Presents Jazz Lines Publications la rosita recorded by BENNY GOODMAN Arranged by EDDIE SAUTER reared or ublication by dylan canterbury, rob dubo, and jerey sultano ull score jl-827 Words by Lester O Keee (AKA Allan Stuart) Music by Carl Fenton (AKA Paul Duont) Coyright 2019 The Jazz Lines Foundation Inc. All Rights Reserved Published by the Jazz Lines Foundation Inc., a not-or-roit jazz research organization dedicated to reserving and romoting America s musical heritage. The Jazz Lines Foundation Inc. PO Box 126 Saratoga Srings NY 12866 USA
benny goodman big band series la rosita (1941) Background: The King o Swing himsel, clarinetist Benny Goodman was one o the most rominent igures in big band jazz or over 50 years. Born to an imoverished amily o Russian Jewish immigrants in the slums o Chicago in 1909, he began taking clarinet lessons at age 10. The young Goodman dislayed a stunning ainity or the instrument, making his roessional debut a mere two years later. Droing out o high school a ew years later, Goodman became a ull time roessional as a member o the renowned Ben Pollack Orchestra. Having moved to New York by the end o the 1920s, Goodman ound himsel in demand as a studio session musician or some o the to recording bands o the day. It was around this time that he met roducer John Hammond, who became his biggest suorter. With Hammond s backing and connections, Goodman ut together his own band, becoming a star through his aearances on the oular radio show Let s Dance in 195. Goodman s career almost ended as abrutly as it began, as a highly unsuccessul 195 tour let him and his band nearly broke and disillusioned. A concert at the Palomar Ballroom in Los Angeles was nearly the inal nail in the coin until Goodman, until then ocusing on sweet music, launched into a erormance o King Porter Stom that caused the crowd to erut in enthusiasm. His ame would eventually eak years later ollowing a wildly successul concert at Carnegie Hall, the irst jazz erormance at the amed venue. Although Goodman s oularity would begin to slowly wane in the 1940s, he continued to tour and erorm all the way until his assing in 1986. In addition to his integral inluence on the music o the Swing Era, Goodman was a ioneer in the world o civil rights; his bands were ully integrated, giving star billing to such greats as ianist Teddy Wilson, vibrahonist Lionel Hamton, and guitarist Charlie Christian Comoser/arranger Eddie Sauter studied music at Columbia University and Juilliard beore striking out as a roessional, starting o as a member o the trumet section o vibrahonist Red Norvo s band. He eventually shited his attention solely to arranging, and was resonsible or writing some o the most creative and orward looking arrangements or the bands o Norvo, Benny Goodman, Artie Shaw, Tommy Dorsey and Woody Herman, among others. The 1950s saw Sauter co-leading a band with ellow swing era arranger Bill Finegan. By the 1960s, Sauter s work had begun to branch into other territories. His collaboration with tenor sax legend Stan Getz on his album Focus is considered to be a masteriece. He began working on Broadway and or television and ilm, and continued to ocus on these idioms until his death in 1981.
