about time written for harry james full score

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1 Presents Jazz Lines Publications written or harry james Arranged by thad jones reared or ublication by jerey sultano and rob dubo ull score jl-8743 Music by Thad Jones Coyright 2014 Little Pumkin Music International Coyright Secured All Rights Reserved Used by Permission c/o Publishers Licensing Cororation 48 S Park St Unit 615 Montclair, NJ Logos, Grahics, and Layout Coyright 2014 The Jazz Lines Foundation Inc. This Arrangement Has Been Published with the Authorization o the Estates o Harry James and Thad Jones. Published by the Jazz Lines Foundation Inc., a not-or-roit jazz research organization dedicated to reserving and romoting America s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Srings NY USA

2 thad jones big band series (1963) Background: Thad Jones was born in Pontiac, Michigan on March 28, 1923, into a amily that must be considered along with the Marsalises to be among America s greatest jazz clans. His older brother and ianist Hank lived to be 91 and layed in his beloved lyrical style through every era and in every style; swing and big band and bo, backing vocalists and laying solo. Thad s younger brother Elvin was one o the most virtuosic and inluential drummers in jazz history, also enjoying a long career shining in many dierent genres o jazz. Thad was sel-taught, and clearly ossessed genes and natural abilities that ran dee in this incredible musical amily. Ater sending time in the military and honing his ormidable trumet skills while laying in bands centered in the Midwest, Thad joined the Count Basie Orchestra in 1954, becoming a eatured soloist on some o the band s greatest tunes and soon becoming an arranger or the grou as well, writing about two dozen arrangements in his near-decade with Basie. In 1963 Thad let the Basie Orchestra to become an indeendent studio musician and arranger in the thriving New York City jazz world. He and drummer Mel Lewis soon hit uon the idea o starting a working big band that would be a vehicle or some o NYC s best and busiest musicians to jam and work on ideas and comositions, and this eventually became the Thad Jones/Mel Lewis Orchestra. Ater laying at various clubs, in 1966 they aroached Max Gordon, owner o the amed Village Vanguard, and began a regular gig there which amazingly continues to this day, as the Vanguard Jazz Orchestra, currently under the leadershi o trombonist John Mosca. Thad took a teaching osition at William Paterson University in New Jersey in 1972, where he conducted the student big band and taught arranging and other classes. This was a ioneering move, as he became one o the irst musicians at his level to embark on a career as a ull-time roessor, and continued until he decided to move to Euroe. Thad sent most o the late 1970s and the irst hal o the 1980s in Denmark, where many American jazz musicians had taken u residence. While there, he took over the Danish Radio Big Band and turned it into one o the world s best ensembles. He also comosed, arranged, taught, and continued to study during this eriod. He moved back to the U.S. in 1985 to take over the leadershi o his late mentor Count Basie s band. Unortunately, he soon became ill and had to ste down, and moved back to Euroe where he was hositalized or months. He assed away at the age o 63 in August 1986, leaving the world without one o the very best creators and interreters o the jazz idiom. Harry James, one o the leading trumeters o the Swing Era, was a huge an o the sound and style o the 1950s Count Basie Orchestra. James hired several o Basie s arrangers to write arrangements or him in the early 1960s, including Neal Heti, Ernie Wilkins, and Thad Jones. Many o Thad s contributions were recorded by James, including charts that made u the the entire 1964 record New Versions o Down Beat Favorites, two charts on Our Leader! and still more in the 1970s. However, several o these were never recorded or available-until now; they remained a art o Harry James s library and were discovered in his archives. Highlights include totally dierent versions o amiliar Jones classics Three and One and Ti Toe. These charts beautiully illustrate how Thad had such a unique talent or writing within the established style o others bands, while still managing to instill his own musicality in each iece. These have never been ublished reviously, and along with enlarging the existing Jones canon, they will also give the world yet another window via which to view the mastery o this giant o arranging.

