New Tony Bennett & Marion Evans Arrangements We continue to add to our Tony Bennett Series with another new one, Love for Sale. Marion Evans's swinging vocal duet arrangement was the title track of Bennett's 2021 Cole Porter songbook album. Also new is Evans's What Child is This?, a wonderful devotional arrangement showcasing Bennett's sublime vocals. From this team we previously released Sometimes I'm Happy, which serves as a perfect setting for Bennett's mellow tenor. We thank the Tony Bennett estate, Iconoclast, and Marion Evans for granting us permission to publish these works. Thanks also to Marion for the wonderful visits with him and his wife Terri who were spectacular hosts as they graciously shared Marion's library and many stories with us.
Quincy Jones's The Midnight Sun Will Never Set Originally recorded in 1959 featuring the great Phil Woods, The Midnight Sun Will Never Set has become one of Quincy Jones's most beloved compositions. This publication is based on the score for a later version written for the Pepe Lienhard Orchestra and is essentially a re-orchestration of the version recorded on Jones's 1961 album I Dig Dancers. Beginning with a cool, moody brass chorale, the arrangement is an alto sax feature from start to finish.
Frank Sinatra's My Kind of Town My Kind of Town was composed by Jimmy Van Heusen with lyrics by Sammy Cahn. The song was originally written for Robin and the 7 Hoods, a 1964 musical film starring several members of the Rat Pack. Frank Sinatra first recorded this song in 1964, conducted by Nelson Riddle. But, it is very likely that the arrangement was actually done by Billy May. This is the adaptation created by Quincy Jones that was used for the 1965 summer tour with the Count Basie Orchestra and at performances and recording at the Sands Hotel the following year.
April in Paris from Charlie Parker with Strings Though Charlie Parker received quite a bit of criticism during his lifetime for making his 'with Strings' recordings, they are now universally recognized as masterpieces. Parker's idea was to bridge the gap between jazz and classical music. Much of his inspiration originated in the 'modern' composers of the first half of the 20th century including Stravinsky, Bartok, Schoenberg, and Ravel. In 1949, Norman Granz arranged for Parker to record an album of ballads with a mixed group of jazz and chamber orchestra musicians. April in Paris is one of the highlights of these historic sessions.
Gerry Mulligan's Concert Jazz Band: You Took Advantage of Me In the big band world, there are few bands that have as distinct a musical identity as the Gerry Mulligan Concert Jazz Band. Bob Brookmeyer's 1960 arrangement of the Rodgers and Hart classic You Took Advantage of Me does indeed take advantage of the band's unique qualities, creating a light atmosphere that at times creates the illusion of a small combo. Mulligan establishes the melody by playing its first strain a capella, which frees up Brookmeyer to take some liberties with the tune's remainder. We have worked closely with Gerry's widow Franca for years to publish his music, and we again thank her for her kind collaboration.
Two More from the Dave Pell Octet The Dave Pell Octet was one of jazz's great small groups and we are pleased to present two more of their great charts.. First we have I've Got a Crush on You which Jim Emerson arranged for the Dave Pell Octet album Love Story in 1956. There are solo spots for trumpet, trombone, tenor saxophone, and guitar. Suze Bluze is a swinging blues composed & arranged by Marty Paich for the 1957 release A Pell of a Time. While originally listed as Suze Blues on the LP, the title is actually Suze Bluze. Dave revisited this arrangement for his 1988 live recording at Alfonse's in California. Dave was quite a character who we are very proud to have known; all of the charts of his that we publish were prepared using his original parts.
Another Fabulous Chart from the Terry Gibbs Dream Band Terry Gibbs is another of jazz's great characters. With boundless energy, he recalls stories from New York City's 52nd Street from the late 1940s as if they took place last week. Terry will be 100 years old in October of this year! We publish many of his great charts, and are very glad to present another, with Marty Paich arranging again, on Softly, As in a Morning Sunrise. Part of what makes this tune such a popular standard for jazz musicians is that it can be played in a wide variety of styles. This arrangement was written for the Dream Band in 1959, and falls into a more 'cool' approach for the most part. It's a chart that overall is not too difficult, but has a few moments of extended upper register blowing for the brass players.
Another Tour de Force from the Pen of Rob McConnell Rob McConnell is another great arranger we are privileged to publish the work of. We have published many of his highly challenging, original, and creative arrangements over the years, & we now add Crazy Rhythm to the list. It should come as no surprise that this take on Crazy Rhythm fully embraces the song title's implications. Featuring several surprise shifts in time signature & tempo, the chart will serve as a challenging but thrilling workout for both your trombone (as ensemble & soloists) & saxophone (as ensemble) sections. For this publication, extra optional parts for trumpet & trombone as substitutes for the two horn in F parts are included.
Some More New Music...
Two New Ones from John La Barbera From John La Barbera this month we have Melody in F as written for the Count Basie Orchestra. As John says, the story behind this arrangement may be more interesting than the chart itself! We encourage you to click here to read it. We also have Basie's Buddy 'B'. From John: "Buddy Rich's favorite bandleader was Count Basie. Buddy would cancel engagements of his own in order to fill in for an ailing or missing Basie drummer. They maintained a warm, mutual respect for each other from their first meeting and they remained close friends until their passing. They affectionately addressed each other as 'B,' hence the title of this chart. I've tried to combine elements of their big band styles here while leaving plenty of space for solos." New Music from Michele Fernández Our Walrus Music Publications imprint is proud to have recently published three of Michele's charts; please click here to view them. Michele Fernández is a published composer, active guest clinician, adjudicator, & performer. She recently retired from teaching in Miami after 30 years, where her Miami Senior HS ensembles earned top honors/gained international acclaim. She and her students were the subject of a documentary on CBS Sunday Morning, a cover story in Band Director’s Guide, and featured in an outstanding educator piece in DownBeat Magazine. Before focusing on writing/clinics, she served as an active oboist in the Miami area, as well as a rhythm section player in a busy Afro-Latin/Jazz group.
Special Note on Chuck Israels We have developed a very close relationship with Chuck, who is a true jazz Renaissance man, best known for his work with the Bill Evans Trio (1961-1966). Yet perhaps his real legacy lies in his contributions to jazz repertory. Chuck is now working on a project of new, fresh takes on classic public domain tunes. As he says: "A couple of years ago, my friend, arranger composer David Berger, suggested that we work together to publish a selection of the best songs we could find that had entered the public domain. As we selected the songs we thought deserved re-examination and explored their harmonic possibilities, we developed an increased appreciation of their qualities. The best of this material provides the foundation for the way we hear American music - its grammar, syntax, and vocabulary.This is a gold mine of music - music that defines a beautiful and durable part of American culture. I’ve gotten enormous value from finding personal solutions to the unique musical puzzle each song proposes. It’s just been deeply involving fun, and the DuBoff brothers at Jazz Lines Publications/ejazzlines.com have generously agreed to make this music available. Some songs you’ll recognize. Others may be unfamiliar, but each one has the indelible quality of good American music, and they’re treated creatively, colorfully, and with the respect they deserve." We now have new entries from Chuck just about every month.
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