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The

Flying Jazz Kittens



Volume 1

Jazz Activities and Songs for the General Music Classroom

______________________________________________________________________________________
________________________________________ By Sherry Luchette______________________________________________________





Book Editor: Bonnie Ross
Music Editing & Copying: Derek B omback, Sherry Luchette
Music Arrangements: Sherry Luchette, Tamir Hendelman
Book Design & Layout: Sherry Luchette, Michael Cullen
Illustrator: Tiffany Harris
2004, 2011 Doubletazz Music, 2nd Edition
All rights reserved, Printed in USA
ISBN: 978-0-9831501-0-7

Any duplication, adaptation, or arrangement of t he compositions in this book requires the written consent o f the
publisher. With the purchase of t his book/CD set, you (one teacher) m ay legally duplicate sheets from t he reproducible
section of this book for use w ith your students. Permission to copy or share any other part of this book or recording
with another person is NOT granted and considered a copyright infringement
Table of Contents

I. Introduction..........3
II. Acknowledgements..........4
III. Terms Used I n This Book...5

IV. Rhythmic Activities
Jazzy Names...6
Fun with Beats 2 & 4...........................8
Swingin Shakers............10
Chugga Train................12
Scat Cards...........14
Scat Echoes................16
Scat Games.................18
Line-Up.........20
3-2-1 Game..........................................22
Switch-A-Roo........24

V. P itched Classroom Instument Activities
Blues Form Activities.......25
Xylophones.........28
Recorders.29
Scale Choices..30
C B lues Progression Map....32
G B lues Progression Map....33
B Blues Progression Map....34
E Blues Progression Map.35

VI. Blues Songs
Swingin The Blues Away i n C......36
Swingin The Blues Away i n E......37
No Math B lues i n C......38
No Math B lues i n B......39
Scooby Doo B lues in G..........40
Scooby Doo B lues in E.......41
Freddie Cat Blues in G...........42
Freddie Cat Blues in E............................................43

VII. Reproducible Sheets
Lyric Sheets.............44
Scat Word List..............................46
Scat Cards.............47

VIII. About the Author....................................54
The Musicians............55

IX. CD Track Listing.......................56

Introduction

Welcome to The Flying Jazz Kittens, Volume 1. This book and CD
contain music and activities that explore jazz style rhythms and beginning
improvisation activities for children in the general music classroom. It is
designed for the elementary and middle school music teacher who is
looking for some fun, hands-on activities in the area of jazz music to
incorporate into the curriculum.
Finally, here are some materials designed just for you! All the
activities in this book have been used in the authors own music classroom
and have been edited with the help of other music teachers, jazz musicians
and many classroom experiments. Each activity is simple with many
variations to try so that teachers can use what works best for them. The
activities can also be adapted easily for traveling music teachers.
The instruments used for the activities in this book are centered
around those typically found in a general music classroom. This could
include drums, xylophones, various small percussion instruments, and
recorders. Also included in this book are four blues melodies with fun
kid friendly word to sing. The CD contains recordings and performance
tracks of these melodies in various keys as well as open blues tracks to
practice the activities in this book.
Everything you need to get started is right here. You and your students
can take off from this point and create your own ideas and blues songs. The
possibilities are endless! It has been a labor of love to write this book, and I
hope you and your students find it as much fun as I did putting it together.


Keep on Swingin, Like a Jazz Kitten!





p. 3


Acknowledgements

Thank you to The Buckley School students and faculty who were the first to try these
wonderful activities and help fine tune them to work in the classroom.

Thank you to John Clayton and Tamir Hendelman for encouraging me to write my ideas
into book form to share with other teachers.

Thank you to Jennifer Barnes, Steve Barnes, Tamir Hendelman, and Paul Taverner for
their amazing musical and recording talents.

Thank you to Sharon Burch for understanding my vision, and giving great feedback, ideas,
and support.

Thank you to Tiffany Harris for your amazing talent and making the Jazz Kitten drawings
come to life.

Thank you to Michael Cullen for you never ending support and feedback on the material.

Thank you to Bonnie Ross for your editing prowess and incredible attention to details
that have made this book first rate.

Thank you to Derek Bomback for your music copying talents in this book.

Thank you to friends and family who have always believed in me and always shown
their support.





p. 4

Terms Used In This Book

Eighth Note Rhythms:
All of the eighth notes in this book should be played, sung, and chanted with a jazz swing feel.


Body Percussion:
This refers to any body movement used to help understand and feel a rhythm or rhythmic
pattern. This would include, but is not limited to clapping, patting, and tapping various
parts of ones body.


Patting:
In the Flying Jazz Kittens book, patting refers to patting out a rhythm on the front of the
thighs.


Small Percussion Instruments:
Refers to any small sized percussion instrument available to you in your teaching space.
This would include sticks, bells, shakers, etc.


Scat Words:
Nonsense words and syllables used by jazz vocalists to improvise with their voices to
perform a solo, known as scatting. Scat words are used in this book as a vehicle to teach
jazz style rhythms to children in a fun way .


Scat Word List & Scat Cards:
The entire list of scat words used in this book is printed on one page that can be copied
and enlarged for classroom use. The scat cards are used in various activities in this book,
and are listed two per page in the back of the book so that copies can be made and
laminated.

Variations:
Related activities and ideas based on the original are listed at the end of each activity and
usually suggest more challenging ideas to try.

Kitten Wing Tips:
Suggestions or ideas that the author has found helpful for teachers to keep in mind when
presenting an activity to their classes.


p. 5

Jazzy Names

Materials: Flying Jazz Kittens CD open blues tracks 17-20 (your choice),
CD or Mp3 player (variations on this activity will use small percussion
instruments of your choice).

Purpose: Getting acquainted with students, and to introduce the jazz swing feel by
hearing it and feeling it.


Skills: Matching body percussion and speech (echoing) in a jazz swing feel.


Activity: Students are seated in a circle with one of the blues tracks playing.
The teacher begins the activity by patting and saying the rhythm out
loud of his or her name to the students in time with the music, followed
by saying a cool Yeah! Students are then invited to echo the teachers
name by patting it and saying it out loud to the beat of the music,
followed by saying a cool Yeah! The teacher then asks the students
if anyone in the circle would like to try and pat and say his first
name out loud, followed by saying a cool Yeah! so that the class can
echo him. Go around the circle, and let each student who would like to
try it have a turn.


