Thursday, August 29, 2013

Birks' Works

Composed by Dizzy Gillespie, arranged by Ernie Wilkins




Our Birks' Works arrangement is a Mats Engström transcription of the great Ernie Wilkins arrangement. Check out that lineup!!

Talib Daawud, Lee Morgan, Ermit V. Perry, Carl Warwick, Dizzy Gillespie (trumpet), Al Grey, Rod Levitt, Melba Liston (trombone), Ernie Henry, Jimmy Powell (alto saxophone) Billy Mitchell, Benny Golson (tenor saxophone), Billy Root (baritone saxophone), Wynton Kelly (piano), Paul West (bass), Charlie Persip (drums), Ernie Wilkins (arranger)

Soloists: Benny Golson, Dizzy Gillespie

You'll find it on the Verve album of the same name: Birks' Works.

Ask Me Now

Composed by Thelonious Monk, arranged by Greg Yasinitsky




Our arrangement of the great Monk tune Ask Me Now is by Greg Yasinitsky.

Monk himself recorded this tune several times. Here's its 1951 debut:


This is from Thelonious Monk - Genius Of Modern Music, Vol. 2 (Blue Note BLP 1511), originally released as a single Blue Note 1591 Thelonious Monk - Ask Me Now b/w Willow Weep For Me

Thelonious Monk (piano), Al McKibbon (bass), Art Blakey (drums) WOR Studios, NYC, July 23, 1951

Big Swing Face

Composed and arranged by Bill Potts




Big Swing Face is from the Buddy Rich 1967 album of the same name (Pacific Jazz 20117), recorded live at The Chez club in Hollywood. This album is a big band classic!

Quinn Davis - alto saxophone
Ernie Watts - alto saxophone and flute
Jay Corre - tenor saxophone and flute
Robert Keller - tenor saxophone and flute
Marty Flax - baritone saxophone
Bobby Shew - trumpet
Yoshito Murakami - trumpet
Chuck Findley - trumpet
John Sottile - trumpet
Jim Trimble - trombone
Ron Meyers - trombone
Bill Wimberly - bass trombone
Richie Resnicoff - guitar
Ray Starling - piano
James Gannon - double bass
Buddy Rich - drums

Agua de Beber

Composed by Antonio Carlos Jobim, arranged by Michael Philip Mossman



This is Michael Philip Mossman's arrangement of a Jobim jazz bossa nova classic, although he takes it as a samba here.
Antonio Carlos Jobim
Astrud Gilberto's 1965 version of the piece (with composer Jobim) is about as definitive as it gets:


Angel Eyes

Composed by Matt Dennis, lyrics by Earl Brent, arranged by Matt Harris




Here is the Biggles Big Band performing Matt Harris' arrangement of Angel Eyes.

We sometimes perform this as a vocal chart, too.


Basically Blues

Composed and arranged by Phil Wilson



Phil Wilson's Basically Blues originated on Buddy Rich's 1966 Swingin' New Big Band album.

Walter Battegello, Yoshito Murakami, Bobby Shew, John Sottile (t), John Boice, James Trimble (tb), Dennis Good, Mike Waverley (b tb), Gene Quill (as, cl), Pete Yellin (as, fl),  Jay Corre, Marty Flax (ts, cl, fl), Stephen Perlow (bari, b cl), Carson Smith (b), Barry Zweig (g), John Bunch (p), Buddy Rich (d)

Tuesday, August 27, 2013

Nostalgia In Times Square

Composed by Charles Mingus, arranged by Sy Johnson





Originally written for the 1959 John Cassavetes film Shadows, Nostalgia in Times Square is a medium tempo blues but with a unique harmonic structure.



The tune debuted on Mingus' 1959 Jazz Portraits: Mingus in Wonderland album, recorded live at the Nonagon Art Gallery, one of the Tenth Street galleries on the East side of Manhattan.

