Trinkle-Tinkle by The Thelonious Monk Big Band. Edited by Jeffrey Sultanof. Arranged by Oliver Nelson. For Big Band. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8368). Background: Thelonious Monk had gone from a quirky pianist/composer to international star, in many ways thanks to a Columbia Records recording contract that began in 1962. Like fellow jazz artists on the label such as Dave Brubeck and Miles Davis, worldwide distribution of his recordings resulted in important engagements and tours all over the globe. By 1968 however, Columbia Records was changing its focus with regard to jazz and popular music. The home of Tony Bennett, Andy Williams and Johnny Mathis as well as Brubeck and Davis was now the home of Janis Joplin, Simon and Garfunkel, The Byrds and Paul Revere and the Raiders, so Bennett, Mathis and company were now encouraged to modernize. Miles Davis was going in that direction anyway, so he would have little problem at the label in the years to come. Mathis and Williams went pop/rock by choosing their songs carefully and were quite successful. Bennett refused to be something he wasn't, and finished out his contract with no support from the label (one of the albums he made during this period was one of his finest, arranged and conducted by Robert Farnon; it was barely released in the U.S.). Brubeck just left the label. Thelonious Monk was in an unusual position at that time. He'd completed a problematic but successful international tour with an all-star octet/nonet, which was inexcusably not recorded by Columbia (some recordings from this tour are available on unauthorized CDs). He wasn't composing much new material, and Columbia wanted him to record songs written by the Beatles. His days were clearly numbered, but Columbia ended his contract with a bang: he made an album of his songs with big band. If anyone was a good fit to arrange the music of Thelonious Monk, (besides Hall Overton, arranger for Monk's appearances at Town Hall and Philharmonic Hall), it was Oliver Nelson. By 1968, Nelson was a resident of Los Angeles after spending many years as part of the New York jazz scene. A saxophonist who had a very wide musical range, from rhythm and blues to hard bop and concert music for chamber groups and symphonic orchestra, he continued to write for singers, tour with his own small and large ensembles, and was now writing for television and motion pictures. He must have been delighted to work with Monk, but it was clear that this album was to be done quickly. Nelson's arrangements are very straightforward (theme, solos, out-chorus), written for four reeds, six brass, guitar, bass, drums, and Monk. The album was recorded in three three-hour sessions, two of which were done in one day. The album itself received little publicity, and did not last long in the catalog. Notes to the Conductor: As stated above, these arrangements are not complex and can be easily prepared for concerts and competitions. They can be opened up for any and all soloists, not just piano, trumpet and tenor sax. We have chosen to leave the instrumentation the way Nelson had it (4 reeds, 3 trumpets, 3 trombones, guitar, piano, bass, drums); no optional parts have been added. When Nelson arranged these pieces, there were no lead sheets, so Monk played them for the arranger, who took them down. Several years ago, publisher Don Sickler prepared a folio of Monk lead sheets published by Thelonious Music and distributed by Hal Leonard; I was one of the editors who worked with Don. All melodies in these big band settings conform to the authorized versions of the compositions as published in the Monk fakebook. This arrangement is based on Oliver Nelson's original autograph score - this is not a transcription. Jeffrey Sultanof -February 2010.

Robbins' Nest by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For Big Band. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8097). Background: Some of the most well-known arrangements of modern jazz from the mid-1940s (commonly called bebop, although most of the musicians playing the music disliked the term) were written for the Claude Thornhill Orchestra by its musical director, Gil Evans. Robbins Nest, while not strictly a bebop line, nevertheless remains popular with jazz musicians, and Evans setting of it is one more classic in post-war big band music. For many years, Evans music was at the top of pretty much any band directors wish list as music they wanted their students to play and study. We are delighted to make this music available in the best possible editions. The Music: Robbins Nest was written by tenor saxophonist Illinois Jacquet and pianist Sir Charles Thompson, and they recorded the piece in May of 1947. Lyrics were added by Bob Russell, and this version is known as Just When Were Falling In Love. The piece was subsequently recorded by many artists, including the orchestras of Claude Thornhill and Count Basie. Another version was waxed by the excellent Sam Donahue Orchestra, and this record was as close to a hit as Donahue had; Donahue was still playing it on the road with his orchestra ten years later. Robbins Nest was named after the radio program of the same name hosted by well-known media personality Fred Robbins (1919-1992) in New York City, heard on various stations over the years. Robbins was all over radio and television as a variety show and quiz show host, actor, and writer. In 1947, he was primarily known as a modern jazz DJ, and the newest records were heard on his program. Please note that this arrangement was recorded for Columbia Records and for radio transcriptions. The Columbia recording has a cut from bars 60-66 because of time; all transcriptions are complete and are easy to find on CD. Notes to the Conductor: If I were asked to name a piece where it seemed like the ensemble was going to explode but never does, I would immediately think of this arrangement. The Thornhill Orchestra was known as an ensemble that featured extreme contrasts in dynamics, from very soft to loud (Thornhill gave interviews about how he admired the Glenn Miller Orchestra for its dynamic control, and how he sought to imitate it). Although there are some sections of Robbins Nest that are moderately loud to very loud, the key to the success of this arrangement is softness; the ability to play very relaxed yet softly at the same time, which is seldom asked for in the music many big bands study and play today. This is the perfect piece to practice such an approach. Additionally, some of the voicings are highly dissonant and demand perfect intonation. Grinds of half-steps against each other (F# against G natural, Db against C, often in the same instruments) are an Evans trademark in all his music, from Thornhill to the classic Miles Davis albums Miles Ahead and Porgy and Bess (he even asks for quarter tones in the trombones in some settings), and musicians must get used to them, even though they may have encountered them previously in the music of Maria Schneider and Bob Brookmeyer. Here they are used in a popular music vein vs. composition. I have resisted the temptation to put excessive articulation in the parts, as Ive found that in doing so, it can tend to be exaggerated in performance. Evans music must be played many times so that musicians get every last nuance he put into it, and in doing so, you and the band will find your way toward a performance that everyone will be comfortable playing and hearing. Jeffrey Sultanof -February 2010.

