Sie sind auf Seite 1von 49

Hu,r^i

1""Jq P;r"r*

80 Gomposi$ons

bU

flrrangeil lor Piano

L';v'-^a; *1'--;v

llEllllllU D0Rllilil

Dg

W[tfEn DIUIS lr.

KENNY DORHAM by Michael Cuscuna 3


WALTER DAVIS /r. 4
ABOUT THE MUSIC 5

Back Road a Blue lnterlude ss Blue Spring zr


Brown's Town r z Buffalo s+ Butch's Blues +r
Dorham's Epltaph zs
Escapade z
The Fox

ro

High Seas

-ao.

Jdzz-Classfc

-:.e

K.D.'g Gab Ride +o Rarioka

+z

La Mesha a
Newport News r + Night Watch t s
An Oscar For Osear +s
Passr'on Spring r g Pedro's Time r o
'Philly'Twist z+ Poetic Spring zo

<+

Spring Cannon zz Stage West


Sunrrlse ln Mexieo 2s Sunset zg

Speculate

Trompeta Toccata

se

Una Mas r r
Whistle Stop -ro Windmill

zo

l,'.'-*"L'J*:ft $',*01"1 SEGOI|D FLOOR ilUSIG

,orninFairfield,Texas,onAugusttotheseT."n.intechnique,.but.hew1

tramieda|*.|certainlvtheirpeer',,',:]*|]lYli1iil:

surprising normal and ra

-_-,.-_.,iciallyintegratedlI|Histechnioue.wasnotcomparabletothe
cniiahoo-a,balancingtheelementsir||academicor.thevirtuos.o.Hiswas.a
academia,theWildfrestandthenaggingl|Rersonal.swlewith,facility:Pu+..

musethaidevelopedinhisbrain.T[;-l|executehismusical.imagination.The
muSewon.Dorham,attheageof21,l|virtuos.iwhoprecededandfollowedhim
wasinthefirstDizzyGillespTeorchestra|.|i1ttr.ejazz.lineage,universallypraisehis
*.;.
on 52nd Street in New York in theheat L1"
1 RlaVinS, his thought

pro.cesses and his

ofthebeboprevolution.Hewas2000l|writtenmusic.,Hewas,|"l|i'"1]i-':
milesfromhisbirthplaceandchildhood|ry;xffilYhothoroughlyintegratedthegutand

environmentand4million"lightyearsll*.'"i;l,::lL.,,it.,tonesaremany.He
away from its consciousness'

Dorhamwasnot";1ffifi:i,*,*

I il::ffi;i'111i$'fri!i"l;"ffi,
theGillespieband;heuriJii*,.atr.,.l$re,l.T:'::.Si]Yl3"'k{ootev,1!|o-t1s
pivotal position as a trul

roleofghostwriterfortheoverwort"dlwilffiW,ffi{f|Watkins.ln1,956,neior,1.e|1!;']a3

u',,ung"71"o-poserGilFuller,whowasl||ro?he1l:9:ili::,yl.lrd:::|.:?:}.
translatingthelanguageorimuttg'oupl|11euinag':k".,Y,-Y!:ll.^i:1Y:'*

bebopintobelievableuigu"^Jp'"p"i.lxiY..lWlI."ll:rl"'^:ll]T:::i"^:Ti:jlgT
and sixties he led variety of short-lircd
a

tions.

lnthenextcoupleofyears,K.D.,slF.iW|31se.mblesii91:::i1:9j::l.Yl":::'
presenceontrumpety1;{;;?ri,^dll,lB'x1'il}::.'["'xTiljy.ffi::1""ill,'
or Billv t'1'^':Y,t'-'#'
in the bands

I i,li[ i)".'o];'*"'L."""""0 rater Joe

Hampton'Mercer'"''ti*:r!'ij*"" I ^a'-

ffii*:'"^ffi:#Ifo*,xj;:!"'*
f'
earlybebopsessionsr'auvs"""isiiit,5.?:.I1l:T:"19!:1Ll':r":T^:

first incarnation of Art

Messengers. He quickly found a spot on

kennyctaire,MaxRoa#,Mitt,;u"t.'onI.lre"s1ur1jul::i?::::i1'}:"y::::::
andoihers.Andf,o,,,J:,::**m;'::m1:ffiIi:?:iH'#ff}!i.l.'"
stood beside one of the

andspontaneo,,"n.,gy.,ou,".iintt,,.R..||Effi.standardj",:.:',",i.f'"i":]i,.l:.II'*

histoiyofjazz,Charliei,arker.-..andsixties,ajazz,date,wouldusually
(.,.,nyDorhamwasalsoexercisingconsistofacoupleofheadtunesand
K.D. in 1967 (photo: RaYmond Ross)
anddevelopinghisalreadyconsiderable@kaymondRoss)bluesbytheleader,perhapsatuneor
two from the sidemen and a standard
abilities.
arranging
anJ
composing
Artho ugh ih e tidar wive-or betor
simple lines grafted on t

made,

of standards or riff tune

fi E lll IUU D 0 n I

changes perfectly acceptab[evehicles, From the 1954


,i
Dorham was one of the earty

moderns

photo

session

mil

for Kenny's first

i t"iirr-\ioii oti i bn"r.

olbum

],"
hY..itrl.J#UgU"ffi
to Dorham that his corn.
is a testament

positions

Y"I:

f,ttqY..,ntly. used on record

totruIytacklethecnattengeottoLttydatesonw.tri1n|e.a]aT'-1qli'.

originalcomposition.Sinc"eajazzsoloistE.Examplesi,:l,9:'?ill,yR-ollins,Art
isorshouldbeaspontanJo*,.o,po'.'TaylorandFreddieHuuu1j'

itisnosurprisethatthe;;;'i;";;,yo1tau11n:i:Y:l,*".':-l*"|
,?:',
rors such as Parker,
such as Blakey, Roach a

9l:Tfr."

