tin tin deo full score

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1 Jazz Lines Publications Presents tin tin deo Arranged by gil uller prepared by dylan canterbury, rob dubo, jerey sultano ull score jlp-715 Music by Walter Gil Fuller and Luciano Pozo Gonzales opyright 1961 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc. International Copyright Secured. All Rights Reserved. Reprinted by Permission. Published by the Jazz Lines Foundation Inc., a not-or-proit jazz research organization dedicated to preserving and promoting America s musical heritage. Jazz Lines Publications PO Box 126 Saratoga Springs NY USA

2 dizzy gillespie series tin tin deo (1965) Background: I Charlie Parker is considered to be the heart o bebop, then John Birks Dizzy Gillespie must be considered its brain. His iconic bullrog cheeks, upward bent truet and comical on-stage persona provided an accessible veneer or a musical intellect o the highest order. His eorts as a trueter, cooser, bandleader and teacher resulted in some o jazz s most timelessly innovative moments during his 50-plus years in the public limelight. Born in the rural town o Cheraw, S.C. on October 21, 1917, Gillespie displayed an aptitude or music at an early age. Starting on piano at age our, Gillespie irst tried his hand at the trombone beore inally settling on truet. His musical education continued at the Laurinburg Institute beore eventually setting out on a musical career. Ater stints in such smaller outlets as the Frank Fairax, Edgar Hayes and Teddy Hill organizations, Gillespie s irst major exposure to the music world came during his time in the band o singer Cab Calloway. Heavily inluenced by swing era icon Roy Eldridge, Gillespie s solos already displayed an unusually advanced style both rhythmically and harmonically. This, coupled with his clownish personality, did not always sit well with Calloway, whose musical tastes were much more conservative. This conlict eventually came to an abrupt ore with a now-amous incident involving a spitball, leading to a physical conrontation that resulted in Gillespie s immediate iring. Gillespie s path as one o jazz s key innovators began to take shape during his time as a member o the band o crooner Billy Eckstine in the mid-1940s. It was here where Gillespie ormed his legendary musical union with saxophonist Charlie Parker. The two young musicians, perennially unsatisied with the state o jazz as it was, ound a syathetic situation with Eckstine, who was more than willing to allow or his young charges to experiment. These experiments led to the eventual recording o several modern day bebop anthems, including Gillespie s coositions Salt Peanuts and Groovin High, which remain requently played standards to this day. In addition to his inluence on the burgeoning bebop movement, Gillespie was also one o the irst musicians to actively incorporate elements o Aro-Cuban music into more traditional jazz sounds. Together with conguero Luciano Chano Pozo Gonzales and multi-instrumentalist Mario Bauza, Gillespie helped codiy what has now become one o the most typically emulated styles o jazz through his recordings such as Manteca and Tin Tin Deo. In the early 1950s, Parker s increasingly erratic liestyle would lead to he and Gillespie parting ways. This did not stop Gillespie rom continuing moving orward on his musical journey. Returning to his long time love o big bands, Gillespie s various orchestras over the years serve as a textbook exale o how to properly adapt the harmonic and rhythmic innovations o bebop into a ormat that may otherwise have seemed inhospitable to the style. Inluenced by his Baha i aith, Gillespie s sellessness in sharing the spotlight made him an ideal mentor igure or many young up-and-comers in the jazz world. A non-exhaustive list o his protegees over the years include such heavyweights as trueters Lee Morgan, Jon Faddis and Arturo Sandoval; saxophonists James Moody, John Coltrane, and Paquito D Rivera; pianists Wynton Kelly, Mike Longo and Kenny Barron; and drummers Kenny Clarke, Charli Persip and Ignacio Berroa.