Ready When You Are C.B. by The Duke Pearson Big Band. Edited by Jeffrey Sultanof. Arranged by Duke Pearson. For Big Band. Swing. Medium. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8162). Here is a relatively easy arrangement from the 'Introducing the Duke Pearson Big Band' record from 1967. This was arranged as a tribute to Count Basie and features piano throughout. This also features solos for bass trombone and baritone saxophone. The recorded version features just piano but when the band performed live they used an augmented version of the chart that featured trombone and baritone solos. Part of Duke Pearson's piano solo (that we feel is integral) has been transcribed and is presented here as-played. Ranges: Trumpet 1 to F6; Trombone 1 to B flat 4.

Make It Good by The Duke Pearson Big Band. Arranged by Duke Pearson. For Big Band. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8009). Here is another fantastic arrangement from Duke Pearson. The original manuscript has been used to produce this arrangement - this is NOT a transcription. 'Make It Good' was recorded in 1968 on the 'Now Hear This' record for Blue Note and featured a cast of incredible players including Frank Foster, Marvin Stamm, Garnett Brown, Jerry Dodgion, Pepper Adams, Bob Cranshaw, and of course, pianist/arranger/conductor Duke Pearson. This up-tempo swing chart is will certainly bring out the best of your players. On the recording there is a tenor solo followed by a baritone sax solo. In the original manuscript there is a tenor part written in where the recorded solo happens. So, we have decided to retain the original tenor part and move that solo to an open solo section (which is also indicated in the manuscript). This is a little bit of an odd form consisting of a 16-bar section followed by a 14-bar section, making a 30-bar form. At the end of the tune there is a improvised cadenza by both the tenor and baritone saxophones. As is the case for all the Duke Pearson pro-level charts, the ranges are quite high - trumpet 1 goes to a high F# and trombone 1 goes to a high C. But, in several places that C is indicated as optional. There are no doubles in this chart. And, we have included an optional guitar part as there wasn't one in the original manuscript.

