BOSSA NOVA U.S.A. THE DAVE BRUBECK QUARTET PIANO SOLO TRANSCRIPTIONS BY Merte> ‘DPletyd HOWARD BRUBECK 1 CONTENTS blair» AL SCRA Recprihe dane BOSSA NOVA U.S.A VENTO FRESCO (Coo! Wind) oC THEME FOR JUNE n CORACAO SENSIVEL (Tender Heart) 6 IRMA AMIGO (Brother Friend) a THERE'LL BE NO TOMORROW a CANTIGA NOVA SWING (Swing A New Song) —______ 35 ! LAMENTO (Lament) 1 ABOUT THE MUSIC + By DAVE BRUBECK BOSSA NOVA U.S.A. is primarily a jazz album, which occasionally acknow!- j edges with gratitude the cool wave from Brazil. Washed up on Yankee shores | in late 1962, bossa nova almost succeeded in flooding the music marts before it | began to "seltle in.” Absorbed into jazz, bossa nova, in some form, is here to stay, just as the tango once made its way into jazz to pop up in early New Orleans renditions of "St. Louis Blues.” We had waited long for bossa nova, or some kindred chythm. to capture the imagination of the public. The search fora different S55 (> io cals oasrapp ever vine myrownrworkcand ahatiol olhar:jezzicompaserszandipel formers, The bossa nova spirit has been’bubbling under the surface in jazz for the past ten or fifteen years, occasionally bursting through with Latin accents, African rhythms and even Oriental and Indian-influenced jazz In 1951 | wrote in an article published in Down Beat Magazine: “I would not be surprised to hear a jazz musician, who had been exposed to Chinese music, use devices from the Oriental system while improvising a chorus. It is fitting that the country which has been calied ‘the melting pot of the world’ should have as its most characteristic art form a music with as mixed a parentage as jazz. New and complex rhythm patterns. more akin to the African parent, is the natural direction for jazz to develop. . .. Contemporary jazz is concentrating a great deal of its effort toward rhythmic improvisation, borrowing heavily from South American , music and primitive rhythms. ... Jazz hears all, plays all of the sound language which makes up America. What comes out can no longer be branded by regional, racial nor eventually even national titles.” (CONTINUED ON BACK COVER) TROLLEY SONG and THIS CAN'T BE LOVE do not appear in this collection due to copyright restrictions While not exactly "Bossa Nova", THEME FOR JUNE and THERE'LL BE NO TOMORROW have been added to include all of the available numbers featured on the Columbia recordingYfentiche Bibtothek H der Stadt Aachen BOSSA NOVA U.S.A. T9LIBTLS Ad PSE AX DAVE BRUBECK Moderato G i 7 ¥ fn Emit) F6 F6(adds) Ebm6 BS. Bb6(addo) s Fm6 G79) _ Cmaj7@dd9) Ebme F769) Bbmaj 7(add9) A dot 34 nS Copyright © 1962 & 1968 by Derry Music Co.,San Francisco, Calif. ht © 1968 by Derry Music Co, Used by Permission ‘This arrangement Copyrigt Se eel giieteal ights Reserv International Copyright Secured Made in U. S. A.Abmaj.7 Dbmaj7 i Bom F769) 8 Fm6 FmG7) G7+11 61368) Cmaj.7 i a pone Abmaj7 Dai? ileus Sees cris) Bbmaj.7@dd9)nnn mmm MMT MMT MATH Fe(add9) a ti} Improvisation Bbmé fi b b ofEb769) Abmaj7 Dbmaj.7 2 4 4 = >Bbmaj.7@dd9) Doms oo Abmaj7 Dbmaj? 4 3 5 Sls 3 E i SS 6709)S VENTO FRESCO (Cool Wind) DAVE BRUBECK Moderately fast 6Dbis+i1 = Db9 > >4st Improvisation Fm9 2 5.4 94 BETH BL7-9)Mo Dbmaj7 Abmaj7 ALG 5 5 Db9+41 Db7 5 4 4 3 2 1 TTF ; ai7(¢8) C749 2nd Improvisation Abmaj7 aye mn i “y2 B ‘ 2 4 3 1S ne * — ih PF ine ® Bringfout i il jd dy fs _ Hee ae xs Fn7 Dbo+it — D>7 St Ai Eb7(-9)0 THEME FOR JUNE | HOWARD R BRUBECK Andante J =120 Pa | —————— | feat | it | a= opyright ©1956, 1962 & 1963 by Derry Music Co., San Franclsoo, Calif Internat Coprght Seared Made tn U.S A All Rights Reserved Used by Permissionand Improvisation cmt il) ——=Til | | 4rd Improvisation Fm6 Bo os co fog Au Pe ug nana! i fb attew.ncisoy oF is Hi = I (sa) i Boao $ cmt(s8)IN ba tg Me ‘THEME - Slightly Varied gm #| 2H + big bs Pec Le oCrmbacet 9) te |© CORACAO SENSIVEL (Tender Heart) TEO MACERO Moderately fast 4-152 mm Bmaj.7 2 5 wae 8 i elias uit ira Cmaj.7 Abm7 § ae 2 3 are Wa AE iin ii bre . Aree) mis ON 5 i si 6 Copyright © 1968 by Derry Music Co., San Francisco,Calif. 