Personnel: John Handy (alto sax), Booker Ervin (tenor sax), Richard Wyands (piano), Charles Mingus (bass), Dannie Richmond (drums)

While I'm Away

Composed and arranged by David Springfield



David Springfield's While I'm Away is a beautiful bossa nova guitar feature penned for the Delaware Water Gap (PA) Celebration of the Arts Jazz Festival. It features a flugelhorn, alto sax and guitar trio.

David Springfield

In the Mood

Composed by Joe Garland, arranged by Eddie Durham, Chummy McGregor, and Glenn Miller





In the Mood had been kicked around by other bands (and with other names) prior to this famous 1939 Glenn Miller recording, but this is the one (RCA Bluebird, B-10416-A) that made him a hit. It's also the one that was inducted into the Grammy Hall of Fame in 1983. Our IHBB chart is a knock-off of this arrangement.

Glenn Miller and his Orchestra : Clyde Hurley, Legh Knowles, Dale McMickle, tp; Glenn Miller, Al Mastren, Paul Tanner, tb; Wilbur Schwartz, cl, as; Hal McIntyre, as; Harold Tennyson, as, bs, cl; Tex Beneke, Al Klink, ts; Chummy MacGregor, p; Richard Fisher, g; Rolly Bundock, b; Maurice Purtill, d.

New York, August 1, 1939.

The "tenor fight" is between Tex Beneke and Al Klink. The trumpet solo is Clyde Hurley.

NPR has an interesting back story on the tune.

Sunday, August 25, 2013

Easy Street

Composed by Alan Rankin Jones, arranged by Don Costa




The Indian Hill Big Band plays Don Costa's arrangement of the Alan Rankin Jones 1941 classic Easy Street at Townsend Memorial Hall, March 28, 2009.

This jazz standard has been covered by many, many bands, and has been a popular vehicle for singers. Its big year was 1941, covered by Duke Ellington (in a transcription recording), Dorothy Dandridge (in a short film),  Martha Tilton (frontlining the Gordon Jenkins Orchestra), and Jimmy Dorsey with Marie O'Connor.


Jimmie Lunceford covered it too, in 1942.

June Christy had a hit with this tune in 1945, backed by the Stan Kenton Orchestra.


Buddy Childers, Ray Wetzel, John Anderson, Russ Burgher, Bob Lymperis (tp), Freddie Zito, Jimmy Simms, Milt Kabak (tb), Bart Varsalona (b tb), Al Anthony, Boots Mussulli (as), Vido Musso, Bob Cooper (ts), Bob Gioga (bari), Kenton (p), Bob Ahern (g), Eddie Safranski (b), Ralph Collier (d), June Christy (vcl).
November 27, 1945 - Radio Recorders, Hollywood (transcription session) Vocal: Christy. Solos: Childers (tp), Cooper (ts)

Sarah Vaughan also does a nice cover of this tune. Even Thelonious Monk covered the tune (on the album Underground)!


Don't Be That Way

Composed by Edgar Samson and Benny Goodman, lyrics by Mitchell Parish, arranged by Edgar Samson




Our cover of composer/arranger Edgar Samson's Don't Be That Way most closely resembles his arrangement of it for Goodman and his Orchestra, recorded on February 16, 1938, New York.

Harry James, Ziggy Elman, Gordon Griffin (tp); Red Ballard, Vernon Brown (tb); Benny Goodman (cl, cond); Hymie Schertzer, George Koenig (as); Arthur Rollini, Babe Russin (ts); Jess Stacy (p); Allan Reuss (g); Harry Goodman (b); Gene Krupa (d); Edgar Samson (arr). First issued on Victor 25792.

This studio recording followed on the heels of the famous 1938 Carnegie Hall performance a month earlier that brought the house down (the first time a jazz contingent played the hallowed home of classical music) on On January 16, 1938.


From Irving Kolodin's liner notes:
Samson, a one-time tenor man who became a composer and arranger--Stompin' At The Savoy and When Dreams Come True are also his--wrote this piece for the Chick Webb band when he was playing with it. However, it was all but new to the jazz world when it made its appearance in this reorchestration. After an ensemble chorus, there are solos by Goodman (clarinet) and Russin (tenor sax), with the evening's first big burst of applause as Harry James rises to take his solo. Krupa's explosive break arouses a response to make what preceded a mere ripple. The trombone bit that follows is Vernon Brown.