Little Rootie Tootie by The Thelonious Monk Big Band. Edited by Jeffrey Sultanof. Arranged by Oliver Nelson. For Big Band. Swing. Medium Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8367). Background: Thelonious Monk had gone from a quirky pianist/composer to international star, in many ways thanks to a Columbia Records recording contract that began in 1962. Like fellow jazz artists on the label such as Dave Brubeck and Miles Davis, worldwide distribution of his recordings resulted in important engagements and tours all over the globe. By 1968 however, Columbia Records was changing its focus with regard to jazz and popular music. The home of Tony Bennett, Andy Williams and Johnny Mathis as well as Brubeck and Davis was now the home of Janis Joplin, Simon and Garfunkel, The Byrds and Paul Revere and the Raiders, so Bennett, Mathis and company were now encouraged to modernize. Miles Davis was going in that direction anyway, so he would have little problem at the label in the years to come. Mathis and Williams went pop/rock by choosing their songs carefully and were quite successful. Bennett refused to be something he wasn't, and finished out his contract with no support from the label (one of the albums he made during this period was one of his finest, arranged and conducted by Robert Farnon; it was barely released in the U.S.). Brubeck just left the label. Thelonious Monk was in an unusual position at that time. He'd completed a problematic but successful international tour with an all-star octet/nonet, which was inexcusably not recorded by Columbia (some recordings from this tour are available on unauthorized CDs). He wasn't composing much new material, and Columbia wanted him to record songs written by the Beatles. His days were clearly numbered, but Columbia ended his contract with a bang: he made an album of his songs with big band. If anyone was a good fit to arrange the music of Thelonious Monk, (besides Hall Overton, arranger for Monk's appearances at Town Hall and Philharmonic Hall), it was Oliver Nelson. By 1968, Nelson was a resident of Los Angeles after spending many years as part of the New York jazz scene. A saxophonist who had a very wide musical range, from rhythm and blues to hard bop and concert music for chamber groups and symphonic orchestra, he continued to write for singers, tour with his own small and large ensembles, and was now writing for television and motion pictures. He must have been delighted to work with Monk, but it was clear that this album was to be done quickly. Nelson's arrangements are very straightforward (theme, solos, out-chorus), written for four reeds, six brass, guitar, bass, drums, and Monk. The album was recorded in three three-hour sessions, two of which were done in one day. The album itself received little publicity, and did not last long in the catalog. Notes to the Conductor: As stated above, these arrangements are not complex and can be easily prepared for concerts and competitions. They can be opened up for any and all soloists, not just piano, trumpet and tenor sax. We have chosen to leave the instrumentation the way Nelson had it (4 reeds, 3 trumpets, 3 trombones, guitar, piano, bass, drums); no optional parts have been added. When Nelson arranged these pieces, there were no lead sheets, so Monk played them for the arranger, who took them down. Several years ago, publisher Don Sickler prepared a folio of Monk lead sheets published by Thelonious Music and distributed by Hal Leonard; I was one of the editors who worked with Don. All melodies in these big band settings conform to the authorized versions of the compositions as published in the Monk fakebook. This arrangement is based on Oliver Nelson's original autograph score - this is not a transcription. Jeffrey Sultanof -February 2010.

Let's Cool One by The Thelonious Monk Big Band. Edited by Jeffrey Sultanof. Arranged by Oliver Nelson. For Big Band. Swing. Medium Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8364). Background: Thelonious Monk had gone from a quirky pianist/composer to international star, in many ways thanks to a Columbia Records recording contract that began in 1962. Like fellow jazz artists on the label such as Dave Brubeck and Miles Davis, worldwide distribution of his recordings resulted in important engagements and tours all over the globe. By 1968 however, Columbia Records was changing its focus with regard to jazz and popular music. The home of Tony Bennett, Andy Williams and Johnny Mathis as well as Brubeck and Davis was now the home of Janis Joplin, Simon and Garfunkel, The Byrds and Paul Revere and the Raiders, so Bennett, Mathis and company were now encouraged to modernize. Miles Davis was going in that direction anyway, so he would have little problem at the label in the years to come. Mathis and Williams went pop/rock by choosing their songs carefully and were quite successful. Bennett refused to be something he wasn't, and finished out his contract with no support from the label (one of the albums he made during this period was one of his finest, arranged and conducted by Robert Farnon; it was barely released in the U.S.). Brubeck just left the label. Thelonious Monk was in an unusual position at that time. He'd completed a problematic but successful international tour with an all-star octet/nonet, which was inexcusably not recorded by Columbia (some recordings from this tour are available on unauthorized CDs). He wasn't composing much new material, and Columbia wanted him to record songs written by the Beatles. His days were clearly numbered, but Columbia ended his contract with a bang: he made an album of his songs with big band. If anyone was a good fit to arrange the music of Thelonious Monk, (besides Hall Overton, arranger for Monk's appearances at Town Hall and Philharmonic Hall), it was Oliver Nelson. By 1968, Nelson was a resident of Los Angeles after spending many years as part of the New York jazz scene. A saxophonist who had a very wide musical range, from rhythm and blues to hard bop and concert music for chamber groups and symphonic orchestra, he continued to write for singers, tour with his own small and large ensembles, and was now writing for television and motion pictures. He must have been delighted to work with Monk, but it was clear that this album was to be done quickly. Nelson's arrangements are very straightforward (theme, solos, out-chorus), written for four reeds, six brass, guitar, bass, drums, and Monk. The album was recorded in three three-hour sessions, two of which were done in one day. The album itself received little publicity, and did not last long in the catalog. Notes to the Conductor: As stated above, these arrangements are not complex and can be easily prepared for concerts and competitions. They can be opened up for any and all soloists, not just piano, trumpet and tenor sax. We have chosen to leave the instrumentation the way Nelson had it (4 reeds, 3 trumpets, 3 trombones, guitar, piano, bass, drums); no optional parts have been added. When Nelson arranged these pieces, there were no lead sheets, so Monk played them for the arranger, who took them down. Several years ago, publisher Don Sickler prepared a folio of Monk lead sheets published by Thelonious Music and distributed by Hal Leonard; I was one of the editors who worked with Don. All melodies in these big band settings conform to the authorized versions of the compositions as published in the Monk fakebook. This arrangement is based on Oliver Nelson's original autograph score - this is not a transcription. Jeffrey Sultanof -February 2010.