4 International Copyright Secured Made in U. S. A. Used by Permission All Rights Reserved3 Eema owen waren oeteee wowenen women 2nd Improvisation 7 5 3 i, Cmaj.7 Bmaj G13a Cmaj.7 » er (1) Cmaj.o + &Cmaj.7 a 12 aT A652 aes 1 A7 (9) Ai3(-9) Dmz 613 (-9) nine 7 2 5 $ 2 2 lil 4 54 CALE NS if 118 Ff ae 3 i ed Y teC maj.7 (add 8)fi i ~ 2 JTRMAO AMIGO fil (Brother Friend) DAVE BRUBECK Moderately fast J =172 Mei ak geay Gm g perce 5 D7+(-9)4 D7(-9) Gmé 4 psa soon aroes = 1 SON SUSHIL ma Copyright © 1968 by Derry Music Co. ra San Francisco,Calif, International Copyright Secured Made in U. 8. A. AM Rights Reserved Used by PermissionGmé D7+u(-9)% D7(-9) wan Gunad G7 LH legato | ‘ 8 2 i Gmé Drau(-9)§ D7(-9) sans AT Gm7a7 Cm7 Gm7 ait Ast Improvisation Gm i zt Gm 7 Cm? iD7 Gm G7(-9) g27 D7(+9) Gm Am?5 z 5 £ z= §20 @ THERE'LL BE NO TOMORROW By DAVE BRUBECK Moderate J =144 Ist Improvisation > Bono, pppoe bh So ere ie == $4 Copyright © 1962 & 1969 by Derry Muste Co., San Francisco, Calif. International Copyright Secured ‘Made in U.S.A All Rights Reserved ‘ged by Permission h2nd Improvisation Gni(8) C7 BI-AL F769) Bom? mp | pa31 Ebmit(add 6) canis. A> jie gi et33 Gbmajt by, Bm Ebm6 F7(59)Gomajt aR a ee - | i iii oe ma ——— fer. = Ft = Fi(sus.4) TissCANTIGA NOVA SWING a (Swing A New Song) DAVE BRUBECK Fast (J: 120) Gm7 ce Gm7 ce Gm7 ce Gm7__ C9 Gm7 ce Gm7 Gm7 Copyright © 1968 by Derry Music Co.,San Francisco,Calif. International Copyright Secured Made in U. S. A. All Rights Reserved Used by PermissionAm 5 i * oh: 5 & a2nd Improvisation Gm? c7 suai 3 ea == S 8rd Improvisation C7 5 Gm’ § Gm7 2nat) a 5 pee : aiste i) — i 5 gPmi() 5613-9) sFmi() ,Bbuce) —Ebg ill Yl cg il Aen bLAMENTO 43 (Lament) Tempo rubato DAVE BRUBECK Moderate (¢ = 08) rit. AbT ya loco Db Db7 5 i2sat Ht 4 4 / uf Pa ala faster (d= 144) rit. Gh. Ab? C7 F6(-9) Bbm7 Eom? Cm7 Db Bb B 4 8 i + ‘ faster (-5) § Si tA Ee a A a t 1 i. 5 3 ails hl 2 fi rit \ : moderate faster Ehm Fm Ebm Eb7 Abo "Ab7 AbT(#5) «Db eb lINAY 7 38 2s G25 3 Ba 3 PASE UY a = i fal aa eisiital LM 2 t aA fl 3 il Sain 5 4 8 rit. faster i il Cm7 peCo)Bbm7 Ebm7 Tu i Him EmEbm 7 FS mia t § 8 a4 i Nails mia a alia ails [infant PE. iy ME ESO MO Cau B34 1 t 3 i alia sll ht 5 Copyright © 1963 by Derry Music Co., San Francisco,Calif. International Copyright Secured Made in U. 8. A. All Rights Reserved Used by Permissionrit. moderate Ee B7 B7(+5) Fim 9 F6 C7(+5) 5 Gm9 Bb7(+5) Eb6 5 3 1, D7(+9) rit. AbIB e a & a & e = 3 E, a Ebm7Gm7 DbModerately fast, swinging (# = 152) Db 9 3 = = Cm7-5) , Dbmaj.7 Bhm7 aii 2 een =i Ebm7? — Gbmaj.7 eal : 1828134Bom? Ab7Dbmaj.7Db7 : 4 aa 4 Sli Sau 1 iy 2 be sili lls! Ghmaj7 ADT F7(-9) Bbm7 Ebm7 Cmi-5) , ail Vs = Gm7(-5) c7 Fmaj.7 Fe F§m7 B7 Fm7 Bb7 Eb maj.7 Bb asi aa2nd Improvisation abo 8, Db6 Ab7(+5) 28 oaD 5 wacom > Abo F7 we Db maj.7 eat = E7 Dbe Eb7 4748 Fm Gb6Eb9 Abo Bhm7 Ebmab7 Dbmaj.7 dbo epi Ab F7 § Bbm7 5 5 iia a : 3 3 § : 2 3 SMM amills 2 1 eI et Ma ga SM = = iss ‘a 5 4 1 a rh Bia 3 fy 5 i Ebm? Cm7(-5)Db Bbm7 Ebm7 Fm Ebm7Eb7 —Ab7 abis-9) vue UNNI aH IVa : ae a 2 2 2 2 2 nial eM i all i ili a i ( eo aaa Dbe Db —Db6 Db7 Db be Db7 pp pre pe or reAlter a decade of watching the globe shrink, | would alter this statement only by emphasizing the world-wide concept. Of all the exotic elements that have come