He died of lung cancer in Silver Spring, Maryland at the age of 74. Click here for Harry Sweets Edison’s solo on Edison’s Lights. His only solo effort was captured on "Butch's Blues" but he was better known as a sideman on many albums, including Dexter Gordon's Go. Sonny Stitt blues walk (1 chorus all 12 keys) Sonny Stitt blues walk (chorus transcription in all 12 keys) The following transcriptions were done by Daniel Matthews (408) 806-1694. Elizabeths Hospital. He was diagnosed with paranoid schizophrenia.įollowing the onset of his illness he played professionally only occasionally, including a regular gig at the jazz club Columbia Station in Washington D.C. Moving back to D.C., he admitted himself to St. Monk's band was surrounded by drugs and Warren quit after a yearlong tour. Months later, Thelonious Monk hired the 23-year-old Warren. In 1963, his friend Sonny Clark died of an overdose. Mental illness and heroin addiction created problems for Warren. During this job he played on "Watermelon Man" with Herbie Hancock. As sideman, he also recorded with Miles Davis, Hank Mobley, Donald Byrd, Dexter Gordon, Joe Henderson, Jackie McLean, and Stanley Turrentine. Share, download and print free sheet music for piano, guitar, flute and more with the worlds largest community of sheet music creators, composers, performers, music teachers, students, beginners, artists and other musicians with over 1,000,000 sheet digital music to play, practice, learn and enjoy. Alfred Lion, president of Blue Note, hired Warren to fill the vacancy of staff bassist. Blue Bossa -rising riff and turn around V2. Through his friendship with Sonny Clark he recorded for Blue Note Records in 1961 on Clark's album Leapin' and Lopin'. A few days later, Dorham invited him to New York City, where he spent the next six months as a sideman at a club in Brooklyn. He appeared on his first recording in January 1960 with Dorham, saxophonist Charles Davis, pianist Tommy Flanagan, and drummer Buddy Enlow. When he was 19, he sat in with Kenny Dorham to substitute for an absent bassist. He later worked with other local groups, including that of Stuff Smith, as well as with altoist and bandleader Rick Henderson at the Howard Theatre. Warren began playing professionally at age 14 in a Washington, D.C. Warren has cited Jimmy Blanton, another Ellington bassist, as his biggest inspiration. The first time Butch Warren played bass was at home on an instrument left by Billy Taylor, who had played bass for Duke Ellington. The Warren home was often visited by jazz musicians Billy Hart, Jimmy Smith, and Stuff Smith. His father, Edward Sr., was an electronics technician who played piano and organ part-time in clubs in Washington, D.C. (Aug– October 5, 2013) was an American jazz bassist who was active during the 1950s and '60s. Here’s a YouTube video of J.J.Edward Rudolph "Butch" Warren Jr. Johnson’s improvisation on this recording with guitarist Joe Pass lacks the adventurous spirit of bebop exploration - his trademark falling-triplet pattern only appears halfway through the solo as if his chops had finally loosened up to show off his dexterity. With its elongated ii-V7-I progressions and shifting minor-major tonality, “Blue Bossa” has become a standard jazz warmup. Heres my transcription of Blue Mitchells trumpet solo on 'Strollin' from the 1960 Horace Silver album Horace-Scope. That experience influenced trumpeter Kenny Dorham to compose “Blue Bossa” in response to bebop’s evolution into hard bop and soul music, and the tune was first recorded with saxophonist Joe Henderson for his 1963 album, Page One.Īuthor Ted Gioia notes that the tune is neither a proper blues or bossa nova, and that its legacy was established in academia as a vehicle for learning jazz improvisation because of its simplistic nature - if Miles Davis’ “So What” is the first tune that jazz students learn, then “Blue Bossa” is the second. The global sensation that became known as bossa nova is credited to Brazilian guitarist João Gilberto, who combined native samba rhythms with the European classical guitar, but historians point to a 1961 American state-sponsored festival in Rio de Janeiro, Brazil, as the moment when prominent jazz figures were first exposed to the new beat. “Blue Bossa” (PDF) from the Joe Pass & J.J.
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