part, arranged for two horns, is unison throughout. We have included trumpet 4 and trombone 3 parts that may serve as alternates for the horn part.

Opus One by Terry Gibbs Dream Band. Arranged by Marty Paich. For big band (5/4/3/3 with vibraphone). Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8398). Here is Marty Paich's arrangement for the Dream Band, as written and recorded in 1959. This was written to feature vibraphone but we have added optional Bb or Eb soloist parts.

Jump Caprice by Mary Lou Williams. Edited by Jeffrey Sultanof. Arranged by Mary Lou Williams. For big band (Clarinet Soloist, 2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 4 Trumpets, 3 Trombones, Guitar, Piano, Bass, Drums). Written for Benny Goodman. Swing, Jazz. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8820). Williams wrote Camel Hop and Roll 'Em for Benny Goodman while she was still with Andy Kirk's band, and in late 1946, Williams started writing for him again. At the time, he had his own radio show with pianist Victor Borge, and in 1947, he would begin a new recording contract with Capitol Records. Goodman recorded Williams's Lonely Moments and Whistle Blues . She also wrote this arrangement of Jump Caprice ; however, it was not played. It is probable that this piece was a bit too hip for him, although by 1948, Mary Lou would write several boppish arrangements for a Goodman small group with Benny and Stan Hasselgard (the group also included tenor saxophonist Wardell Gray). This is a straight forward blues with lots of altered harmonies typical of the bop style of the forties. It can be opened up for solos.

Heads Or Tails by Terry Gibbs Dream Band. Edited by Jeffrey Sultanof. Arranged by Ernie Wilkins. For big band (5/4/3/3 with vibraphone). Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8264). This arrangement was written by Ernie Wilkins for Terry Gibbs's 1956 EmArcy record titled 'Swingin' with the Terry Gibbs Orchestra.' This arrangement was originally written for four trombones; it was adapted to the current instrumentation of 3 trombones when it entered the Dream Band book. Alternate soloist parts have been included so that this may be played with any featured instrumentalist.

Begin The Beguine by Sammy Davis, Jr.. Edited by Jeffrey Sultanof. Arranged by Marty Paich. For big band with vocal. Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-9092). This Marty Paich arrangement was recorded by Sammy Davis Jr. with a big band. This swinging arrangement is a great spotlight for the singer. There are no solos and no saxophone doubles.

Begin The Beguine by Sammy Davis, Jr.. Edited by Jeffrey Sultanof. Arranged by Marty Paich. For jazz orchestra. Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-9067). This Marty Paich arrangement was recorded by Sammy Davis Jr. with a big band and later expanded to include horn in F, strings, harp, and percussion/tympani. This swinging arrangement is a great spotlight for the singer. There are no solos and no saxophone doubles. Vocal, 5/4/4/4 with horn in F, 3 violins, viola, cello, harp, and percussion.