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1 Vanguard azz Orchestra Series THAD ONES K E N D O R M S I C R E S E N T S OR TO THE DIRECTOR Thanks or your interest in this great music These rehearsal notes are meant as an adunct to the most imortant ork un really o listening to the recordings or style: ast sing etter still attending a live erormance We ve tried in this small sace to give duration :00 the student (that includes all o us) a e hints and aareness o oortunities to imrove the erormance REVIEW y Thad ones INSTRMENTATION ull Score Alto Sax I Alto Sax II Tenor Sax I Tenor Sax II Baritone Sax Trumet I Trumet II Trumet III Trumet IV Tromone I Tromone II Tromone III Tromone IV iano /Guitar ( coies) Bass Drums RERODCTION EXTRA SCORES ARTS AVAILABLE it ROHIBITED Thad rote his irst azz arrangement at age 1 hen he as a trumet layer in his uncle's and in his native ontiac Michigan along ith rothers Hank (iano) and Elvin (drums) In the 190's he served in the army led a and o his on and layed ith other ands eore oining the Count Basie and in 195 Nine years later he let Basie and egan arranging or singers small grous and the ig Harry ames Band irst ould e our rimary oective and that is to sing This music is an outgroth o music that as meant or dancing and hen it s right it makes you eel like moving All the harmonic and rhythmic sohistication o Thad ones and the other great riters rom letcher Henderson to im McNeely occur in the rameork o great time To this end e need to e comortale laying our arts so that e can concentrate on connecting ith the other arts o the ensemle The suggested temo markings reresent the temo that the comosition as layed at the time o Thad s dearture rom the and in 1979 and generally are the uer end o the scale The arrangement can deinitely e layed sloer and should e i that makes it easier to sing The VO doesn t alays lay these ieces at the same temo as it s un to exeriment is an oen rame or the soloists and could e thought o as Thad s reaction to the ork o ohn Coltrane hich as raing u as the and as getting under ay in 1966 In act Gary Smulyan elects to solo on the orm o Coltrane s Imressions instead o the ritten C minor The third solo as originally or iano and it certainly can e hoever since e have a ide variety o solo oortunities in the ook or iano and little or Alto e changed it to eature Billy Drees on sorano sax In taking lierties ith the selection o soloist e are careul to avoid losing a voice on an imortant ritten ackground The key to getting this chart to click and therey roviding a good send o or the soloists is the interaction eteen rass and saxes This is imortant in much o Thad s music ut here at temo there is little room or indecision This interlay haens almost every time the ensemle lays ith the saxes having the sudivisions that drive the time and the rass doing more o the doneats Rehearsal ithout the rhythm section ill orce the horns to generate their on time and sing and they ll learn hat the other section is doing and laying o Most all questions o alance lend and dynamics can e ansered y simly knoing as much as ossile aout the music you are laying What s the orm o the tune Are you laying the melody a counter melody a ackground Who are you laying ith What s the chord and your osition in it You ll ind even more questions and ansers and i you stay ith it you ll kno hy e re still ater decades o laying this music engaged and dedicated to it And rememer it s suosed to e un In 1965 Thad and drummer Mel Leis ormed their aardinning azz orchestra or the next 1 years this amazing and ecame an American azz institu The Vanguard azz Orchestra tion They layed Monday nights at the Village Vanguard in NYC on an almost continuous asis on countless olls in "Don Beat" and recorded a series o alums that remain oular today including "Consummation" "Central ark Kendor Music Inc North" "Live At The Village Vanguard" and "Suite or os" M S I C B L I S H E R 1 Grove Street O Box 78 In 1979 Thad moved to and settled in Coenhagen here he conducted the Delevan Ne York SA Danish Radio KendorMusiccom Big Band and later ormed his on Eclise ig and eaturing an kendormusiccom illustrious mix o layers rom America and Euroe