[:?:l.TiiX]ftpF[!:i,,![l?*
themajorcomposerS',.iiuiHo'"'.u,o."']1-1:o,?y",1i:.I,:l1iY:-,I:T:-u*
Silver,Theloniou,vron[,'a.nnycotson-manyfans.tt,nisJu|t'rr:,!1:"j
andRandyWeston*o,iauitu.a'u*nFa.been'compteh.l9,:!,"il,,i'.9^"::.1'"^l:
'r.

tohishighlyindividualizeJ'tvr."rLL.o1e]ras,''"'p-:9.,1.^I:llfi1:l':T'.:
playing.-He.wasapianisiorsorts(ptay.mjndand9utpll.1.tl",?l,.b^t|1]l]:
ingitoccasionally,even"ni.'.ijiiigi,.dlimpressive.P::'Py^1"^".::::fi1:.i*

an"dusingitforaiianginginacompolsing)amanwhosecreativetalentsspanbig
harmony
the very origins of bebop, the founding of funk and hard
p"rt+ire singel H"e had theiefore a thorough sense of
""J
ina "iti possibilitieiand an unsnakable sense of lyricism. His solos .

bands,

and participation in.the experimentation of Cecil Taylor, John


?op
not
did
he
ln
fact,
and Andrew Hill?
coltrane
digestible'
and
completely
weie at'once abstract
The quickest route to Kenny Dorham and the mostpersonally
play the trumpet per se: he played musii. lt just happened to come
gratifying is an intimate knowledge of his compositions, followed
through the trumpet.
quickiy by the warm, individual sound of his spontaneous inventions
by
previously
occupied
in the forties, he had sat in chairs
Roach
the trumpet.
Max
through
he
1956,
ln
Fats
Navarro.
ioined
Dizzy Gillespieand
equal
was
not
he
three
cases
In
all
death.
Brown's
-MICHAEL CUSCUNA
Cfifoia
,pon

Kenny Dorhom died on December 5, 1972

alter Davis

Jr.

isa highly respected

labels, Blue Note and New Jazz. His


initial association with Blue Note,
recording as a sideman, led to his first
date as a leader on August 2,1959DAVIS CUP (Blue Note BLP4018). As
one of Blue Note's staff recordingartists,
Walter appeared on records with Lee
Morgan, Donald Byrd, Wayne Shorter,
.f ackie McLean, Charlie Rouse, Sam
Jones, Paul Chambers, Art Blakey, Art
Taylor and others.
ln May of 1960 Walter began a
recording association with Philly .f oe

jazz pianist, composer and


atranger. He was born in Richmond,
Virginia, on September 2, 1932, but was
raised in East Orange, New Jersey. He
received considerably more than a
traditional high school education there.
Besides working with Babs Gonzales'

'Three Bips and a Bop,"

he was

befriend-

ed by major jazztalents Bud Powell,


Charlie Parker, Max Roach, Thelonious
Monk, Art Blakey, Walter Bishop J r.

and Sonny Rollins. Without insistence

from these artists that he finish his

ILLY JOE'S BEAT/Atlantic


RLP 340) that has continued to the
present (DAMERONTA-To Tadd Wth
Love/Uptown UP27.11 and LOOK,
STOP AND LISTEN/Uptown UP27.1$.
Walter continued playing, recordirg
and arranging in the sixties, working in
the jazz field with occasional excursions
into other musical areas (recording with
Dr. John and The Rolling Stones, for
example). He traveled to India in the
late sixties where he sought and found
spiritual renewal.
.lones (PH

sdrooling, Walter is sure he would have


succumbed to the ever-present temptation to drop out of school and .join
tteiazz world full time. He did take
several temporary absences, like the
time he played with Charlie Parker and
Max Roach at the Apollo Bar on
l25th Street in New York City. That
vas Walter's first NYC gig, at the end
of 1 949.
Walter continued working with

hrker, Roach, Miles Davis, Hank lVlobley


ard Charles Mingus. Then he joined

ln the seventies Walter toured and


Dizzy Gillespie, playing with the quintet
recorded with Sonny Rollins, then reand traveling through the Middle East,
joined Art Blakey and the Jazz MessenWalter ot the piano, 1983 (photo: Scott Sternboch)
South America and Europe in 1956
gers, adding seven original compositions
rit} Dizzy's big band. ln 1958,Walter
recorded with this band to his list of
resided in Paris for ayear, bringing
recorded compositions. Walter also
'hard bop" to the European continent
recorded several albums for foreign
vith Donald Byrd, Bobby )aspar, Arthur Taylor and Doug Watkins,
record companies as a leader, including three for Nippon Columbia
and, late in 1959, with Art Blakey and the Jazz Messengers (this
(Japan) and solo piano albums for Owl (France) and Red (ltaly).
group included Lee Morgan, Wayne Shorter and Jymie Merritt).
Along with Iectures, workshops and private teaching, Walter continues
Earlier in 1959 Walter was in the New York area recordingfor two
to spread the message ofjazzthrough performancesand recordings.
_DON SICKLER

W[LfEn DIUIS lr.

