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Santa Claus Is Coming To Town by Michael Buble. Arranged by Cy Payne. For studio orchestra with vocal. Swing. Medium. Published by Jazz Lines Publications (JL.PH-4272). The Basie style 'relaxed groove' tempo is just perfect for this all time Christmas favorite. Cy Payne's transcription is in the recorded key and is scored for full big band, plus full strings or optional synth strings. Key: Bb Vocal range: Bb - F Trumpet range: Eb Trombone range: G.
$95.00

Genres: Classical, Christmas, Standards, Swing, Miscellaneous, Jazz & Blues
Caravan by Duke Ellington (1899-1974). Arranged by Defond. Marches militaires - military march. For Wind Band. Orchestral Music. Easy (grade 2). Published by Editions Robert Martin (RM.3679).
$88.95

Genres: Classical, Jazz & Blues, Standards, Swing
Sacred Concert - Partitur by Duke Ellington (1899-1974). Arranged by John Hoybye / Peder Pedersen. For SATB choir, soprano voice solo, 3 saxophones-4 trumpets-4 trombones-guitar-piano-drums-double bass. Score. Language: English. Published by Gehrmans Musikforlag (GH.WC1600246). ISBN M-66154-0175. With Language: English. For soprano-solo, mixed choir and big band.Arrangement by John Hoybye/Peder Pedersen."The most important thing I have ever done" (Ellington). No complete score by Ellington exists. In this version, choir and big band are treated as equals.
$85.66

Genres: Jazz & Blues, Standards, Swing
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.
$85.00

Genres: Jazz & Blues, Swing, Smooth Jazz, Jazz
Springsville by Miles Davis. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For jazz orchestra (solo trumpet/flugelhorn, alto saxophone, clarinet, 2 bass clarinets, 5 trumpets, 2 horns in F, 4 trombones, tuba, piano, bass, drums). Swing. Advanced. Score and parts. Published by Jazz Lines Publications (JL.JLP-8282). When George Avakian signed Miles Davis to Columbia Records, he wanted the artist to make an album with a big band. There were two arrangers whom he had in mind to write the music: Gunther Schuller and Gil Evans. Miles instantly chose Evans. Gil had for all intents and purposes been missing from the national music scene for several years, although in 1956 he wrote Jambangle for an album featuring Hal McKusick. The reunion of Davis and Evans on record was a major event, and the album Miles Ahead began a new chapter not only for both men, but for soloist and big band albums. The Music: Springsville was composed in 1956 by John Carisi, who'd written Israel for the Miles Davis Nonet in 1949. Carisi recorded Springsville for the RCA Jazz Workshop series, but the album was never released; it was also recorded that same year by Urbie Green for ABC-Paramount. Evans liked the tune well enough to make it the first track on "Miles Ahead," and it turns out to be the perfect opener for the album. Legend has it that Evans called Carisi years later and tell him how much he still loved the tune and the arrangement he'd made for Davis. There is no question that it is a classic. This version utilizes the original manuscript score from that session. Jazz Lines Publicaitons has restored the improvised piano solo that was changed to trumpet for the recording (this was originally to be played by Wynton Kelly). Notes to the Conductor: There is no way to get around the fact that Springsville is one of the most difficult pieces ever written for a jazz orchestra. Even though Carisi did not envision the tune played this fast, Evans' setting simply does not work at a slower tempo, and this will pose challenges even for the most experienced musicians.
$85.00

Genres: Classical, Jazz & Blues, Swing
Come Fly With Me arranged by Gregory W. Yasinitsky. For jazz choir and big band (SATB choir with rhythm section and optional big band). This edition: Trumpet range to D6. Medium Swing, Jazz. Level 3. Score and set of parts. Published by UNC Jazz Press (NC.1625). (Level 3) This arrangement is scored for vocal jazz ensemble (SATB) and big Band (8-10 brass), but is also performable by vocal jazz ensemble with only rhythm section accompaniment. This medium swinger was arranged especially for the 1993-94 Washington State University Vocal Jazz Ensemble and Jazz Big Band. The chart features strong ensemble tutti figures for the singers and contrapuntal writing for the bridge of the tune. There is a short ensemble statement for the band and the chart builds to a strong finish. An ideal opener.
$85.00