Teacher says & pats Students echo by saying Continue with other student names
his/her name out loud & patting out loud








KITTEN WING TIPS
Encourage children to echo the inflection of a
students voice accurately. It adds to the fun!
When the swing feel of the jazz CD is playing, try to give
any instructions to the children with a rhythmical feel
in your voice with the music, almost like a chant. Kids
really respond to this animated approach.



p. 6



Jazzy Na mes Variation s :

1. Have students give a specific body gesture on the word Yeah! for students to
echo. (Example: putting your hands in the air)

2. With practice, children can try patting and saying their first names two or three
times in a row with the music before ending on the word Yeah! to create a longer
pattern.

3. Using one large drum, a student can come up to the instrument and play and
say his first name out loud for the class. The class can then echo this by patting and
saying the name out loud, or they can use small percussion instruments to play and
say their echo out loud.

4. Give every student a small percussion instrument to play and say for this activity.
With practice, the children can learn to pass different instruments around the circle so
that they can play and say on different percussion instruments during the activity.
(Younger children will need to practice passing instruments first before doing the
actual activity; see Switch-A Roo p. 24.)

5. This activity can be transferred to xylophones and/or recorders. The rhythm of the
scat word or words is played and said out loud on the instruments. The teacher
provides the correct scale or notes on the instruments for the students, and then
plays the corresponding Flying Jazz Kitten CD tracks. (For more information, see the
xylophone section of this book, p. 28.)



p. 7
F un with Beat s 2 & 4


Materials: Flying Jazz Kittens CD open blues tracks 17-20 (your choice),
CD or Mp3 player (variations on this activity will use small
percussion instruments of your choice).

Purpose: To introduce and feel the emphasis of beats 2 & 4 of the jazz
swing style.

Skills: Be able to demonstrate an emphasis on beats 2 & 4 using body
percussion with jazz swing style music.

Activity: Students are seated in a circle with one of the blues tracks playing.
The teacher begins counting out loud with the beat of the music,
accenting beat numbers 2 & 4 with her voice while patting on beat
numbers 2 & 4 at the same time:


1 - 2 - 3 - 4
(pat) (pat)

As the teacher keeps repeating this pattern, the children are then invited
to try and copy with their voices and their bodies what the teacher is
doing. If the teacher observes that most of the students are catching on
to this activity and can follow along fairly easily, then he/she can begin to
switch the location of the body movement from patting on the thighs to
patting on the knees, head, or tummy. Change the movements slowly and
repeat them several times before switching them.


KITTEN WING TIPS
This can be a fun e xercise to teach a rhythm
of any song that needs review. The big band
music of Count Basie and Duke Ellington
can also work very well with this a ctivity.




p. 8


F un with Beat s 2 & 4 Variati ons:


1. Have a student leader pick a body movement for the class to try.

2. Use small percussion instruments to play on beats 2 & 4. This could
also include moving the instruments around slightly from side to side
or up and down on beats 2 & 4.

3. For a challenge, try changing the body movements on beats 2 & 4 more
frequently. This can become quite tricky with many combinations of
body movements, but its also a lot of fun!

4. Fun Game: Challenge students to follow you on beats 2 & 4, no matter
what. The teacher gradually fades out her voice on the counting
and accenting of beats 2 & 4 until she is only mouthing them
silently to the children. Continue the body movements on beats
2 & 4 with the music and see how many students can continue
to accurately follow along.









p. 9
Swingin Shakers

Materials: Flying Jazz Kittens CD open blues tracks 17-20 (your choice),
CD or Mp3 player, maracas, or shakers.

Purpose: To introduce and feel swing style eighth notes.

Skills: Being able to play an eighth note swing style rhythm to music
using body percussion and a small non-pitched percussion instrument.

Activity: Have students pretend they are going fishing. Tell children that
everyone now has a fishing pole in his/her hand, and that they are
going to practice casting those fishing poles out into the water. The
teacher then bends one arm so that his hand can touch his shoulder,
and asks students to try this as well. Then, the teacher makes the motion
of casting the fishing pole out into the water by extending the arm
straight. Have students copy the teachers movements.

While playing one of the blues tracks, practice this movement
over and over with the music while saying the word Swing-in.
Swing is said when the arm is bent and the hand is touching the
shoulder; in is said with more emphasis when the arm is
extended. The fluent motion of the arm while saying Swing-in creates
an accurate rhythmic feel of swinging eighth notes. Doing this exercise
is great practice for the swing style concept. Maracas or shakers can
then be added to the arm movements.

Playing the eighth note swing rhythm on beats 1 & 3, resting on beats 2 & 4.
Note the e mphasis on the second eighth note of each pair of swinging eighths.
Be careful not to make that note too short; its emphasized but not staccato.


p. 10

S winging Shakers Variations:

1. Try a faster blues track on the Flying Jazz Kittens CD once students are
more familiar with this exercise.

2. Allow students to come up with another two syllable word that they can
say in place of the word Swing-in for this activity.

3. With practice, older children can transfer the eighth note feel from
Swing-in maracas to percussion instruments that are more challenging
to handle such as drums, bongos, guiros, or triangles.

4. End-of Class Game Idea: Students sit in a circle and are given a small
percussion instrument to play. One at a time around the circle, each student
plays and says out loud Swing-in to the beat of the music. If a student
misses his entrance, he hands in his instrument and lines up at he door to get
ready to leave class.

5. Try moving the swinging eighth note pattern to beats 2 & 4 while resting
on beats 1 & 3.



.




KITTEN WING TIPS
Younger children will need to practice body
percussion slowly and without music to start
Then,
try introducing o ne of the blues tracks so
children can feel their movements with the music.







p. 11

C hugga Train

Materials: Flying Jazz Kittens CD open blues tracks 17-20 (your choice),
CD or Mp3 player (variations on this activity will use small
percussion instruments of your choice).

Purpose: To introduce, feel, and move to beats 2 & 4 with a swing style.


Skills: Be able to use body movements and/or small percussion
instruments to emphasize and feel beats 2 & 4 to jazz
style music.

Activity: Students form a single line behind the teacher. The teacher
tells students that they are forming a jazz chugga train today,
and that the teacher will start being the engine of the train.
Students follow the teacher in a single file around the room.
The teacher models the following movements for the students
to try:
1.) Take one step forward on beat 1, and say chugga
out loud on beat 2.

2.) Take another step forward with the other foot on
beat 3, and say chugga on beat 4.

This pattern is continued slowly at first as the jazz chugga train
begins to move around the room. After a few minutes of practice,
the teacher stops the train by calling out: Train Stop, woot, woot!
while bending her arm with a pulling down motion on woot, woot!
(Children like this part, and can join in .) The train stops, and the
teacher goes to the end of the line to become the caboose of the train.

