The Artistry of Marian McPartland_NEW

8/13/2019 The Artistry of Marian McPartland_NEW

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TheArtistry of

CInge You,r EAaEmiIUFm All We l(rwutIf You C'muld Soe Me Naus

ImnaSwutAnd Imd,u

ISBN:G8989&41S7@ 1985 Columbia Plclures Rrblicatiors,15800 N .W. 48h Arcnue, Miami, Flodda 33014

Trarsqiptlons: Don Siclder and John Oddoftodrction Coordinator Dadd C. Olsen

WARNING: Any duplication, adaptation or anangementcf the compositions contained in lhis collectioh,without the written consent ol the owner, is aninfringement ol U.S. copyright law and subiect to lhepenalties and liabilities provided therein.



lntroductionHere are som.e of my favorite ,,standard,,

tunes.howsreardedicati"""'i"il".til"nv.ror,nda#;#;H.il,:i:fl,T#'J"",?ff#ffi:ffirilfi,:if#?Jalmost

totallv itp"oltg9 iil;;"re m^vougr,t, "r,r" ,n",,,";i, ir?i*,"v-mig,,t ctr"rg" ,rigrrtry next

time I plav the tune' It's likt- -;;i";rgr" rluringr-;.;; on paper. The markins. ir,-Lu.;u, r?i inrtunce, are

Iili"3,ltiff.:i""*fj,1:Htr''",""io'jv"r"1i"4lil;i"r,'iiil,,. orit), una ni*.es come withlternate .t o"J changes.^- * '-"u€r' romantic tune, and it is harmon;;lin ut#.ii'rrl

"#irrn"ut using

"in."lillluoi"";:t '*";ffi:f,:ffi JffffJffiH:lfj,lT *,*nt,not be considered arrogether ,,eorrect,,,within the scope

"ftfr"

"ti["".r#s and the harmo"fl:.r#:?#:player, as much f"*"a",- as possible,There is no strict *ri"g

"t't"io* un, of these have to be piaved. The markings are more of a guidethan anything etse, ana tr," t".poJ

:lL n""u"i"J ".cording

;;;;""#,Jonception_.on uri oi them

try ro::"ii'TJ#:ili"fr 3,:T,}T:;fitgi,1**#"il:"4ff fl*iffiff:atilrnrx,n:,ru*r;:fr'l#:ruilff:ffi",11Tt:#iili#T"T"T-::f,",*gfiJi;l**ilrlr,erthenores,ound,,b,un1r,,

If you know the lvricstffi;;;the kev or A, because to me ,n" t"rifi,1J"llln'jl#ll 1il":1Jffiffi,fi#-#H,fly;"*:ilx1,;melodv seems to dictate wilffi;"; should n" irii"".t n a""ri"-#i'.? fnr, ircan be prayed in a certainregister of the piano' r r"" irt" t"il'Jt" *unu" for starting the il;;i;lr,? u"*ioning L ,"t up the tune.

when the bass nlaver "ffi;;;""d t;;;;ff;i:li"ots,as i" s*L"i*d Love-ry unJdio.u your

ves' vou should u""n[-t"i'"'-ilTi r" vou. hlai--"*"tr,"rgr, ,ld;;,t shown i" tr,i.i"r"scription.

',.'.J#'it"11..:#1il1",,ff

l,r"tx*$1*#x-*41rymffi ffi ;:fi *il,;:v:,1;:l1::J;fr*:Til:?:fffi#HTx:1";;t1tiTi1,":[#n:g:r;l*.:T'".r""ri"g,ii"""rr.r;;;

"o.tli.:T'l"f#J:T,*ir-Xi:{#:hfl##fifffr iffi ll#Tv:y"o*,,ideas,phrasinsn e ac h p i ec e' You s h o ul d, ir o"..?#, . r'".r. ir* ;;;; ffii .: +;"## ;lg n:ru:"t rumil:rtfjl*iH[:T":T-:T$#"'?"";',{l;f#H,;?}:1ffi,"T:ff#"fi#Ji:lthe origina, chords anr

l/tl/r4W,r,€,**^



by J. Tevere McFadyen

On a cluttered side table in her Manhattan apartment, Marian McPartland keeps a remarkable photograph. The picture

was taken on a summer morning some twenty-five years ago. It shows the front steps and stoop of a Harlem brownstone

brimming wi th jazznotables - an historic musicians' class portrait over4lowing onto the street. Here is Count Basie, grinning,

squa*inl on ttre curb amidst a gabble of local urchins. Here is Gerry Mulligan seeming almost adolescent, clowning for the

".-"ru*ith an ageless Dizzy Gil-lesp ie.Dizzy'stongue is extended - "Naturally," Marian says - toward the camera. Here's

Ctrarles Mingus loot<ing young and robust. Here's Thelonious Monk in a rakish hat and dark glasses' Here is Bud Freeman and

Max Kamisky, guster-Bail"ylna Philly Joe Jones, Red Allen, Oscar Pettiford, and a saxophone giants Coleman Hawkins and

Lesteryoung. Here too is Marian McPartland, standing at ease in the middle foreground, chatting with a svelte and lovely Mary

Lou Williams. Marian wears a sleeveless summer gown that drapes smoothly over her trim frame' She looks utterly comfortable

and radiates efforbless poise. Her head is thrown back-naturally-in a laugh.

