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List of David Baker Compositions Introductory Notes Although David Baker has written hundreds of arrangements on the compositions of other composers, this list covers only his own compositions. The designation “jazz ensemble” is used for compositions that are strictly jazz compositions. David Baker wrote nearly all of the compositions with this designation for big band and also arranged many of them for a variety of smaller jazz ensembles. ABRAHAM LINCOLN IN INDIANA (2008) Narrator and chamber ensemble (trumpet, alto saxophone/clarinet, tenor saxophone, baritone saxophone, trombone, piano, bass, and drums). Narratorʼs script written by David Baker. Nine movements: I. When Indiana Was the Frontier; II. Clearing Fields and Splitting Rails; III. On the Death of Loved Ones; IV. Boys at Play; V. And He Read Himself to Sleep; VI. Sunday Go to Meetinʼ; VII. Becoming His Own Man;VIII. A Country Boy; IX. Of Times Gone By. Commissioned by the Indiana AbrahamLincoln Bicentennial Commission. ABYSS (1968) Song cycle for soprano and piano. Text by Carole Wright. Four movements: I. Perception; II. Observation; III.Introspection; IV. Penetration. ADUMBRATIO (1971) Jazz ensemble. Also published in anarrangement for jazz nonet (trumpet, alto saxophone, tenor saxophone, trombone, baritone saxophone, guitar, piano, electric bass, and drums) by Three Fifteen West Fifty-Third Street Corp. in their Dave Baker Jazz Rock Series (Charles Colin Publications). THE AEBERSOLD STRUT (1982) Jazz ensemble. AFRO-CUBAN SUITE (1954) Band. One movement. AN AFTER HOURS LAMENT (1990) Jazz ensemble. AL-KI-HOL (1956) Jazz ensemble. ALABAMA LANDSCAPE (1990) Bass-baritone and orchestra. Text by Mari Evans. Commissioned by William Brown. Published by Lauren Keiser Music. THE ALARM CLOCK (1973) Tenor and piano. See THE BLACK EXPERIENCE (1973). ALMACO (1982) Jazz ensemble. ALMOST (1973) Jazz ensemble. For lead sheet, see Baker, Advanced Improvisation. AN ALMOST DEATH (1975) Soprano and chamber ensemble. See GIVE AND TAKE. ALTO (2002) A concerto for saxophone and jazz ensemble. Commissioned by Bruce Jordan and Sinclair Community College. AND HE NEVER SAID A MUMBALINʼ WORD (1990) Baritone and contrabass. See WITNESS: SIX ORIGINAL COMPOSITIONS IN SPIRITUAL STYLE (1990). AND THEN . (2001) Bass clarinet and piano. Three movements: I. The Song Also Rises; II. On Wings of Song; III. The Apprenticeʼs Sources. Commissioned by Howard Klug. ANDY JACOBSʼS CAMPAIGN SONG (1972) Incidental music for a television show. Commissioned by Andrew Jacobs, Jr., for use in his 1972 Congressional campaign. ANGELʼS GLOW (2005) Jazz ensemble. ANJISA (1973) Jazz ensemble. For lead sheet, see Baker, Advanced Improvisation. ANOCAL (2005) Jazz ensemble. ANY HUMAN TO ANOTHER (1973) Chorus (SATB) and piano. Text by Countee Cullen. APOCALYPSE (1964) Jazz ensemble. APRIL B (1959) Jazz ensemble. Also published in an arrangement for jazz nonet (trumpet, alto saxophone, tenor saxophone, trombone, baritone saxophone, guitar, piano, electric bass, and drums) by Three Fifteen West Fifty-Third Street Corp. in their Dave Baker Jazz Rock Series (Charles Colin Publications). For lead sheet, see Baker, Arranging and Composing for the Small Ensemble. APRIL IN AUGUST (1996) Jazz ensemble. APRILʼS SMILE (2008) Jazz ensemble. ASPECTS (1998) Jazz ensemble. ASPECTS OF ANDY (1998) Clarinet, bass, jazz piano, and string quartet. Three movements. Commissioned by James Campbell. AT TWILIGHT (1996) Jazz ensemble. AU DEMAIN (1973) Jazz ensemble. AUCON (1973) Jazz ensemble. AUEV (1973) Jazz ensemble. AUJOURDʼHUI (1973) Jazz ensemble. AULIL (1973) Jazz ensemble. Jazz septet arrangement published by Studio PR (trumpet, alto saxophone, tenor saxophone, trombone, piano, bass, and