tr" art form of jazz has produced


! a number of important composers:
Kenny Dorham is certainly one of them.
Ffis compositions have always been
highly regarded by his peers and are
valuable additions to the repertory of
'lzz-This book contains thirty of his
ompositions presented f or jazz piano
ttrough the eyes and ears of fellow
artist and friend Walter Davis J r.
Walter takes great pride in his own
irwolvement in this publication. He
knew Kenny on both personal and pro-

The tempo indications shown on

each arrangement are taken from the


record i ngs.

il{sw
s
'lfl.-/.+"+

.r-1

Even eighth-note notation


adopted for reading ease. The eighth notes are to be
-,
) )= ) .h

(:{

"#d*n

tffi

played with a triplet feeling, except in


Latin compositions or sections or unless
otherwise indisated.
@ indicates the first complete
measure of the melody.
Tenths and other stretches have

fessional levels, and he remembers


Kenny playing many of his compositions
fq him at the piano. Before creating
tfrese piano arrangements, Walter reviewed the original recordings of the
cornpositions, in most cases listening
to Kenny playing his own tunes, so he
sould not miss any of the subtleties
in Kenny's music.
These compositions have all been recorded by major jazz arlists; the original recording
credits appear above each arrangement. The compositions are grouped in approximate reverse
dronological order, the first composition, La Mesha, having been recorded in 1963, while An
O*or For Oscor was on Kenny's first album as a leader, recorded in 1953. Most of the original
:lbums are no longer available, but new recordings by other artists and reissues keep Kenny's
nnrsic alive. A partial listing including more current recordings of some of the compositions in
this book is shown below.

ilbour rhc llllusie

Bbe Spring

Buffalo

$ageWest
llc*port News
AnOscar For Oscar

BUT BEAUTIFULIKenny Dorhom (Milestone M-47036)


1 9 59 I Kenny Dorham (Prest ige P-7754)
KENNY DORHAM &. FRlENDlKenny Dorham (Jozzlond
QUIET KENNYlKenny Dorhom (New Jazz NJ LP 8225)

LP 82)

The Kenny Dorhom Memorial Albumf Kenny Dorham (Xonadu 125)

THAT'S JAZZlChico Hqmilton (Worner Bros. 56-239)

BUT BEA lJTl FULlKenny Dorhom (Milestone M47036)

Passbn Spring
Sfiq Cannon

KENNY DORHAM A. FRlENDlKenny Dorhom (Jazzlond JLP 82)

fidmill

P E RC U SS I O

D t SC U SS I O N I A

rr

B I ok

ey-M o x Roo ch (Ch

THE PENTAGONICedoT Walton (lnner City lC 6009)

Ihi*le

TWO

Stop

ess 2 A C M I

STARTING TlMElClifford Jordon (Jozzlond J LP 52)

Srrise ln Mexico
lh ilas

AT THE TOPIFrank

been avoided wherever possible. When

they were unavoidable, we usually


provided alternate notes.
Chord symbols are provided.
Occasionally enharmonic equivalents are used for reading ease.
All of these arrangements can be
played as individual piano pieces (as
written) usingthe fine ending, or they
can be opened up for improvised choruses.
Please read the footnotes on the music
itself for instructions on how to adapt
the arrangements for solo choruses. lf
there are no instructions on the music
and if a separate ending leading to solo
choruses is not indicated, to add solo
choruses you should disregard any
ending fermatas and solo on the chord
progression of the composition. After
your last solo chorus, repeat the melody
once or twice as indicated, then take the
fine ending, this time observing the
fermatas.
A discography of Kenny Dorham
is available: The Kenny Dorhom
Discogrophy by Bo Raftegard, Penningvagen 5, 5-653 46 Karlstad, Sweden.
We hope you enjoy these jazz piano
arrangements and this opportunity to
study the compositions of a truly gifted
jazz composer.

DAVE BAILEY (Jazzline 33-01)


TOMMY FLANAGAN (Onyx 206)

Pessbn Spring
Foetic Spring
Sfirp Cannon

Spctrjate

has been

Wess-Johnny Coles (Uptown UP27.14)

405 )

This composition wos first recorded on PAGE ONElJoe Henderson (Blue Note BST 84140)

La Mesha
)

KENNY DORHAT

ro.56 Ballad

obmT(rsl

Cbmajg

cb z(ret

[rztrsl]

"r(i3)

Vq'

1l
sbmzbs

pbotbgl

nro(bij)

abg

ATbs

46 71bot

rll
Gbgsus

Fm11

Dbm11

rll
P48-SF-6

Gbzsus(bs) cbztbsl

rO rX5ge)

F9

ar

Ebm11

rs(fj)

c*a:o(l)

cbrs(toir)

l,-

copyright@1963, 1983 SECOND FLOOR MUSIC


lnternotional Copyright Secured Mode in U,S,A. All Rights Reserved

-e
\:/

This composition wos first recorded on orJR THtNGfJoe Henderson (Blue

Escapade
Swins

"*lZA

Cm6

Note

BST A4152)

KENNY DORHA,W

erz(il)

GbmajZtilnl

"'(13)

Lr

l--'l

l-l

Abmajgta)

Dbgtgrrr

Gbmaj7

.I

F7

-3--

trt
cl,maizbsl-;----r Bbm7
ffiJT."r I ln1

lz

,ffi 'fr'r-

A.bgtrrl

r*3---1 EbmT a1 -J--1

l'rlJ}
-t

>

.t

Dbmajg

1-

gcoaa

T:$l

fr^l r-s-

r-l

**bst tii.

-LJUI

F7#absr

Gbmai?