Genres: Swing, Jazz & Blues
Arabic Shepherds Praying by Joey Sellers. For jazz ensemble (trombone solo). This edition: Trumpet range to Gb6. Modal, Jazz, Swing, Up Tempo. Level 5. Score and set of parts. Published by UNC Jazz Press (NC.1663). (8 Brass) (Level 5) Advanced modal feature for trombone (or other) soloist. Independence of parts. Mature rhythm sections only. Commissioned by Nat Wickham and the University of Northern Colorado Jazz Ensemble I. Premiered at the 2000 IAJE Convention in New Orleans.
$85.00

Genres: Swing, Jazz & Blues
Straighten Up and Fly Right by Jed Scott. For jazz choir and jazz ensemble (SATB choir with 8 brass, 5 saxophones; 4/3/2/4/Violin I/Violin II/Viola/Cello). Swing, Jazz. Level 3. Score and set of parts. Published by UNC Jazz Press (NC.1861). SATB and Jazz Orchestra (8 Brass, 5 Saxes) (4/3/2/4/Vln I/Vln II/Vla/Vcl) This classic Nat King Cole song is given a straight-ahead approach with sweet four-part vocals that call to mind the great vocal groups of the swing era. The vocals are accessible, as are the band parts, providing a good opportunity for collaboration between younger ensembles. Male and female vocal solos as well as a scat solo.
$85.00

Genres: Swing, Jazz & Blues
In a Mellow Tone by Duke Ellington (1899-1974). Arranged by Darmon Meader. For jazz choir and big band (SATB or SSATBB choir with big band). This edition: Trumpet range to D6. Level 4. Set of 16 octavos with instrumental parts. Published by UNC Jazz Press (NC.VJ2033). (Level IV) This Darmon Meader arrangement of the Duke Ellington classic combines the Ellington Big Band, Basie Big Band and Lambert, Hendricks and Ross versions. The arrangement features vocalese sections for solo male and female, as well as intricate backgrounds for the ensemble. the song builds to a dynamic shout chorus based on the Frank Foster/CBO arrangement. SATB or SSATBB with big band.
$85.00

Genres: Jazz & Blues, Standards, Swing
Straighten Up & Fly Right by Jed Scott. For jazz choir and big band (SATB choir with big band and vocal solos). Swing. Level 3. Score and set of parts. Published by UNC Jazz Press (NC.VJ2268). This classic Nat "King" Cole song arranged for SATB and Big Band is given a straight-ahead approach with sweet four-part vocals that call to mind the great vocal groups of the swing era. The vocals are accessible, as are the band parts, providing a good opportunity for collaboration between younger ensembles. Male and female vocal solos as well as a scat solo. SATB with BB.
$85.00

Genres: Swing, Jazz & Blues
Indiana/Donna Lee by Rob Mcconnell and The Boss Brass. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by Rob McConnell. For big band (Reed 1: Alto Saxophone, Reed 2: Clarinet/Alto Saxophone, Reed 3: Tenor Saxophone/Clarinet, Reed 4: Tenor Saxophone, Reed 5: Baritone Saxophone, 5 Trumpets, 2 Horns in F, 4 Trombones, Guitar, Piano, Bass, Drums). Dixieland/Swing. Advanced. Published by Jazz Lines Publications (JL.JLP-7045). Well, here's another incredibly challenging arrangement from the pen of Rob McConnell! This chart begins in a small group setting playing the tune Indiana with a Dixieland feel. After half a chorus the rhythm section, trumpet and alto kick in playing Donna Lee over the top of it. The small group is to fade away, giving way to the bebop head. The arrangement continues on at a brisk tempo. Featured are solos for alto saxophone and trumpet. In typical McConnell fashion there are some great ensemble passages. Towards the end of the arrangement the ensemble is split with half playing the Dixieland feel Indiana superimposed over the Donna Lee melody! If your band is looking for a challenge or something to play at a festival, this is it! Ranges: Trumpet 1: to F6; Trombone 1: to C5.
$85.00

