Piano Sheets > Charlie Parker Sheet Music > Donna Lee (ver. 1) Piano Sheet

Donna Lee (ver. 1) by Charlie Parker - Piano Sheets and Free Sheet Music

  
About the Song
"Donna Lee" is a bebop jazz standard in A flat based on the chord changes of the traditional jazz standard "(Back Home Again in) Indiana".[1] Miles Davis composed the tune, his first recorded composition, although authorship is often credited to saxophonist Charlie Parker.[2] Parker was credited on the original 78 rpm recordings, a mistake perpetuated through numerous reissues and causing early confusion.[2] The tune was copyrighted under Parker's name. It was named after bassist Curly Russell's daughter, Donna Lee Russell, a title assigned by producer Teddy Reig. Jazz bassist Jaco Pastorius recorded his interpretation of the tune, a solo fretless electric bass rendition featuring Don Alias on congas, for his debut album Jaco Pastorius (1976). The tune is a particular favourite of avant-garde saxophonist Anthony Braxton, who has recorded it many times. It is also the last song ever recorded by.    Download this sheet!
About the Artist
Charles Parker, Jr. (August 29, 1920 – March 12, 1955) was an American jazz saxophonist and composer. Parker is widely considered one of the most influential of jazz musicians, along with Louis Armstrong and Duke Ellington. Parker acquired the nickname "Yardbird" early in his career,[2] and the shortened form "Bird" remained Parker's sobriquet for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite" and "Ornithology." Parker played a leading role in the development of bebop, a form of jazz characterized by fast tempos, virtuosic technique, and improvisation based on harmonic structure. Parker's innovative approaches to melody, rhythm, and harmony exercised enormous influence on his contemporaries. Several of Parker's songs have become standards, including "Billie's Bounce", "Anthropology", "Ornithology", and "Confirmation". He introduced revolutionary harmonic ideas including a tonal vocabulary employing 9ths, 11ths and 13ths of chords, rapidly implied passing chords, and new variants of altered chords and chord substitutions. His tone was clean and penetrating, but sweet and plaintive on.
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