Tl'7

rll
nbz|"st\st

Db z(ile)

:horuses, rut

** To
lo end thls
this arrangement, take the

rttt,rtlf rnJf

tt

oE-*IrI

Coda the 2nd time through


throush the melody.
melodv. To adrt
imnrnvice.l (^r^
add improvised
sllo ^h^r,,.-"
ch_oruses, play
-r^,, +L^
the *^r^r_,
melody twice (do not jump to the
Coda), then solo on the chord progression of the compositi6n. After youlsoio .torur"r, ptay the melody
twice, taking the Coda the 2nd time.

P48-SF-5

copyright@1983 SECOND FLOoR MUSTC


tnternationol Copyright Secured Made in LJ.S.A.

8
This composition wqs first recorded on OUR THlNGlJoe Henderson (Blue Note BST 54152)

Back Road
KENNY DORHAI'

= ,o.130 Swing

Dmzbs ob ztilul

f-a

Dmzbs

obzrilrrl

z(18)

rb zrrsl

_5T

-l

P48-SF-6

r-J-r

T-J-r

Ir.

Db

Dz(13)

7-- 3----1

Eb

z(18)

oz(ilsl

ET(1s)

Fz(18)

F7(i3)

r
copyrisht @ 1983 SECOND FLOOR MUSTC
Secured Mode in U.S.A. Att Rights Reserved

lnternotionol Copyright

r--J

nb zrret

Ebm6

Ebm11

AbT(1s)

c 11(te)

Dmrbs

DZbstisr Dbmajg

q(#)

Bb grrsr

DbmT

DmZb

last time*

Fm(maj7)

g7($ir')

x This last time ending_


end; the arrangement. To add improvised
choruses, use the ending labeled to Solos and improvis6 on the

cho^rd progression of the composition. After your solo choruses,


D.C. arrd take the last time ending.

P48-SF-6

t0
This composition wqs first recorded on OUR THlNGlJoe Henderson (Blue Note BST g4l S2)

Pedro's Time

ca.

KENNY DORHAM

138 Latin

ab z(rsl

G7

F7

cm6(e) DmTbu cz(i3

cb

ob grrsl

ztr:i

Fz

Ab ztrel

2. last time*
|

Cm6

Azbs(fie) Abmajg

* This 2nd ending last time

ends the
arrangement. To add improvised choruses,
use the 2nd ending labeled to Solos and

improvise on the chord progression of the


composition. After your solo choruses,

D.C. and take the 1st ending and the


2nd last time ending.

P48-SF-6

Copyrisht@1983 SECOND FLOOR MusIc


lnternotion0l Copyright Secured Mode in u.S.A. Ail Rights Reserved

c7#5

G7

ll
This composition wos first recorded on \JNA MASIKenny Dorhom (Blue Note BST 841 27)

Una Mas
KENNY DORHA,}I

a'l_ ca.160l-atin
rz$sr*gt

gbgtrsl

ts r*rrl

rz# sr$sl

eb z# sr*gr

gh

trsl

nbrst*rrr

Ab 9(13i

Cbmal7

E91rs1

pbg

Cm7b5

ssolobreak* This 2nd ending last time ends the


arrangement. To add improvised choruses,
use the 2nd ending labeled to Solos and
improvise on the chord progression of the
composition. After your solo choruses,
D.C. and take the 1st ending and the
2nd last time ending.

P48-SF-6

copyright@1 963, 1983 SECOND FLOO R MUSTC


lnternotionol Copyright Secured Mode in U.S,A, All Rights Reserved

-- ---.i

t2
This composition wasfirst recorded on

lN 'N OUT|Joe Henderson (Blue Note

BST

84166)

Brown's Town
KENNY DORHAM

"o.140

Swing

eb g(rel

cgt*rrl

Cbmajg

A91rs1

Abg(rsl

Gb g (rsl

Ebm6(g)

-?)

4c
-l

Ebm6(s)

P48-SF-6

copyright @1983 SECOND FLOO R M USIC


lnternotionol Copyright Secured Mode in U.S.A, All Rights Reserved

F9(13)

E9(13)

-'-

v Lr=r

------r

r6($l')
9

E6(e)

7 {frm'

7 tnwFi

r-J----rr
E

tl

T-t--

Lt-l
C

9 13

A9 (18

tq"E7 ?qfrTarT

10

T8^

I
-

Cbmajo

F9(13)

t g,,
Ebmo(g)

-;]}

P48-SF-6

?q4fr7#

E9G3)

r
t4
This composition was first recorded

by THE CHICO HAMILTON QUINTET on

Worner Brothers W(S) 1344

Newport News
)

= ro.160

rzrrsl

KENNY DORHAM

Swing Bbmajg

FT#b

GTlstlsl P[ 71rsr

fa\

Eb

Azt!si

gtfirrl

c7#5

eb zbstrsl

c?(13)

l.lt
Cm7bS(11) F7

eb z(rst

1'(13)

Ah

g(rst

A?(

gb

ztrsl

FmZ

Thr'
Bb

zlrrt

c11b

cbzbs

copyright@l983 SECOND FLOOR MUSIC


P48-SF-6

AbmT

F,bmajT

lnternotionol Copyright

Secured

Mode

in U'5,A, All Rights

Reserved

ebma;o

ATbu

Bbgt$ur

t5

czf stlgt obztrel czo3)

c?f 5

Ah zb srrsl

Abgtrsr

or(13)

Bb 7(13)

A?(;3) ebz(rsr

This composition wos first recorded on TROMPETA TOCCATA lKenny Dorham (Blue Note BST S4l St