Genres: Swing, Jazz & Blues
Joe's Blues [Aka J.B. & Homestretch] by The Joe Henderson Big Band. Edited by Rob Duboff. Arranged by Joe Henderson. For big band (Solo Tenor Saxophone, 2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 5 Trumpets, 4 Trombones, Guitar (Optional), Piano, Bass, Drums). Swing. Advanced. Published by Jazz Lines Publications (JL.JLP-7076). In the mid 1960s Joe Henderson and Kenny Dorham formed a rehearsal big band as a vehicle for composition and arranging experimentation. While this band never recorded or performed live, they did get together often to read through new arrangements. Joe Henderson took several of his well-known tunes like Punjab, Shade of Jade, Isotope, and Homestretch (Later known as Joe's Blues) and a few standards such as Without a Song and Chelsea Bridge and created harmonically and rhythmically sophisticated arrangements that are deep even by today's big band writing standards. In 1992 Joe Henderson and Don Sickler put together an all-star band to record these arrangements that had been sitting around for many years. The idea was that the band would perform a concert of these arrangements at Lincoln Center and then later that week go into the studio to record. The concert was broadcast by NPR complete with interviews with Freddie Hubbard and Joe Henderson. A second recording session was held 4 years later where arrangements by Bob Belden, Slide Hampton and Michael Philip Mossman were recorded. In 1998 the Joe Henderson Big Band album won a Grammy Award for Best Large Jazz Ensemble Performance. All of these arrangements feature lengthy solos for a tenor saxophone soloist. Included are open solo sections so that any number of soloists may be featured. In addition, while there was no guitarist used during the recording sessions, we have included a guitar part as Joe had done in his arrangements. These arrangements will require significant time to work them up, but they would be a amazing for any competition or festival! This arrangement of Joe's Blues features solos for tenor saxophone, piano, and trumpet. We'd like to thank the Joe Henderson Big Band producer and conductor Don Sickler for his support of this project.   Ranges: Trumpet 1: G6; Trumpet 2: Eb6; Trombone 1: to C5.
$85.00

Genres: Blues, Swing, Jazz & Blues
Russian Patrol by Glenn Miller. Edited by Alan Glasscock. Arranged by Jerry Gray. For big band. Swing. Advanced. Published by Lush Life (JL.LL-1178). Russian Patrol, also known as the Red Cavalry March and Meadowlands, was arranged by Jerry Gray for the Glenn Miller Orchestra and later played under the title of Meadowlands by Tex Beneke's band. Miller himself probably never heard his band play this chart, but he would have been rightfully proud of the boys in the band. At over 8 minutes, Russian Patrol is a long chart, and is quite demanding both in terms of the playing stamina that is required and the musical precision necessary to carry it off. The brass ranges are high (lead trumpet to E6 and trombones 1-3 to Bb4) and all saxes are required to double clarinets (bari on bass clarinet). The solo spots are for trumpet 1, piano, tenor, clarinet (alto 1), trumpet 2 and drums. All of the solos are written out as-played.Ranges:Trumpets 1-4: E6, C#6, B5, G5Trombones 1-4:Bb4, Bb4, Bb4, E4.
$85.00

Genres: Russian, Swing, World, Jazz & Blues
In a sentimental mood by Duke Ellington (1899-1974). For concert band. Score and set of parts. Published by Tierolff Muziekcentrale (TF.220600-SET).
$82.95

Genres: Jazz & Blues, Standards, Swing
Just Friends by Davies, Klenner & Lewis. Arranged by Bill Holman. Jazz Ensemble / Jazz Band. The Bill Holman Big Band Series. From the JVC CD "The Bill Holman Band". Fast Swing. Grade 5-6. Score and set of parts. Published by Sierra Music (S1.SMP-155). This an absolutely amazing chart, demanding and exciting beyond belief! The chart is extensive in length and packed full of the great writing for which Bill is known. (on Demo CD 104).
$77.00

Genres: Swing, Jazz & Blues
Temptation by Charlie Parker With Big Band And Strings. Arranged by Joe Lipman. For big band with strings. Beguine/Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8042). Here is Joe Lipman's brilliant big band with strings arrangement that he did for Charlie Parker. This was recorded in 1952 and is presented here directly from the original manuscript. This is NOT a transcription. However, everything Parker played on this recording has been transcribed and presented here as-played, though we have also included (in a separate staff) what was originally written for him. So, this arrangement can certainly be played without the need to mimic Bird. This chart was scored for solo alto sax, 2 altos (both double flute and alto 1 doubles picolo), 2 tenors (both double clarinet), baritone sax (doubles English horn - written in F), 3 trumpets, 2 trombones, 4 violins, 2 violas, 2 celli, harp, guitar, piano, bass, and drums. The brass parts have been augmented to 4 trumpets and 4 trombones. In addition, a baritone sax part with a clarinet double has been included in the event that you don't have access to an English horn.
$75.00