The student who was directly behind the teacher now gets to be the
train engine, and the activity continues in this manner, giving as
many turns as you can. Make sure children are moving to the beat
established by the group as consistently as possible, and continue
to model the movements for them.

Once the movements have been practiced and the
students are comfortable, try playing an open blues track, and
have the children try their movements to the beat of the music.
(A slower tempo track is recommended to start.)

p. 12

C hugga Train Variation s:

1. Various small percussion instruments can be added to the chugga
train once the activity has been practiced several times. Children
would then play and say chugga with their instrument in the
train line.

2. Try a faster blues track while maintaining the same movements and
adding instruments (great challenge for older elementary children).




Chugga Train Movements:










KITTEN WING TIPS
Students will need to be reminded
to take turns being the train engine,
KITTEN WING TIPS
and that everyone may not get a
Teaching the chugga train
movements slowly, and practicing
turn on the same day, and this is ok.
There will be other opportunities!
them without the music first is the
key to success, especially with
younger students.











p. 13

S cat Cards


Materials: Flying Jazz Kittens CD open blues tracks 17-20 (your choice),
CD or Mp3 player, scat cards (you can make copies and
laminate cards yourself; words are located on the last pages
of the book.)

Purpose: To introduce and pat out jazz style rhythms and phrases using
scat words.

Skills: To be able to match body percussion and speech in a jazz
rhythmical feel with the music.


Activity: Students are seated in a circle. Explain to students that scat
words are fun and silly words used in jazz when someone wants
to sing a jazz solo. Using these words is called scatting. You
might also want to mention to students that a solo is when
someone sings or plays music on his/her own, and it is a great way
to express yourself. Let students know that they are going to learn
some scat words today so that they can scat and play jazz solos, too.

While playing one of the blues tracks, hold up a scat card for the
students to see. The teacher then says the scat word out loud to the
beat of the music. Students are then invited to echo the teacher in
the same manner. Continue this process for each scat word, one at a
time to start. Once you have spoken the words, try saying and patting
the words out loud to the beat of the music. The children will have
a lot of fun with this activity because they love to say these words!





KITTEN WING TIPS
When presenting the scat words,
make sure to say the words out
loud for younger students who
are just learning how to read.
Older children will be able to
read the words quickly after a
one time introduction.


p. 14

S cat Card Variation s:

1. Let a student come to the front of the room and hold up a scat card for
the class. (Older children will be able to read the card out loud, younger
students may need help pronouncing the words.)

2. Go through the scat word cards at a quicker pace and increase the tempo
of this exercise once students are more familiar with the words.

3. Try holding up two scat word cards side by side and saying them one after
another. This helps to form the beginnings of a jazz phrase.

4. Give each student a small percussion instrument. Try saying and playing
the rhythm of the scat word using the instruments. With practice, children
can learn to pass different percussion instruments around the circle so that
they can play and say scat words on different percussion instruments during
the activity. (Make sure you practice this slowly without music with your
younger students; see Switch-A Roo p. 24.)

5. With practice, older children can pick their own scat words to say and play
or pick from the scat word list. (The scat word list is located in the back of the
book. You are welcome to make copies, enlarge, and laminate it into a poster
for classroom use.) See if students can say and play two words in a row, three
words in a row, four words in a row. A game can be created from this: see
which students can say or play the most scat words in a row without stopping.

6. Let students make up their own scat words to play and say.

7. This activity can be transferred to xylophones and/or recorders. The
rhythm of the scat word or words is played and said out loud on the
instruments. The teacher provides the correct scale or notes on the
instruments for the students, and then plays the corresponding
Flying Jazz Kitten CD tracks. (For more information, see the xylophone
section of this book, p. 28.)




p. 15

S cat Echoes

Materials: Flying Jazz Kittens CD open blues tracks 17-20 (your choice),
CD or Mp3 player, scat cards, scat word list, 1 large drum.

Purpose: To feel and play jazz style rhythms on an instrument.

Skills: Being able to play and say a jazz style rhythm on the drum in
in time with the music.

Activity: Students are seated in a circle with the blues track playing.
The teacher begins the activity by sitting at the head of the
circle with a large drum, and saying a scat word out loud while
playing the rhythm of the word with the music. Students echo
the teacher by repeating the scat word out loud and patting the
rhythm of it with the music. This pattern is repeated several
times with different scat words.
After practicing this for a while, allow each student
around the circle to come up to the drum individually and say
and play a scat word out loud with the music for the class. The
rest of the class echoes the word from their seats by saying it and
patting it out loud with the music. This process continues until
everyone has had a turn. For older children, a scat word list that
is posted where they can see it is helpful so that they can choose
a scat word. For younger children, the teacher may need to verbally
give a scat word to play and say out loud if they cannot think of one
on their own or do not read yet.


KITTEN WING TIPS
This can be a fun e xercise to teach a
rhythm of any song that needs some
review.


KITTEN WING TIPS
If a student misses tapping out a
scat word syllable or forgets to
say the word while playing it,
have the student do it again after
you model it for them one more
time.

p. 16



S cat Echoes Variat ions :

1. With practice, have students try playing and saying two scat words in a row.
Then go for three or four in a row to increase the length of the rhythmic
phrase being played.

2. Try a faster CD open blues track.


3. The teacher can change vocal inflections and accents on the syllables of the
scat word and have students echo it.

4. After some practicing, allow a student to be the leader of the activity.


5. This activity can be transferred to xylophones and/or recorders. The rhythm
of the scat word or words is played and said out loud on the instruments.
The teacher provides the correct scale or notes on the instruments for the
students, and then plays the corresponding Flying Jazz Kitten CD tracks.
(For more information, see the xylophone section of this book, p. 28.)




p. 17

S cat Ga mes

Materials: Flying Jazz Kittens CD open blues tracks 17-20 (your choice),
CD or Mp3 player, scat cards, scat word list (variations use small
percussion instruments of your choice).


Purpose: Become more familiar with jazz style rhythms using scat words
with music; begin to hear and create phrases.


Skills: To be able to say and play scat words in time with the music;
to be able to create small jazz style phrases using scat words and
percussion instruments.

Activity: Students sit in a circle with the blues track playing. The teacher
counts out loud to the beat of the music one, two, three, holds
up a scat card to the class, and points to a student in the circle.
The student then pats and says the scat word out loud in time with
the music. For younger students, the teacher can say the word out
loud when holding the card up and pointing to a student. This
way, if a young student cannot read yet, he or she can simply hear
the scat word being said, and then pat it and say it out loud.