Trompeta Toccata

KENNY DORHAM

bmaj Z($rrl

Cbmajztflnl
,
.
--\u

BbmT(13)
pb

rr

._.J
,

vi

U^

\,
/4,

df)

mt

n{

/lt
lvol

pzf

sttgl :-f

6,Gbmaj

ltl

t$d'hi

a cbe bs cbrtrrrt

-\----l

Gbmaizbs
C

nr

t On the original recording,


P48-SF-6

tltltlrl
the melody was played rubato, then it was played in meter ( in
Copyright

lntern0tionol Copyright

@1 98 3

ECO N

Secured

D F LOO R

Mode

at ),= ca.l32).'Ihe meter continued during the solo choruses

M tJSl C

in U.S.A. All Rights

Reserved

16
This composition was f irst recorded

on TR)MPETA T)CCATA lKenny Dorham (Blue Note

The Fox

= ca. 288 Swing


Gbmajz($11)

KENNY DORHAM

Db

Abg(rel

r'S

,=

Ab

gtrsl

lBsus

Ab

lBsus

-1

Db

lBsus

Db

Db gtrel

9 (13)

1->
.ltrvF\

cbg#s

P48-SF-6

s4t gt )

Abgtrsl

Ab13sus

a)

BST

Copyright@l983 SECOND FLOOR MUslc


.
lnternotionol Copyright Secured Mode in u.S.A. Ail Rights Reserved

DbmZ

--7------

::,

#-\

t7
Ebmg

A:m9

Dm9

Gb

maj ztf rrl

Ar9(rel

Ablssus

Ab

Ab grrsl

lgsus

obg(rsl

-+.-

+-

'F L"E'-]-

Db

-'
-+{

.=*.-->

-23-|=

G*
ob gtrsl

* This last time ending ends the arrangement. To add


improvised choruses, use the ending labeled to Solos
and improvise on the chord progression of the
composition. After your solo choruses, D.C. and take
the last time ending.

tgsus

,bffi

'l------l
-:
---.

Aa9(13)

finc

IB
This composition was f irst recorded on TROMPETA TOCCATA lKenny Dorham (Blue Note BST S4l Sl )

Night Watch

= ,o.132 Swing

-rmf

KENNY DORHAM

obg(rsl oz(#s)

'fr7
Gm7 b5(

b1B)

GbmajTt*rrl Gbzt*rrt

d
Bbm?

sbg

Abmajg

Gmzb5

--------'1-

Fm6

c zb stbst

Db

-..

r,

|.?,

rrrr

r rrr'

lJ'

,3,

13,a

F.

This 2nd end ing ends the a


improvise on the chord pro

choruses play the melody twice (@@@), then


our solo choruses,D.C. and take the 1st and 2nd endings.

P48-SF-6

SECOND FLOOR MUSIC


Mode in U.S.A. All Rights Reserved

t9
This composition wos first recorded on BLUE SPRlNGlKenny Dorhom (Riverside RLp t2-297)

Passion Spring

KENNY DORHA,U

= *.138 Swing

@T"#T

BmZbS(11) nZ#Strsl

emrr

Bm11 E#5

Am11

D9

AmT

c7(be)

o#s

of aimz

Emzb5

ezffcrr

Dmzbs Bmzbb

ot(tB)Gz#

G7(be)

* This 2nd ending last time ends the

-9-G

arrangement. To add improvised


choruses, use the 2nd ending labeled
to Solos and improvise on the chord
progression of the composition. After
your solo choruses, D.C. and take the
lst ending and the 2nd last time
ending.

P48-SF-6

copyright@l959, 1983 SECOND FLOOR LtUSIC


Secured Mode in U.S,A, All Rights Reserved

lnternotional Copyright

btbsr

A?#b({e)

O*trl

-l

Bmzhs
E7f, 5(be)

20
This composition was first recorded on BLuE SPRlNGlKenny
Dorhom (Riverside RLp l2-297)

Poetic Spring

KENryY DORHAM

Swing

ATsus

= ca. LZB

Dm

A7

t Lq*-l- h-

al

<)

Gm11 czfst#el

rnf

r'r'
lr

(,
Bml1

E7(be)

AmTbs

nz#srugl

FmajT

Dm

A7

.r_l

++-<
P48-SF-6

r|--..|-{

tv

T=
r)
D7#s(Ie)

c*z

GTbs

Em7(11)

-fmaj?

obr

,7fi51bsr

F7

Bbmaj7

,rl;ffi:
JIY

F,: lt'rrFi
LrrJl

Copyright@1959, 1983 SECOND FLooR tt4ustc

lnternltionol Copyright Secured Mode in

BmTbE

tt

u.S.A. Ail Rights Reserved

7 v'*

2t
I last time*

Bbl

Bbmz(rr) CTfS(lglFmajg

Am7

-6-

/:\

to Solos

AmTbs

This last time ending ends the

DT#s(be) Gmz(11)

Cz*srtgl

arrangement. To add improvised


choruses, use the ending
labeled to Solos and improvise

on the chord progression of


the composition. After your
solo choruses,D.C and take
the last time ending.

This composition wos first recorded on BLUE SPRlNGlKenny Dorhom (Riverside RLP l2-297)

Blue Spring
KENNY DORHA,}'

Fm7

P48-SF-6

813(fi11)Bb9($)

Bbe

c7(fle)

obgtrsl

Dbg(13)

Fml1

Fm7 F7(13)

rmo l1'

copyright@1959, 1983 SECOND FLOOR MUSTC


Secured Mode in U,S,A. All Rights Reserved

lnternotion0l Copyright

Fmnl

B9b5

Gmzbs

E--_l

22
This composition wos first recorded on BLUE SPRlNGlKenny Dorhom (Riverside RLp l2-297)

Spring Gannon
)
I

"o.232
C pedal

ntro

KENNY DORHAM

Swing

C9sus

C pedal

CTsus

4>

Bbmaj?