2 HISTORICAL AND REHEARSAL NOTES This arrangement as on the set list at the historic deut o the Thad onesmel Leis Orchestra on eruary It as also included on the and s irst recording resenting the Thad onesmel Leis Orchestra This ne edition is taken directly rom the original ink arts that ere on the stands at the and s deut erormance in eruary 1966 no housed in the Thad ones Archive at William aterson niversity here Thad served as ounding Director o azz Studies Additional inormation came rom the original handritten score located in the coyright section o the Lirary o Congress thanks to the suort o Senior Lirarian and azz scholar Larry Aelaum REVIEW as among the irst arrangements Thad ones rote or the ne and at Letter H a crescendo heled y the nely reorchestrated sax arts that relect 1966 as a more modern contrast to the Basieoriented arrangements that ere in the Vanguard azz Orchestra s erormances But as alays exect the unexected the and s early reertoire Early 1960 s orays into more oen modal azz orms y ith Thad The callandresonse eteen the saxes and rass continues through Miles Davis and ohn Coltrane had turned the azz orld uside don in ust a e Letters I and as though the saxes are imrovising in unison years romting many artists to exand rom eooriented iivi chord structures Thad comresses the callresonse original melody at Letter K y shortening the This arrangement as one o Thad ones resonses to that trend rests When these measures are learned y the and y ear at a sloer temo the aster temo ill lo easily This iece is a ideoen vehicle or imrovisation There are multile oen solo sections each ith extended imrovisation oortunities The Vanguard azz Orchestra drum solos in measures 11 and 1; those are usually shorter today The ermatas Have some un and take lierties ith the inal ive measures Mel Leis took longer descried reviously ho they have evolved y laying on dierent chord changes in in measure 1 are short hile out o temo ith the and hits close together Make one section (ie over an AABA Imressions orm rather than the ritten C minor) the rass staccatos at ith eight! The drummer ill guide the and through this and assigning another section to a dierent soloist eel ree to make these changes section ith silence as a great tool to set u the inal note another examle o hy or others let various soloists e shocased and let your and ut its on ersonality on this historic the drummer oten needs to e the est musician in the and iece As ith many Thad ones charts a numer o key stylistic elements are not rinted on the original chart The rehearsal comments elo are taken rom recorded erormances o the original recording y the Thad onesmel Leis Orchestra and rom later Vanguard azz Orchestra recordings This chart can e erormed at the deeest level hen and memers have these great recordings in their minds as they lay The ast temo is a challenge ut learn the chart only as ast as the and can lay it cleanly and together The marked temo o quarter note = 75 may e a stretch or some ands ut a slightly sloer temo ill e ust as strong ind the most eective temo here the and eels comortale The key to success is the rhythmic unity o the saxohones and the rass throughout the iece Rehearse each o these sections sloly so the rass and saxes can hear ho their arts dovetail At this aster temo dragging can e a maor issue in the more technical sax igures and the uniied rass hits I the and can eel the iece in to everything ill eel more relaxed To e clear: the rhythm section still alays lays in our; hoever the igures ill eel lighter and have more orard motion i the horns are eeling the ig eats o the sudivided measure OR Dynamics are alays o rimary imortance or examle the irst eightmeasure hrase is a ourar crescendo ith a corresonding ourar diminuendo articularly in the rass Similarly at Letter C the ourar crescendo launches the rest o that hrase ast does not alays mean loud! Make any staccato quarter notes light articularly those starting on measure 5 o Letter C eat The drums can lay a ig setu or the doneat o measure 5 o Letter C to launch the ourar igure that ollos It s imortant or the and to eel the overall shae o the iece or examle hile the earlier solos can uild to a inal crescendo the last solo needs to taer don so that Letter G starts at a very intense iano dynamic The chart egins to end at Letter G The stotime section at Letter G crescendos to set u the return o the main theme Signiicant recordings o : RERODCTION Thad onesmel Leis Orchestra All My Yesterdays ( CDs and 89age ooklet; recorded /7/66 and /1/66; released during the 50th anniversary eek at Village Vanguard azz clu) Resonance HCD0 Thad onesmel Leis Orchestra resenting the Thad onesmel Leis Orchestra (recorded 5/5/6/66) Solid State AL1800 ROHIBITED Thad onesmel Leis Orchestra Live in Tokyo (recorded /1/1/7) Nion Columia Y706 Denon YX7557 Thad onesmel Leis Orchestra aris 1969 Volume 1 (recorded 9/8/69) Royal azz eal RD511 CD Thad onesmel Leis Orchestra azz Wave Ltd On Tour (recorded 1/69) Blue Note BST Vanguard azz Orchestra Thad ones Legacy (recorded 5/1/99) Ne World KendorMusiccom David Demsey Coordinator o azz Studies Curator Thad ones Archive William aterson niversity