drums). Also arranged for brass quartet (trumpet, trombone, euphonium, and tuba) by Norlan Bewley. For lead sheet, see Baker, Advanced Improvisation. In addition, a play-along track and lead sheets (for concert key treble clef, concert key bass clef, B, and E instruments) can be found in the book and CD set David Baker: Eight Classic Jazz Originals You Can Play, Jamey Aebersold Play-Along volume 10. AUTUMNʼS DREAMS (1990) Jazz ensemble. Published by Walrus Music. THE AVENUE (2001) Jazz ensemble. Scheduled for publication by Sierra Music. BAKERʼS SHUFFLE (1970) String orchestra. Published by Creative Jazz Composers. BALLADE (1967) F horn, alto saxophone, and violoncello. Commissioned by Peter Gordon. BASH (1972) Jazz ensemble. THE BEATITUDES (1968) Chorus (SATB), soloists, narrator, jazz ensemble, string orchestra, and dancers. Biblical text. Twelve parts: I. Instrumental Prelude; II. Vocal Introduction; III. Blessed Are the Poor in Spirit; IV. Blessed Are They That Mourn; V. Blessed Are the Meek; VI. Blessed Are They That Hunger; VII. Blessed Are the Merciful; VIII. Blessed Are the Clean in Heart; IX. Blessed Are the Peacemakers; X. Blessed Are They Who Suffer Persecution; XI. Blessed Are Ye When Men Shall Revile You; XII. Instrumental Postlude. Commissioned by Christian Theological Seminary; Indianapolis, Indiana. BEBOP REVISITED (1974) Jazz ensemble. For lead sheet, see Baker, Advanced Improvisation. LA BELLE FLEUR (1964) Jazz ensemble. BILY (1974) Jazz ensemble. BIRD (TO THE MEMORY OFCHARLIE PARKER) (1970) Jazz ensemble. Four movements: I.The Blues; II. In Beauty; III. Birdʼs Lady; IV. Past-Present-Future. BIRDSONG (1984) Jazz ensemble. Also arranged for orchestra; see JAZZ SUITE FOR CHAMBERORCHESTRA AND RHYTHM SECTION. BLACK AMERICA: TO THE MEMORY OF MARTIN LUTHER KING, JR. (1968; has undergone several revisions) Cantata for jazz ensemble, narrators, chorus (SATB), soloists, and string orchestra. Four movements: I. The Wretched of the Earth (Machinations, Missionaries, Money, Marines); II. Kaleidoscope; III. 125th Street; IV. Martyrs: Malcolm, Medgar, Martin. Texts include the following: Black Man, White World (Stanley Warren); The Burying Ground (traditional); I Dream a World (Langston Hughes); Sorrow Is the Only Faithful One (Pauli Murray); Now That He Is Safely Dead (Carl Hines); Thou Dost Lay Me in the Dust of Death (Biblical); If We Must Die (Claude McKay). For many years a recording of this work was broadcast annually by Voice of America on the anniversary of Dr. Kingʼs death. BLACK CHILDREN (1970) Chorus (SATB), unaccompanied. See FIVE SONGS TO THE SURVIVAL OF BLACK CHILDREN. THE BLACK EXPERIENCE (1968) Television theme music. See SON MAR. THE BLACK EXPERIENCE (1973) Song cycle for tenor and piano. Text by Mari Evans. Seven movements: I. The Alarm Clock; II. A Good Assassination Should Be Quiet; III. The Insurgent; IV. I Who Would Encompass Millions; V. The Rebel; VI. Status Symbol; VII. Early in the Morninʼ. Commissioned by William Brown. THE BLACK FRONTIER (1971) Music for the National Educational Television [NET] series The Black Frontier. Four one-hour shows: The New Americans; The Cowherders; The Buffalo Soldiers; The Exodusters. BLACK MAN, BLACK WOMAN (1969) Jazz ensemble. Based on music from I HEARD MY WOMAN CALL. BLACK THURSDAY (1964) Jazz ensemble. Also published in an arrangement for jazz nonet (trumpet, alto saxophone, tenor saxophone, trombone, baritone saxophone, guitar, piano, electric bass, and drums) by Three Fifteen West Fifty-Third Street Corp. in their Dave Baker Jazz Rock Series (Charles Colin Publications). For lead sheet, see Baker, Arranging and Composing for the Small Ensemble: Jazz, R&B, Jazz-Rock. In addition, a play-along track and lead sheets (for concert key treble