The Music: Eddie Sauter s arrangements or the Benny Goodman Orchestra resulted in some o the most consistently enveloe-ushing erormances by the great clarinetist. This take on the oular song La Rosita was recorded and released in 1941. Goodman may not have been at the height o his oularity anymore, but the level o musicianshi within his band certainly didn t suer as a result. Notes to the Conductor: The arrangement begins with the saxohones whisking in a Billy Butterield trumet cadenza that has more in common with the bravura stylings o classical soloists than jazz soloists. The ensemble re-enters when Butterield s solo climaxes, with a winding saxohone line and some quick wah-wah-ing brass setting u Goodman s entrance with the melody at measure 10. The melody should be erormed in a airly straight manner, with the simle but warm backgrounds never overwhelming the soloist. The iery introductory igure returns at measure 26, but this time has two measures tacked on that counteract the decrease in volume with an equal swell back u toward the end. The tune shits to a minor key at measure 2. At this oint, the saxes carry out a quasi-rumba rhythm underneath some trading back and orth between a muted trumet trio handling the melody and a clarinet trio interjecting commentary. The trombones co-ot the melody beginning at measure 48, with some continued intricate call-and-resonse assages between the rest o the horns. The trombones continue to carry the melody through the sto-time eel at measure 56 beore Butterield s trumet returns to the ore at measure 64. The key changes back to major, with the trumet handling the melody duties over the to o the rest o the ensemble. The background igures are occasionally quite intricate during this art; in articular some o the sweeing woodwind areggios will require some quick inger technique. Goodman s clarinet trills the melody back or the inal ortion o the arrangement at measure 80, which sees yet another key change. The inal ew measures should very gradually taer o in volume, but once the audience is lulled into a alse sense o security a brie but loud sna rom the ull band wakes them back u just in time or things to inish u. Note that at measure 80 woodwind (tenor saxohone) doubles the clarinet melody. This art was removed or the master take but was layed on the alternate take. This has been included and may be layed at the discretion o the conductor. However, i woodwind does not lay this section, the A# in the rior measure or that instrument should not be layed. Most o this ublication has been reared rom the original arts used during the 1941 recording session. The baritone saxohone art, which aears to have been lost over the years, has been transcribed accordingly. Dylan Canterbury and Rob DuBo - February 2019
Here is Benny Goodman s art that was used or the 1941 recording o La Rosita.
JlP-827 Score Solo Clarinet Woodwind 1: Alto Sax./Clarinet Woodwind 2: Alto Sax./Clarinet Woodwind : Tenor Sax. Quickly = 140 [1] {A`l`t`o` `S```a`x`} {A`l`t`o` `S```a`x`} Rubato la Rosita recorded by Benny Goodman (Tt. cue) (Tt. cue) (Tt. cue) [6] Medium Swing = 120 m m m jazz Lines ublications Words by Lester O'Keee (AKA Allan Stuart) Music by Carl Fenton (AKA Paul Duont) Arranged by Eddie Sauter Preared by Dylan Canterbury, Rob DuBo, and Jerey Sultano m Woodwind 4: Tenor Sax. Woodwind 5: Baritone Sax. Trumet 1 Trumet 2 6 {S`o`l`o`} (Tt. 1 Cue) reely (Tt. cue) (Tt. cue) Play (W/tbn.) {E`n`d` `Sò`l`o`} m + o + o m + o + o m m + o o + o o Trumet (Tt. 1 Cue) Play + o + o m + o o Trombone 1 Trombone 2 Guitar (Tt. 1 Cue) (Tt. 1 Cue) Play (Tt. cue) (W/B. Sx.) C. m m (# 5) Piano Bass Drum Set œ œ œ {A`r`c`o`} 1 œ œ 2 m 4 5 (Tt. cue) (Tt. cue) (Tt. cue) œ C. C> 6 œ {P`i`z`z`} tom-tom œ œ 7 Coyright 2019 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a Not-or-Proit Jazz Research Organization Dedicated to Preserving and Promoting America's Musical Heritage. 8 m m m x x x x x x œ x œ x m 9 (# 5) (# 5)
jazz Lines ublications Cl. [10] la Rosita Score - Page 2 JlP-827 Ww. 1 (A. Sx.) Ww. (T. Sx.) Ww. 4 (T. Sx.) Ww. 5 (B. Sx.) m Tbn. 1 m Tbn. 2 Gtr. m Pno. Bs. Dr. x œ (4) (8) 10 11 12 1 14 15 16 17
JlP-827 Cl. [18] la Rosita Score - Page jazz Lines ublications Ww. 1 (A. Sx.) Ww. (T. Sx.) Ww. 4 (T. Sx.) Ww. 5 (B. Sx.) Tbn. 1 + o + o Tbn. 2 + o + o Gtr. D9 Pno. D9 Bs. D9 Dr. x œ (4) (8) 18 19 20 21 22 2 24 25