3 Dr. David Demsey, Coordinator o Jazz Studies and Curator o the Thad Jones Archive at William Paterson University, has reerred to Thad as a savant when it comes to his jazz arranging abilities. He shares a story about a vocal session Thad had written charts or, and one o the arrangements was aarently not in the singer s key. So late one night Thad took the chart home, and while everyone exected it to be transosed or the next day s session, aarently he brought in a chart that was comletely new and had been done in a ew hours. And, o course it was sectacular. Few eole have ever heard a great-sounding band in their head like Thad Jones did; every nuance o every instrument, every melody, every dynamic and shade o color layed out vividly in his incredibly ertile mind, and these newly-discovered charts are more examles o this. They also show his singular ability to write music or others, which clearly relected the style and sound o the artists he worked or, yet irmly relected Thad s own very unique musical ootrint as well. When one attends a jazz concert and hears a band laying a collection o songs by a grou o jazz s greatest arrangers, Thad s still stand out. The roessionalism is one thing, but what really sears the Thad Jones trademark in one s ears is the deth o his art: the charts exude what Dr. Demsey has so ideally termed a rhythmic adetness and an ingenious thematic coherence. His arrangements are ull o lie, oten very comlex, yet retain a layul exuberance that makes them so memorable and enjoyable to hear, to learn, and to lay. They contain intricacies which are areciated by the very best layers yet at the same time have such harmonic richness and bluesy warmth that even the most casual listener can truly love them as well. The Music: This arrangement was originally written by Thad Jones in 1963 to eature trumeter Harry James as well as trombones 1 and 2, both o whom have solo sace. This arrangement was never recorded and, as ar as we can tell, never reviously erormed. While the original score was ound in James s library no set o arts could be located. It is likely that no arts were ever extracted or this arrangement. Like all comosers and arrangers that are turning out work quickly, Thad was not immune rom making mistakes in his scores. The most common mistakes he would make were: orgetting the key signature, neglecting to cancel accidentals within a measure, or making transosition errors. But, ocassionally there is an instance o dissonance in his writing that may sound like a mistake but roves to be accurate. Such is the case in measure 6: Thad has written a B7 chord that has both the natural 9 and the lat 9 in the same chord. This is very unusual (even or Thad), but he was more concerned with voice leading, and as such, this voicing is correct. Notes to the Conductor: Part o the beauty o Thad s writing is his use o chord substitutions, striking dissonances, and sudden rhythmic and dynamic shits. These acets must be adhered to by the whole band. The reed backgrounds beginning at measure 37 should be layed iano; allow the trombones to come through clearly as they trade 4s during the solo section. Acknowledgments: Jazz Lines Publications is extraordinarily roud to be ublishing these newly-discovered instant classics, and heling to build the catalog o available ieces in the Thad Jones reertoire, which now rovides the music world with resh, new, and unexected oortunities to enjoy and areciate the immense brilliance o one o the very best arrangers in the history o jazz. We are grateul to John Mosca, Dr. David Demsey, John La Barbera, Viola Monte (Harry James s accountant since 1943!), Lis Jones, Phil Kurnit, Marcia Webman, Music Makers Publishing Comany, the Harry James Estate, the Thad Jones Archive at William Paterson University, and the Vanguard Jazz Orchestra or their enthusiastic suort o our Thad Jones Big Band Series o ublications. Doug DuBo, Dr. David Demsey, and Rob DuBo - March 2014