See also Mike Thibault's song spotlight for more versions of this tune.

Saturday, August 24, 2013

Autumn Leaves

Composed by Joseph Kosma, lyrics by Johnny Mercer and Jacques Prévert, arranged by Ted Heath



Our arrangement of the standard Autumn Leaves is by British big band leader Ted Heath and his orchestra, transcribed by Myles Collins. This recording was made sometime between 1948 and 1952, personnel unknown.

At just over two minutes in length, Manuel Kaufmann likes to refer to this as a "postcard arrangement."

Take the "A" Train

Composed and arranged by Billy Strayhorn




David Berger's transcription of the Ellington signature theme song Take the "A" Train, composed by the great Billy Strayhorn, is from the famous February 15th 1941 take recorded in the Hollywood RCA-Victor recording studios.

This is another classic from the Blanton-Webster band. The personnel included Rex Stewart (cornet), Wallace Jones, Ray Nance (trumpet), Lawrence Brown and Joe Nanton (trombone), Juan Tizol (valve trombone), Barney Bigard (clarinet), Johnny Hodges (soprano sax, alto sax, clarinet), Otto Hardwick (alto sax, bass sax), Ben Webster (tenor sax), Harry Carney (clarinet, alto sax, baritone sax), Duke Ellington (piano), Fred Guy (guitar), Jimmy Blanton (bass), Sonny Greer (drums), and Billy Strayhorn (piano, replacing Ellington on “After All.”)

Ray Nance’s trumpet solo would become the best known of his career.

If your browser handles Flash, here's a nice dynamic analysis of the arrangement by Ralph Russell of Grinnell College.


Do Nothin' Till You Hear From Me

Composed by Duke Ellington, lyric by Bob Russell, arranged by Dave Wolpe


Here's an example of the Dave Wolpe chart we play from a ejazzlines.com.


Of course, Wolpe's version is an updated take on the classic Duke Ellington 1943 Do Nothin' Till You Hear From Me, itself a vocal update of the 1940 Concerto For Cootie, celebrating the great trumpeter Cootie Williams.




Wallace Jones, Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as); Otto Hardwicke(cl,as); Ben Webster(ts); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Jimmy Blanton(sb); Sonny Greer(d,ch)

Here's the 1943 Do Nothin'... featuring vocalist Al Hibbler.


Wallace Jones, Rex Stewart, Dizzy Gillespie,Taft Jordan(t); Lawrence Brown, Joe Nanton,Juan Tizol(tb); Jimmy Hamilton(cl,ts); Johnny Hodges(as); Otto Hardwicke(cl,as); Skippy Williams(ts); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Wilson Myers(sb); Sonny Greer(d,ch); Al Hibbler(v)

Never No Lament

Composed and arranged by Duke Ellington




Never No Lament (later, Don't Get Around Much Anymore) is another great Duke Ellington transcription by David Berger from the quintessential version by the 1940 Blanton-Webster band.

Wallace Jones, Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as); Otto Hardwicke(cl,as); Ben Webster(ts); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Jimmy Blanton(sb); Sonny Greer(d,ch)

Highly recommended: Never No Lament: The Blanton-Webster Band, a three-disc compilation combining the master takes of all the recordings by Duke Ellington's Orchestra during the years of 1940 to 1942.

Never No Lament: The Blanton-Webster Band on amazon.com

Moonglow

Composed by Will Hudson and Irving Mills, words by Eddie DeLange, arranged by Dave Wolpe




Dave Wolpe's arrangement of Moonglow is a fresh take on one of the great jazz standards.

Moonglow got its start with the father of jazz violin, Joe Venuti, back in 1933.


Since Venuti's version, the song has been covered many times over the years to become a big band staple, including four in 1934 alone:


One of my personal favorites is Morris Stoloff's medley that combines Moonglow with George Duning's theme for the 1955 movie Picnic (William Holden and Kim Novak).