BmTbs

r-3--

DmZ

@ c pedal

ry-

G#aimz

Copyright@l959, 1983 SECOND FLOOR MUSIC


Secured Mode in lJ.S,A. All Rights Reserved
.

P48-SF-6

Gm?

lnternotion0l Copyright

C pedal

G7

Gbmaj7 F

+_--'--------------- -+

'T'--,.i
Abgsus

-1

1..
ebtusl Dbmajg

(G7)

"*

rT
t_-s--\-:-!-

* Kenny recorded this composition


as shown, without solo
** A chord made up of perfect fourths.
P48-SF-6

choruses.

Copyrisht@1983 SECOND FLooR MUStc


.
lnternotionol Copyright Secured Mode in u.S,A. Ail Riqhts Reserved

24
This composition wos first recorded

on WHISTLE STOPlKenny Dorhom (Blue Note BST 84063)

'Philly'Twist
KENNY DORHAM

= ro.216 Swing

eb r(rsl

Abztrsl

AT(13)

t,,r

ff"e-

EdimT

nbztrst

ebz(rsl
F

EdimT

UV?

eb gtrsi

gb z(rsi

I'

Cm7

Cf

mZ

t*+ tE

c7*5

Dm7

qrE-

T tF

c#aimz

w
D

cf aimz

.'(rrt

copyrisht@l 983 SECOND FLOOR t4USlC


P48-SF-6

lnternationol Copyright

Secured

Mode

i.

Itr

cg7

-(qI-

in

U,S,A. All Rights

Reserved

cr z(tT)

25

t(fr1)

Gb

maj

Ai

tgt!nl

Emai7lrrry
_,
'
GbmajTl!rr)
^.^-

llr

cbrsrilrrl

F7i

5(

last time*
e)

This last time_ending ends the arrangement. To add improvised choruses, use the ending labeled to Solos and improvise on the@
section only (Blue$. After your solo choruses,D.C. takingthe lst and 2nd endings intd@and the last time ending.

Solos

Ito

Abg tr:rl

ob tgsus

Bb 7(fe)

P48-SF-6

26
This composition was first recorded on IIHISTLE STOPlKenny Dorhqm (Blue Note BST 54063)

Windmill
KENNY DORHAM

)
I

Swing

Eberilrrl

"r.264
C oedal

[-{--:

ntro

:J4'

J',+q'

lr

v-

'

l+D-+

tt
I

3i':g

pe obg#s

Gbmaircbotrst

o,

BbmT

(13)

AbmajT

ll

a
u-

obzf"s

GbmajT

B7#s

L"i,
Emaj

GmTbs(ni

C7f 5(f e)

p,bz

B7

rl\r

/ ft+t-[e'H-t-H-r-z
tr

tq

ub

P48-SF-6

pedal

tret

Copyright@l983 SECOND FLOOR MUSIC


lnternotionol Copyright Secured Mode in U.S.A. All Rights Reserved

e-

27
A7

fP
t/

--r-

^l-

Abmajg

Gmzb5

Db 9(1s)

rr-: ,+

7+fr

-r-

cpedal

cbgrrst

cb9(13)

Gm7b5

Nbmaj7

C7(be)

gtirri

pedal

A7lr.s) Db sus

C7(be)

Amajgl*rtl
Abmajg

ab ztrsl
6[ 91rsr
G7 GbrnajT

ob gt$sr

T---J-------r

L---s
BbmT

GmTb

c7(bs)
B9(13) EmajT(0i EblSsus
F7(rst

nb

zf srisr

TF

[-{---:

G7(13)

L---t '

',

Dbgsus

cb z#srilgl

eb z#srilst

I
i

* The Coda ends the arrangement. To add improvised choruses, solo on the
.chord progression (same
@ to ttre coda sign. Aft"er your last solo .horrr, play the *.tody f-; @ ;;Jtfu.'irr.-C"all
P48-SF-6

as

"Sweet Georgia Brown',) from

28
This composition was f irst recorded

on llH ISTLE STOPlKenny Dorham (Blue Note

Sunrise ln Mexico
)

= cs.lr5z
Emzbs r'#mzbs Gm

lntro

Amzbs

Gm
-....;
Bb

4^bE
C

BST 54063)

KENNY DORHA,II

nGm
Bb

Ebmaj

DTsus(bs) OZtbst

l$ttt

AZbS

EbmajTl!try

Gmlaaaol

Play 4 times
Play 4 times

repeat and fade

(hst time only)"

Latin

(cm)

D.C.andrepeatandfadeasindicated.
Thelntrosection(withrepeats)beginsandendsthisarrangement.Playthemelody(@-8measures)twice,then
To add improvised choruses, play the melody twice, solo on the melody section, repeii the melody 1Z timesj, then D.C. and rbpeat anci fade.
P48-SF-6

copyright@1983 SECOND FLOOR MUSTC


lnternotionol Copyright Secured Made in U.S.A. All Rights Reserved

This composition wos first recorded

29

on wHISTLE SToP/Kenny Dorham (Blue Note BST s4063)

Sunset

= ca.l48latin

KENNY DORHAM

Dmajg(f"11)

lntro J \'

r
g

7.liY

71

---

DmajZ(f

(,'

'7--

C#m11

--+'

r{> ry:1

t-

11)

..-+

trt

EfiT TI

L.L
>
3

7- t-

'=_rT

rLr lr _r l-r.l
i

7'---'-

=.r>

i
I',

linc'

-.?* To add improvised choruses,


solo on the chord progression from
@.
P48-SF-6

ruy

the @section twice both before and after your solo choruses.

