Jazz Lines Publications Presents the jerey sultano master edition moon dreams As recorded on birth o the cool 1949 Arranged by gil evans edited by jerey sultano ull score rom the original manuscrit jl-8010 Words by JOHNNY MERCER Music by CHUMMY MACGREGOR 1941 (Renewed) WB MUSIC CORP. and THE JOHNNY MERCER FOUNDATION All Rights Administered by WB MUSIC CORP. This Arrangement 2009 WB MUSIC CORP. and THE JOHNNY MERCER FOUNDATION All Rights Reserved Including Public Perormance Used by Permission This arrangement Has Been Published with the Authorization o the Estate o Gil Evans. Layout, Design, and Logos 2009 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM Jazz Lines Publications PO Box 126 Saratoga Srings NY 12866 USA
birth o the cool series moon dreams (1948) Background: Gil Evans' aartment on 55th street became a hangout or many musicians who came to visit, listen to music that Gil borrowed rom the library (Prokoiev, Bartok, and Ernest Bloch were some o the coosers Evans was studying at the time), slee, and hang out with other musicians. Some even came to live with him or indeinite eriods. The door was always oen, even i Evans was not there. Gil said that i someone took something like money without telling him, that erson robably needed it more than he did. Among the guests who came to the aartment were Charlie Parker, Dave Lambert, Blossom Dearie, John Carisi, George Russell, John Lewis, Johnny Mandel and Gerry Mulligan. It was at Evans' aartment that Carisi, Russell, Mulligan, Mandel and Lewis discussed the ormation o a small band that would dulicate the sound and homogeneity o the Claude Thornhill big band. Evans had been its chie arranger and musical director beore and ater World War II, but he and the ianist had arted amicably by 1948 because Thornhill no longer wanted to continue the 'modern jazz' direction Evans avored. One o the musicians whom everyone envisioned in the truet chair was Miles Davis. Not only was Davis interested, he took the ensemble over, calling rehearsals and getting the band a gig at the Royal Roost. By that time Mandel had gone to Caliornia to establish residency there, but everyone else contributed music. Mulligan wrote the most material that was recorded, but or many years his considerable contribution to this ensemble was not roerly acknowledged. The ensemble ceased to exist by 1950, leaving behind twelve sides or Caitol Records and two radio broadcasts. Some o the sides were not released at the time, and the resonse to the ensemble was generally not very enthusiastic. When eleven o the Caitol sides were released on LP in 1956, the reaction was overwhelmingly ositive, articularly in Euroe. In 1971, all twelve recordings aeared on LP in Euroe, and released in the U.S. in 1972. These recordings are considered as iortant as the Armstrong Hot Five and Seven, the series by the Ellington band rom 1940-42, and Davis' Kind o Blue. Excet or a rare ew, historians now consider The Miles Davis Nonet one o the most iortant ensembles in the history o jazz. Certainly such coosers as Shorty Rogers, Andre Previn, Marty Paich, John Graas, Jack Montrose, Manny Albam and Andre Hodeir were heavily inluenced by the nonet, as their music shows. Haily, many o the original arts o the sides recorded, lus arts or other coositions and arrangements or this ensemble, were discovered in three cartons o music that Miles Davis ut into storage in Philadelhia and reclaimed ater his death. In 2002, my edition o 12 scores rom the reertoire o this ensemble was ublished by the Hal Leonard Cororation. An article detailing the editing rocess and errata in the olio itsel will be ublished by the Journal o Jazz Studies in 2010.
The Music: Moon Dreams was originally set in 1947 by Gil Evans as art o a medley or the Claude Thornhill Orchestra; the titles o the medley were Easy Living, Everything Haens to Me, and Moon Dreams. Additionally, the orchestration included three lutes, an added section o the Thornhill orchestra which did not exist or very long. This version o Moon Dreams is available through JazzLines Publications (JLP-8122). Since Evans had already arranged this title, there is every indication that this may have been the very irst score reared or the nonet. It is also the only one that has an extracted clarinet art; according to Gerry Mulligan, this was clearly intended or Thornhill clarinetist Danny Polo, who was not available to lay in the nonet. (Polo, a very underrated musician who sent some years laying in Euroe during the 1920s and 190s, assed away in 1949.) The exact same art was transosed or alto sax (another alumnus rom Thornhill, Lee Konitz). This arrangement was layed requently during the 1948 gig at the Royal Roost. Audiences were conounded by the music beginning at Letter E, which seems never to have been layed correctly based on existing broadcasts, and even the 1950 Caitol recording. French horn layer Gunther Schuller has said that he conducted this section while laying his art. It didn t hel. Notes to the Conductor: The two main issues with the Nonet book in general are: 1) Instrumental balance, so that the French horn and tuba are not buried 2) These two instruments tend to 'seak' slower than the other horns It took many hours or the original layers to interret this music so that the arrangers were satisied. Careul rehearsals and atience are the keys to success here. This arrangement, more than the others in the nonet, book demands total mastery o each art by each layer, and strong suort rom the conductor. Every art has articular challenges, whether it is a rhythm that is tricky, intonation issues with the other horns (given the concert key o D Major), or the ending at Letter E where each musician is on his/her own to maintain the cohesion o the arrangement. Evans s original notational choices heled to make this arrangement even more diicult to lay, and it is the goal o this edition to make what he wanted as clear as ossible. To rove the oint, Evans wanted the eighth note to be almost straight with a hint o swing because when he wanted the swing eel, he writes this igure as a dotted eighth note-sixteenth note. Please make this distinction without exaggerating the musical igures. This is not an arrangement to rehearse irst i you are laying several nonet arrangements or a concert or arrangers worksho. Instruments should be warm and in tune, musicians ocused. Like most o the Evans canon or Miles Davis, mastery o this music results in sheer magic that musicians and audiences won t soon orget. There is a reason why the man is a legend! Jerey Sultano - December 2009
Jazz lines PubLications Score Alto Sax. Baritone Sax. Truet Horn in F Trombone Tuba (or Bass Tbn) [A] Slowly q = 70 the jerey sultano master edition moon Dreams As Recorded by Miles Davis Birth o the Cool, 1949 Words by JOHNNY MERCER Music by CHUMMY MACGREGOR Arranged by Gil Evans Edited by Jerey Sultano jl-8010 Piano Piano Tacet Throughout Bass μ Drum Set 1 ã {P`la`y` `T`im`e` `Li`g`h`t` ``S`wi`n`g`} 2 4 (4) 1941 (Renewed) WB MUSIC CORP. and THE JOHNNY MERCER FOUNDATION All Rights Administered by WB MUSIC CORP. This Arrangement 2009 WB MUSIC CORP. and THE JOHNNY MERCER FOUNDATION All Rights Reserved Including Public Perormance Used by Permission This arrangement has been ublished with the authorization and ull suort o the Estate o Gil Evans.
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