KITTEN WING TIPS
Feel free to change the inflections in
your voice when presenting these scat
words. Its fun and keeps students
alert and listening.


KITTEN WING TIPS
If a child says and pats a scat word
completely out of time from the music,
demonstrate again to the student how
the scat word sounds, and how it is
patted with a slower tempo. Have the
student practice and try a gain.




p. 18

S cat Games Variat ions:

1. Have each student play/say a scat word on a small percussion instrument
in place of patting.

2. Allow another student in the circle to count one, two, three, and then point
to someone in the circle to say his scat word out loud for the class.

3. Have students memorize their scat word when they are pointed to, then pat
out the rhythm of the word while they say it out loud. A small percussion
instrument can be used to play the rhythm of the word in place of patting.

4. Students can play and say the rhythm of their memorized scat word on a large
drum in the center of the circle.

5. Reverse the process and give each student a card to hold, and let the teacher
or class leader count one, two, three, point to a student, and then that
student says and pats or plays his/her scat card out loud.

6. Each student can hold a scat card, count themselves off one, two , three,
pat or play and say his/her scat word, and then point to another student
so that every one in the class can have a turn.

7. Give students more than one scat card or a series of scat words to hold.
See if they can say all the words they have in a row with the music.

8. This activity can be transferred to xylophones and/or recorders. The
rhythm of the scat word or words is played & said out loud on the
instruments. The teacher provides the correct scale or notes on the
instruments for the students, and then plays the corresponding
Flying Jazz Kitten CD tracks. (For more information, see the xylophone
section of this book, p. 28.)











p. 19

L ine Up

Materials: Flying Jazz Kitten CD, open blues tracks 17-20 (your choice),
CD or Mp3 player, scat word cards, small percussion instruments.

Purpose: To create a jazz style rhythmic phrase in time with music; to work
with a group.

Skills: To be able to say and play jazz style rhythms fluently in small phrases;
to be able to work with a large group to create music.

Activity: Students are seated in a half circle and given small percussion
instruments to play. Select two to four students to come up to the
front of the students and hold up scat cards. The cards should be held
in a row across so that the students looking at the word cards can read
them left to right. Going across the row, have each student who is
holding a scat card say it out loud to the class.

Next, put on a blues track, and have all the students reading the
cards say and play the rhythm of each scat word card from left to right
without stopping. This will form a longer jazz style rhythmical phrase.
Continue this process so that each student gets a chance to be a scat
card holder and many turns to play and say scat word phrases on the
small percussion instruments. For younger children, be sure to help
pronounce the scat words correctly and slowly, especially if they
are not reading yet.



KITTEN WING TIPS
Using various small percussion instruments adds
to the fun of this activity. Each time students come
to the front of the class to be scat card holders,
other students sit in their p lace, and can have a
chance to play a different instrument.



p. 20

L ine-Up Variation s :

1. Try a slightly faster blues track.

2. Increase the number of scat word cards that are held up in a
row to the class.

3. Have the students try memorizing a line of scat words after a few
practices and see if they can remember the entire phrase by
playing it on their instruments while saying the words out loud.

4. This activity can be transferred to xylophones and/or recorders. The
rhythm of the scat word or words is played & said out loud on the
instruments. The teacher provides the correct scale or notes on the
instruments for the students, and then plays the corresponding
Flying Jazz Kitten CD tracks. (For more information, see the xylophone
section of this book, p. 28.)












p. 21

3 -2-1 Game

Materials: Flying Jazz Kitten CD open blues tracks 17-20 (your choice),
CD or Mp3 player, 1 large drum, scat cards.


Purpose: To become familiar with jazz style rhythms using scat words.


Skills: To be able to play and say a jazz style rhythm out loud in time
with the music.


Activity: Students are seated in a circle and each is given a scat card.
Place the large drum in the center of the circle. As one of the
blues tracks is playing, the teacher points to a student in the
circle and then counts out loud: Three, two, one, to the beat
of the music. The student then has those three seconds to
approach the drum and play and say the scat word out loud to
the beat of the music. Continue around the circle, giving each
student a turn in the same fashion. Encourage students to play
and say their scat word out loud to the beat of the music at all
times. For younger children, you can simply give them a scat
word to say verbally if they cannot read them.







KITTEN WING TIPS
A round of practice on the
movements of this game
without the music is suggested.
Students are then very clear on
what to do when they are
pointed to and have three
seconds to come up to the
drum.







p. 22


3-2-1 Game Variatio ns:

1. Pick different percussion instruments to go in the center of the circle.

2. Pass one small percussion instrument around the circle to the music.
When the teacher says 3-2-1, the student who has the small percussion
instrument in her hand on the number 1, plays and says her scat word out
loud for the class.

3. Allow a student to be the leader and say 3-2-1, and point to a fellow classmate.


4. This activity can be transferred to xylophones and/or recorders. The
rhythm of the scat word or words is played & said out loud on the instruments.
The teacher provides the correct scale or notes on the instruments for the
students, and then plays the corresponding Flying Jazz Kitten CD tracks.
(For more information, see the xylophone section of this book, p. 28.)










p. 23


Switch-A Roo !

Materials: Flying Jazz Kittens CD open blues tracks 17-20 (your choice),
CD or Mp3 player, small percussion instruments

Purpose: Play and say jazz rhythms fluently in small phrases; work in a group.

Skills: To be able to say and play jazz style rhythms on instruments
quickly and fluently; to develop eye and hand coordination when
playing and switching instruments; to make music with a
group.

Activity: Students form a circle, sitting or standing. Each student is given
a small percussion instrument to play. (The more variety you can
use, the better.) The teacher then starts then game by putting on an
open blues track and saying a phrase of scat words out loud to the
students. The students then echo the phrase back by playing
it on their instrument and saying the word out loud with the
music. The teacher continues the echoing with a few more scat word
phrases, and the students respond with their voices and instruments.

The teacher then calls out Switch-a-roo, you know what
to do! The students then put their instruments down on the floor
or chair and move over one to the right. The student then picks
up the next instrument and gets ready to repeat the game.
This continues around the circle, giving students a chance
to really practice saying and playing jazz phrases as well as
playing a variety of instruments.

