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Archives for October 29, 2012

Jazz Archeology: Mulligan’s “Yardbird Suite”

Readers familiar with Jeff Sultanof’s essays for Rifftides on Pete Rugolo and Russ Garcia know the depth of his knowledge and wisdom about arranging and composing. Professionals in many areas of music admire him for his analyses and editing of scores and for his teaching about major figures including Robert Farnon, Miles Davis and Gerald Wilson. With some excitement, Jeff recently told me about discovering a score from the days when Gil Evans, Miles Davis, Gerry Mulligan, John Lewis, Lee Konitz and others were expanding on an approach to music that grew out of bop but also drew on elements as diverse as French impressionism and Johann Sebastian Bach. Mulligan was then better known in jazz as an arranger and composer than as a baritone saxophonist. He was a key figure in what came to be labeled the cool school. He made his initial mark writing for big bands at the end of the swing era. Jeff’s story concerns a Mulligan arrangement for one of Charlie Parker’s most celebrated projects, an arrangement that never made it to records. His piece will appear in two installments. He begins with background about preservation of big band scores.

MULLIGAN AND “YARDBIRD SUITE”
Part 1
By Jeff Sultanof

Back in 1972, I first realized that a great deal of the music of the big band era was worth saving, playing and studying, so it needed to be available in edited, accurate editions; my models were modern editions of Bach and Beethoven. After all, many composers whom I considered important wrote the bulk of their music for saxophones, brass and rhythm sections. Several big band libraries were still in private hands, and many people considered revisiting that music as an act of nostalgia. This changed some years later, when major donations were made to universities, libraries, the Institute of Jazz Studies (IJS), the Library of Congress and the Smithsonian Institution, and new ‘repertory’ ensembles began to appear. Since this was such a new area of musicology, only a handful of scholars was really interested at the time, but many others photocopied original parts and sold them underground; some simply stole whatever they could get.

I wrote out my first edited score in 1974 and continued to write out scores of anything I could acquire so I could study them for a textbook I wanted to write. I had one rule: this music would be properly published with creators paid; I refused to copy or trade the scores. Eventually, I prepared a collection of over 300 scores of music from the 1900s through to the 1980s. Along the way, composers found out about what I was doing and asked me to work on their music. Robert Farnon gave permission to create definitive editions of his music with his active participation. These scores also sat while I tried to get them published. I tested out my editions when I was assistant professor at Five Towns College and led the jazz orchestra. The students couldn’t get enough of this music, having never heard much of it before.

Publishers weren’t interested. My bosses at Warner Bros. Publications back in the 1980s didn’t think anybody had heard of Gil Evans, Fletcher Henderson, and Tadd Dameron, and besides, teachers in high schools and universities weren’t asking for this music anyway. Odd attempts to make available such libraries as the Boyd Raeburn Orchestra failed, perhaps partly because either copies of original parts in poor condition were being sold, or new parts were prepared but were filled with errors and poor notation.

Eventually Bob Curnow started issuing important pieces from the Stan Kenton and Maynard Ferguson libraries; he now has a sizable catalog of great diversity. Jazz at Lincoln Center issued Ellington, Andy Kirk and music from many other important bands, but these are mostly transcriptions. It took Rob DuBoff to really jump in the deep water and pursue music from many eras and bands. Rob was a former client of mine when I worked at Hal Leonard Corporation, and was as determined as I was that this important music be available to everyone, sourced from the original scores and/or parts. My scores came out of the basement and many were published. Thanks to his persistence, I have prepared Eddie Sauter’s “Focus,” Mary Lou Williams’ “Zodiac Suite,” Benny Carter’s “Central City Sketches,” and Oliver Nelson’s “Blues and the Abstract Truth” for publication. Jazz Lines Publications now has more than 300 titles in print, and Rob has made agreements with the estates of Frank Sinatra, Duke Pearson, Tadd Dameron, Oliver Nelson, Rob McConnell and many other important composer/arrangers.

I also work on the rediscovery of perfectly good music that was never recorded. “The One I Love Belongs to Somebody Else” arranged by Tadd Dameron for Jimmie Lunceford was well loved by the band, yet had somehow escaped any recorded performances, in studio or live. This one score tells us more than anything about what Dameron knew in 1942 and where he wanted to go in his music better than prose.

And sometimes I get to finish something that only needs some details added so that it can finally be heard and played. Such a project involved Gerry Mulligan.

Back in 1995, I worked with Gerry to prepare a play-along book/CD package. The customer buys the book filled with lead sheets of the tunes, and plays the music with the accompaniment recorded on the CD, which I produced. Gerry and I spent much of the summer working on this project, and he grew to trust my judgment. He was ill, but our meetings energized him, and he shared a great deal with me about his music and his life. He had had bad experiences with publishers, but knew that there was a demand for his music, and I spoke to him about publishing the music of the tentet and the Concert Jazz Band. He warned me that he changed a great many things in the CJB book, but he said, “Look, you know what I want musically, and I trust you. If you want to get my music out, do whatever you think is best.” I was flattered beyond words. As it turned out, Gerry’s widow Franca’s wish has always been to get as much of Gerry’s music available as possible. Gerry died in 1996.

©2012, Jeff Sultanof

Jeff concludes his story in the next exhibit.

