resents Jazz Lines ublications whatever lola wants Arranged b rank devol reared b dlan canterbur, Rob DuBo, and Jere Sultano ull score jl-9664 Words and Music b Richard Adler and Jerr Ross 1955 RANK MUSIC COR. Renewed 1983 and Assigned to J & J ROSS CO. and LAKSHMI UJA MUSIC LTD. All Rights Administered b THE SONGWRITERS GUILD O AMERICA All Rights Reserved Used b ermission Logos, Grahics, and Laout Coright 2017 The Jazz Lines oundation Inc. This Arrangement Has Been ublished with the Authorization o the Ella itzgerald Estate. ublished b the Jazz Lines oundation Inc., a not-or-roit jazz research organization dedicated to reserving and romoting America s musical heritage. The Jazz Lines oundation Inc. O Box 1236 Saratoga Srings NY 12866 USA
ella itzgerald series whatever lola wants (1962) Background: Trul the irst Lad o Song, Ella itzgerald was one o the greatest singers in American histor. As her oicial website erectl states, Her voice was lexible, wideranging, accurate, and ageless. She could sing sultr ballads, sweet jazz, and imitate ever instrument in an orchestra. She enthralled audiences all over the world or decades, worked with everone rom Duke, Dizz, and Count Basie to Nat King Cole and Sinatra, and let a recorded legac that is second to none. Born Ella Jane itzgerald on Aril 25, 1917 in Newort News, Virginia, Ella endured some rough times as a child. ollowing the slit o her arents, she moved with her mother to Yonkers, NY, and sadl lost her mother at age 15. ighting overt, Ella eventuall used these diicult times as motivation in lie, and continued to harbor dreams o being an entertainer. She made her ublic singing debut at the Aollo Theater in Harlem on November 21, 1934 at age 17. Buoed b her success, she continued to enter and win singing contests, and soon was singing with Chick Webb s band. In 1938 she quickl gained acclaim with her version o A-Tisket, A Tasket, which was a huge success and made her amous at age 21; or over 50 ears she remained a star. ollowing Webb s death in 1939, Ella briel led the band, and soon struck out on her own as a solo artist, taking on various rojects as well as making her ilm debut. While on tour with Dizz Gillesie in the mid-1940s, Ella began to resond to the massive changes in the jazz world, as swing was giving wa to bebo; she began incororating scat singing into her reertoire as a reaction to the imrovisational nature o bebo. As she recalled ears later I just tried to do [with m voice] what I heard the horns in the band doing. During this eriod, she also met bassist Ra Brown, whom she was to marr and adot a son with. Through Brown, she met jazz imresario and roducer Norman Granz, and this relationshi led to her greatest stardom and achievements. Ella joined Granz s Jazz at the hilharmonic Tour, recorded classic albums with Louis Armstrong, and rom 1956-1964 worked on what ma be her greatest legac, the Song Book series, eaturing the music o Cole orter, Rodgers and Hart, Duke Ellington, Irving Berlin, the Gershwins, Harold Arlen, Jerome Kern, and Johnn Mercer. It can be argued that along with the seminal work o rank Sinatra, these records created some o the greatest and most deinitive versions o a huge ortion o what comrises the Great American Songbook. Ira Gershwin amousl remarked, I never knew how good our songs were until I heard Ella itzgerald sing them. Ella also did what music can uniquel do in ting together man strands o American culture at a time when race relations were a major issue in American societ. Critic rank Rich exressed it so well shortl ater Ella s death, writing about her Song Book series: Here was a black woman oularizing urban songs oten written b immigrant Jews to a national audience o redominantl white Christians. Ella toured constantl during these ears, and she and Granz did their art to hel the burgeoning civil rights movement, ighting inequalit and discrimination at ever turn, bravel even in the Dee South. During the 1960s Ella continued to tour and record, also aearing in movies and being a regular guest on all o the most oular talk and variet TV shows. Throughout the 1970s, she ket touring all over the world, and became even more well-known through a series o high-roile ad camaigns. Anone who grew u in the 1970s remembers Ella s Is it live or is it Memorex commercials.