Jeru by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gerry Mulligan. For Big Band. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8418). Background: The period from 1948-9 was a time of experimenting and discovering for the young Gerald Mulligan. Encouraged by Gil Evans to move to New York, Mulligan not only became a mainstay at Evans 55th Street apartment, but acquired a mentor in Evans, who encouraged Mulligan by getting him work writing for the Claude Thornhill Orchestra. Mulligan was one of the group of musicians who developed and wrote for what would become the Miles Davis Nonet. Except for Venus De Milo, Mulligan not only arranged his own compositions for the small ensemble, but wrote versions of them for big bands led by Thornhill or fellow Philadelphian Elliot Lawrence. Thornhill clearly liked Mulligans music; his band was still playing it in the late 1950s.The Music: The original score for Jeru was unavailable for reference; in fact, the Mulligan estate obtained copies of the parts from a 'friend' who wanted to do Mulligan a favor (several Thornhill arrangements were loaned out for a concert and never returned; copies of these circulated underground for years). I wrote out a score from these parts that I donated to the estate. In preparing this edition, I consulted the original parts anew as if Id never prepared the earlier score. One of the key issues to be dealt with was Mulligans use of chord names. He had shared with me that he was not writing vertically during the period in question, but horizontally. When writing chord names for the rhythm instruments, he was not as clear about alterations to chords as he would be years later. Jeru is pure counterpoint, and Mulligans chord names are either simplified or substitutions that did not represent the harmony accurately. The chord names in this publication have been extensively reviewed and corrected. When Jerome Klinkowitz wrote about Jeru in his book Listen: Gerry Mulligan An Aural Narrative in Jazz (N.Y., Schirmer Books, 1991), he criticized the form of the arrangement based on Thornhills 1953 recording for Trend Records. What he did not know was that two cuts were made for time purposes: bars 103-4 (the first ending of Letter K), and then from 107-117. As a result, his conclusions are inaccurate. This reinforces yet again the importance of seeking out first-hand sources when writing about a composers music, in this case the original score and/or parts. Alternate parts have been added so that this arrangement may be played by a standard big band with 4 trumpets and 4 trombones. 4th trumpet and trombone parts are alternates for horns 1 and 2. However, we encourage you to play this arrangement as-written without those alternate parts.Notes to the Conductor: As stated above, Mulligan was writing by line and not thinking in chordal structures and chord names in 1948-9; he certainly was not boxed in by them. I suggest that you play or sing through each instrumental line, and then play them against the other pitches to observe the shapes of the lines, and then to see how they fit in with everything else. Like Evans music from the same period, there are numerous examples of subtle dissonances or grinds which go by so fast that the listener is hardly aware of them. Mulligan was particularly concerned with the proper tempos of his pieces. The big band version of Jeru was recorded in New York while he was on the west coast, but he never objected to it as he would other performances/recordings of his music. Please do not rush the piece; let it flow easily. Please note that on the recording, there is a conga playing in the rhythm section. A part for this instrument was never written by Mulligan, and it should not be added for authenticity.

Ground Hog by The Duke Pearson Big Band. Edited by Jeffrey Sultanof. Arranged by Duke Pearson. For Big Band. Swing. Medium Easy. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8160). Here is one of the great charts from the 'Introducing the Duke Pearson Big Band' record from 1967. This is a really laid back and relatively easy chart to play. We've expanded this chart to include an open solo section which was used when the band played this arrangement live. The open section was omitted due to the time constraints of the LP format. The arrangement is graded as medium level as trombone 1 gets to a B flat 4. Otherwise this is an easy arrangement. Ranges: Trumpet 1 to G5; Trombone 1 to B flat 4. About 2010 Midwest Clinic Performance Pieces This title was performed at the 2010 Midwest Clinic, the largest band and choral educational conference in the United States. Over thirty performances are given each year by diverse ensembles of varying levels - elementary school, high school, college, military and more. Each performance title is carefully selected and represents the very best in educational sheet music. The Midwest Clinic aims to raise the standards of music education while supporting teachers and music educators.

Flying Home by The Terry Gibbs Dream Band. Edited by Jeffrey Sultanof. Arranged by Med Flory. For Big Band. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8184). Here is Med Flory's great arrangement of the Benny Goodman/Lionel Hampton standard as recorded by the Terry Gibbs Dream band. This was written to feature vibraphonist Terry Gibbs but it also features a trumpet solo. We have also included vibraphone cues on the piano part so in the event that you don't have access to vibes this may be played as a piano feature instead.