into jazz recently it is bossa nova that strikes the fancy of musicians and public alike. It happened, | believe, because bossa nova contained within it much of our own heritage, but spoken with a difference—a “new bos Opening the first side of the record is the title tune, written in 1955, as | looked out over San Francisco Bay from a California hilltop. It was an orphan song with no place to go in any of the planned albums subsequently recorded, until recently A&R producer Teo Macero asked us to record a bossa nova single. | romem- bered my little tune—definitely not Brazilian in origin, but one suited, | thought, to the new beat. “Bossa Nova Americana," | called it, Teo listened, recorded and retitled it, Bossa Nova U.S.A.—a “somewhat samba” with a West Coast drawl Vento Fresco (Cool Wind) was conceived as a bossa nova. | sought the surface restraint, with emotional undertones, one finds in the cool, relaxed, low-key state- ments of Brazilian songs. Theme for June is an example of another far-reaching influence in jazz—that of the classical composer writing especially for jazz musicians. Written by Howard Brubeck as the second movement theme of “Dialogues for Jazz Combo and Orchestra” (“Bernstein Plays Brubeck Plays Bernstein” CL 1466/CS 8257°), Theme for June has frequently been performed before concert audiences by the Quartet, even though Leonard Bernstein and the New York Philharmonic couldn't always make the gig. Coragio Sensivel (Tender Heart) is a bossa nova composed by Teo Macero. I'l leave a space for Teo to speak for himself. “Thanks, Dave.” —Teo Inmao Amigo was composed after watching Brazilian kids in the coffee houses and on the beaches of Rio on the CBS-TV documentary, “Eyewitness.” My “'simpatico" feeling for these kids, so much like our own, listening intently to the cool melodies gliding over the relaxed beat, made me write Irmao Amigo, or “Brother Friend.” Most jazz ballads owe a debt to Chopin, another influence from outside jazz that has become deeply entrenched in its language. There'll Be No Tomorrow is a resilient, adaptable theme that has been performed by classical pianists Gold and Fizdale (“Points on Jazz," CL 1678/CS 8478*), danced by the American Ballet Theatre, sung by Carmen McRae and now swung by Paul Desmond. More jaz oriented than when it was performed in Poland in 1958 and later recorded by me in “Jazz Impressions of Eurasia” (CL 1251/CS 8058*) this is the first time it has been recorded with Paul. Cantiga Nova Swing | first called “Swing a New Song.” It is an up-tempo jazz tune with a South American influence. The bridge, especially, has the parallel! harmonic chord progressions often found in Spanish or south-of-the-border music. Lamento is a lament in any language. And while we are borrowing from our Bra- zilian neighbors, | hope our lyricists will do a little borrowing, too. From what | read in translation, Portuguese is a poetic language—often humorous or ironic, sometimes beautiful and always full of poetic imagery. Almost any jazz tune can be played with a bossa nova or quasi- bossa nova beat, just as almost any melody can be played in a jazz style. Admitted- ly, some melodies fit more suitably than others. The authentic bossa nova will come from the Brazilian originators. They have borrowed from jazz and incor- porated it with their native music; we have borrowed from the result and incor- porated it back in our native music—jazz. It is this process of cross-fertilizati that from the beginning has made jazz such a vigorous art form. To quote a phrase sung by old Satchmo on “The Real Ambassadors”: “That's what we call cultural exchange!” afl Monaural—Cl. 1998 Feouume: @ |