Brass Quintet Baritone Horn TC,Trombone,Trumpet,Tuba - Level 3 - Digital Download

SKU: A0.1273084

By Keith Terrett. By Duke Ellington/Barney Bigard. Arranged by Keith Terrett. 20th Century,Jazz,Standards. 11 pages. Keith Terrett #865274. Published by Keith Terrett (A0.1273084).

An arrangement of C Jam Blues for Brass Quintet. The extra parts are not necessary, but are provided if you have extra players such as a Bb Piccolo Trumpet & Bb Trombone/Euphonium in TC.

New Orleans-born clarinetist Barney Bigard is likely the originator of this tune, a simple blues riff in the key of C. Since Bigard was a veteran member of Duke Ellington’s Orchestra in 1941, Duke had a slice of the pie, too, and undoubtedly arranged the piece for the orchestra. Yet Duke referred to the number somewhat disparagingly as “one of our more or less trite things.�

The number was introduced in a Soundie short film. These three-minute features, produced to be shown on a jukebox-type player, illustrated the band miming to a pre-recorded performance. Entitled “Jam Session� the Soundie was filmed late in 1941 along with four other Ellington numbers. Duke introduces various band members, who then solo: Ray Nance (violin), Ben Webster (tenor sax), Rex Stewart (cornet), Joe “Tricky Sam� Nanton (trombone), and Sonny Greer (drums). The complete ensemble carries the tune to its finish with composer Bigard (clarinet) providing some improvised upper register piping.

“C Jam Blues� was formally recorded under that title in January, 1942, for RCA Victor Records. It continued be a staple of the Ellington repertoire, generally featuring a handful of the soloists in the band.

Co-composer Barney Bigard left Duke’s band in June 1942, and after a period of freelancing joined Louis Armstrong’s All-Stars in August, 1947. “C Jam Blues� was one of his nightly features with Satch’s ensemble along with “Tea for Two.� Despite playing the tune hundreds, or perhaps even thousands of times during his tenure with Ellington and Armstrong, he continued to perform it during his freelance years in the 1950s until shortly before his death in 1980.

In the late-1950s very simple words were added (“Baby, let’s go down to ‘Duke’s Place’,� etc.) which strangely took a three-member team of writers to assemble: songwriters William Katz and Ruth Roberts and record producer Bob Thiele. Clarinetist Barney Bigard was not included in the composer credits of the song version, although he was a member of Louis Armstrong’s All-Stars when they recorded “Duke’s Place,� featuring Louis on the vocal, with Ellington in 1961.

The piece typically features several improvised solos. The final solo continues in the upper register as the entire ensemble comes in and the music grows to a climax. The melody likely originated from the clarinetist Barney Bigard in 1941, but its origin is not perfectly clear.

It was also known as Duke’s Place, with lyrics added by Bill Katts, Bob Thiele and Ruth Roberts Western Swing band leader Bob Wills and His Texas Playboys recorded the song sometime between mid-1945 through 1947 as part of the Tiffany Transcriptions.

The 10-note occasional riff formed the basis of the Bonzo Dog Doo-Dah Band’s novelty song Intro Outro.

Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download

SKU: A0.1403107

Composed by Carl Story. Arranged by Schoebel, Mares & Rappolo - Peet du Toit (orchestration). Jazz. 8 pages. Peet du Toit #986308. Published by Peet du Toit (A0.1403107).

Farewell Blues is a 1922 jazz standard written by Paul Mares, Leon Roppolo and Elmer Schoebel.

The song was recorded on August 29, 1922, in Richmond, Indiana and released as Gennett 4966A, Matrix #11179, as by the Friars Society Orchestra under the direction of Husk O'Hara. It was first released by the New Orleans Rhythm Kings under the name the Friars Society Orchestra and soon was covered by several jazz bands. A band called The Georgians recorded it in 1923, copying Roppolo's acclaimed clarinet solo note for note.

Here's your brass quintet's version thereof.

Euphonium,Horn,Trombone,Trumpet,Tuba - Digital Download

SKU: A0.1149132

By Louis Armstrong. By Jerry Herman. Arranged by Keith Terrett. 20th Century,Blues,Film/TV,Jazz. 15 pages. Keith Terrett #749261. Published by Keith Terrett (A0.1149132).

