| LearnJazzPiano.com archives: oleo lead sheet | |
| BlackWhiteKey -- 09/08/2007, 10:30:37 -- #36896 | |
| anyone find one on the internet? i can't find one that i can download | |
| Kai -- 09/08/2007, 12:43:43 -- #36896 | |
| It is in one of the Real Books: The Real Book I p 327. | |
| Jazz+ -- 09/08/2007, 13:54:09 -- #36896 | |
| That's one of those heads where they did not really play chords during the head, they played the melody in unison. | |
| CynBad -- 09/08/2007, 14:57:34 -- #36896 | |
| Well, you CAN play chords with the head, and many people do. It's Rhythm Changes. Transcribe the melody and use rhythm changes, and voila, you've got yourself a lead sheet. Other than that, buy a Real Book or something. | |
| Mike -- 09/08/2007, 19:11:21 -- #36896 | |
| no matter how frugal everyone has to at least put out for RB I at some point. That one has Oleo in it. | |
| Jazz+ -- 09/08/2007, 21:54:49 -- #36896 | |
| Oleo was popularized by Sonny Rollins and Miles Davis. They told their piano players not to play chords against the melody on the A section and instead the pianists were told to double the in single note unison. This was probably due to the very syncopated nature of the melody in the A section, chords tend to get in the way of the melodies rhythm. So if you ever find yourself struggling to play chords behind the lines at letter A you might know why. The pianists did comp chords on the bridge and later behind the solos. Orbits is another tune where no chords were called for. | |
| DrJazz -- 09/20/2007, 16:30:57 -- #36896 | |
| Well, that's fine to stipulate that the piano player shouldn't play chords during the head, but that doesn't mean that there AREN'T any chords! You can hear them in the bass line... | |
| Jazz+ -- 09/20/2007, 21:51:02 -- #36896 | |
| I didn't say there aren't any chords. Yes, of course the bass player was walking rhythm changes. My point was that a pianist need not feel compelled to play any chords during the main melody for the head of Oleo since none were played by the pianist and that was how the tune was conceived (arranged). The pianist Red Garland did comp and solo on the B section where there is no melody. Here it is: Here's the Miles Davis Quintet playing "Oleo". I think they thought chords would clutter that syncopated melody. http://www.amazon.com/Relaxin-Miles-Davis-Quintet/dp/B000EGDAHU/ref=sr_1_34/104-4279168-3063927?ie=UTF8&s=music&qid=1190348807&sr=1-34 | |
| Jazz+ -- 09/20/2007, 21:56:35 -- #36896 | |
| from Wiki: ""Oleo" is a Bebop composition by Sonny Rollins, written in 1954. It is one of the most popular pieces to feature rhythm changes. The performer is expected to improvise the B section, as only the A section is transcribed. An early version of it was recorded by the Miles Davis Quintet in 1956 on the album Relaxin'." | |
| sdm -- 09/20/2007, 22:34:19 -- #36896 | |
| Going to see Mr. Rollins tomorrow night. Anyone know if he's still playing some of his older tunes? The albums I have in front of me from 95 (Without a Song [have the new one from '01 also] and Worktime) would say no, we'll hear tunes I'm probably not so familiar with. Have Bags Groove handy -- I'll listen to that Oleo. | |
| Scot -- 09/21/2007, 12:35:04 -- #36896 | |
| Oleo is one of the best bop tunes to learn off the recording, learning it that way will not only give you a new tune to play but will grow your ears a foot long. | |
| smg -- 09/21/2007, 13:23:30 -- #36896 | |
| For players reading this post who want to become more familiar with the subjects being discussed,here's a link that will get you into dealing with- -the progression to the Oleo A section(standard "rhythm changes" -1-6-2-5 based progessions with post-bop-era melodic ideas plus a great bridge with a descending 2-5 pattern) -Sonny Rollins concept This recording is still in print as well........ | |
| smg -- 09/21/2007, 13:24:27 -- #36896 | |
| http://www.music.sc.edu/ea/Jazz/Transcriptions/Eternal.Rollins.pdf | |
| smg -- 09/21/2007, 13:25:56 -- #36896 | |
| Also check this out-http://www.jazzguitar.be/rhythm_changes.html | |
| CynBad -- 09/21/2007, 15:36:45 -- #36896 | |
| sdm, tell us about Sonny Rollins after you hear him! According to Jamey Aebersold, he is mostly playing a bunch of Latin stuff these days and is not the old Sonny Rollins. That makes Jamey sad. :-( | |
| sdm -- 09/22/2007, 12:28:18 -- #36896 | |
| Well, don't know what Jamey was talking about but the show was dynamite. Yeah, the man is getting up there at 77 and as my nephew said after the show, he plays better than he walks these days, but the music was first rate. Mostly standards (In A Sentimental Mood and Falling In Love Is Beautiful for instance) and a couple of Caribbean numbers. Sure, he left most of the long solos to his mates and did, I think, some of his best work while trading fours but over all I could hardly have expected more. The band was fantastic with Bob Crenshaw on electric bass (I happened to have Lee Morgan’s Sidewinder on in the car on the way home and there Bob was playing on that from, what, 40 years ago maybe). The trombonist, Clifton Anderson was just outstanding with a tone that almost sounded like a French horn at times and some of the most well-thought out solo’s I’ve heard in years. Guitarist Bobby Broom and drummer Steve Jordan were also terrific and the percussionist Kimati Dinizulu did a solo that ranged from great booming sound to tiny whispers of fingertips on the conga. They played for two hours straight with almost no time between numbers (hell, I’m not sure I could stand up there that long) and only a few words from Sonny at one point about the value and importance (and peace loving nature of!) jazz. All in all a fantastic show! | |
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