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Presents doodlin’ Arranged by ernie wilkins prepared by dylan canterbury, rob duboff, and jeffrey sultanof full score

jlp-7318

Music by Horace Silver

Copyright © 1956 & 1957 Ecorah Music Co. All Rights Reserved International Copyright Secured Logos, Graphics, and Layout Copyright © 2016 The Jazz Lines Foundation Inc.

Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage.

The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA  series  doodlin’ (1956)

Background: When I was eighteen, I borrowed a copy of the Dizzy Gillespie Big Band album recorded live at the Salle Pleyel on February 28, 1948. Recorded privately, source acetates well-worn from constant playing, this album changed my life forever. I’d never known such music existed. I wasn’t alone; such musicians as Michel Legrand commented that audiences in the hall, particularly musicians, were spellbound at the new jazz. Up until then, very few of the ‘beboppers’ had played in Europe, and since the music was recorded by small labels with poor distribution, only a handful of people had heard what had become the ‘hip’ thing in jazz.

The music called ‘bebop’ was small-group music, and few thought that it could adapt well for big band. However, in 1943 Henry Jerome proved the opposite. Broadcasts of this important band exist. The band from 1943 had Gillespie, Parker and as members, but is not easy to know if the new music was played by Hines, as recordings of this legendary ensemble do not exist. Gerald Wilson played and recorded Groovin’ High in 1945, and Billy Eckstine played the new music during 1945-7 as well.

Gillespie was born to be a big band leader, and the first of his large ensembles was actually part of a traveling show calledHepsations of 1945. In addition to playing for singers and dancers in the show, Gillespie’s band played for dancing after the show. In most places the band played, audiences could not dance to the music, and reacted negatively to the new sounds. After the tour ended, Gillespie and Hepsations arranger Walter ‘Gil’ Fuller tried again. Signed to a small label called Musicraft, the orchestra recorded compositions that became legendary, such as Our Delight, One Bass Hit, Ray’s Idea, and Emanon (“no name” spelled backwards). RCA Victor soon signed the band and the ensemble toured successfully, eventually playing concerts in Europe, where audiences went wild. By 1950, however, big bands became harder to sustain, and Gillespie disbanded his ensemble. Gil Fuller was very busy running an arranging service (for a time employing Budd Johnson and Arturo O’ Farrill among others) and formed a publishing company with titles primarily from the book of the Gillespie Orchestra (although he also published some Bud Powell compositions). He prepared stock arrangements of most of his song holdings, and later sold the company to J.J. Robbins & Sons (this was run by the son of the original Robbins, part of Big 3 Music). That company was later sold to Music Sales. -Jeffrey Sultanof

The Music: Horace Silver’s iconic blues received treatment courtesy of arranger Ernie Wilkins for Dizzy Gillespie’s big band in 1956. By and large, the arrangement sticks fairly close to Silver’s original intentions, especially with the melody statement.

Silver’s funky opening piano riff is covered by the baritone saxophone, before the rest of the saxophone section picks up the melody in the first full bar. Gillespie’s trumpet takes over solo duties after the statement of the melody, being prodded on by backgrounds that bare more than a passing resemblance to Silver’s “rumbling” style of accompaniment. The shout section at measure 38 begins with a quote of Silver’s piano solo from the original recording before moving into its own territory, with Gillespie soaring over the top of the powerful ensemble figures.

In addition to the studio recording, Gillespie’s band was captured on record performing this arrangement live at the 1957 Newport Jazz Festival. The ending melody statement is repeated several times, with increasingly comedic flair from baritone saxophonist Pee Wee Moore. Although our version only has the section marked as being repeated twice, your ensemble may open this section up if they are feeling in a particularly playful mood on any given day. This arrangement features a part for solo trumpet, as well as three trombone parts in comparison to the usual four. However, included is an alternate trumpet 4 part that allows this arrangement to be performed without a trumpet soloist. This publication has been prepared from the original set of parts - this is not a transcription. We hope you enjoy playing this arrangement as much as we enjoyed preparing it for you!

Dylan Canterbury - April 2016

 JlP-7318 dooDLin' jazz Lines pubLications Recorded by Dizzy Gillespie Music by Horace Silver Score Arranged by Ernie Wilkins Prepared for Publication by Dylan Canterbury, Rob DuBoff and Jeffrey Sultanof Medium sWING = 120  [1]   Trumpet Soloist             3  33  3  3                Alto Sax 1                                    mp 3 3 3  33  3  3                Alto Sax 2                                    mp 3 3                         Tenor Sax 1                               3 3 mp 3 33 3 3                         Tenor Sax 2                               3 3 3 33 3 3 Solo mp     Baritone Sax                       mf   Trumpet 1            

  Trumpet 2            

  Trumpet 3            

  Trumpet 4            

 Trombone 1              

 Trombone 2              

 Trombone 3              

   Guitar                 Piano              Db7 Gb7                    Bass                    mp (4)   xxx xxx Drum Set   œ  œ  œ  œ x œ x ’’’’ ’’’ ’ ’’’’ ’’ ’ ’ ’’’’ mf mp 1 2 3 4 5 6 Copyright © 1956 & 1957 Ecorah Music Co. All Rights Reserved International Copyright Secured Logos, Graphics, and Layout Copyright © 2016 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a Not-for-Profit Jazz Research Organization Dedicated to Preserving and Promoting America's Musical Heritage. jazz Lines pubLications dooDLin' JlP-7318 Score - Page 2

1. 2.  3                       A. Sx. 1                     3 mfp f mf ff  3                   A. Sx. 2                        3 ff mfp mf mf               T. S x . 1                                3 3 mfp mf mf ff                 T. S x . 2                              3   3 mf mf ff mfp Solo           B. Sx.                          ff   mfp mf                                   Tpt. 1                           mf f 3 ff                                Tpt. 2                            mf f 3 ff                               Tpt. 3                            mf f 3 ff                              Tpt. 4                              mf f 3 ff                                   Tbn. 1                        3 mf f ff                                    Tbn. 2                        3 mf f ff                                 Tbn. 3                         3 mf f ff à à Db7 Bb7 Eb.9 Ab13 Db7 Gb G7 Db7 Db7 Bb13( 9) Eb7(#9)Ab13( 9) Db9    Gtr.          mp’’ ’ ’ ’’’’ mf’’’ Û Û Û ’’ ’ Û ’ Û Û Û Û Û Û ff à à Db7 Bb7 Eb.9 Ab13 Db7 G7 Db7 Db7 Bb13( 9) Eb7(#9)Ab13( 9) Db9    Pno.          mp’’ ’ ’ ’’’’ mf’’’ Û Û Û ’’ ’ Û ’ Û Û Û Û Û Û b b à à Db7 Bb7 Eb.9 Ab13 D 7 G7 Db7 D 7 Bb13( 9) Eb7(#9)Ab13( 9) Db9                   Bs.                       mf c.s. (8)       Dr.  œ x x œ œ f f  x œ œ œx œx œ œ œx x œ œœœ  œ  œ œ  œ ’’’ ’ ’’ ’ ’ ’’’’ mf’’’ ’’   7 8 9 10 11 12 13