A classic arranged for Brass Quintet with optional drums. The chart features a fully written Louis style Trumpet solo. Enjoy!

Hello, Dolly! is the title song of the popular 1964 musical of the same name. Louis Armstrong's version was inducted into the Grammy Hall of Fame in 2001.

The music and lyrics were written by Jerry Herman, who also wrote the scores for many other popular musicals including Mame and La Cage aux Folles.

History:

Hello, Dolly! was first sung by Carol Channing, who starred as Dolly Gallagher Levi in the original 1964 Broadway cast. In December 1963, at the behest of his manager, Louis Armstrong made a demonstration recording of Hello, Dolly! for the song's publisher to use to promote the show. Hello, Dolly! opened on January 16, 1964, at the St. James Theatre in New York City, and it quickly became a major success.

The same month, Kapp Records released Armstrong's publishing demo as a commercial single. His version reached No. 1 on the U.S. Billboard Hot 100, ending the Beatles' streak of 3 chart-topping hits in a row over 14 consecutive weeks. Hello Dolly! became the most successful single of Armstrong's career, followed by a Gold-selling album of the same name.[2] The song also spent nine weeks atop the adult contemporary chart shortly after the opening of the musical. The song also made Armstrong the oldest artist ever to reach No. 1 on the Hot 100 since its introduction in 1958. Billboard ranked the record as the No. 3 song of 1964, behind the Beatles' I Want to Hold Your Hand and She Loves You.

Hello, Dolly! won the Grammy Award for Song of the Year in 1965, and Armstrong received a Grammy for Best Vocal Performance, Male. Louis Armstrong also performed the song (together with Barbra Streisand) in the popular 1969 film Hello, Dolly!.

Lyndon B. Johnson, often referred to by the moniker LBJ, used the tune, rechristened Hello, Lyndon!, as a campaign song for his run in the 1964 U.S. presidential election. This version of the song was performed by Carol Channing at that year's Democratic National Convention, and a recording was made by Ed Ames for distribution at the convention.

The Sunflower controversy:

Hello, Dolly! became caught up in a lawsuit which could have endangered plans for filming the musical. Mack David, a composer, sued for infringement of copyright, because the first four bars of Hello, Dolly! were the same as those in the refrain of David's song Sunflower from 1948. As he recounts in his memoirs, Herman had never heard Sunflower before the lawsuit, and wanted a chance to defend himself in court, but, for the sake of those involved in the show and the potential film, he reluctantly agreed to pay a settlement before the case would have gone to trial.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download

SKU: A0.1373864

By Bobby Darin. By Paul Francis Webster and Sonny Burke. Arranged by Peet du Toit. Blues. 17 pages. Peet du Toit #958338. Published by Peet du Toit (A0.1373864).

Black Coffee is a song with music by Sonny Burke and words by Paul Francis Webster. The song was published in 1948.
It's first two measures are nearly identical to Mary Lou Williams' 1938 piece What's Your Story Morning Glory, and both songs share melodic motifs drawn from blues (including a strong melodic emphasis on the flat third and flat seventh intervals, known as blue notes). Williams felt that Burke and Webster plagiarized her composition, and reportedly considered taking legal action over the matter. The two songs have significant melodic and rhythmic differences after the first two measures of their respective 'A' sections, and Black Coffee has a unique bridge section that has no parallel in Morning Glory. However, during her piano solo, Williams plays both the identical feel and harmonies that appear on Black Coffee, with dominant chords moving up and down by half steps in lieu of staying on the tonic chord. While not a carbon copy, Burke and Webster arguably picked sections of What's Your Story Morning Glory to string together to create a new song. Coincidentally, jazz trumpeter Paul Webster (no relation to lyricist Paul Francis Webster) was given co-writer credit for Morning Glory by Williams when she published her song in 1938.

My dear friend, Sam Harrill, has added his percussion magic some years later, and I am re-posting this for greater effect. Nothing in the brass parts changed. Thank you, Sam!