Genres: Swing, Jazz & Blues
Nightowl Suite, Movement 2 (3 a.m. - Lonely City) by Mike Tomaro. For jazz ensemble. Standard jazz ensemble plus 5th Trumpet, all trumpets double on flugelhorn. Kendor Jazz Archive Series. Swing Ballad. Medium. Score and Set of Parts. Published by Kendor Music Inc (KN.52613). Commissioned by the Kentucky Music Educators' Association for its 2002 All-State Jazz Ensemble, this pensive swing ballad featuring solo tenor should be played with an unhurried 12/8 feel. Except for two full-ensemble climax points, the dynamic level is generally soft and subdued. Duration 5:05.
$75.00

Genres: Swing, Jazz & Blues
Bonehead by Lennie Niehaus. For jazz ensemble. Standard jazz ensemble. Kendor Jazz Archive Series. Swing. Advanced. Score and Set of Parts. Published by Kendor Music Inc (KN.52112). Fashioned after the playing of J.J. Johnson and Kai Winding, this moderate swing original casts the trombone section in a variety of starring roles -- solis, trading 'fours' with the rest of the band, and a short ad lib solo. Some sax soli work and a short trumpet solo give the 'bones a chance to rest their chops before the chart goes out strong. Duration 3:50.
$75.00

Instruments: Trombone, Brass
Genres: Swing, Jazz & Blues
Autumn In New York by Charlie Parker. Arranged by Joe Lipman. For big band with strings. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8016). Here is Joe Lipman's brilliant big band with strings arrangement that he did for Charlie Parker. This was recorded in 1952 and is presented here directly from the original manuscript. This is NOT a transcription. However, everything Parker played on this recording has been transcribed and presented here as-played, though we have also included (in a separate staff) what was originally written for him. So, this arrangement can certainly be played without the need to mimic Bird. This chart was scored for solo alto sax, 2 altos (both double flute), 2 tenors (both double clarinet and bass clarinet), baritone sax (doubles clarinet), 3 trumpets, 2 trombones, 4 violins, 2 violas, 2 celli, harp, guitar, piano, bass, and drums. The brass parts have been augmented to 4 trumpets and 4 trombones.
$75.00

Genres: Swing, Bebop, Jazz & Blues, Jazz
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.
$75.00

Genres: Jazz & Blues, Swing, Smooth Jazz, Jazz
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.
$75.00

Genres: Jazz & Blues, Swing, Smooth Jazz, Jazz
Blues For Pablo by Miles Davis with The Gil Evans Orchestra. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For jazz ensemble (jazz orchestra). Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8109). [From this edition's notes by Jeffrey Sultanof] Blues for Pablo was originally written for Hal McKusick for inclusion on his Jazz Workshop LP recorded in 1956 for RCA Victor Records (this album also included Jambangle, which was later re-orchestrated and expanded for Evans' Big Stuff LP for Prestige Records). Evans mixes an idea in minor that has two influences (a theme from de Falla's ballet El Sombrero de Tres Picos and a Mexican folk song) with a blues in major, and the effect is pure Gil Evans. His treatment of this piece for Davis' album is identical in form to the McKusick version, but is in a different key, and of course is set for a larger ensemble. Despite a large brass ensemble of five trumpets, four trombones (including a bass trombone) and tuba, he used four reeds, of which only one was a saxophone. The other reeds are flutes and bass clarinet. Please note that there is no piano part for this arrangement, and none should be added. This edition hues closely to what Evans originally wrote as we have used the original score as the basis; the only changes are corrections of wrong notes. Don't let anyone tell you that maestro Evans did not make mistakes in his manuscripts; he most certainly did. So an editor must look carefully to make sure that what is finally published is in fact what the composer wanted. This is made easier because Evans' voicings are based on instrumental doublings, so checking say, the bass clarinet and bass trombone against each other usually solves any note questions, as well as listening to the recording. Obviously, consultation of the original parts would be helpful to aid in this pursuit. However, the original parts are currently unavailable.
$75.00

