Jazz Lines ublications resents love for sale recorded by ella fitzgerald Arranged by buddy bregman reared for ublication by Rob DuBoff and Jeffrey Sultanof full score from the original manuscrit jl-958 Words and Music by Cole orter C 190 (Renewed) WB MUSIC COR. This Arrangement 2016 WB MUSIC COR. All Rights Reserved Used by ermission of ALFRED MUSIC Logos, Grahics, and Layout Coyright 2016 The Jazz Lines Foundation Inc. This Arrangement Has Been ublished with the Authorization of the Ella Fitzgerald Estate. ublished by the Jazz Lines Foundation Inc., a not-for-rofit jazz research organization dedicated to reserving and romoting America s musical heritage. The Jazz Lines Foundation Inc. O Box 126 Saratoga Srings NY 12866 USA
ella fitzgerald series love for sale (1956) Background: Truly the First Lady of Song, Ella Fitzgerald was one of the greatest singers in American history. As her official website erfectly states, Her voice was flexible, wide-ranging, accurate, and ageless. She could sing sultry ballads, sweet jazz, and imitate every instrument in an orchestra. She enthralled audiences all over the world for decades, worked with everyone from Duke, Dizzy, and Count Basie to Nat King Cole and Sinatra, and left a recorded legacy that is second to none. Born Ella Jane Fitzgerald on Aril 25, 1917 in Newort News, Virginia, Ella endured some rough times as a child. Following the slit of her arents, she moved with her mother to Yonkers, NY, and sadly lost her mother at age 15. Fighting overty, Ella eventually used these difficult times as motivation in life, and continued to harbor dreams of being an entertainer. She made her ublic singing debut at the Aollo Theater in Harlem on November 21, 194 at age 17. Buoyed by her success, she continued to enter and win singing contests, and soon was singing with Chick Webb s band. In 198 she quickly gained acclaim with her version of A-Tisket, A Tasket, which was a huge success and made her famous at age 21; for over 50 years she remained a star. Following Webb s death in 199, Ella briefly led the band, and soon struck out on her own as a solo artist, taking on various rojects as well as making her film debut. While on tour with Dizzy Gillesie in the mid-1940s, Ella began to resond to the massive changes in the jazz world, as swing was giving way to bebo; she began incororating scat singing into her reertoire as a reaction to the imrovisational nature of bebo. As she recalled years later I just tried to do [with my voice] what I heard the horns in the band doing. During this eriod, she also met bassist Ray Brown, whom she was to marry 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 from 1956-1964 worked on what may be her greatest legacy, the Song Book series, featuring the music of Cole orter, Rodgers and Hart, Duke Ellington, Irving Berlin, the Gershwins, Harold Arlen, Jerome Kern, and Johnny Mercer. It can be argued that along with the seminal work of Frank Sinatra, these records created some of the greatest and most definitive versions of a huge ortion of what comrises the Great American Songbook. Ira Gershwin famously remarked, I never knew how good our songs were until I heard Ella Fitzgerald sing them. Ella also did what music can uniquely do in tying together many strands of American culture at a time when race relations were a major issue in American society. Critic Frank Rich exressed it so well shortly after Ella s death, writing about her Song Book series: Here was a black woman oularizing urban songs often written by immigrant Jews to a national audience of redominantly white Christians. Ella toured constantly during these years, and she and Granz did their art to hel the burgeoning civil rights movement, fighting inequality and discrimination at every turn, bravely 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 of the most oular talk and variety TV shows. Throughout the 1970s, she ket touring all over the world, and became even more well-known through a series of high-rofile ad camaigns. Anyone who grew u in the 1970s remembers Ella s Is it live or is it Memorex commercials. One of the lesser-known asects of her life at the time was her charitable side. She was known as a very shy erson who was rotective of her rivacy. As a way to hel others avoid what she went through as a child, she gave frequent generous donations to all sorts of grous and organizations that heled underrivileged youth, and her official website even suggests that continuing to be able to this was a major driving force behind the unrelenting touring schedule she continued to maintain. She cared for her sister Frances family after Frances assed as well.