Copyright@l983 SECOND FLOOR MUSTC


.
lnternotionol copyright Secured Mode in u.S.A. Art Rights Reserved

30
This composition wos first recorded

on

WH

ISTLE STOPIKenny Dorhqm (Blue Note BST 84063)

Whistle Stop
)

= ca.Llz

lntro, -.-

ts

lJl

'i

u'(hi',)

Jl

gsus

Dgsus Dbgsus Cgsus Bgsus

Swing
) = ca. 264

*Ab

'

A9(ilrrl

3r
Eb

KENNY DORHAM

,, (hil)

u'(hil)

Bbgsus

E7(13)

Ab

ebz

---'Eb

Ab6
Eb

* The@section is "rhythm changes."

P48-SF-6

nb z(rsl

copyright@1983 SECOND FLOOR MUSIC


lnternationolCopyright Secured Mode in U,S.A. All Rights Reserved

BbmT Amaj7

Bm7

BcmT

r,bz abo

BbmZ

DbT

Ddimz

Gb gtre

cz#b(be)

BbmT

eb

cb grrst

cbg ce

rtrbsl

ebg

I-

Scoaa Ebgsus Dgsus

Dbgsus Cgsus

Bgsus

Bb gsus

'The coda ends

the arrangement. To add improvised choruses, do not take


the Coda: solo on ,.rhythm. chaneies,,
and back to 8 measures of "rhythm." After'your rurt roro
.r,6rur, pr"v irr.
P48-SF-6

.rl;a, f.; @;rd tut. the coda.

(@), ttie

bridge

(@)

32

,,(hI

l3

l'rJll
A.9r$rrt

Db

gsus Cgsus

Bgsus

Bb gsus

Abmajg
Bbgsus

Eb(aaag)

This composition was first recorded on 2 HORNS-2 RHYTHMlKenny Dorham (Riverside RLP 12-255)

Jazz-GIassic
KENNY DORHAM

)=ro.g6

Swing

Fm

Eb

<)

L.-J_

t4
r

Ab

even eighth notes throughout

P48-SF-6

Copyright@l98j SECOND FLOOR MUSTC


Secured Made in U.S.A. All Rights Reserved

lnternotionol Copyright

Dbm

Ab

Amaj

P48-SF-6

Eb

34

This composition wos first recorded on WHISTLE STOPlKenny Dorham (Blue Note BST 54063)

Buffalo

KENNY DORHAII4

= ct172

Swing

Bb7

9r-El

rl

l-

l-

rr

This 2nd ending ends the arrangement. To add improvised choruses, first play the melody twice, taking the 1st ending both times.
Then solo on the chord progression of the composition. After your soio choruses,D.C. and take the ls1 and2nd, endings.

P48-SF-6

Copyrisht@1983 SECOND FLOOR MUSIC


lnternotional Copyright Secured Mode in U.S,A, All Rights Reserved

35

This composition wos first recorded on A.T.'s DELIGHTIATt Toylor (Btue Note BST 54047)

BIue lnterlude

KENNY DORHAM
=

"o.168
n-^

Swing

Fm

C 7#

Fm rfr

Ir.

5t$sl

Bbm

Gmzb s

ob grrsl

D7(*s)

.t

C Ttbsl

ebztrsl obt

Fm

v1-_

Gb7

tr T

l-

D+
t)

C7

'rr

Fm9(maj7)

r.\

* This 2nd ending

Fm (maj

7) t*

tt

ends the arrangement. To add improvised choruses, first play the melody twice, taking the lst ending both times.
Then soloonthe chord progression of the composition. After your solo clioruses,D.C. and take the lsiand 2nd endings.
P48-SF-6

copyright @ tgss SEC)ND FLOOR MUSTC


lnternltionol Copyright Secured Made in U.S.A. All Rights Reserved

36
This composition was first recorded on A.T.'s DE_LIGHTlArt Toylor (Btue
Note BST s4047)

High Seas

= ,o.144 Swing

cgf

agbs

l:bg

cbgrrsl

hac:

cb g(rsl
r-

,r

l\

:f: E*'+-it
L

+]

#+

t Ll-l

cb rst$rrl

nb

P48-SF-6

Z1bo1 nbmg

Copyright@1983 SECOND FLOOR MUstc


lnternqtionol Copyright Secured Mode in U.S.A. All Rights Reserved

Cbmajl

Dbm11

Agb5

''

EmajT

cbz(18)

abg

csf

EmaigJ

c7#

ending.

P48-SF-6

timei

F7 Emaj7

rstf,ril

cbgtrgl

bbT

cbzoel

nbg(ilrrl

cb
This last time ending ends the arrangement.
To add improvised choruses, use the ending
labeled to Solos and improvise on the chord
progression of the composition. After your
solo choruses,D.C. and take the last time

last

qT:

cb7(13)

cbz(18)

_J

\qT, brfi

3B
This composition wqs first recorded on THE

ARRlVALlKenny Dorhqm (Joro 5007)

Stage West
KENNY DORHA,II

) = ,o.300 Swing

nbz

Bb zsus

rzf

srf gl

Dm7

Fpedal

ES7

P48-SF-6

Copyright@7983 SECOND FLOOR M IJSIC


lnternotionol Copyright Secured Made in U.S.A, All Rights Reserved

F7(18)

E'27

r.,4.