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5 JlP-8743 Score Solo Trumet Alto Sax 1 Alto Sax 2 Tenor Sax 1 Tenor Sax 2 Baritone Sax Trumet 1 Trumet 2 Trumet 3 Trumet 4 Trombone 1 Trombone 2 Trombone 3 Guitar Piano Bass Drum Set bright swing = 200 x x x x x x ~ ~ ~ ~ ~ B 7 B 7 B 7 2 ~ ~ x x x x x x 3 F 6/ 9 A7 D7 F 6/ 9 A7 D7 F 6/ 9 A7 D7 x x x # 4 written or Harry James ~ x ~ ~ ~~ ~~ ~ ~ ~~ ~~ ~ ~ ~~ ~~ ~ ~ ~~ ~~ ~ ~ ~~ ~~ ~ ~ ~~ ~~ ~ ~ ~~ ~~ ~ ~ ~~ ~~ ~ ~ ~~ ~~ ~ ~ ~~ ~~ ~ ~ ~~ ~~ ~ ~ ~~ ~~ G>9 A b < 13( #11) A7 G>9 A b < 13( #11) A7 G>9 A b < 13( #11) A7 x x x x x 5 B b 13 ( 9) B7 [äá] E7 [âå] ( 9) B7 [äá] E7 [âå] ( 9) B7 [äá] E7 [âå] x x x x x x x 6 7 A7 A7 A7 D7 D7 D7 x x x x Coyright 2014 Little Pumkin Music International Coyright Secured All Rights Reserved Used by Permission c/o Publishers' Licensing Cororation 48 S Park St Unit 615 Montclair, NJ Logos, Grahics, and Layout Coyright 2014 The Jazz Lines Foundation Inc. This Arrangement Has Been Published with the Authorization o the Estates o Harry James and Thad Jones. Published by the Jazz Lines Foundation Inc., a Not-or-Proit Jazz Research Organization Dedicated to Preserving and Promoting America's Musical Heritage. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ G7 [âå] C13 [åâ] F9 G7 [âå] C13 [åâ] F9 G7 [âå] C13 [åâ] F9 x x 8 jazz Lines ublications Music by Thad Jones Arranged by Thad Jones Preared or Publication by Rob DuBo and Jerey Sultano Solo 9 10 m m m

6 jazz Lines ublications Solo Tt. A. Sx. 1 A. Sx. 2 T. Sx. 1 T. Sx. 2 B. Sx. Tt. 1 [11] Score - Page 2 1. sz sz sz sz sz 2. {T`o` `C`u`` `M`u`t`e``} {T`o` `C`u`` `M`u`t`e``} JlP-8743 Tt. 2 Tt. 3 Tt. 4 Tbn. 1 Tbn. 2 Tbn. 3 sz sz sz sz {T`o` `C`u`` `M`u`t`e``} {T`o` `C`u`` `M`u`t`e``} {T`o` `C`u`` `M`u`t`e``} Gtr. (in 2) F9 /C F9 A b 13 G13 D b 13 C9 F 6/ 9 A b 13 (# 11) G>9 G b < 9 F9/A F9 (# 5) Pno. Bs. m (in 2) m F6(in 2) G>7 F9 /C F9 /C F9 B b 13 F9 A b 13 B b 13 A b 13 G13 D b 13 G13 D 13 C9 C9 F 6/ 9 A b 13 (# 11) F 6/ 9 A b 13 11) G>9 G b < 9 G>9 G b < 9 F9/A F9 (# 5) F9/A F9 5) Dr. m (in 2) x (4) (6) (16) 11 m

7 JlP-8743 A. Sx. 1 [21] Score - Page 3 jazz Lines ublications A. Sx. 2 T. Sx. 1 T. Sx. 2 B. Sx. Tt. 1 Tt. 2 m Tt. 3 m Tt. 4 Tbn. 1 Tbn. 2 Tbn. 3 m m Gtr. F9 E9 A< 13 E9 A< 13 Eb 9 A b < 13 Eb 9 A b < 13 D9 G7 D b 13 (# 11) C13 C13 ( 9) Pno. F9 E9 A< 13 E9 A< 13 Eb 9 A b < 13 Eb 9 A b < 13 D9 G7 D b 13 (# 11) C13 C13 ( 9) Bs. F9 E9 A< 13 E9 A< 13 Eb 9 A b < 13 Eb 9 A b < 13 D9 G7 D b 13 (# 11) C13 C13 ( 9) Dr. x (4) (8)