By the 1980s, she had acquired countless awards and honors, among them 1 Grammies including the Lifetime Achievement Award and the residential Medal of Freedom. But the endless touring schedule did begin to take its toll, and Ella began to exerience serious diabetes-related health roblems. From the mid-1980s to the mid-1990s she suffered a series of surgeries and hosital stays, and by 1996 she had tired of sending so much time in hositals. She sent her last days enjoying being outdoors at her Beverly Hills home, sitting outside and simly being with she and Ray Brown s adoted son Ray, Jr. and her granddaughter Alice. Many sources reort that duing her last days she reortedly 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 of 79, and the tributes were instant, huge, and international. Befitting someone of her stature, who was at the innacle of the entertaining world for nearly half a century and left behind a legacy that will never diminish in its beauty and imortance, her archival material and arrangements reside at the Library of Congress and the Smithsonian. There are few figures in American history who left behind what Ella did. A shy, reticent woman from very humble beginnings, she thrilled countless millions all over the world with her beautiful voice and her singular way of interreting a tune. She sang in so many styles, worked with so many of the best comosers and arrangers in the music business, erformed with most of the other greatest stars of her era, and left a body of work that truly enhances the American exerience. The Music: This Buddy Bregman arrangement, written for the 1956 album Ella Fitzgerald Sings the Cole orter Songbook, rovides an interesting contrast to several of the other well-known covers of this long-standing jazz standard. Notes to the Conductor: The arrangement begins with the song s fairly unknown verse, taken mostly rubato until the main melody comes in at measure 25. The backgrounds behind the vocalist are fairly simlistic, and there are multile written solo alto sax interjections throughout. Most of these figures should be fairly subdued, the excetions being the alto sax solo breaks and the line in the strings at measures 11 and 12. The saxohones set u the temo for the melody beginning at measure 2 with a simle background riff that comes u several more times over the course of the arrangement. While other notable recordings of this song tend to range in the medium-fast to fast range, this arrangement ots for a fairly moderate ace. Most of the rest of the arrangement is made u of simle but effective background riffs that don t really exceed a medium-soft volume level until measure 105. The volume level begins to taer back down when the brass switch to cu mutes at measure 121. A brief vocal solo break in measures 125 and 126 set u an aroriately sinister sounding ending featuring another written alto saxohone solo and some rhythmically clever trumet and saxohone figures. This arrangement is for jazz studio orchestra featuring vocal soloist. This is not a transcrition - it has been reared from Bregman s original score and the set of arts used during the recording session. An otional synthesizer art (to be used in lace of the strings) has been included. However, to achieve the desired affect we strongly encourage the conductor to use strings when ossible. Doug DuBoff, Rob DuBoff, Dylan Canterbury - November 2016
This is the original alto saxohone 1 art used during the 1956 recording session.
jl-958 Score Vocal Woodwind 1: Alto Sax. Woodwind 2: Alto Sax. Woodwind : Tenor Sax. Woodwind 4: Tenor Sax. Woodwind 5: Baritone Sax. Trumet 1 Trumet 2 Trumet Trumet 4 Trombone 1 Trombone 2 Trombone Bass Trombone 4 Violin I (5) Violin II () Viola Cello Har Guitar iano Acoustic Bass Drum Set slowly = 76 En Fn Gn An Df Cn Bf g F6 F6 izz. Brushes y y g 2 Love for sale Recorded by Ella Fitzgerald E b 6 E b 6 (2) Af rit. g D b 6 D b 6 () En Dn solo When the F g 4 arco Jazz lines ublications Words and Music by Cole orter Arranged By Buddy Bregman reared by Rob DuBoff and Jeffrey Sultanof 190 (Renewed) WB MUSIC COR. This Arrangement 2016 WB MUSIC COR. All Rights Reserved Used by ermission of ALFRED MUSIC Logos, Grahics, and Layout Coyright 2016 The Jazz Lines Foundation Inc. This Arrangement Has Been ublished with the Authorization of the Ella Fitzgerald Estate. ublished by the Jazz Lines Foundation Inc., a Not-for-rofit Jazz Research Organization Dedicated to reserving and romoting America's Musical Heritage. Ef An Df
Jazz lines ublications Love for sale Score - age 2 jl-958 [5] rubato Vox. Ww. 1 (A. Sx.) Tbn. 1 on - ly sound in the em - ty street is the heav - y tread of the heav - y feet that be - longs to a lone - some co solo F Tbn. 2 Tbn. B. Tbn. 4 Vln. I F Vln. II F H. g Af g g g An no. Bs. 5 (arco) 6 7 8 9 10
jl-958 Love for sale Score - age Jazz lines ublications a temo = 76 Vox. Ww. 1 (A. Sx.) I o - en sho. solo When the Vln. I div. Vln. II Vla. div. Vc. H. Gtr. F>6 G>7 no. F>6 G>7 Bs. izz. F>6 G>7 D. S. 11 12 1 14 (4)