things to come full score

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1 Presents Jazz Lines Publications things to come Arranged by gil uller edited by rob dubo and jerey sultano ull score jlp-8694 Music by John Birks Dizzy Gillespie and Walter Gil Fuller Copyright 1949 Music Sales Corporation This Arrangement Copyright 2011 Music Sales Corporation All Rights Reserved Used by Permission Logos, Graphics, and Layout Copyright 2011 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. The Jazz Lines Foundation Inc. PO Box 126 Saratoga Springs NY USA

2 dizzy gillespie series things to come (1946) 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 trumpet and comical on-stage persona provided an accessible veneer or a musical intellect o the highest order. His eorts as a trumpeter, composer, 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 trumpet. 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 sympathetic 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 compositions 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 example o how to properly adapt the harmonic and rhythmic innovations o bebop into a ormat that may otherwise have seemed inhospitable to the style.

3 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 nonexhaustive list o his protegees over the years include such heavyweights as trumpeters 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. 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: Things to Come is an update o the composition Bebop (a/k/a Dizzy s Fingers) that Gillespie recorded in The stock or this arrangement has been corrected based on parts rom the Gillespie band book. Sections that were cut have been restored. Dylan Canterbury and Jerey Sultano - May 2017

4 Here is the trumpet 1 part rom Dizzy s library.

5 jlp-8694 Score Alto Sax. 1 Alto Sax. 2 Tenor Sax. 1 Tenor Sax. 2 Baritone Sax. Trumpet 1 Trumpet 2 Trumpet Trumpet 4 Trombone 1 Trombone 2 Trombone Guitar ast swing = 00 Opt. 8va F> B b 7 things to come sz sz sz sz sz sz sz sz sz sz sz sz C7 sz sz sz sz sz sz sz sz sz sz sz sz C7 Jazz lines PubLications Music by John Birks 'Dizzy' Gillespie and Walter 'Gil' Fuller Arranged By Walter 'Gil' Fuller Prepared or Publication by Rob DuBo and Jerey Sultano C7 sz Piano Bass Drum Set F> B b 7 F> B b 7 Fill C7 C7 æ sz sz æ æ C7 C7 æ æ y C7 C7 æ Copyright 1947 (Renewed) by Music Sales Corporation (ASCAP) This Arrangement Copyright 2011 Music Sales Corporation (ASCAP) International Copyright Secured All Rights Reserved Reprinted by Permission Warning: Unauthorized reproduction o this publication is prohibited by Federal Law and is subject to criminal prosecution. Logos, Graphics, and Layout Copyright 2011 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. sz 11 12

6 Jazz lines PubLications things to come Score - Page 2 jlp-8694 A. Sx. 1 [1] A. Sx. 2 T. Sx. 1 T. Sx. 2 B. Sx. Tpt. 1 Tpt. 2 Tpt. Tpt. 4 Tbn. 1 m m Tbn. 2 m m Tbn. Gtr. m G>7 ( 5) C7 m G>7 ( 5) C7 C7 (b 9) F> m Pno. m G>7 ( 5) C7 G>7 ( 5) C7 C7 (b 9) F> Bs. G>7 ( 5) C7 G>7 ( 5) C7 C7 (b 9) F> D. S. m {P`la`y` `T`im`e`} y y y y y y y y (4) (8) (16) 1 m