3 Αλτο Σαξ Ι Αλτο Σαξ ΙΙ Τενορ Σαξ Ι Τενορ Σαξ ΙΙ Βαριτονε Σαξ Τρυµετ Ι Τρυµετ ΙΙ Τρυµετ ΙΙΙ Τρυµετ Ις Τροµβονε Ι Τροµβονε ΙΙ Τροµβονε ΙΙΙ Τροµβονε Ις Πιανο/Γυιταρ SCORE Βασσ ρυµσ OR Φαστ Σωινγ 75 Α n (οεν ττ σολο) # # n # REVIEW # # # # n n # Ñ n n RERODCTION n n n n # n n ROHIBITED Û Û Α Α Γ ΦÖ Ε 9X Û ú Û Û S Χñ ΦÖ Û Û Û Û Û Û Φ # Γ Û Α Α Β Β Û Û Χ χοµ Û Û n # n n Û 1 ~~~~ ~ ~ ~~~~ ~~~~ Comosed and arranged y Thad ones (8) COYRIGHT 1967 BY D ACCORD MSIC (ASCA) KendorMusiccom THIS ARRANGEMENT 016 BY D ACCORD MSIC (ASCA) C/O BLISHERS LICENSING CORORATION 8 SOTH ARK ST NIT 615 MONTCLAIR N COYRIGHT RENEWED ALL RIGHTS RESERVED SED BY ERMISSION

4 Ι Β Σξ Ττ Ι Ττ ΙΙ Ττ ΙΙΙ Ττ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ Βσ ρσ SCORE Β ΧÖ Χ (ον χυε: σαξεσ τβνσ) v (σαξεσ ον χυε) (σαξεσ ον χυε) (σαξεσ ον χυε) (σαξεσ ον χυε) 17 (ον χυε: σαξεσ τβνσ) (ον χυε: σαξεσ τβνσ) v OR Χ # n # # n # n # # n REVIEW # # n # n # # n # é n é é # n é é RERODCTION n n é n é n é ROHIBITED ΧÖ Γñ ΧÖ ΧÖ Γñ ΧÜ Φ /Γ ΧÜ Φ /Γ ΧÜ Γ ΧÜ Γ Φñ Ε Û Û Û Û Û Û Ε 9 à Ε Α ΦÇ /Γ Û Û Û Χ Γñ Χ Χ Γñ # n n Φιλλ Û Û Û Û Û Û v v KendorMusiccom

5 SCORE OR (οεν βαρι σολο) (οεν βαρι σολο) Ι (οεν βαρι σολο) (οεν βαρι σολο) Β Σξ REVIEW (οεν βαρι σολο) Ττ Ι Ττ ΙΙ Ττ ΙΙΙ Ττ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ n n Χ n (οεν βαρι σολο) (οεν βαρι σολο) (οεν βαρι σολο) RERODCTION (βαχκγρουνδσ ον χυε) (οεν βαρι σολο) n n (βαχκγρουνδσ ον χυε) n n (οεν βαρι σολο) (βαχκγρουνδσ ον χυε) ROHIBITED Χ (οεν βαρι σολο) (οεν βαρι σολο) (οεν βαρι σολο) (οεν βαρι σολο) (βαχκγρουνδσ ον χυε) ον χυε λαστ ξ ονλψ Û Βσ Χ Χ (οεν βαρι σολο) ρσ (οεν βαρι σολο) KendorMusiccom

6 Ι Β Σξ Ττ Ι Ττ ΙΙ Ττ ΙΙΙ Ττ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ Βσ ρσ SCORE Ε Û n n Α 9 n # A n # ë n # ë n ë n RERODCTION n ë n n ë n n ë n ë n n ë ROHIBITED Γ Û Αó Û Û ñ Γ Û ΦÑΕ Û Û Û Û Û Γ Û Û Α Û Û Γ Û Αó Û Û ñ Γ Û ΦÑΕ Û Û Û Û Û ñ Û n # n n n # n 5 OR # # REVIEW # # # ë ë ë ë # A 60 ë ë ë ë 61 6 # # # # # 6 n Γ n 6 n 6065 KendorMusiccom