(Here's the audio-only version with no dialog.)

Incidentally, from 1926 to 1939, Irving Mills managed the Duke Ellington Orchestra, sang on some of their recordings, and wrote lyrics to several songs. Legend has it that he wasn't above putting his name on songs that he didn't write.


Friday, August 23, 2013

Corner Pocket

Composed by Freddie Green, arranged by Ernie Wilkins





Corner Pocket (also released with lyrics as Until I Met You) was penned by long-time Count Basie guitarist Freddie Green in 1955 for the April In Paris album. It became a Basie staple thereafter. According to Frank Foster, it was arranged by Ernie Wilkins.

Wendell Culley, Reunald Jones, Thad Jones, Joe Newman (trumpet) Henry Coker, Bill Hughes, Benny Powell (trombone) Bill Graham (alto saxophone) Marshall Royal (alto saxophone, clarinet) Frank Wess (tenor saxophone, flute) Frank Foster (tenor saxophone) Charlie Fowlkes (baritone saxophone) Count Basie (piano) Freddie Green (guitar) Eddie Jones (bass) Sonny Payne (drums) Ernie Wilkins (arranger)
NYC, July 26, 1955

Here's a live 1962 performance:



Freddie Green was part of one of the most famous rhythm sections in jazz history, with Count Basie on piano, Jo Jones on drums, and Walter Page on bass. With Basie for over 50 years, Freddie Green appeared on nearly every Basie recording made between 1937 and 1987.

Shiny Stockings

Composed and arranged by Frank Foster




Frank Foster's Shiny Stockings dates back to 1955, first appearing on Count Basie's famous April In Paris album (a must-have!) The trumpet solo is Thad Jones.

Wendell Culley, Reunald Jones, Thad Jones, Joe Newman (trumpet), Henry Coker, Bill Hughes, Benny Powell (trombone), Bill Graham (alto saxophone), Marshall Royal (alto saxophone, clarinet), Frank Wess (tenor saxophone, flute), Frank Foster (tenor saxophone, arranger), Charlie Fowlkes (baritone saxophone), Count Basie (piano, organ), Freddie Green (guitar), Eddie Jones (bass), Sonny Payne (drums)
NYC, January 4, 1956

Read the background on the tune, including an interview with Frank Foster, on JazzStandards.com (I love this site!)

And Dexter Gordon also did a well-known cover of Shiny Stockings on his 1965 album Gettin' Around.


Dexter Gordon (tenor saxophone); Bob Cranshaw (bass); Barry Harris (piano); Bobby Hutcherson (vibraphone); Billy Higgins (drums).

Tuesday, August 20, 2013

Watermelon Man

Composed by Herbie Hancock, arranged by Manuel Kaufmann




Our arrangement of the Herbie Hancock's classic Watermelon Man is by former IHBB director Manuel Kaufmann, and carries all the signature hallmarks of the original (plus elements of Hancock's 1973 remake).

The tune first appeard on Hancock's 1962 debut album Takin' Off (Blue Note BST 84109).

The lineup on this track is: Freddie Hubbard (trumpet, flugelhorn), Dexter Gordon (tenor saxophone), Herbie Hancock (piano), Butch Warren (bass), Billy Higgins (drums)

But it was Mongo Santamaria who made the tune famous in 1963.


And Hancock radically reworked the tune on his 1973 Headhunters album.


Okavongo

Composed and arranged by Greg Hopkins




Okavongo is a beautiful piece written and arranged by the great Greg Hopkins, from his Greg Hopkins 16 Piece Jazz Orchestra 2001 album of the same title.