Once the children are comfortable with this game, the
teacher can add singing to the scat words while playing the
percussion instruments. You can also experiment with slower and
faster blues tracks. Obviously, younger students will need to
practice moving over one to the right to perfect their switch-a-roo.
Students who have already had some experience with echoing
scat words and playing small percussion instruments
will catch on quickly to this game.


p. 24

B lues Form Act ivity

Materials: Flying Jazz Kitten CD open blues track in G, CD or Mp3 player,
at least 3 xylophones/glocks & mallets, drums or other non-pitched
classroom percussion instruments, color-coded blues progression map
drawn poster-size for class viewing, or draw on wipe board in class.

Purpose: To familiarize students with a blues progression by playing
through the form, keeping a steady beat with a group ensemble

Skills: Form identification, steady beat, playing with a group

Activity: The teacher sets up the room in the shape of a square. Three sides of the
square are set up with xylophones, glocks or resonator bells. The last
side is set up with drums or other classroom percussion. On each side of
the square with xylos, the teacher sets up specific chord tones with the
instrument bars that are found in each chord of a G blues. Please note that
in a blues form, all of the chords are dominant 7th chords.
The set-up is as follows:

Side I- The I7 Chord known as G7: G-B-D-F (Any of these bars are
placed on the xylos in any order. The other bars are removed.)

Side II- The IV7 Chord known as C7: C-E-G-Bb (Any of these bars are
placed on the xylos in any order. The other bars are removed.)

Side III- The V7 Chord known as D7: D-F#-A-C (Any of these bars are
placed on the xylos in any order. The other bars are removed.)

Side IV- This side is for drums, sticks, or other non-pitched percussion.
The students on this side of the square will play a steady beat
on beats 1-4 throughout the form.

The color-coded blues map is taped in a place where all the students in the
square can see it. As an example, color-coded means that you would color
all measures of the I7 chords green, IV7 chords blue, and the V7 chords
red. Obviously, you can pick any three colors that you would like. (Please refer
to the G Blues progression map on p. 33 for reference when creating one for
your students.)




p. 25
Blues Form Activity (Contd.)

Students pick or are assigned to a side of the square and either pick up a mallet
to play one of the xylo bars, or pick a drum or other non-pitched percussion.
Once students have either picked or been assigned a spot in the square, the teacher
lets each group know which chord and color they will be playing.

The black slash marks that are found throughout the blues progression represent
quarter note beats going constantly through the form. The non-pitched percussion
group follows and plays on each of the slash marks throughout the piece.

The teacher points to each slash mark. When the measures are green, the I7 chord
group will play quarter notes along with the percussion group on their xylophone bars.
(One student per bar, unless you have a small group, the students might be able to
have their own xylo or share with only a few students. In this case, students can play
more than one bar at a time, as long as they keep a steady beat and play only during
their color group.)

When the measures are blue, the IV7 chord group will play their quarter notes along
with the percussion group. When the measures are red, the V7 chord group will play
their quarter notes along with the percussion group.

The goal is to have each chord group keep a steady beat and play only when their color
is appearing in the blues progression map. At first, this exercise should be practiced
slowly and without any accompaniment. As the students become more fluent and
familiar with the blues form, they will start to hear the harmonic progression of the
three chords in the context of the blues and become quite proficient.

At this point, the teacher can add the CD open blues track in G. Students
can then try to keep a steady beat through the blues form with the CD. Be aware
that the group will have to start right with the first beat of the progression, and
will also have to listen carefully to keep in tempo with the recording. This is
challenging, but also a lot of fun!

p. 26
Blues Form Activity Variation s:

1. Try using only non-pitched percussion in the square formation. This is especially
useful if you do not have enough xylophones, glocks, or bells for your students
to use. You can still assign a chord & color to each group, and have them play the
steady beat on their instrument for their chord and color. You can also use simple
body percussion or singing the root of the chord in place of other instruments.

2. This activity can be done in a triangle formation as well. If you have a smaller
group of students or a more advanced group, you can leave out the steady beat
group and just focus on the three chord color groups.

3. One of the groups in the 3 or 4-sided formation could be a recorder group. Those
students can start by playing the root of the chord in a steady quarter note beat
pattern. The teacher can add more patterns, such as playing the other chord tones
or changing the rhythm of the pattern to make it more fun.

4. Try a switch-a roo: once students are comfortable playing in a particular color
chord group, have students rotate so they can try playing in another color chord
group, or try being in the steady beat or recorder group.









p. 27

X ylophones

Many of the activities in this book can work very well on classroom xylophones.
After students have practiced scatting and become familiar with some of the
activities in this book using non-pitched percussion instruments, they will be
ready to transfer their knowledge to the xylophones

Any scat words or phrases that your students have practiced through singing
and playing on body percussion or non-pitched classroom instruments can now
be played on the xylophones. Once your students are familiar with holding mallets
and can play the xylophone properly, you are ready to start.

Students begin by saying the scat words out loud while playing the rhythm of the
words on the xylophone at the same time. In other words, for this exercise, singing
is replaced with saying the scat words out loud and then playing the rhythm of those
scat words on the xylophone. The initial focus on this introductory exercise is proper
playing technique and playing the rhythm of scat words accurately in a swing style on
the xylophones. The notes of the xylophones are not of any concern yet. Students should
feel free to play any notes they wish. No accompaniment or music is added during this
exercise. This is a chance for students to get used to playing jazz-style rhythms on the
xylophone and to begin to say and play these rhythms accurately.

Once these skills have been practiced and students are comfortable with the activity, the
teacher can now construct specific scales on the xylophone bars. There are certain scales
that work very well for improvising over a blues form. This book shows teachers some
of these scales so that you can set up the xylophone bars accordingly. This allows students
to focus on improvising and creating jazz-style phrases within a blues form. There are no
wrong notes to play, so students will feel successful and free to play and improvise!

Please refer to the scale choices and blues progression maps pages in this book. The
blues form is written out in four different keys: C, G, B & E. If you are not sure about the
type of scales to use, or how to construct a scale or blues form to use for your classes, these
pages will show you how. Please note that there is at least one CD track that your students
can play along with for every scale and music blues map activity. Teachers generally find
that once they try these exercises a few times, theyre not as hard as they thought it
would be. Both the students and teachers can have a lot of fun!



p. 28
Recorders

For children who have some basic recorder experience, improvising with the Flying
Jazz Kittens blues tracks is so much fun! In particular, playing the open E blues track
while playing notes from the E minor pentatonic scale works very well on soprano
recorders: E-G-A-B-D. (See bottom of p.31.) This is because it contains three notes:
B-A-G, that are commonly taught on beginning recorder, which makes this accessible
for your students to play and improvise on their recorders. Please refer to the scale
choices page in this book to see the E minor pentatonic scale and fingerings for the
recorder.