Genres: Classical, Blues, Swing, Jazz & Blues
When Lights Are Low by Benny Carter. Edited by Jeffrey Sultanof. For big band. Jazz, Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8460). Background: In 1935, Carter left the United States to play and write in Europe, and his presence there had an immediate effect on European jazz and dance musicians. After staying in France for nine months, Carter accepted an invitation to arrange for the BBC Dance Orchestra under the direction of Henry Hall, and while he could not play with the orchestra because of British music union rules, he could play on a series of recordings contracted by the Vocalion (UK) label. The Music: On June 20, 1936, Carter and a quartet (which included Americans Gene Rodgers and Bernard Addison) made the first recording of 'When Lights Are Low' with a vocal by fellow expatriate, vocalist Elisabeth Welch (lyrics were written by Spencer Williams). The first recording of the song for big band was recorded in Holland by the Kai Ewans Orchestra, and the song became the band's theme. Carter took the vocal himself on this recording. 'When Lights Are Low' is Carter's most popular song, recorded many times over the years. Perhaps the most famous version was made by Miles Davis in 1953, who unfortunately used a different bridge than the one Carter wrote, and this 'bridge' has been recorded many times in error. The arrangement presented here was first performed by an all-star big band led by Carter for a concert at Princeton University on December 3, 1973. The parts reveal that Carter made quite a few changes over many performances of this setting; there are cross-outs, paste-overs and rewrites in pencil by several hands. This is the final version of Carter's arrangement. Notes to the Conductor: Benny Carter's arrangements are models of taste, economy and they warrant study by students and professionals alike. They are almost Mozartean with regard to voice-leading and clarity, with not one wasted note. Many have saxophone soli for which Carter was well-known. 'When Lights Are Low' is not difficult and can even be played by many Middle School bands. But like Mozart, this music does present challenges that can test a professional ensemble. The sax soli must sound like one person, and since the baritone saxophone doubles the first alto, both players should practice together to master the intonation challenges in the high register. Articulation should be followed exactly, and the piece should not be played too fast. Finally, please make the distinction between the swing eighth and the dotted eighth-sixteenth figures, but such figures should not sound overly exaggerated. There are no saxophone doubles.
$75.00

Genres: Swing, Jazz & Blues
Sleep by Benny Carter. Edited by Jeffrey Sultanof. Arranged by Benny Carter. For big band. Jazz, Swing. Advanced. Score and parts. Published by Jazz Lines Publications (JL.JLP-8463). Background: In 1940, Benny Carter was acknowledged by the music press to be one of the leading lights on the American big band scene. Several bandleaders had his music in their books, and Benny led his own big band, touring and making records. Unfortunately, Carters band never really caught on despite the fine music it played, partly because it did not have a hit record, but also because Carter himself was not a flashy soloist such as Harry James and Jimmy Dorsey (Carter played and soloed on alto saxophone and trumpet). That did not mean that he wasn't an excellent soloist; he most certainly was, but he was appreciated more by musicians than the public at large. The Music: Sleep (composed and published in 1923 by Earl Lebieg) was then known as the theme for Fred Waring and his Pennsylvanians; Waring began as a bandleader and eventually formed the top choral organization in the United States, with his own radio (and later television) show. Waring was almost totally responsible for the school choral movement beginning in the late forties. He continued to tour, record and give choral workshops until his death in 1984. Sleep was composed as a waltz, but in Carters hands, it becomes an ensemble tour-de-force. In our opinion, it is not only a masterpiece, but is one of the finest arrangements of a song in the history of the big bands. Carter transforms Sleep into a challenging and exciting presentation that really puts a band through its paces. 1972, Carter updated and slightly simplified the original arrangement for an all-star ensemble performance at the Newport Jazz Festival in New York. This became the official version of the arrangement, and Carter would play it with students and professionals all over the world. It is the only one authorized by the Carter estate. Notes to the Conductor: During the mid 1940s, Carters band performed this arrangement at such a blisteringly fast tempo that the band could just barely play the figures properly. Carters biographer and close friend Ed Berger asked him about these performances when he was preparing the two-volume bio-discography of Carter (Scarecrow Press). How did the tempo get so fast? Benny was surprised upon hearing airchecks many years after the fact, and gave the comment: Maybe it was the war. This setting makes an equally effective opener or closer or a terrific festival piece.
$75.00

Genres: Swing, Jazz & Blues