Greg Hopkins, Jeff Stout, George Zance, Don Gorder, Paul Fontaine, Scott Deogburn, John Daly (t, fh); Rick Stepton, Tony Lada, Tim Kelly, Jeff Galindo, Jerry Ash (tb); Mark Pinto, Bruce Nifong, Larry Monroe (as, f); Bill Pierce (ts, ss); John Griener (ts, ss, f); Mark Phaneuf, Tommy Ferrante (bar, bcl); James Williams, Tim Ray, Chris Neville (p); Bruce Gertz, Paul del Nero (b); Mick Goodrick (g); Joe Hunt (d)

Speaking of titles, it is mistitled in the IHBB book as "Okalvongo"—there's no "l" in the title, which, given the feel of the piece, is likely a reference to the river or region in Africa.

Cobb Webb

Composed and arranged by Greg Hopkins



Here's an Indian Hill Big Band performance of Greg HopkinsCobb Webb at Townsend Memorial Hall back on March 28, 2009. Cobb Webb is a drum feature that pays homage to jazz drumming legends Jimmy Cobb and Chick Webb. To learn more about Greg Hopkins, visit his Webb site (bada bing!)

And below is a video of a young Greg Hopkins when he was with the Buddy Rich band, playing Greg's arrangement of Here's That Rainy Day. Buddy gives him a hard time in the intro, but Greg takes it all in stride and plays beautifully.


Jive Samba

Composed by Cannonball Adderley, arranged by Alan Baylock


Here's the sample of the chart we play from the Marina Music Service's site.


Of course, arranger Alan Baylock is covering the more famous recording by the great Cannonball Adderley Quintet on Cannonball's 1962 album, Jazz Workshop Revisited (Riverside RLP 444). The tune has been covered many, many times, but this is the (ahem) "canonical" version.


And here's a really nice "live" variation at a much brisker tempo.



Nat Adderley (cornet), Cannonball Adderley (alto saxophone), Yusef Lateef (tenor saxophone, flute, oboe), Joe Zawinul (piano), Sam Jones (bass), Louis Hayes (drums)

And if you're a Cannonball fan, you should check out The Jazz Discography Project's Cannonball Adderley discography.

Told You So

Composed and arranged by Bill Holman



Fantastic 1976 Bill Holman composition and arrangement from the 1976 Count Basie album I Told You So.

Count Basie (p); Sonny Cohn, Pete Minger, Bobby Mitchell, John Thomas, Jack Feierman (tpt); Al Grey, Curtis Fuller, Bill Hughes, Mel Wanzo (tbn); Jimmy Forrest, Eric Dixson, Danny Turner, Bobby Plator, Charlie Fowlkes (sax); John Duke (b); Freddie Green (gtr); Butch Miles (d); Bill Holman (comp/arr)

In his JazzWax blog, Marc Myers has an excellent interview with Bill Holman on the making of this little-known album, the only one he arranged for the Count Basie band.

Incidentally, the name of the album is I Told You So but the name of the composition is Told You So—according to Holman, it was a compromise on a titling disagreement he had with producer Norman Granz. Granz got to name the album; Holman named the tune.

Monday, August 19, 2013

Blues For Kapp

Composed and arranged by Marty Paich



Composed and arranged by the great Marty Paich, our version of Blues For Kapp appears on Maynard Ferguson's 1961 album Maynard '61 (Roulette 52064). (This is a great album.) On later Maynard albums (Roulette 52075) it appeared as Coldwater Canyon Blues (its original title). Our copy of the score come from Sierra Music.

The lineup for this track is stellar: Maynard Ferguson (tp, tb, Fr h), Chet Ferretti, Rolf Ericson, Bill Berry (tp), Ray Winslow, Kenny Rupp (tb), Lanny Morgan (as, fl), Joe Farrell (ts, ss, fl), Willie Maiden (ts, fl), Frank Hittner (bari, b cl), Jaki Byard (p, celeste), Charlie Sanders (b), Rufus Jones (d)

Recorded NYC January 20, 1961

Who was "Kapp"? Maybe it was David Kapp of Kapp Records (or just the label itself), for whom Marty recorded Coldwater Canyon Blues back in October 1956.

Sunday, August 18, 2013

Semi-Mental Journey

Composed and arranged by Jim Martin 

Here's the sample of the chart we play from the publisher's site.