EdimT

Gm7(rtl

P48-SF-6

C9

Ff m7

,el

F#m7

Gm7(11)Cg

F7# stf st

GTtt ?

rbb

Gb o*i)
It -

D5

Ebe

sbzfrs

Eb7

)l-

*c

cbg ebg

tremolo

>,

Bb6

Scoaa

EdimT

(e)

Gz#stugl Czfls(f,e)

Bb7(ffi)

Cm7

,^.

cz bb($e)Fz#srugl

cmzbs(uicz*s

GmTbs

c7(#e) F7#5

To add improvised choruses, do not D.C. Play your solo choruses next (Blues). D.C. after your last solo chorus.
P48-SF-6

Bbz(13)

tremolo

4t
This composition was first recorded on THE ARRIvA LlKenny Dorham (Jaro 5007)

Butch's lues
KENNY DORHAM
a = ca.L44 Swing

F7

eb

F7

Fft'9)

mf

t_

ozb sr*sl

'

J9 add improvised

choruses, solo on the chord progression of the composition.


Play the @ section twice both before and after your solo choruses.

P48-SF-6

Copyrisht@l983 SECOND FLOOR MUSIC


Secured Mode in U.S.A. All Rights Reserved

lnternational Copyright

ob zcrel

42
This composition was first recorded on GOIN' UPlFreddie Hubbord (Btue Note BST g4056)

Karioka

KENNY DORHAM

=
I

"r.252
ntro

Swing

grg(ilril

Ebmg

Fmzhs

Dmaie(tl)

Ebm(maj?) Ebmz

Emaj9(13)

Ebmg

FmTb5

ag#s

Ebm6

Ebmg

Ebm

nma;o(t|1)

P48-SF-6

AbmT

copyrisht@1983 SECOND FLOOR MUStc


lnternotion0l Copyright Secured Made in u.S.A, All Rights Reserved

Ebm(maj7)

Eb

swrng

Emaj9(ts)

ngr*rl
E9(*11)

GbmajT

m9

43
Dbgsus

Db

mz1rs1

cb Ztrsl

swiry

BbmT

Ebe

Ebmg

Ebm(maj7)

DmajT(18)

Dmaie(t;1)

Ebmz

Fmzbslrrl eSzfl

rbaimz

Eb

Ebm6

m9

Emaj9(13)

Ehm(maj7)

il optional ending

Ebmlaaasl

lhis

!a.st

time ending ends the arrangement.

19 u.A{ improvised choruses, use thJending


labeled to Solos and improvise on the chor"d
progression of the composition from (A
(bar 5). After your solo choruses ,D.CYand
take the last time ending. Either repmt and.
fode to end or repeat and Tade into the
2-bar optional

P48-SF-6

fine ending.

E laaa

s1

ll

nb*t"aa

gl

44
This composition wqs first recorded on MAXlMox Roach euintet (Argolcodet 623)

Speculate

)=cu3o0Sw mg

KENNY DORHArtl

ebgtul

Abmaj7 Gb7

F7

?)

-r

ebg(ter

rt

717,

\t

Abmajz

egbs

Lr7 r

ebg(rst

P48-SF-6

r-t=/

t.

nbz

Ab ma je

=T?
t) tJ

Cbr

L-f

E7

1-

/-

Abmaj

Trt
9

copyright@1983 SECOND FLOOR MUSTC


lnternotion0l Copyright Secured Mode in U.S,A. All Rights Reserved

hT
,V

45

P, r-E

c7(fe)

__a

''l

1-

4.

Bb9(13)

F'b7

-Bb

pedal

l-JJ--l

Bb7

Abmajz cbl

A7(13)

F71ra;

llast

Abmajg

time*

Ito sotos
* This last time ending ends the
arrangement. To add improvised
choruses, use the ending
labeled to Solos and improvise
on the chord progression of

the composition. After your


solo choruses , D.C. and take
the last time ending.
P48-SF-6

46
This composition wos first recorded on

40

YEA RS OF

AZZlThe Best of Blue Note, Box 2

K.D,'s Gab Ride


KENNY DORHAM
I

= co.184 Swing
I

ntro

D91ts1

nzbs(re) Amajg

Dbmaig

sh zf s tbsl

ab

r#st$sl

Cmtbb

Dbmajo

BbmT

-tttr

e)

P48-SF-6

4.,

l1l l1r7

ir*t

copyright@l 983 SECOND FLOOR M UStc


Secured Mode in U.S.A, All Rights Reserved

lnternotional Copyright

47

@Ab

m7

c?f

Dbgsuslrsy

lbg(rel

Gbmajg

F#m7

ebmzbs

Azbstrel

B91rs1

CmzbS

sb z#s0st

Fmzbs

B9suslrsy

DbmT*
F7

i.

!+

r
I

* The melody

Bb

EbmT

m7

b**

ry

VI

+*

Ab11

lry

tiru

-b

ends in the minor. However, to add improvised choruses, substitute Dbmaj7 for DbmT and disregard the fermata.
Solo on the chord progression from @. After your solo choruses, return to@ and end the arrangement with the DbmT fermata-

P48-SF-6

4B
This composition was first recorded

on KENNY DORHAM QUlNTETlKenny Dorham (Debut DLP 9)

An Oscar For Oscar


Swing

KENNY DARHAM

= ca.216

Fm7trrl Bb 7

Eb!gTrrri

b-t

Cmaj9

ltbz

Fm7(11) Bb 7

P48-S F-6

Em7

Em7

Copyrisht @1 98 3 S ECO N D F LOO R lVl US I C


lnternationol Copyrisht Secured Mode in U.S,A. All Rights Reserved

A7

abt