Disapproachment by The Duke Pearson Big Band. Edited by Jeffrey Sultanof. Arranged by Frank Foster. For Big Band. Swing. Advanced. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8150). (From the forward by Jeffrey Sultanof) Frank Foster is still best known for his many years as saxophonist/arranger for Count Basie. By the early sixties, he began to be heavily influenced by John Coltrane, and Basie gave him less and less solo space. By 1964, he was a freelance musician and led his own big band in New York. He shared solo space with Lew Tabackin as a member of Duke Pearson's band, and brought some of his original music to add to Pearson's book. "Disapproachment" is in Rob McConnell's words, a 'blister,' a piece that burns from beginning to end, and since little of Foster's music from this era is currently available, is wonderful to have. The keys to a great performance are mastery of the musical figures at such a fast tempo, observation of the dynamic markings (not everything is loud) and a strong rhythm section that can keep the tempo steady. It is a great concert opener and can be opened up for more solos. Ranges: Trumpet 1: to E6; Trombone 1: Bb4.

Clair De Lune by Harry James. Edited by Jeffrey Sultanof. Arranged by Jack Matthias. For Big Band. Swing. Medium. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8760). When Harry James decided to follow the lead of fellow bandleader Artie Shaw and add a string section, he had to build a book quickly. Besides originals, new pop songs and older songs (one of which, You Made Me Love You, would make his ensemble one of the most popular in the country), his book included arrangements of classical or concert music, three of which were piano pieces that James particularly liked: Arabesque, Golliwogs Cakewalk, and Clair de Lune.The Music: Debussy wrote Clair de Lune as early as 1890, but was published in 1905 as part of Suite Bergamasque. It is possible that the piece was slightly revised by Debussy between its original composition and publication. By 1941, it had become quite a popular piece among piano students and soloists, and James felt it would be recognizable enough to be added to the dance book. The late James Maher often reminded me that big bands during this era played all styles of music for dancing. Even bands led by Fletcher Henderson and Benny Goodman played tangos and waltzes if they were requested; Sy Oliver told me that there were waltzes in the Jimmie Lunceford book, one of the hottest swing bands of the era. So a waltz was hardly a novelty for a big band, particularly one with a string section. It appears that chief arranger Jack Matthias arranged this title, along with Debussy's Arabesque. The original score of Clair de Lune exists, and was used to prepare this edition; unfortunately, there is no name on the score, and no extant parts. The score is filled with note errors, suggesting that the arrangement was prepared in a hurry; perhaps it was one of the first batch of scores created when the string section was added to the James band. Notes to the Conductor: This score was never recorded and there are no airchecks available, so the editor must make a number of decisions so that it can be played. The obvious first step is to find any wrong notes and correct them. The second is to determine the tempo, which is missing; it is not unusual for tempo markings to be missing on music for big bands from any era (Ive examined far too many scores where the tempo must be guessed at, using available information and many years of experience studying and directing this music). Because any score written for a big band was fair game to be recorded (and Arabesque was, but not released until many years later), Ive determined the tempo to be quarter note between 132-148 bpm. There is little more than a verbal sketch for the drum part, so I suggest that the part be played by brushes as subtly as possible (this is hardly a Viennese-style waltz). Dynamics and articulation have been added to all parts (elements all-too-often missing, as such information was communicated during rehearsal). Doubles: The reed section features 3 clarinets and 1 bass clarinet throughout.

Brilliant Corners by The Thelonious Monk Big Band. Edited by Jeffrey Sultanof. Arranged by Oliver Nelson. For Big Band. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8363). Background: Thelonious Monk had gone from a quirky pianist/composer to international star, in many ways thanks to a Columbia Records recording contract that began in 1962. Like fellow jazz artists on the label such as Dave Brubeck and Miles Davis, worldwide distribution of his recordings resulted in important engagements and tours all over the globe. By 1968 however, Columbia Records was changing its focus with regard to jazz and popular music. The home of Tony Bennett, Andy Williams and Johnny Mathis as well as Brubeck and Davis was now the home of Janis Joplin, Simon and Garfunkel, The Byrds and Paul Revere and the Raiders, so Bennett, Mathis and company were now encouraged to modernize. Miles Davis was going in that direction anyway, so he would have little problem at the label in the years to come. Mathis and Williams went pop/rock by choosing their songs carefully and were quite successful. Bennett refused to be something he wasn't, and finished out his contract with no support from the label (one of the albums he made during this period was one of his finest, arranged and conducted by Robert Farnon; it was barely released in the U.S.). Brubeck just left the label. Thelonious Monk was in an unusual position at that time. He'd completed a problematic but successful international tour with an all-star octet/nonet, which was inexcusably not recorded by Columbia (some recordings from this tour are available on unauthorized CDs). He wasn't composing much new material, and Columbia wanted him to record songs written by the Beatles. His days were clearly numbered, but Columbia ended his contract with a bang: he made an album of his songs with big band. If anyone was a good fit to arrange the music of Thelonious Monk, (besides Hall Overton, arranger for Monk's appearances at Town Hall and Philharmonic Hall), it was Oliver Nelson. By 1968, Nelson was a resident of Los Angeles after spending many years as part of the New York jazz scene. A saxophonist who had a very wide musical range, from rhythm and blues to hard bop and concert music for chamber groups and symphonic orchestra, he continued to write for singers, tour with his own small and large ensembles, and was now writing for television and motion pictures. He must have been delighted to work with Monk, but it was clear that this album was to be done quickly. Nelson's arrangements are very straightforward (theme, solos, out-chorus), written for four reeds, six brass, guitar, bass, drums, and Monk. The album was recorded in three three-hour sessions, two of which were done in one day. The album itself received little publicity, and did not last long in the catalog. Notes to the Conductor: As stated above, these arrangements are not complex and can be easily prepared for concerts and competitions. They can be opened up for any and all soloists, not just piano, trumpet and tenor sax. We have chosen to leave the instrumentation the way Nelson had it (4 reeds, 3 trumpets, 3 trombones, guitar, piano, bass, drums); no optional parts have been added. When Nelson arranged these pieces, there were no lead sheets, so Monk played them for the arranger, who took them down. Several years ago, publisher Don Sickler prepared a folio of Monk lead sheets published by Thelonious Music and distributed by Hal Leonard; I was one of the editors who worked with Don. All melodies in these big band settings conform to the authorized versions of the compositions as published in the Monk fakebook. This arrangement is based on Oliver Nelson's original autograph score - this is not a transcription. Jeffrey Sultanof -February 2010.