Lots of bands cover this chart, and there are lots of examples on YouTube. Here's a decent one:


Here's another great version, posted by the publisher (and composer). The volume's a little low, but it's a great take.

Gingerbread Boy

Composed by Jimmy Heath, arranged by Mike Tomaro

Here's the sample from the publisher (the one we play):


Written in a funky “second line” New Orleans groove, the familiar riff-like melody is traded between sections of the band. What's "second line" you ask?


Jimmy Heath's original Gingerbread Boy debuted on his 1964 album On The Trail.

http://youtu.be/-YN-T4X8_Qc

Of course, the version of Gingerbread Boy most jazzers first think of these days is that of Miles' second great quintet from his 1967 Miles Smiles:

http://youtu.be/Jbs_-BobfOs
Teo... Teo... Teo...

Quietude

Composed and arranged by Thad Jones



Quietude first appeared as a studio version on the Thad Jones/Mel Lewis Orchestra's 1969 album Central Park North (Solid State SS-18058). But this one was recorded two years earlier, live at the Villiage Vanguard  April 28, 1967, to eventually be included on later printings of 1967's Live at the Villiage Vanguard (Solid State SS-18016). The Roland Hanna solo on this earlier live version is really terrific.

Here's the 1967 Vanguard band: Thad Jones (cor), Snooky Young, Bill Berry, Jimmy Nottingham, Richard Williams, Marvin Stamm (tps), Bob Brookmeyer, Tom McIntosh, Garnett Brown (tbs), Cliff Heather (b tb), Jerome Richardson (ss, as, fl, cl), Jerry Dodgion (as, fl), Joe Farrell (ts, fl), Eddie Daniels (ts, cl), Pepper Adams (bari, cl), Roland Hanna (p), Sam Herman (g, shaker), Richard Davis (b), Mel Lewis (d)

From Bill Kirchner's 1994 liner notes to The Complete Solid State Recordings of the Thad Jones/Mel Lewis Orchestra Mosaic set:
The original arrangement of Quietude was done for the Glenn Miller Orchestra when it was led by Buddy DeFranco; Thad plays the part originally played by Buddy on clarinet. The theme is unusual in its construction: 14 bars long. 
This is another take that didn't make it onto the original album. Too bad, becaus it's an excellent one, with a lovely solo by Roland Hanna, who begins by quoting from a Chopin etude and builds from there. 
To this day, Quietude is a preferred first set opener on Monday nights at the Vanguard.

Country Boy

Composed by Herb Ellis, arranged by Bill Holman




(A) Country Boy is from Maynard Ferguson's 1963 Come Blow Your Horn album (Cameo SC-1066).

Probable personnel: Maynard Ferguson, Dusko Gojkovic, Rick Kiefer, Nat Pavone (tp), Don Doame, Kenny Rupp (tb), Lanny Morgan (as), Frank Vicari, Willie Maiden (ts), Ronnie Cuber (bs), Mike Abene (p), Linc Milliman (b), Rufus Jones (d)

The original album is kind of rare, but I found an image of the back cover. If you squint, you can see the soloists include Willie Maiden on tenor, and Maynard on valve trombone!


(For an interesting back story on Maynard's short stint on the Cameo label, check out Marc Meyers' Maynard Ferguson on Cameo.)

A Country Boy was penned by guitarist Herb Ellis, and I think first made its first appearance on the 1959 Herb Ellis Meets Jimmy Giuffre, which is also very much worth a listen:

Saturday, August 17, 2013

Big Dipper

Composed and arranged by Thad Jones




Thad Jones' Big Dipper originally appeared on the 1969 album Central Park North by the Thad Jones/Mel Lewis Jazz Orchestra, and is an IHBB staple. We often open with it.

