Jazz Lines Publications Presents the jerey sultano master edition blues or ablo As recorded by the miles davis/gil evans orchestra Arranged by gil evans edited by jerey sultano ull score rom the original manuscrit jl-8109 Music by Gil Evans Coyright 1956 BOPPER SPOCK SUNS MUSIC All Rights Reserved Used By Permission Layout, Design, and Logos 2010 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM This arrangement has been ublished with the authorization o The Estate o Gil Evans. Jazz Lines Publications PO Box 126 Saratoga Srings NY 12866 USA
Background: Miles Davis signed with Columbia Records thanks to roducer George Avakian, who heard him in erormance at the 1955 Newort Jazz Festival. By then, Miles had kicked his drug habit and was getting himsel together. There was one roblem: Prestige Records still had him under contract or another year and a hal and recorded him extensively during that time. But Avakian began lanning Miles recording activities the moment Davis signed his contract. It was the beginning o an association that would last over twenty years, long ater other jazz artists let Columbia. Very early on, roducer and artist discussed an album with a big band, and Avakian asked Davis to choose between Gunther Schuller and Gil Evans to arrange and conduct. Miles chose Evans immediately. When the album Miles Ahead was released, it made musical history. A mix o adatations o classical music, an original by Miles and Evans, and current jazz ieces by Dave Brubeck, John Carisi and Ahmad Jamal arranged as one long suite, it heled to re-launch Evans career as well as Davis own. At around this time, eleven o the Miles Davis Nonet sides were reissued, and most listeners heard Bolicity and Moon Dreams or the irst time. An album or Prestige called Big Stu urther solidiied Evans standing in the jazz world. The Music: Blues or Pablo was originally written or Hal McKusick or inclusion on his Jazz Worksho LP recorded in 1956 or RCA Victor Records (this album also included Jambangle, which was later re-orchestrated and exanded or Evans Big Stu LP or Prestige Records). Evans mixes an idea in minor that has two inluences (a theme rom Falla s ballet El Sombrero de Tres Picos and a Mexican olk song 1 ) with a blues in major, and the eect is ure Gil Evans. His treatment o this iece or Davis album is identical in orm to the McKusick version, but is in a dierent key, and o course is set or a larger ensemble. Desite a large brass ensemble o ive truets, our trombones (including a bass trombone) and tuba, he used our reeds, o which only one was a saxohone. The other reeds are lutes and bass clarinet. Please note that there is no iano art or this arrangement, and none should be added. There have been two revious editions o this music available. The irst was reared by Joe Muccioli or various erormances he conducted that is available rom the Gil Evans estate, the second an edited and artially transcribed edition made by Steve Lajoie and ublished in a olio by Advance Music. This Jazzlines ublication is a newly edited erormance edition reared rom a coy o the score used by the American Jazz Orchestra. The original score was discovered in 1995, art o three boxes o music belonging to Miles that were in storage or several years. This edition hues closely to what Evans originally wrote; the corrections consist o adding clear articulation (which is oten nonexistent or misleading in Evans music) and ixing wrong notes. Don t let anyone tell you that maestro Evans did not make mistakes in his manuscrits; he most certainly did. So an editor must look careully to make sure that what is inally ublished is in act what the cooser wanted. This is made easier because Evans voicings are based on instrumental doublings, so checking say, the bass clarinet and bass trombone against each other usually solves any note questions, as well as listening to the recording. Obviously, consultation o the original arts would be helul to aid in this ursuit. However, they are currently unavailable. Notes to the Conductor: Editing a Gil Evans score rom the Miles Davis sessions is a challenging exercise. Desite his usage o large King Brand score aer, Evans handwriting is oten not very clear, and lats and naturals sometimes look alike. Evans oten uses unusual rhythmic notation as well, and desite mailing coies o the arts to the musicians beore the sessions (and as can be seen on discograhies, the musicians on these recording dates were the best in the New York music world), they had a tough time laying this music. The sessions or this album went overtime, and erormances had to be sliced together. I once heard a conductor o this music insist that these ieces lay themselves. This o course is absolute nonsense; i any music needs lots o tender loving care rom the conductor to come alive, it is this. The advantage o being able to urchase this music is the luxury o time or the conductor to study these scores careully, and have adequate rehearsal time to ully exlore the many layers o sound this music has dee within the notes. Listening to both the McKusick and Davis erormances is a great hel as well to hear how the music needs to breathe to sound right. A key issue is the treatment o the lutes in live erormance; obviously an alto lute is easily buried by all o those brass instruments, and a bit o subtle aliication should be considered so the lutes sound as the coloristic enhancement to the ensemble that Evans clearly wanted. Please do not have them louder than the truets; they need to be equal in sound to the section. Jerey Sultano -Aril 2010 blues or ablo - notes Footnote: 1 In his liner notes or Miles Davis/Gil Evans The Colete Columbia Recordings, Bill Kirchner cites an article by Max Harrison with this inormation.
Score Solo Truet ad lib teo (rubato) {S`o`l`o`} the jerey sultano master edition (recorded by miles davis) [A] Music by Gil Evans Arranged By Gil Evans Edited by Jerey Sultano Alto Sax. 1 Flute 2 Alto Flute Clarinet 4 Truet 1 () () Truet 2 Truet Truet 4 Truet 5 {T`o` ``E``x`t`e`n`d`e`d` ``H`a`r`m`o`n` `M`u`t`e`} Horn in F 1 Horn in F 2 Trombone 1 Trombone 2 Trombone Trombone 4 {A`r`c`o`} Drum Set {T`a```m``b`o`u`r```i``n`e`````} Very Sot Tremelo 1 2 4 5 Coyright 1956 BOPPER SPOCK SUNS MUSIC All Rights Reserved Used By Permission Layout, Design, and Logos 2010 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM This arrangement has been ublished with the authorization o The Estate o Gil Evans.
Score - Page a teo = 60 Accel. Rit. A. Fl. Tt. m m m m Accel. Rit. Tt. 5 Accel. Rit. m m m Tbn. m m m m m {P`i`z`z`} 6 7 {T`o` ``D``r`u`m` `S`e`t```} m 8 (Tom-Tom) 9
Score - Page 4 [B] Subtone A. Fl. Tt. Tt. 5 Tbn. (4) 10 11 12 1 (4)
Score - Page 5 {T`o` `C`u`` `M`u`t`e``} A. Fl. {T`o` `C`u`` `M``u`t`e````} {T`o` `C`u`` `M``u`t`e````} Tt. {T`o` `C`u`` `M``u`t`e````} {T`o` `C`u`` `M``u`t`e````} Tt. 5 {T`o` `C`u`` `M``u`t`e````} Tbn. (6) Straight Rhythm 14 15 16 17
Score - Page 6 [C] {C`u`` `M``u`t`e````} m m m A. Fl. m m m m Tt. m m Tt. 5 m {T`o` `C`u`` `M``u`t`e````} {T`o` `C`u`` `M``u`t`e````} Tbn. {T`o` `C`u`` `M``u`t`e````} 18 19 20 21