Using scat words for rhythms, begin by having students play only the note B while
articulating the rhythm of the scat words on the recorders. For example, students play the
rhythm of scoo-scat-scoo on the recorders, but only on the note B. The teacher then says
or taps out another scat phrase, and students echo the rhythms of the words on the note B.
As students become more comfortable with this exercise, the teacher can add the note A.
Now, students echo the rhythm of the words given to them by the teacher on the note A. At
this point, the notes B and A can now be combined. The teacher says and taps out another
scat word phrase, and the students echo the rhythm of the words on the notes B and A in any
order they wish. This continues, adding G and eventually E, and D as the students progress in
their recorder playing. Before you know it, the students will be able to play the scale fluently.

After practicing a note and echoing it rhythmically to the teachers scat phrase, try playing
along with the open E blues track. The E minor pentatonic scale is harmonically correct to
work over the entire blues form at any time. Because of this, you and your students can start
on any note of the e minor pentatonic scale anywhere in the form, and it will sound pleasing
and correct. This is nice to know because it takes the pressure off the teacher and students
to have to start at a certain place in the accompaniment track. You can simply have fun and
not worry!

As the students and teacher become more comfortable with this exercise, you will find that
it becomes quite natural to begin improvising on your own using the notes from the scale on
the recorder. Students can start by doing some group improvisation where everyone is
playing various scale tones at the same time with their own scat word rhythm choices. As
long as your students can play gently and with focused intention, you will hear that everyone
is sounding good, playing with purpose and with appropriate jazz rhythmical feel, and staying
in the key of the E blues!

As students progress and gain more confidence, they can try playing actual solos. Each
student takes his/her own turn soloing, while other students listen and wait for their turns.
More experienced students can learn to play one of the blues melodies in this book on their
recorders. Please refer to the Blues Songs pages to view the printed melodies, or the
CD tracks to hear the melodies sung.

p. 29
Scale Choices

When playing a blues in the key of E, try constructing the scales listed below with the xylophone
bars. Your students can then play along with the Flying Jazz Kitten open blues track in E.

E Blues Scale
E-G-A-Bb-B-D-E

E Minor Pentatonic Scale


E-G-A- B-D-E

When playing a blues in the key of B, try constructing the scales listed below with the xylophone
bars. Your students can then play along with the Flying Jazz Kitten open blues track in B.

B Blues Scale
B-D-E-F-F#-A-B

B Minor Pentatonic Scale


B-D-E-F#-A-B

A blues scale contains both the natural fifth and lowered fifth scale degree. (In the key of B,
F # and F.) A minor pentatonic scale only contains the natural fifth scale degree. In jazz, a
lowered fifth is commonly referred to as a flatted fifth, or flat five (b5). Because of the
half step tension between the fifth and flatted fifth of the blues scale, the scale produces a bluesy
sound familiar to most of us when hearing a blues solo. Either of the scales will work just fine
over a blues form. It is interesting to note that blues in the key of E or B are not as commonly
played as a blues in the key of F or Bb concert. However, in the elementary music classroom,
the keys of E and B allow us to use the xylophone bars that are most commonly found on the
instruments: C-D-E-F-G-A-B-C, Bb & F#.

p. 30
S cale Ch oices (Contd. )

When playing blues in the key of G, try constructing the scale listed below with the xylophone
bars. Your students can then play along with the Flying Jazz Kitten open blues track in G.

G Minor Pentatonic Scale
G-Bb-C-D-F-G

The key of G is also a great choice if you would like to set up chord tones on the xylophones
for the three blues chords in G: I7: G-B-D-F; IV7: C-E-G-Bb; V7: D-F#-A-C. For more
information on how to set up this exercise, read Blues Form Activity on p. 25.

When playing a blues in the key of C, try constructing the tones listed below with the xylophone
bars. Your students can then play along with the Flying Jazz Kitten open blues track in C.

C-F-G-Bb-C
(If you happen to have an Eb bar, bell or resonator bar, please include it!)

You might notice that this is not a complete scale. If you are able to find any Eb tones, than
the scale would be a complete C minor pentatonic scale. Obviously, it is not the first choice of
keys when constructing an exercise with the xylophone bars. However, it is included in this
book because the key of C is a common key for vocals. If you find that the key of C works well
with your students vocally, and you want to include a playing exercise with the vocals, then
you can use this option to keep your jazz exercise in the same key.

Recorders
The E minor pentatonic scale is the best choice for your beginning recorder players, because the
scale contains notes that are commonly taught in beginning recorder class; the B-A-G notes.
For more information on how to use recorders with jazz improvisation, read Recorders, p. 29.

E G A B D

p. 31
C Blue s Prog ression Ma p

Track # 17- Open blues track in C 6 choruses


Intro: 4 clicks Time: 2:40
= 116

Suggested Pattern: C-F-G-Bb-C (add Eb if available)

I7 Chord IV7 Chord V7Chord


C7: C-E-G-Bb F7: F-A-C-Eb G7: G-B-D-F

p. 32
G Bl ues Progress ion Map

Track # 18-Open blues track in G 6 choruses
Intro: 4 clicks Time: 3:35
= 100

Suggested Scale Pattern: G-Bb-C-D-F-G (G minor pentatonic scale)

I7 Chord IV7 Chord V7Chord


G7: G-B-D-F C7: C-E-G-Bb D7: D-F#-A-C

p. 33
B Blue s Prog ression Ma p
Track # 19-Open blues track in B 6 choruses
Intro: 4 clicks Time: 3:30
= 88

Suggested Scale Patterns:


B-D-E-F-F#-A-B (B Blues Scale)

B-D-E-F#-A-B (B minor pentatonic scale)

I7 Chord IV7 Chord V7Chord


B7: B-D#-F#-A E7: E-G#-B-D F#7: F#-A#-C#-E

p. 34
E Blues Progres sion Map
Track # 20-Blues Track in E 6 choruses
Intro: 4 clicks Time: 2:53
= 108

Suggested Scale Patterns:


E-G-A-Bb-B-D-E (E blues scale)

E-G-A-B-D-E (E minor pentatonic scale)


I7 Chord IV7 Chord V7Chord


E7: E-G#-B-D A7: A-C#-E-G B7: B-D#-F#-A

p. 35
Swing in The Blues A way in C
Track #1 Melody 2 xs
Time: 3:58 5 open choruses
Intro: 4 clicks plus 4 measures Melody 2 xs & coda ending
= 120