On this recording: Thad Jones (flg), Snooky Young, Danny Moore, Jimmy Nottingham, Richard Williams (tps), Eddie Bert, Benny Powell, Jimmy Knepper (tbs), Cliff Heather (b tb), Jerome Richardson (ss, as, fl), Jerry Dodgion (as, cl), Joe Farrell (ts, cl), Eddie Daniels (ts, cl), Joe Temperley (bari, b cl), Roland Hanna (p), Barry Galbraith (g), Richard Davis (b, el b), Mel Lewis (d) A&R Studios, NYC, June 18, 1969

From Bill Kirchner's 1994 liner notes to The Complete Solid State Recordings of the Thad Jones/Mel Lewis Orchestra Mosaic set:
Big Dipper, another unused Basie chart from the genesis of the Jones/Lewis orchestra is an attractive swinger, a 16-bar blues. There's a brief, spare contribution from Roland Hanna, more plunger from Jimmy Nottingham and a mixture of melodic and intense elements from Eddie Daniels. The piece as a whole is simple and to the point, and considering whom it was written for, that's as it should be.
Incidentally, "Big Dipper" is a reference to the part the constellation played in the Underground Railroad to help escaping slaves navigate north.

Ol' Man River

Composed by Jerome Kern, arranged by Bill Holman



Our Ol' Man River chart is from the out-of-print 1960 Bill Holman's Great Big Band.

Check out the lineup; it's a who's-who of West Coast jazz: Al Porcino, Ray Triscari, Conte Candoli, Lee Katzman (tp), Frank Rosolino, Vern Friley, Lew McCreary (tb), Ken Shroyer (b tb), Joe Maini, Charlie Kennedy (as), Bill Holman (ts, arr), Richie Kamuca, Bill Perkins (ts), Jack Nimitz (bari), Jimmy Rowles (p), Joe Mondragon (b), Mel Lewis (d)

Capitol Studios, LA, July 1, 1960

Friday, August 16, 2013

Moten Swing

Composed by Bennie Moten and Buster Moten, arranged by Ernie Wilkins



Our Ernie Wilkins arrangement of Moten Swing is from Count Basie’s 1958 classic album Chairman of the Board.

The lineup is: Count Basie (p), Freddie Green (gt), Eddie Jones (b), Sonny Payne (dr), Snooky Young, Thad Jones, Wendell Cully, Joe Newman (tp), Al Grey, Henry Coker, Benny Powell (tb), Frank Foster, Billy Mitchell (ts), Marshal Royal (as,cl), Frank Wess (as,ts,fl), Charlie Fawlkes (bs,b-cl)

From Bob Bernotas’ liner notes:
Before "One O'clock Jump," the Count's original theme song was “Moten Swing”, first recorded in 1932 by Bennie Moten's Kansas City-based band with young Bill Basie on piano. In Ernie Wilkins' updated chart the leader handles the first chorus with typical economy and understatement, the band introduces the once heard, never forgotten theme, and Frank Wess on tenor and Joe Newman on muted trumpet split a chorus. The full ensemble returns with an infectious variation that builds into some brass-versus-saxes riffing, bringing the performance, and the disc, to a joyous close.
I compared this studio recording with a few other live Basie recordings of the tune (ca. 1959-62), and he always played the same (rocking left-hand?) piano intro (or some minor variation of it) you hear on this recording, not the simplified one notated in our copy of the arrangement. Otherwise, I think it matches our chart exactly as far as I can tell.

And the following "compare-and-contrast" jag is kind of interesting. Check out the ("original") Moten Swing recorded by Bennie Moten's band in 1932:


I was surprised at out how it got simplified over 27 year span, but how you can still hear some of those lines in the original (and incredibly hip) '32 arrangement.

And then there's the original "You're Driving Me Crazy" (Guy Lombardo, 1930) it was based on (what a leap!):




Second Line

Composed by Duke Ellington



Transcribed by David Berger as part of the Jazz at Lincoln Center Essentially Ellington series, Second Line is from Duke’s 1970 Grammy winner, New Oreans Suite

The lineup is: Cootie Williams, Al Rubin, Harold "Money" Johnson, Fred Stone (t); Booty Wood, Julian Priester, Malcolm Taylor (tb); Russell Procope (cl,as); Norris Turney (fl,cl,as,ts); Johnny Hodge s(as); Harold Ashby (ts,cl); Paul Gonsalves (ts); Harry Carney (cl,bcl,as,bar); Duke Ellington (p); Joe Benjamin (sb); Rufus Jones (d).

