Jazz Lines Publications Presents. doodlin. Arranged by ernie wilkins. prepared by dylan canterbury, rob duboff, and jeffrey sultanof.

Transcription

1 Jazz Lines Publications Presents doodlin Arranged by ernie wilkins prepared by dylan canterbury, rob dubo, and jerey sultano ull score jlp-718 Music by Horace Silver Copyright 1956 & 1957 Ecorah Music Co. All Rights Reserved International Copyright Secured 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. The Jazz Lines Foundation Inc. PO Box 126 Saratoga Springs NY USA

2 dizzy gillespie series doodlin (1956) 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.

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 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. 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: Horace Silver s iconic blues received the big band treatment courtesy o arranger Ernie Wilkins or Dizzy Gillespie s big band in By and large, the arrangement sticks airly close to Silver s original intentions, especially with the melody statement. Silver s unky opening piano ri is covered by the baritone saxophone, beore the rest o the saxophone section picks up the melody in the irst ull bar. Gillespie s truet takes over solo duties ater the statement o the melody, being prodded on by backgrounds that bare more than a passing resemblance to Silver s rumbling style o accoaniment. The shout section at measure 8 begins with a quote o Silver s piano solo rom the original recording beore moving into its own territory, with Gillespie soaring over the top o the powerul ensemble igures. Please note that the irst melody note (concert Gb) at measures 10 and 71 have been corrected rom the original perormance o this arrangement. Wilkins wrote the arrangement based on earlier incorrect perormances o this melody where a concert Ab played. In addition to the studio recording, Gillespie s band was captured on record perorming this arrangement live at the 1957 Newport Jazz Festival. The ending melody statement is repeated several times, with increasingly comedic lair rom baritone saxophonist Pee Wee Moore. Although our version only has the section marked as being repeated twice, your ensemble may open this section up i they are eeling in a particularly playul mood on any given day. This arrangement eatures a part or solo truet, as well as three trombone parts in coarison to the usual our. However, included is an alternate truet 4 part that allows this arrangement to be perormed without a truet soloist. This publication has been prepared rom the original set o parts - this is not a transcription. We hope you enjoy playing this arrangement as much as we enjoyed preparing it or you! Dylan Canterbury - April 2016

4 Here is the original trombone 1 part rom Dizzy s library.

5 JlP-718 Score Truet Soloist Alto Sax 1 Alto Sax 2 Tenor Sax 1 Tenor Sax 2 Baritone Sax Truet 1 Medium swing = 120 Solo [1] doodlin' jazz Lines publications Recorded by Dizzy Gillespie Music by Horace Silver Arranged by Ernie Wilkins Prepared or Publication by Dylan Canterbury, Rob DuBo and Jerey Sultano Truet 2 Truet Truet 4 Trombone 1 Trombone 2 Trombone Guitar Piano Bass Drum Set œ œ D b 7 x x x x x x œ x œ x (4) G b Copyright 1956 & 1957 Ecorah Music Co. All Rights Reserved International Copyright Secured 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

6 jazz Lines publications doodlin' Score - Page 2 JlP-718 A. Sx. 1 A. Sx. 2 T. Sx. 1 T. Sx. 2 B. Sx. Tpt. 1 Tpt. 2 Tpt. Tpt. 4 Tbn. 1 Tbn. 2 Tbn. Gtr. Pno. Bs. B b 7 B b 7 B b 7 p p p p p E b.9 E b.9 E b.9 A b 1 D b 7 A b 1 D b 7 A b 1 D b 7 G b G 7 G 7 G 7 1. Solo 2. B b 1 (à 9) E b 7 (# 9)A b 1 (à 9) D b 9 B b 1 (à 9) E b 7 (# 9)A b 1 (à 9) D b 9 D b 7 B b 1 (à 9) E b 7 (# 9)A b 1 (à 9) D b 9 Dr. 7 8 (8) 9 10 œ x x œ x œ 11 œ œ 12 c.s. 1 x œ œ x xœ œ œ x œ œ œ œ