2004 Doubletazz Music
Composed by Sherry Luchette


Suggested Tracks: Suggested Pattern:
#1-Instrumental with vocals C-F-G-Bb-C (add Eb if available)
#9-Instrumental only
#17-Open blues track in C




p. 36
Swingin The Bl ues A way in E
Track # 2 Melody 2xs
Time: 3:56 5 open chouses
Intro: 4 clicks plus 4 measures Melody 2xs & coda ending
= 120


2004 Doubletazz Music


Composed by Sherry Luchette




Suggested Tracks: Suggested Scale Patterns:
# 2-Instrumental with vocals E-G-A-Bb-B-D-E (E blues scale)
#10-Instrumental only E-G-A-B-D-E (E minor pentatonic scale)
#20-Open blues track in E

p. 37

No Mat h Blues in C
Track #3 Melody 2 xs
Time: 3:42 5 open choruses
Intro: 4 clicks plus 4 measures Melody 2xs & coda ending
= 126


No Math Blues C-Jam Blues by Duke Ellington


1942 (renewed 1969) by Famous Music Corp. U SA; This arrangement 2004 by Famous Music Corp. U SA
Rights outside U SA controlled by E MI Robbins Catalog, Inc. & W arner Bros. Publications U .S.
International copyright secured. All rights reserved.



Suggested Tracks: Suggested Pattern:
#3-Instrumental with vocals C-F-G-Bb-C (add Eb if available)
#11-Instrumental only
#17-Open blues track in C

p. 38
N o Math Blues in B

Track #4 Melody 2 xs
Time: 3:43 5 open choruses
Intro: 4 clicks plus 4 measures Melody 2xs & coda ending
= 126



No Math Blues C-Jam Blues by Duke Ellington
1942 (renewed 1969) by Famous Music Corp. U SA; This arrangement 2004 by Famous Music Corp. U SA
Rights outside USA controlled by E MI Robbins Catalog, Inc. & Warner Bros. Publications U.S.
International copyright secured. All rights reserved.





Suggested Tracks: Suggested Patterns:
#4-Instrumental with vocals B-D-E-F-F#-A-B (B blues scale)
#12-Instrumental only B-D-E-F#-A-B (B minor pentatonic scale)
#19-Open blues track in B

p. 39

S cooby Doo Blues in G

Track #5 Melody 2xs


Time: 3:53 5 open choruses
Intro: 4 clicks plus 4 measures Melody 2xs & coda ending
= 126


Scooby Doo Blues Blues by Five by Red Garland
1965 Prestige Music (BMI) Courtesy of Fantasy, Inc.
All rights reserved. Used by permission.

Suggested Tracks: Suggested Pattern:
#5-Instrumental with vocals G-Bb-C-D-F-G (G minor pentatonic scale)
#13-Instrumental only
#18-Open blues track in G


p. 40
S cooby Doo Blues in E

Track #6 Melody 2xs


Time: 3:52 5 o pen choruses
Intro: 4 clicks plus 4 measures Melody 2xs & coda ending
= 126


Scooby Doo Blues Blues by Five by Red Garland
1965 Prestige Music ( BMI) Courtesy of Fantasy, Inc.
All rights reserved. Used by permission.

Suggested Tracks: Suggested Pattern:
#6-Instrumental with vocals E-G-A-Bb-B-D-E (E blues scale)
#14-Instrumental only E-G-A-B-D-E (E minor pentatonic scale)
#20-Open blues track in E


p. 41
Freddie Cat Blues in G
Track #7 Melody 2xs
Time: 4:39 5 open choruses
Intro: 4 clicks plus 4 measures Melody 2xs & coda ending
= 104

Freddie Cat Blues Nows The Time by Charlie Parker


1945 Atlantic M usic Corp. Renewed 1973
Used by permission. I nternational Copyright secured.
Suggested Tracks: Suggested Pattern:
#7-Instrumental with vocals G-Bb-C-D-F-G (G minor pentatonic scale)
#15-Instrumental only
#18-Open blues track in G p. 42
Fredd ie Cat Bl ues in E
Track #8 Melody 2 xs
Time: 4:39 5 open choruses
Intro: 4 clicks plus 4 measures Melody 2 xs & coda ending
= 105

Freddie Cat Blues Nows The Time by Charlie Parker


1945 Atlantic Music Corp. Renewed 1973
Used by permission. I nternational Copyright secured.

Suggested Tracks: Suggested Pattern:
#8-Instrumental with vocals E-G-A-Bb-B-D-E (E blues scale)
#16-Instrumental only E-G-A-B-D-E (E minor pentatonic scale)
#20-Open blues track in E p. 43
Swingin The Blues Away

Im swingin those blues away, ba-da bum-bum

Im swingin those blues away, ba-da bum-bum

Im happy, swingin today!

Ending: ba-da, bum-bum, Yeah!


2004 Doubletazz Music
Composed by Sherry Luchette






No Math Blues

No math, no math, no math, no math Zoo-Wop!

No math, no math, no math, no math Skiddley-Doo!

No math, no math, no math, no way!

Ending: Zoo, wap bam skiddley-doo, Yeah!


No Math Blues C-Jam Blues by Duke Ellington
1942 ( Renewed 1 969) by Famous Music Corp.
This arrangement c 2004 by Famous Music Corp. USA


p. 44



Scooby Doo Blues

Cant help it, Im singin those Scooby doo Scooby blues,

Im singin, Im swingin, those Scooby doo Scooby blues,

Scooby, dooby, Scooby doo blues!

Ending: Scooby, dooby, Scooby doo blues, Yeah!


Scooby Doo Blues Blues by Five by Red Garland
1965 Prestige Music ( BMI) Courtesy of Fantasy, Inc.





Freddie Cat Blues

Freddie was a cat who wore a tux and hat,

he loved to sing and scat and swing and tell you where its at!

The trouble was with Freddie, he was a little heavy,

so when he sang and scat and swang the stage collapsed in half!

Ouch! said Freddie cat, My tux and my hat are all flat, all flat!

Ending: Ouch! said Freddie cat, My tux and my hat

are all flat, all flat!


Freddie Cat Blues Nows The Time by Charlie Parker
1945 Atlantic Music Corp. Renewed 1973



p. 45

Scat Word List & Cards

The following are a list of scat words that can be used for the activities in this book.
You may copy the proceeding pages for classroom use. It is suggested that you enlarge
this list and make a poster-size version for your students. Larger, one-word scat cards are
included on the following pages.