Royal Garden Blues

Composed by Clarence Williams and Spencer Williams, arranged by Billy Strayhorn



Transcribed by David Berger as part of the Jazz at Lincoln Center Essentially Ellington series, this Royal Garden Blues chart is from Duke's 1946 band (although the tune is almost as old as recorded jazz itself!)

Lineup on this recording: Shelton Hemphill, Taft Jordan, Cat Anderson, Francis Williams, Harold Baker (t); Ray Nance (t,vl,v); Lawrence Brown, Wilbur De Paris, Claude Jones (tb); Jimmy Hamilton (cl,ts); Russell Procope (cl,as); Johnny Hodges (as); Al Sears (ts); Harry Carney (cl,as,bar); Duke Ellington (p); Fred Guy (g); Oscar Pettiford (sb); Sonny Greer (d,ch); Marion Cox(v).

Also, check out the Jazz at Lincoln Center Orchestra rehearsing and recording the transcription we have.

Other famous versions of this tune:

Echoes of Harlem

Composed and arranged by Duke Ellington



Transcribed by David Berger as part of the Jazz at Lincoln Center Essentially Ellington series, Echoes Of Harlem (a.k.a. Cootie's Concerto) is from 1936 and was a showcase for the great Cootie Williams.

Lineup on this recording: Arthur Whetsel, Cootie Williams, Rex Stewart (t); Lawrence Brown, Joe Nanton, Juan Tizol (tb); Barney Bigard (cl,ts); Johnny Hodges (ss,as); Harry Carney (cl,as,bar); Duke Ellington (p); Fred Guy (g); Hayes Alvis (sb); Sonny Greer (d,ch).

Interestingly, Cootie redid it in 1945 with his own band, and so did Roy Eldridge in 1950--but our transcription is Duke's 1936 version! Also, check out Wynton's Jazz At Lincoln Center Orchestra rehearsing our very same arrangement.

Bonga (Empty Town Blues)

Composed and arranged by Duke Ellington



Transcribed by David Berger as part of the Jazz at Lincoln Center Essentially Ellington series, Bonga (Empty Town Blues) is from Duke’s 1963 Afro-Bossa album. (Check out that tempo!)

The lineup: Cootie Williams, Roy Burrowes, Cat Anderson (t); Ray Nance (t,vl,v); Lawrence Brown, Buster Cooper (tb); Chuck Connors (btb); Jimmy Hamilton (cl,ts); Russell Procope (cl,as); Johnny Hodges (as); Paul Gonsalves (ts); Harry Carney (cl,bcl,as,bar); Duke Ellington (p); Ernie Shepherd (sb); Sam Woodyard (d).

Blood Count

Composed and arranged by Billy Strayhorn



Transcribed by David Berger as part of the Jazz at Lincoln Center Essentially Ellington series, Strayhorn’s Blood Count (one of my favorites) is from 1967, and has a heavy backstory. Strayhorn was hospitalized in 1967 due to cancer and finished the composition while in the hospital. He died on 31 May and Blood Count was his last finished composition. I want to cry whenever I hear this one. It's such a Hodges classic, and includes some of the most emotional playing ever! It's on Ellington's tribute album to Strayhorn, And His Mother Called Him Bill (this should be in every jazzer's collection, IMHO).

Lineup on this recording: Cootie Williams, Cat Anderson, Herbie Jones, Mercer Ellington (t); Clark Terry (flh); Lawrence Brown, Buster Cooper (tb); Chuck Connors (btb); Jimmy Hamilton (cl,ts); Russell Procope (cl,as); Johnny Hodges (as); Paul Gonsalves (ts); Harry Carney (cl,bcl,as,bar); Duke Ellington (p); Aaron Bell (sb); Steve Little (d).

Also, Stan Getz is famous for his version of this tune (it became one of his signature pieces); so is Phil Woods for his version.