clef, concert key bass clef, B, and E instruments) can be found in the book and CD set David Baker: Eight Classic Jazz Originals You Can Play,Jamey Aebersold Play- Along volume 10. BLACK-EYED PEAS AND CORNBREAD (1970) String orchestra. Published by Creative Jazz Composers. BLUE STRINGS (1970) String orchestra. Published by Creative Jazz Composers. BLUES (1966) String orchestra. Published by Creative Jazz Composers. This piece is an arrangement of “Deliver My Soul” from PSALM 22. BLUES (1966) Violin and piano. This piece is an arrangement of “Deliver My Soul” from PSALM 22 and is published by Lauren Keiser Music under the title “Blues” (“Deliver My Soul”). The recordings of this piece list the title as “Blues.” BLUES FOR BIRD (1972) Jazz ensemble. For lead sheet, see Baker, Advanced Improvisation. BLUES FOR D. P. (1999) Jazz ensemble. BLUES ODYSSEY (2006) Tuba ensemble. Commissioned by Winston Morris for the fortieth anniversary of the Tennessee Technological University Tuba Ensemble. BOOCHIE (1985) Incidental music for the play Boochie by Mari Evans. THE BOOGIE JOOG Jazz ensemble. DE BOOGIE MAN (1973) Jazz ensemble. BORDERLINE (1972) Soprano, string quartet, and piano. See SONGS OF THE NIGHT. BORDERLINE (1972) Soprano, string quartet, and piano. The Samuel Coleridge-Taylor String Quartet recorded eight movements of the twelve-movement song cycle SONGS OF THE NIGHT on their CD Calvary under the title BORDERLINE. The movements they recorded are Night: Four Songs; Fragments; Kid Stuff; Poppy Flower; Gethsemane; Religion; Now That He Is Safely Dead; and End. BOSSA BELLE (1973) Jazz ensemble. Also, a play-along track and lead sheets (for concert key treble clef, concert key bass clef, B, and E instruments) can be found in the book and CD set David Baker: Eight Classic Jazz Originals You Can Play, Jamey Aebersold Play-Along volume 10. BOUGALOO (1971) Jazz ensemble. BOURNE (1984) Jazz ensemble. Published by Walrus Music. BROTHER (1973) Jazz ensemble. Published by Walrus Music. For lead sheet, see Baker, Advanced Improvisation. BRUSHSTROKES (1966) Theme music
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    JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
  • Of Audiotape

    Of Audiotape

    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DAVID N. BAKER NEA Jazz Master (2000) Interviewee: David Baker (December 21, 1931 – March 26, 2016) Interviewer: Lida Baker with recording engineer Ken Kimery Date: June 19, 20, and 21, 2000 Repository: Archives Center, National Museum of American History Description: Transcript, 163 pp. Lida: This is Monday morning, June 19th, 2000. This is tape number one of the Smithsonian Jazz Oral History Project interview with David Baker. The interview is being conducted in Bloomington, Indiana, [in] Mr. Baker’s home. Let’s start with when and where you were born. David: [I was] born in Indianapolis, December 21st, 1931, on the east side, where I spent almost all my – when I lived in Indianapolis, most of my childhood life on the east side. I was born in 24th and Arsenal, which is near Douglas Park and near where many of the jazz musicians lived. The Montgomerys lived on that side of town. Freddie Hubbard, much later, on that side of town. And Russell Webster, who would be a local celebrity and wonderful player. [He] used to be a babysitter for us, even though he was not that much older. Gene Fowlkes also lived in that same block on 24th and Arsenal. Then we moved to various other places on the east side of Indianapolis, almost always never more than a block or two blocks away from where we had just moved, simply because families pretty much stayed on the same side of town; and if they moved, it was maybe to a larger place, or because the rent was more exorbitant, or something.