Arab Dance by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For Big Band. Swing. Advanced. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8095). Arab Dance' was copyrighted in 1941. It is credited to both Thornhill and Evans, although the manuscript is clearly in Evans hand. The melody comes from a section of Tchaikovsky's 'Nutcracker' ballet, and was long in the public domain when the setting was written. There are minor differences between this arrangement and the arrangement recorded in 1946, particularly the brass figures from bar 211. It was decided to present the arrangement exactly as written in 1941 or 1942, as it is one of the few examples of Evans from this early period. Also please note that due to time constraints, bars 19-43 were cut for the recording. The Thornhill ensemble was based on the premise of a rich ensemble sound backing the warm piano stylings of the leader, although the band played a swing number impressively as well (Evans 'Busters Last Stand' is a good idea of how this band could swing out). Thornhill was a great stickler for precision, intonation and a wide variety of dynamic levels. The bands very soft passages could scare audiences to death, particularly when they built to loud but smooth fortissimos. Even though this arrangement is a pure swing from beginning to end, these same values must be kept in mind to fully realize the challenges of this setting of a re-composition of a classical piece. Except when playing classic big band music from this era, many saxophonists does not get much opportunity to work on their clarinet chops in an ensemble setting. Where once the big band musician mastered both the clarinet and sax, today a saxophonists time is more often spent playing the flute. The Thornhill book needs strong clarinet players to make the music sound properly, so a sectional rehearsal or two is recommended not only to get the clarinets to phrase together and play in tune, but to also get a smooth blend once the ensemble changes to clarinets and saxes (particularly when clarinet 2 switches to soprano sax, one of the rare instances of this saxophone used in an ensemble during this period). The soprano sax part, this can certainly be covered by the clarinet (and in fact, it sounds like the part was played that way on the 1946 recording). This has been published directly from the original manuscript, edited by Jeffrey Sultanof. This master edition comes with complete background and performance notes. This concert arrangement is scored for 7 reeds, 3 trumpets, 2 French horns, 2 trombones, guitar, piano, bass, and drums. See below for complete instrumentation including information on reed doubling. The two French horns have been scored into trumpet 4 and trombone 3 parts, so this piece may be played without them. Approximately 4:30 in length.