3 Gillespie passed away rom pancreatic cancer on January 6, 199. His legacy continues on today through both the work o his musical amily and that o the Dizzy Gillespie Alumni All-Stars, who maintain the memory o their namesake through recordings and world tours. Jazz Lines Publications is extremely proud to be able to aid in this legacy by presenting deinitive versions o several o Gillespie s most well-known works. The Music: Although Tin Tin Deo is usually associated with trueter Dizzy Gillespie, it was actually co-coosed by Gillespie s original arranging partner Gil Fuller and conguero Luciano Chano Pozo Gonzales. This version, arranged by Fuller, was originally intended to eature Gillespie with the Monterey Jazz Festival Orchestra, but ended up being a eature or lautist James Moody on Fuller s 1965 album Night Flight. The arrangement starts o with a bombastic hal-time introduction beore the usual brighter Latin teo begins at bar 5. The lute enters with the melody at bar 11, with the saxophones and trombones providing some gently pulsing background ris. The bombast returns at bar 4, where the truets take over the melody and the rhythm section shits to a swing eel. A strong lead truet player is an absolute necessity or this portion o the arrangement. A brie interlude at bar 59 sets up the soloist, who is accoanied by the same background ris that accoanied the melody. It is iortant or the ensemble to appropriately adjust their volume level so as to not overwhelm the soloist. The melody is never re-stated, as the arrangement opts to end with a ade out with the soloist irovising over the ensemble s introductory ri. The original version o this arrangement was written or standard big band instrumentation with three French horn players. Included is an alternate 4th truet part as well as optional 5th truet and 4th trombone parts should you not have access to French horn players. Also included are two separate soloist parts: a truet part (to relect who the arrangement was originally written or) and a lute part (to relect how it ended up being recorded). We hope you enjoy playing this chart as much as we enjoyed preparing it or you! - Dylan Canterbury

4 Here Dizzy s part rom his library.

5 JlP-715 Score Solo Truet Alto Sax 1 Alto Sax 2 Tenor Sax 1 Tenor Sax 2 Baritone Sax Truet 1 Truet 2 Truet Truet 4 Horn in F 1 Horn in F 2 Horn in F Trombone 1 Trombone 2 Trombone Guitar Piano Bass Drum Set Slowly = 70 [1] 1 œ xœ œ œ œ œ œ œ œ œ œ œ œ Tin Tin deo recorded by James Moody with Gil Fuller F>6 F>6 F>6 2 sp sp sp sp sp sp sp sp sp sp œ x x x œ m m m m m m m m m œ xœ œ œ œ œ œ œ œ œ œ œ œ m Jazz lines PubLications By Walter 'Gil' Fuller and Luciano Pozo Gonzales Arranged by Gil Fuller Prepared or Publication by Dylan Canterbury, Rob DuBo, and Jerey Sultano Copyright 1961 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc. International Copyright Secured. All Rights Reserved. Reprinted by Permission. Logos, Graphics, and Layout Copyright 2016 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a Not-or-Proit Jazz Research Organization Dedicated to Preserving and Promoting America's Musical Heritage. 4 sp sp sp sp sp sp sp sp sp sp sp ~~~~~~ xœ x x œ œ œ œ œ

6 Jazz lines PubLications Tin Tin deo Score - Page 2 JlP-715 Solo Tpt. [5] Latin = 140 A. Sx. 1 A. Sx. 2 T. Sx. 1 m m T. Sx. 2 B. Sx. Hn. 1 m Hn. 2 Hn. Tbn. 1 Tbn. 2 Tbn. Gtr. Pno. Bs. m ~~~~~ m m m Dr. œ œ œœ œ œ œ œ œ œ x œ x (4) (6) 5 m

7 JlP-715 Solo Tpt. [11] Tin Tin deo Score - Page Jazz lines PubLications A. Sx. 1 A. Sx. 2 T. Sx. 1 T. Sx. 2 Hn. 1 Hn. 2 Hn. Tbn. 1 Tbn. 2 Tbn. Gtr. Pno. Bs. A b 7 A b 7 A b 7 D b < 7 C7(b 9) D b < 7 C7(b 9) D b < 7 C7(b 9) A b 7 A b 7 A b 7 G>7 ( 5) C7 (b 9) G>7 ( 5) C7 (b 9) G>7 ( 5) C7 (b 9) Dr. œ œ œ œ œ œ œ œ œ œ x œ x (4)