One o the lesser-known asects o her lie at the time was her charitable side. She was known as a ver sh erson who was rotective o her rivac. As a wa to hel others avoid what she went through as a child, she gave requent generous donations to all sorts o grous and organizations that heled underrivileged outh, and her oicial website even suggests that continuing to be able to this was a major driving orce behind the unrelenting touring schedule she continued to maintain. She cared or her sister rances amil ater rances assed as well. B the 1980s, she had acquired countless awards and honors, among them 13 Grammies including the Lietime Achievement Award and the residential Medal o reedom. But the endless touring schedule did begin to take its toll, and Ella began to exerience serious diabetes-related health roblems. rom the mid-1980s to the mid-1990s she suered a series o surgeries and hosital stas, and b 1996 she had tired o sending so much time in hositals. She sent her last das enjoing being outdoors at her Beverl Hills home, sitting outside and siml being with she and Ra Brown s adoted son Ra, Jr. and her granddaughter Alice. Man sources reort that duing her last das she reortedl said, I just want to smell the air, listen to the birds, and hear Alice laugh. She died in her home on June 15, 1996 at the age o 79, and the tributes were instant, huge, and international. Beitting someone o her stature, who was at the innacle o the entertaining world or nearl hal a centur and let behind a legac that will never diminish in its beaut and imortance, her archival material and arrangements reside at the Librar o Congress and the Smithsonian. The Music: Recorded in 1962 or the album Ella Sings Broadwa, this rank DeVol arrangement o one o the more memorable numbers rom Richard Adler and Jerr Ross s Damn Yankees is a sic treatment o an alread highl suggestive tune. With its conga drums and quasi-bolero groove, this arrangement also serves as a dearture rom the more swing-oriented material singer Ella itzgerald was almost snonmous with during this time eriod. Notes to the Conductor: Right o the bat, the need or a strong irst trumet laer is made aarent with a high note brass blast that introduces the sultr Latin groove. itzgerald enters with the melod at the ickus to measure 6. The backgrounds that accoman the vocalist throughout the melod go back and orth between the screaming brass and the more subtle and mellow saxohones. The groove switches to a more standard swing eel or the bridge at measure 22 beore returning to the quasi-bolero at measure 30. The swing eel returns or the ensemble shout at measure 44. The saxohones handle the melod during this section and should tr to mimic the overall sensual eeling o the vocals, while the brass backgrounds continue to rovide an aggressive bite. There are a ew written-out sections or the guitarist to la in unison with the saxohones during this art, and the should be laed accordingl. DeVol reccles some o his background igures on the vocalist s re-entr at measure 60, albeit with the brass backgrounds written down an octave to rovide some much needed merc or the trumet laers. The arrangement s grand inale begins at measure 76, with an almost militaristic igure in the brass at measure 79 setting u the inal swell. The arrangement ends much the same as it begins, with screaming trumets setting u the inal ensemble blast in the inal two measures. This arrangement is or emale vocalist with jazz big band, with additional arts or 5th trumet, tuba and conga drums. This is not a transcrition - it has been reared rom DeVol s original score and the set o arts used during the recording session. Acknowledgments: Secial thanks to the Ella itzgerald Estate or granting us ermission to ublish this arrangement. Doug DuBo, Dlan Canterbur, and Rob DuBo - Aril 2017
Here is the original trombone 1 art rom the 1962 recording session. Notice the word Baile enciled in at the end. This arrangement was subsequentl used during a live erormance in which it was ollowed b rank DeVol s chart on Bill Baile, Won t You lease Come Home.
jl-9664 Score Vocal Woodwind 1: Alto Sax. Woodwind 2: Alto Sax. Woodwind 3: Tenor Sax. Woodwind 4: Tenor Sax. Woodwind 5: Baritone Sax. Trumet 1 Trumet 2 Trumet 3 Trumet 4 Trumet 5 Trombone 1 Trombone 2 Trombone 3 Trombone 4 Tuba Guitar iano Acoustic Bass Drum Set Conga Drums medium latin = 120 [1] Otional 8va 1 Whatever lola Wants Recorded b Ella itzgerald 7 7 Cross-Stick + + + + + + + + sim. sim. 2 3 4 1955 RANK MUSIC COR. Renewed 1983 and Assigned to J & J ROSS CO. and LAKSHMI UJA MUSIC LTD. All Rights Administered b THE SONGWRITERS GUILD O AMERICA All Rights Reserved Used b ermission Logos, Grahics, and Laout Coright 2017 The Jazz Lines oundation Inc. This Arrangement Has Been ublished with the Authorization o the Ella itzgerald Estate. ublished b the Jazz Lines oundation Inc., a Not-or-roit Jazz Research Organization Dedicated to reserving and romoting America's Musical Heritage. - - What ev er C.7 7 C.7 7 5 Jazz lines ublications Words and Music b Richard Adler and Jerr Ross Arranged B rank DeVol reared b Dlan Canterbur, Rob DuBo and Jere Sultano
Jazz lines ublications Vox. Ww. 3 (T. Sx.) Ww. 4 (T. Sx.) Ww. 5 (B. Sx.) Tt. 1 Tt. 2 Tt. 3 Tt. 4 Tt. 5 Tbn. 1 Tbn. 2 Tbn. 3 Tbn. 4 Tuba Gtr. no. Bs. D. S. C. Dr. [6] 6 Lo - la wants, Lo - la gets, and lit - tle man, lit - tle Lo - la wants solo 7 8 Whatever lola Wants Score - age 2 9 10 G b 7 G b 7 G b 7 11 (6) (6) ou! Otional 8va } 7 E b 7 7 C.7 Û Û Û Û Û Û 7 E b 7 7 C.7 7 E b 7 7 C.7 12 13 Make u our E b 7 7 Û Û Û Û Û Û E b 7 7 E b 7 7 jl-9664
jl-9664 Vox. [14] Whatever lola Wants Score - age 3 Jazz lines ublications Ww. 1 (A. Sx.) Ww. 2 (A. Sx.) Ww. 3 (T. Sx.) Ww. 4 (T. Sx.) Ww. 5 (B. Sx.) Tt. 1 Tt. 2 Tt. 3 Tt. 4 Tt. 5 Tbn. 1 Tbn. 2 Tbn. 3 Tbn. 4 Tuba Gtr. no. Bs. D. S. C. Dr. mind to have solo no re - grets, re - cline our - sel, re - sign our -sel, ou're through! I al - was G b 7 C.7 7 G b 7 C.7 7 G b 7 C.7 7 (6) Otional 8va B b.6 A Û 6 7 Û Û Û Û Û B b.6 A b 6 7 A 6 B b.6 7 A b 6 Û Û Û Û A b 6 A b 6 B b.6 (8) 14 15 16 17 18 19 20 21