Anthropology by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For Big Band. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8123). Background: Before World War II, the Claude Thornhill Orchestra's popularity was as a 'sweet' band. With the integrated sound of clarinets, saxes, trumpets, French horns, trombones and rhythm section playing under the leader's virtuosic piano solos, and the arrangements of the leader, Gil Evans and some others, the band made some beautiful recordings and was fairly successful. After a short stint in the Navy, Thornhill laid low for awhile until he put his band back together in 1946. This ensemble would become legendary as composer/arranger Gil Evans' personal workshop, as Thornhill virtually gave the band to him to do as he pleased. While Evans understood that this was still an ensemble that played popular music (and Evans certainly wrote his share of dreamy, lovely ballads and medleys), he not only gave writing opportunities to Gerry Mulligan (whom Evans mentored after the saxophonist/arranger left Gene Krupa) and George Russell (who was starting to formulate what would be his Lydian Chromatic Concept), but Evans explored the new world of modern jazz called 'bebop.' The results were the legendary trilogy of settings for Anthropology, Donna Lee, and Yardbird Suite. Most of the Thornhill musicians had little experience playing the new music, so Evans taught it to them. Thornhill was not pleased by these pieces and they were not played when he was on the stand, although he recorded the first two titles a few times. Thornhill and Evans parted musical company in early 1948, and later that year, Mulligan, Russell, Johnny Mandel, John Carisi and John Lewis joined with Gil to create a smaller ensemble that would sound like the Thornhill band. Thus was born the Miles Davis Nonet. The Music: Anthropology was written by Charlie Parker and Dizzy Gillespie. Evans arranged the line in 1947, and it was recorded for Columbia Records and for radio transcriptions. The instrumentation calls for 5 saxophones doubling clarinet, 3 trumpets, 2 trombones, 2 French horns, tuba, guitar, piano, bass, and drums. For this publication, the French horn and tuba parts alternately may be played by a 4th trumpet and trombones 3 and 4 as follows: French horn 1 = Trumpet 4; French horn 2 = Trombone 3; Tuba = Trombone 4 Conductors are strongly urged not to double these parts; if you have both French horns and Tuba, do not use the trumpet and trombone parts. As with Yardbird Suite, Evans notated swing rhythms as dotted-eighth & sixteenth, not two eighths. This figure has been changed in this publication to two eighths for ease of reading. Bars 129 to 141 were later extracted and re-orchestrated for what was probably an experiment by Evans to test out different ways of scoring these bars for the Miles Davis Nonet. Though the parts have the name Anthropology written at the top, the piece is not quoted directly. These bars were later used as a theme for the two extant broadcasts of the Nonet from the Royal Roost. Notes to the Conductor: The first time I heard this treatment of the Parker/Gillespie line, I laughed because Evans used one of the trademark colors of the Thornhill ensemble (clarinets, alto saxes and cup-muted trumpets) and applied it for a modern jazz theme. This would have been the last group of instruments that most arrangers would use on such a theme, but as Miles Davis said, "That's Gil for you." This arrangement simply doesn't work when played slower than quarter note = 200, so the altos, clarinets and trumpets not only have to practice their parts to play the music smoothly, but should practice together to get the best blend possible. As you know, unisons are often problematic when instrumental color and wide melodic contours are present, and are additionally challenging given that the clarinets are in the key of A, and the alto saxes in E! From bar 105 through bar 141, the ensemble has a huge challenge: to play the figures together without dragging and to maintain accurate intonation in the concert key of G Major. Sectional rehearsals with this section played VERY slowly at first are a must. If you have any interest in performing music from any of the Davis/Evans settings for Columbia Records, this is an example of the many minefields that are present (think of Springsville from Miles Ahead). Also observe the subtle use of dynamics as indicated by Evans. As I have experienced with my students ensembles, mastery of this difficult music is cause for celebration, and the more you play it, the more relaxed it will sound. -Jeffrey Sultanof (Editor).

Stand Up and Swing by John O'reilly. Concert Band. Concert Band; Score. Accent on Achievement. Light Concert; Swing. Grade 1.5. 8 pages. Published by Alfred Music Publishing (AP.33814S). Stand up and Swing gives young band students a chance to experience a popular style of music that’s really fun to play. Each section of the band takes turns standing up and playing a "solo" while the rest of the ensemble "backs them up" with some "tasty licks" set in a "cool" minor tonality. This "chart" will make even the most inexperienced bands sound mature beyond their years. (Correlates to Accent on Achievement, Book 2, Page 29). About 2010 Midwest Clinic Performance Pieces This title was performed at the 2010 Midwest Clinic, the largest band and choral educational conference in the United States. Over thirty performances are given each year by diverse ensembles of varying levels - elementary school, high school, college, military and more. Each performance title is carefully selected and represents the very best in educational sheet music. The Midwest Clinic aims to raise the standards of music education while supporting teachers and music educators.

Indiana (Back Home Again In) by Macdonald, Hanley. Arranged by Jerry Nowak. For jazz ensemble. Standard jazz ensemble. Jazz Journey Series. Moderate Swing. Medium. Score and set of parts. Duration 3:50. Published by Kendor Music Inc (KN.61340). Commissioned by the Jazz Celebration Big Band from Newtown Square (PA), this moderate swing adaptation for advancing groups has been expertly arranged by Jerry Nowak. A phrasing analysis that isolates effective note groupings and concepts that will inspire a more convincing performance is included. The solo sections feature sax, trombone and drums. Audiences will love this immediately recognizable tune. A guitar chord chart by Jim Greeson is included in each set. Duration 3:50.

Hey Benny by Mike Dana. For jazz ensemble (Kendor Konvertible for 9-17 players) with optional flute, clarinet, F horn, tuba & vibes. Standard jazz ensemble (Kendor Konvertible for 9-17 players) with optional flute, clarinet, F horn, tuba & vibes. Jazz Gateway Series. Medium - Up Swing. Easy. Score and set of parts. Duration 4 minutes, 45 seconds. Published by Kendor Music Inc (KN.60285). Here is a fun medium-up swing chart for developing groups that pays homage to the great Benny Golson. Features include reasonable range requirements, notated rhythm section parts, and an easy, but very hip, solo section. This will garner a great response from your audience as an opener or closer. Suggested solos are provided, but the composer urges novice jazz players to improvise over the easy-to-navigate chord progression. Each set also includes a guitar chord chart by Jim Greeson. Duration 4:45.