SCOOBY SHOOBY

SKIDDLEY DOOBY

SCOO WOP

BUM WAP

BAM BOP

DO-DAT SCAT

WAH-WAH WOOBY




p. 46
SCOOBY






SHOOBY














SKIDDLEY










________________________________________________________________________________________________________________________________________










DOOBY












SCAT








________________________________________________________________________________________________________________________________________









SCOO



WOP









________________________________________________________________________________________________________________________________________










BUM






WAP






_________________________________________________________________________________________________________________________________________











BAM









BOP




















DO-DAT



WOOBY









________________________________________________________________________________________________________________________________________



WAH-WAH




About the Author

Sherry Luchette has combined her love and expertise as a jazz
bassist with her love of introducing jazz music to young students.
The result is the creation of her first book and CD set, The Flying
Jazz Kittens, Volume 1.

Sherry has presented numerous clinics and workshops to teachers,
college students, and elementary students across the country. She
has been a presenter for several state MENC events, national MENC
division events, the JEN (Jazz Educators Network) conference, head
chair of the JEN elementary jazz K-8 committee, as well as presenting
internationally at the International Society of Music Education
Conference (ISME). Sherry continues to be in demand as a clinician
for teachers interested in implementing jazz into their general music
programs, as well as working with young children in various music
camp and school residency programs.

Sherry has also developed her own jazz outreach program called Music Kittens. Using live and
recorded music, Music Kittens is an interactive assembly program where children not only
listen to jazz, but get to participate in the music making process. Music Kittens has been in
demand as part of UCLAs design for sharing outreach program for the last five years, and has
also made appearances at The Lionel Hampton Jazz Festival as part of their jazz outreach
programming.

Sherry earned her BM in music education from Youngstown State University, and her MM in Bass
performance from Cleveland State University. Her teaching experience includes early childhood
music, elementary and middle school general music, as well as music theory and high school jazz
combo coaching. For eight years, Sherry taught general music in grades K-3 and 6-8 at The Buckley
School in Sherman Oaks, Ca. Currently she is teaching privately on both bass and piano, as well as
general music classes for 3 -5 year olds at The Sherman Oaks Nursery School. Sherry also
continues to freelance as a jazz bassist in the Los Angeles area.

Other Books & CDs by Sherry Luchette : The Flying Jazz Kittens, Volume 2: Jazz Music Stories
For updates, clinician, w orkshop, and elementary jazz resource information:
E-mail: doubletazz@mac.com
Site: www.luchettebass.com
Phone: (818) 981-6144

p. 54
The Musicia ns

Tamir Hendelman
Tamir is an Israeli-born award-winning jazz pianist and composer. He began his keyboard studies at age six, and
Tanglewood and a composition degree from t he Eastman School of Music followed. Tamir has been a longtime member
of the Jeff Hamilton Trio and t he C layton-Hamilton Jazz Orchestra. He has p erformed and recorded with James Moody,
Barbra Streisand, John Pizzarelli, Tierney Sutton, and numerous others. Tamir is also a lecturer in jazz at UCLA and has
taught m usic clinics in Europe, Israel, Japan and throughout the US.

Jennifer Barnes

Jennifer is a highly sought-after vocalist, clinician and vocal arranger. She has d irected award-winning vocal jazz
ensembles and taught p rivate jazz voice, piano and improvisation at 7 universities, as well as conducting All-State Vocal
Jazz C hoirs in 12 states. Jennifer has released highly acclaimed CD recordings both as a j azz soloist and with the
professional a cappella vocal group Sixth Wave. Her voice has been featured in television, radio & films including Wall-
E, Ice A ge 2 & 3, Enchanted, Star Trek, and the Fox smash hit Glee.

Steve Barnes

Steve is an accomplished d rummer and educator, having played with musical greats Hal Galper, Roberta Gambarini,
Eddie Harris, Jay Leonhart, the New York Voices, Diane Schuur, Sonny Stitt, Tierney Sutton, Bill Holmans Big Band, and
the Tommy Dorsey B ig B and. Steve is currently drumming for t he ABC family show The Secret Life of the American
Teenager. He has over 30 years experience of p rivate teaching, and has taught d rums at the Univeristy of C incinnati, and
on the faculty of t he Jamey Aebersold Summer Jazz Workshops.


p. 55
CD T ra ck L isting & Cred its

Full Performance
1. Swingin the Blues Away in C 3:58
2. Swingin the Blues Away in E 3:56
3. No Math Blues in C 3:42
4. No Math Blues in B 3:43
5. Scooby Doo Blues in G 3:53
6. Scooby Doo Blues in E 3:52
7. Freddie Cat Blues in G 4:39
8. Freddie Cat Blues in E 4:39

Instrumental Performance Only
9. Swingin the Blues Away in C 3:57
10. Swingin the Blues Away in E 3:56
11. No Math Blues in C 3:42
12. No Math Blues in B 3:44
13. Scooby Doo Blues in G 3:53
14. Scooby Doo Blues in E 3:51
15. Freddie Cat Blues in G 4:39
16. Freddie Cat Blues in E 4:30
17. Blues Track in C 2:40
18. Blues Track in G 3:35
19. Blues Track in B 3:30
20. Blues Track in E 2:53

Instrumentalists/Vocalists Credits
Jennifer Barnes- Vocals Swingin the Blues Away (Tracks 1,2,9,10)
Tamir Hendelman- Piano Composed by Sherry Luchette
Sherry Luchette Acoustic Bass 2004 Doubletazz Music; ASCAP
Steve Barnes- Drums
No Math Blues (Tracks 3,4,11,12)
Recorded at: Big City Recording Studio C Jam Blues Composed by Duke Ellington
Chatsworth, Ca. 1944,1971 Famous Music Corp; ASCAP
Music Engineering & Mastering:
Paul Taverner Scooby Doo Blues (Tracks 5,6,13,14)
Arrangements, recording & production: Blues by Five Composed by Red Garland
Sherry Luchette 1965 Prestige Music; BMI
Art Work: Tiffany Harris
Graphics & Printing: Arnolds Copy & Freddie Cat Blues (Tracks 7,8,15,16)
Printing Studio City, Ca. Nows The Time by Charlie Parker
1945, 1973 Atlantic Music Corp; BMI
Elementary jazz programs, clinics, and workshops:
w ww.luchettebass.com or call (818) 981-6144.
p. 56

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