Free Music Sheets For Tenor Saxophones
Just Friends
Just Friends" is a popular song that became a jazz standard. The song was written in 1931 by John Klene with text by Sam M. Lewis. Although set up by Red McKenzie and his orchestra in October 1931, he became a success when the singer Russ Columbo did with Leonard Joy Orchestra in 1932. She again fixed in the same year a version by Ben Selvin and his Orchestra and has recorded frequently since. John clamps are an American pop instrumental saxophonist, composer, lyricist and arranger. He was born July 3, 1946 in Chicago, Illinois. He began playing guitar at the age of 5 His other interests and ambitions were initially in graphic and visual arts, writing, dance, puppetry, painting, sculpture and poetry. He was educated in schools that include Chicago Institute of Art. He started the alto saxophone at 11 years touring with Ghost Midwest various local big bands "[The Elgart, Woody Herman] great.
John Klemmer
John Klemmer is an American pop instrumental saxophonist, composer, songwriter and arranger. He was born July 3, 1946 in Chicago, Illinois. He began playing guitar at age 5. His interests and other early goals were the graphics and visual art, writing, dance, puppetry, painting, sculpture and poetry. He studied at schools including the Art Institute of Chicago. He began his alto saxophone at age 11, toured the Midwest several local "ghost" big band [Les Elgart, Woody Herman], big bands and local jazz-rock in small groups. The transition to tenor sax in high school, he participated actively in small groups of jazz circles for both small groups and big bands working in the management of their group and to visit the Chicago area. He had extensive studies, choosing private lessons, piano, conducting, harmony, theory, composition, organization, clarinet, flute and saxophone, classical and jazz, which has continued in college. He studied saxophone and jazz improvisation with Chicago saxophonist and professor Joe Daly said. He attended the prestigious Interlochen National Music Camp. In the same year that the school has been signed by producer Esmond Klemmer.
click here to download free piano music sheet
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Ananda X. Suddath has been living in Montreal and actively enjoying the local jazz scene since 2002. She plays guitar and is currently completing an Undergraduate Degree in Jazz Studies and Performance at Concordia University.
Last Thursday’s audience took in the final installment of July Artist of the Month Al McLean’s concert series at the Dièse Onze Jazz Club.
For the past four weeks, the Montreal-based tenorist and vintage sax repair aficionado (“Hey, I got new [sax] parts in the mail today, it’s like Christmas!!”) has been playing two sets of material featuring several original compositions of his as well as a few standards.
McLean was seen performing mostly on tenor, but for variety’s sake, and perhaps also to test-drive some recent repairs or modifications, he also brought out a C-melody sax on some pieces (a less common saxophone, pitched in the key of C, that looks and sounds like a hybrid between an alto and a tenor).
I was fortunate enough to manage to see most or all of the four shows. Although the sets included the same material from week to week, it turns out monotony had flown out to Siberia just in time for the heat wave!! (Sorry, couldn’t help it).
Here’s where it got interesting : each week’s show featured a different quartet, each new crew comprised of players chosen among ‘la crème de la crème du local jazz-cat crop’. Each player brought a characteristic color to the mix, making a very personal contribution to the material laid out for him or her to play. Therefore, all provided McLean with a slightly different springboard off of which to elaborate thoughts and feelings through his horn. A total of eleven guest players (Gregory Burton and Alexandre Grogg on piano, André White on drums, Rick Rosato on double-bass, plus others mentioned above and below) kept the music fresh and powerful all through July, regardless of whether they were the ones soloing, accompanying, or doing anything else in between … And Golly knows there was a lot of that thrown in, for good measure.
Last week’s concert proved that there would be no exception to the rule, as we had the pleasure of hearing drummer Michel Berthiaume, double-bassist Brian Hurley, guitarist Carloz Jiménez, and of course, McLean himself bring the music to life yet again.
With a nod to Coltrane as part of the title, McLean’s “Trane Tracks” got the evening off to a good start, as we got to hear him blow on an uptempo blues – probably one of the things he’s known for doing best.
“Stalingrad” is an angular modal composition we got to hear a bit later on; it was explained to me that this piece is actually a type of “ear-training game” where chord changes happen on cue. However, there is no clear visual cue given, forcing players to rely on what they hear coming from their bandmates in order to keep it all together.
Although I thought the blues and “Stalingrad” were quite impressive, I must say that one of my favorite moments of the evening was a beautiful rendition of “He Wears A Pair Of Silver Wings”. I got the sense McLean has a deep connection with this old song (his statement of the melody was applauded, which is rather unusual). It’s a beautiful old song, but beyond that, I believe I sensed multiple layers of meaning within his interpretation, as if McLean had conversed with and confided in this dear old friend for a very long time prior to taking it out for drinks on Thursday.
Another very high point was a McLean-penned piece called “Don’t Let The Blues Shine In”, where solos were taken over a long, free-form rubato section that would eventually segue into a fast-swing section. All players took turns painting exciting pictures on this canvas.
During this piece, I must say I gained a whole new appreciation of Brian Hurley’s bass playing. I think that’s because this was the first time I’d ever heard him play in a context where he seemed to be in his element as much as he was on this particular evening, his distinctive, fiery, sinuous bass lines snaking happily along while keeping the rest of the group on its toes.
Carlos Jiménez, who was, in fact, called in at the last minute as a replacement for André White (astonishingly, a perfect piano-playing clone of the previous week’s drummer!!), unassumingly pulled off quite the feat at the end of this piece, bringing the group’s energy level back down to almost nothing, leading a supernaturally even descent from a very high point in the song’s dynamic arc — with as much finesse and skill as an expert pilot landing a small plane in a violent storm.
Unexpectedly, it struck me then that although we more often lavish praise on the successful creation of forward, upward momentum when we listen to a player solo, a deft closing statement “going the other way” can have at least as much impact, as Jiménez’ did.
Drummer Berthiaume provided strong, intuitive, responsive support throughout, and proved to be a keen, alert presence on a stage where any deficiency in that department could easily have been disastrous at many different points during the performance.
All in all, I would say that the fourth and final part of Al McLean’s “Royal Residency”, as he himself wryly referred to it — in the cozy St-Denis basement that’s become one of the city’s prime jazz venues over the past few years — was a strong performance from four strong players, and an exciting event overall.
To me, it didn’t quite top the mind-warping, soul-melting experience that the first quartet cooked up on July 1st (at which point pianist Marianne Trudel, bassist Normand Guilbault and drummer Jacques Masson, along with McLean, played one of the best jazz shows I think I’ve seen in Montreal in the past few years).
Nevertheless, I walked out of Dièse Onze last week knowing the good people there could easily’ve charged me more for the first set than they did for the entire evening… drinks included.
Not that I’m complaining or anything.