Another Look At The Diminished Chord by Bill Liston. For jazz ensemble. Standard jazz ensemble. Jazz Journey Series. Swing. Medium. Score and set of parts. Duration 5 minutes, 10 seconds. Published by Kendor Music Inc (KN.61029). Commissioned by John Rush and the Los Alamitos Jazz Band #1, this original for advancing groups is exactly what you need to open your next concert or festival performance. Several musical generations work together as the chart combines elements of 1930's swing with a fresh harmonic approach. Ranges and technical requirements are reasonable, and tenor sax and trumpet are featured soloists. A guitar chord chart by Jim Greeson is included in each set. Duration 5:10.

Blues Mode by Rich Sigler. Jazz Ensemble. Jazz Ensemble; Score; SmartMusic. Young Jazz Ensemble. Blues; Jazz; Swing. Grade 2. 16 pages. Published by Alfred Music Publishing (AP.33344S). This medium swing chart from a very creative writer approaches the blues with a 24-bar blues form that really makes it easy to hear and feel the blues chord progression. Features include written solos for tenor sax and trombone, backgrounds behind the soloists, a clever interlude section, and the lead trumpet part range to written F top line. A traditional yet hip-sounding swing chart!

Blues Mode by Rich Sigler. Jazz Ensemble. Jazz Ensemble; Part(s); Score; SmartMusic. Young Jazz Ensemble. Blues; Jazz; Swing. Grade 2. 73 pages. Published by Alfred Music Publishing (AP.33344). This medium swing chart from a very creative writer approaches the blues with a 24-bar blues form that really makes it easy to hear and feel the blues chord progression. Features include written solos for tenor sax and trombone, backgrounds behind the soloists, a clever interlude section, and the lead trumpet part range to written F top line. A traditional yet hip-sounding swing chart! This title is available through SmartMusic.

Mood Indigo by Duke Ellington. For easy piano. Jazz; Standards. 3 pages. Published by Hal Leonard - Digital Sheet Music (HX.144242). About Digital Print Sheet Music Digital Print is printable sheet music available anytime, anywhere. Just purchase, print and play! View your online sheet music at home, school, work or anywhere you have a computer connected to the Internet. With Digital Print, you can print your digital sheet music immediately after purchase, or wait until its convenient. And our software installation is easy - we'll guide you through the simple steps to make sure you have Adobe Flash Player, Adobe AIR and the Sheet Music Plus AIR application. Learn more

It Don't Mean A Thing (If It Ain't Got That Swing) by Duke Ellington. For easy piano. Jazz; Standards. 3 pages. Published by Hal Leonard - Digital Sheet Music (HX.143774). About Digital Print Sheet Music Digital Print is printable sheet music available anytime, anywhere. Just purchase, print and play! View your online sheet music at home, school, work or anywhere you have a computer connected to the Internet. With Digital Print, you can print your digital sheet music immediately after purchase, or wait until its convenient. And our software installation is easy - we'll guide you through the simple steps to make sure you have Adobe Flash Player, Adobe AIR and the Sheet Music Plus AIR application. Learn more

Cotton Tail - Conductor Score (Full Score) by Duke Ellington (1899-1974). Arranged by Mark Taylor. Jazz band. Jazz. Full score. 10 pages. Published by Hal Leonard - Digital Sheet Music (HX.141057). About Digital Print Sheet Music Digital Print is printable sheet music available anytime, anywhere. Just purchase, print and play! View your online sheet music at home, school, work or anywhere you have a computer connected to the Internet. With Digital Print, you can print your digital sheet music immediately after purchase, or wait until its convenient. And our software installation is easy - we'll guide you through the simple steps to make sure you have Adobe Flash Player, Adobe AIR and the Sheet Music Plus AIR application. Learn more

Cotton Tail - Bass by Duke Ellington (1899-1974). Arranged by Mark Taylor. Jazz band. For Bass. Jazz. Individual instrument part. 3 pages. Published by Hal Leonard - Digital Sheet Music (HX.141037). This item is the replacement part to the jazz band set. It is not recommended to purchase this as a solo piece. About Digital Print Sheet Music Digital Print is printable sheet music available anytime, anywhere. Just purchase, print and play! View your online sheet music at home, school, work or anywhere you have a computer connected to the Internet. With Digital Print, you can print your digital sheet music immediately after purchase, or wait until its convenient. And our software installation is easy - we'll guide you through the simple steps to make sure you have Adobe Flash Player, Adobe AIR and the Sheet Music Plus AIR application. Learn more