7 SCORE 5 Ι Β Σξ Ττ Ι Ττ ΙΙ Ττ ΙΙΙ Ττ Ις Φ üüüü } ü üüü } ü üüü } ü üüü } ü üüü } ü üüü } ü üü } ü ü } } ü ü Γ OR (ον REVIEW χυε) χρεσχ χρεσχ ω/ττ ιϖ ω/ττ ιιι χρεσχ χρεσχ Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ Βσ ρσ ü üü } ü ü ü ü Χ Χ 1στ ξ ονλψ 65 } } } χρεσχ RERODCTION χρεσχ χρεσχ ROHIBITED χρεσχ Û Û Û Û Û Û Û Û Û Û Û Û Û χρεσχ χρεσχ (λαστ ξ ονλψ) 7 (σαξεσ ον χυε) χρεσχ Û 86 Û 87 Φιλλ Ε à S Û KendorMusiccom

8 SCORE 6 Ι Β Σξ Ττ Ι Ττ ΙΙ Ττ ΙΙΙ Ττ Ις Η OR 1 n # # n REVIEW # # # n # # n n # n ~~~~ ~~~ ~~~~ ~~~ n n # n Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ Βσ ρσ n Û Û Α Α Γ ΦÖ Û n 89 RERODCTION n # n n # n ROHIBITED Ε 9X ú Û Û S Χñ ΦÖ Û Û Û Û Û Û Φ # Γ Û Α Α Β Β Û Û Χ ΦÖ Û Û Û Û Φ # Γ Û Α Α Β Û # n n # n Û n Β Χ Û Û Û n 99 λιγητ φιλλσ KendorMusiccom

9 SCORE 7 Ι Β Σξ Ττ Ι Ττ ΙΙ Ι # # # # # # n # n # n # n # n OR REVIEW (νο λεαδ) Ττ ΙΙΙ (λεαδ) Ττ Ις Τβν Ι n n n n Τβν ΙΙ Τβν ΙΙΙ RERODCTION Τβν Ις Πνο/Γτρ Γ Û Û Û ROHIBITED Γ Û Γ Û Û Û Γ Û Û Û Û Û Βσ ρσ χοντινυε λιγητ φιλλσ KendorMusiccom

10 SCORE 8 Ι Β Σξ Ττ Ι Ττ ΙΙ Ττ ΙΙΙ ϑ (γραδ χρεσχ) (γραδ χρεσχ) (γραδ χρεσχ) (γραδ χρεσχ) (γραδ χρεσχ) (γραδ χρεσχ) (γραδ χρεσχ) (γραδ χρεσχ) OR REVIEW Ττ Ις (γραδ χρεσχ) Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ n (γραδ χρεσχ) (γραδ χρεσχ) (γραδ χρεσχ) Γ Û Û Û (γραδ χρεσχ) RERODCTION n n n ROHIBITED Γ Û Γ Û Û Û Γ Û Û Û Û Û οτ 8ϖβ Βσ ρσ (γραδ χρεσχ) (γραδ χρεσχ) Φιλλ KendorMusiccom

11 SCORE 9 Ι Β Σξ Ττ Ι Ττ ΙΙ Ττ ΙΙΙ Ττ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ Βσ ρσ Κ n n Û Û Α Α Û Γ ΦÖ 117 OR 5 ( + ) # Ÿ 5 ( + ) # # Ÿ 5 ( + ) # Ÿ REVIEW 5 ( + ) # # Ÿ 5 ( + ) # Ÿ 5 ( + ) (λεαδ) 5 ( + ) RERODCTION 5 ( + ) n Β Β 5 ( + ) n n Β Β # Ε 9X Û Û # n ROHIBITED ú Û Û 5 S Χ ΦÑ Û Û Φ # Γ Α Α Β Û 5 ( + ) # n 5 ( + ) ( + ) ( + ) ( + ) 119 # n n n 10 Σαξεσ Σολο (νο λεαδ) 11 Β # # # # # Β n Β # Β Β Β Β Β Β Β Β Β n Β n 1 æ æ Σολο 1 Χ (ενσεµβλε) 1 Φινε 6065 KendorMusiccom