Mulligan’s “Yardbird Suite,” Continued

MULLIGAN AND “YARDBIRD SUITE”
Part 2
By Jeff Sultanof

When Jazz Lines began operation, Rob DuBoff had a meeting with Franca Mulligan and made an agreement. I contacted him about what Mulligan had said to me, and became his editor. Obviously the CJB library was a priority, but Jazz Lines also issued new editions I prepared of Mulligan’s contributions to the Miles Davis Nonet, which originally appeared in book form from Hal Leonard as scores only. (Photo by Hank O’Neal)

In 1995, Gerry told me he wanted to include “Rocker” (“Rock Salt”) in the play-along, and I asked him which version he wanted to use as a basis for the new lead sheet. He had a lead sheet already written, but made changes to it. He did not have the nonet version (Miles had that in storage, as I later found out), and he did not have his version for Charlie Parker with Strings (which was also in private hands and later donated to the Institute of Jazz Studies). Quite casually, I asked him about his arrangements for Parker and he said, “You know, I wrote something else for Bird, but didn’t finish it. I was going to California.”

When the Bird with Strings book of original scores and parts was acquired by IJS, it quickly became a collection examined by hundreds of scholars and fans. Rob published many titles recorded and unrecorded, which included a Mulligan composition named “Gold Rush” which was recorded privately. Of course I was thrilled to work on it, and figured that this was the mystery arrangement Mulligan had spoken about.

I was wrong!

Some months ago, Rob and I met with Franca to get more Mulligan music for eventual publication, including his Octet for Sea Cliff, and some CJB material. Rob was flipping through the master list of Mulligan’s collection and found the title “Yardbird Suite.” Surprised to see this listing, he located it in a folder with a photocopy of a sketch score inside. It was indeed “Yardbird Suite,” the arranger was listed as ‘Jeru’ (Mulligan’s nickname) and had the following note at the top right hand corner: “Bird, you’ll hafta (sic) do something with the last chorus – I couldn’t finish it.” Mystery solved!

Rob made a copy and sent it to me to evaluate. Could this be published? I figured that I would start working on it and see where the music took me.

Mulligan sketched this arrangement as two staves for two trumpets and a trombone, one stave for English Horn, two staves for five saxophones (including Parker), a stave with chord names, two staves for strings, and one for bass. He certainly would have written this out with each instrument on its own stave as a finished score that would be copied and played, but he had not gotten to that point and never would. He went to California during the Spring of 1952, so dating the music was not an issue.

Bird was touring with an ensemble of oboe/English Horn, strings and rhythm during this period, an instrumentation different in “Yardbird Suite.” Why the saxes and brass? I believe that this was written for a proposed recording date with a small ensemble and strings. The names Walter and Roy appear at one point on the score, indicating drummer Roy Haynes and pianist Walter Bishop, Jr., who were playing with Parker at the time. Solos in addition to Parker are for baritone sax (Mulligan) and trombone (at a guess, Kai Winding, but maybe J.J. Johnson or Bill Harris). Perhaps Bird wanted to make an album that was commercial (hence the strings) but would also be more jazz oriented; it is tempting to think of what such an album would have sounded like.

The second question: could this setting be finished? As it turned out, Mulligan sketched out only half of the last chorus. I examined every page of the sketch, and soon noticed that Gerry wrote two different versions of the last eight bars of the first chorus, and one of them could certainly be used to complete the arrangement. Except for filling in string harmonies in two spots (the chord changes were indicated, so this was simple based on how he wrote the rest of the arrangement), a final chord to end the piece, and a few other details, this is 97% Mulligan. It is now published and for sale.

“Gold Rush” showed how far Mulligan had come in writing string parts vs. his first experience with “Rocker.” “Yardbird Suite” takes this a bit further. Mulligan told me that by 1948 or so, he was thinking more horizontally than vertically when writing ensemble music, and he was no longer boxed in by standard chord structures, part of the legacy of his discussions with Gil Evans. There are subtle dissonances in “Yardbird” that fly by which lend a bit of spice to a beautiful swinging setting.

Mulligan had a real flair for string writing, and it is a pity he had few opportunities to feature strings in his music until much later, when he composed such symphonic orchestra pieces as “Entente for Baritone Saxophone and Symphony Orchestra” and “Momo’s Clock.” How wonderful it is to have a bit more of his writing for strings, just as it was incredible to discover that George Russell had written a Bird with Strings version of “Ezzthetic” that Bird didn’t play.

Obviously I consider this version of “Yardbird Suite” a very important find, and am very humbled by the opportunity to help bring it to light.

©2012, Jeff Sultanof

Rifftides is grateful to Mr. Sultanof for the opportunity to publish his story. We look forward to someone recording this Mulligan-Parker collaboration that never was. For more information about the score, and to hear a computerized indication of how it might sound by an orchestra, go here. If you’re a musician, you may be tempted to play along in the sections meant for Charlie Parker’s solos.

Mulligan And Parker Bonus

Here’s Mulligan’s composition “Rocker” (aka “Rock Salt’) for Charlie Parker with strings, recorded in concert in New York in 1950.

Other Matters: Strategic Withdrawal & Good Advice

If all had gone as planned, in a few hours I would be on an airplane headed east. A bunch of us who wrestled our commissions from the United States Marine Corps a few years ago were going to have a reunion at Quantico, Virginia, the scene of the struggle. Hurricane Sandy put an end to that. Along with countless other events, she wiped out the reunion and is making life inconvenient— to say the least—for 50 million people in and near her path. If you and your loved ones are among them and there is any chance that you’re in danger, please take the advice of Chris Christie, the governor of New Jersey, one of the dozen states in peril from the storm: “Don’t be stupid. Get out.”

Doug Ramsey

Doug is a recipient of the lifetime achievement award of the Jazz Journalists Association. He lives in the Pacific Northwest, where he settled following a career in print and broadcast journalism in cities including New York, New Orleans, San Francisco, Los Angeles, Seattle, Portland, San Antonio, … [MORE]

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