Piano Sheets > George Russell Sheet Music > Ezz-thetics (ver. 1) Piano Sheet

Ezz-thetics (ver. 1) by George Russell - Piano Sheets and Free Sheet Music

  
About the Song
   Other avaliable versions of this music sheet: Version 1  Version 2  
Ezz-thetics is an album by a sextet led by the jazz composer and music theorist George Russell. It features a re-reading of Russell's title composition and a radical reworking of Thelonious Monk's standard Round Midnight with an extended solo by Eric Dolphy. The title song, "Ezzthetic", was dedicated to, in Mr. Russell's own words, "the late, great heavyweight boxing champion of the world, Ezzard Charles". The recording features trombonist Dave Baker whose trombone career was cut short causing him to take up the cello: he went on to become a major composer of jazz and modern classical music. Don Ellis went on to lead his own successful big band. George Russell was awarded the MacArthur "genius" in 1989 and is captured here in a rare piano appearance. Eric Dolphy was a major artist in the "New Thing" branch of jazz but also appeared with Charles Mingus in one of his greatest small groups: Dolphy.    Download this sheet!
About the Artist
George Allen Russell (born June 23, 1923) is an American jazz pianist, composer and theorist. He is considered one of the first jazz musicians to contribute to general music theory with a theory of harmony based on Jazz rather than European music, in his 1953 book, The Lydian Chromatic Concept of Tonal Organization. [1] Russell was born in Cincinnati, Ohio, the adopted only child of a nurse and a chef on the B & O Railroad, Bessie and Joseph Russell. Young Russell sang in the choir of the African Methodist Episcopal Church and listened to the Kentucky Riverboat music of Fate Marable.[2] He made his stage debut at age seven, singing "Moon Over Miami" with Fats Waller. Surrounded by the music of the black church and the big bands which played on the Ohio Riverboats, and with a father who was a music educator at Oberlin College, he started playing drums with the Boy Scouts, receiving a scholarship to Wilberforce University, where he joined the Collegians, a band noted as a breeding ground for great jazz musicians including Ben Webster, Coleman Hawkins, and Benny Carter. Russell served in that band at the same time as another noted jazz composer, Ernie.
Click here if the video doesn't work
Random article
Sheet Music - Purpose and use Sheet music can be used as a record of, a guide to, or a means to perform, a piece of music. Although it does not take the place of the sound of a performed work, sheet music can be studied to create a performance and to elucidate aspects of the music that may not be obvious from mere listening. Authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores. Comprehending sheet music requires a special form of literacy: the ability to read musical notation. Nevertheless, an ability to read or write music is not a requirement to compose music. Many composers have been capable of producing music in printed form without the capacity themselves to read or write in musical notation—as long as an amanuensis of some sort is available. Examples include the blind 18th-century composer John Stanley and the 20th-century composers and lyricists Lionel Bart, Irving Berlin and Paul McCartney. The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece. With the exception of solo performances, where memorization is expected, classical musicians ordinarily have the sheet music at hand when performing. In jazz music, which is mostly improvised, sheet music—called a lead sheet in this context—is used to give basic indications of melodies, chord changes, and arrangements. Handwritten or printed music is less important in other traditions of musical practice, however. Although much popular music is published in notation of some sort, it is quite common for people to learn a piece by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral—and aural—tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-western cultures developed their own forms of musical notation and sheet music as well. Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer writes the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions of western and non-western musics so as to render them in readable form for study, analysis, and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, c1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail. (More...)