SKU: PE.EP68488A

ISBN 9790300758909. English.

At the end of 1938, Jelly Roll Morton (1890-1941) returned to New York from his years in Washington, D.C. Recent publicity had made a comeback seem possible, and he hoped to recapture the prominent place in the jazz world that he had held in the 1920s. Still well known, though mainly as a New Orleans music pioneer, he understood that in order to be taken seriously as a contemporary artist, he needed to form a big band like those of his competition, such as Duke Ellington, Count Basie, Benny Goodman, and Tommy and Jimmy Dorsey. In the 1920s Morton's recordings and tours featured a ten-piece band following the first-generation big-band format. But in the late 1930s, larger groups were popular, so Morton assembled a conventional '30s band consisting of four saxophones, six brass, and four rhythm. The band was to open at the Golden Gate Ballroom in Harlem on April 17th, 1939, but on opening night Morton collapsed before going onstage. During his recuperation from the asthma and heart problems that dogged him, the band broke up, never to reassemble. Only six items written for that band's instrumentation are known to exist: Morton's arrangements of his own compositions -- Finger Breaker, GanJam, Good Old New York, Mister Joe, and Stop and Go -- and an arrangement, Mamies' Blues, by another artist. -- James Dapogny (Editor)

As an editor, Dapogny shows his customary sound musical scholarship and deep knowledge of Morton's style....The publishers are to be congratulated for bringing this fascinating work into the public domain, which throws a totally new light on 'Mister Jelly Lord.' Who knows what he would have achieved had he lived beyond his alleged 51 years? --Martin Litton, for JUST JAZZ (Feb 2011)

SKU: PR.114419450

ISBN 9781491130506. UPC: 680160675906.

Garrop’s intense-yet-droll program note refers back to her earlier Tantrum for Alto Saxophone and Piano (2000), noting that WRATH is a new work revisiting Tantrum’s voice while “re-imagining it as a leaner, meaner, ferocious teenager who has moved on from an infant’s temper tantrum into an all-out vengeful fury.” Bearing the movement titles I. Menace, II. Shock, and III. Amok, WRATH is a rare major work in the tenor sax repertoire, with occasional explosions of wailing freedom, generous amounts of altissimo, and long patches of dark, traditional beauty. For advanced players.
In 2000, I wrote a feisty piece called Tantrum for alto saxophone and piano. Sixteen years later, Idecided to revisit Tantrum and re-imagine it as a leaner, meaner, ferocious teenager who hasmoved on from an infant’s temper tantrum into an all-out vengeful fury. Wrath shares a fewstructural similarities with Tantrum: both have three movements that follow a fast – slow – superfast pattern; both works also open with a declamatory statement issued by the saxophone; andboth are high in energy and very dramatic. Musically, the works are independent.One of the intriguing features of Wrath was inspired by the manner in which the piece wascommissioned. Saxophonist David Stambler and I built a consortium of fifteen saxophonists whoall took part in commissioning the piece. I wanted each saxophonist to have multipleopportunities to personalize the music by bringing his or her own interpretation to the notes. So Iincorporated several spots in the first movement in which the saxophonists are encouraged toexperiment and tinker with the way they perform the written material (you’ll hear a primeexample of this in the opening material of the first movement). Additionally, near the end of thefirst movement, there is a spot in which the saxophonists are asked to improvise.

SKU: LO.60-1290H

UPC: 000308104752.

Your band will love the jazz-rock groove of this new piece! As jazz spread north in the '30s and '40s from New Orleans, Kansas City became a major jazz hub, and this composition reflects the high energy and excitement of those times in a contemporary style. Driving rhythms and punchy ensemble riffs will make this one an audience favorite! The suggested minimum required instrumentation for the music in this series is 2 alto saxophones, 1 tenor saxophone, baritone saxophone, 3 trumpets, 2 trombones, piano, bass and drums. Parts are included for standard instrumentation (5/4/4/4) and all charts include a CD with a full version and a solo practice track.