As a working jazzmusician, Marian McPartland is laughing still. She is busier now than she's ever been-a white British

woman who has carved out a secure place for herself in a progession long dominated by black American men. Marian seems

unable to operate at less than full throttle. She tours tirelessly, often accompanied by bassistGary Mazzarcppi, playing every

place; festivals and clubs to classrooms and concert halls. She owns her own record company - Halcyon Records - yet takes

tme to record a steady stream of albums on the Conc ordJazzlabel as well. For her radio proglam, "Marian McParbland's Piano

Jazz" on National public Radio, she interviews and accompanies well-known guests whose pianistic proclivities run from sedate

swing to agreesive avant garde. The Peabody-Award-winning show started its seventh consecutive year on the air in October of

rgSS. Mcpartland is also an active composer (her "Twilight World," with words by lyricist Johnny Mercer, has become

something of a standard'since it was recorded by Tony Bennett). Lately she has begun to have her taped improvisations

transcribed, with an eye toward creating an extended work for piano and orchestra' She acknowledges laughing, "I'd really

kind of like to write a song Frank Sinatra would sing." Marian McParland likes to do many things, but what she likes to do best is

play. "I guess that's really still my greatest kick," she allows. "Just sitting around and playing."

Margaret Marian Turner *u* bo* in Slough, near Windsor, Buckinghamshire. The daughter of upper middle class

parents, she first approached a piano-her uncle'slat age three. She subsequently put in several years showing off for family

gatherings, and at nine was lwlraged into a doomed attempt at the violin. She went off to boarding school, then wound up at

Iondon Guildhall School of Music, where she studied piano and composition. "I wrote some things then which, to myastonishment, still stand up pretty well," she remarks. "I've been trying to relearn them, but I'm such a miserable reader that it

puts me off." She knuckled downiong enough to come under the lasting spell of Ravel and Debussy, and especially Delius, but

her commitment flagged. "My God, was I fortunate " she recalls. "I had a boyfriend who loved jazz and brought all his records

over to the house. We'd sit for hours listening to Benny Goodman and Duke Ellington, Bud Freeman, Mugsy Spannier, and all

the piano players: Arb Tatum, Fats Waller, James P. Johnson, you name it." Marian abandoned the Guildhall at twenty to join a

four-piano vaudeville act.

Back in 1948, Marian signed on to do USO camp shows in Belgium and France, where she met and fell "madly in love" with

Chicago cornetist and Bix Beiderbecke protege, Jimmy McPartland, whose name she soon added to hers' They played at their

o*r, *"ddi'g. The two later divorced, but as she puts it, "The divorce didn't work, or maybe it did," and today they're happily

unmarried while sharing adjacent halves of a Long Island duplex. Marian credits Jimmy with providing much of the impetus

and support for her assault on themale bastions ofjazz, and forhelpingto shape her earlyplaying as well. Though they diverged

-usicaliy whenshe began exploring more abstract contemporary ideas, feeling her way toward her own lyrical and modern

melodic balance, the tJo still perform together whenever they get the chance. Marian's musical debt to Jimmy may quirkily

surface in a rollicking "Royal Garden Blues," or in a snatch of potent left hand bass spliced into "I'm Old Fashioned'"

If Jimmy held tile door initially, making it possible, for instance, for Marian to inaugurate her trio career at New York's

prestigious nlbers Club backed by two top sidemen, she rapidly established her own credentials' For eight years beginning in

19b2 she settle into the Hickory House, becoming in the process a consummate club pianist. This is a talent too often taken for

granted. The top-flight club player has to cover the classics without falling prey to lurking cliches. Her repertoire must be for all

f,ractical purpo.", infinite and her tolerance of less than ideal conditions eternal. The performer's stamp of individuality may

under no circumstances obscure a song's familiar origins, yet the ability to play the same material night after night relies heavily

on constant inventiveness. The finest cafe performers-and Marian McPartland is surely one-labor brilliantly in the line of

frre. Anyone tempted to pass this capacity off as minor would do well to wonder how Vladimir Horowitz might react if plunked

down at two in the morning in a smoky room full of clinking glasses, mindless conversations, and loudly hissed requests for

"Satin Doll" and "Misby."

As Mcpartland's interests and ambitions expanded, she discovered that she was no longer content to pursue the linearpath toward nightclub success. Increasingly caught up in composition and growing slowly more self-assured, she began

Lntativety to offer her own tunes mixed into sets of standards. She found unexpected inspiration in contemporary tunes and

allowed herself to renovate old favorites, inventing new interpretations often branded by her bubbling spring of humor. For



Photo: ART KANE

what has become one of her signature pieces, she tossed three distinctly different eras together in an unlikely melange: JeromeKert's "Yesterdays" entwines easily with Paul McCartney's "Yesterday," and the two detour fluidly for a long stretch in themiddle into a Bach-like contrapuntal fugue.

Her still-evolving style is confidently eclectic. She touches on every era of jazz, skipping lightlyfnrm Fats Waller to DukeEllington to John Coltrane. She plays sho""tunes, often in surprising renditions with revised tempi. She demonstrates an

obvious affection for what Alec Wilder dubbed "American popular Sorg," and she unrepentantly includes Stevie Wonder's orBilly Joel's compositions in her club sets.

McParbland rarely resorts to flamboyance or py'otechnics. Her touch is delicate. Her primary tools are texture and

dynamics. Her tunes are three dimensional. Her arrangements resemble drawings made from countless seemingly random pen

and ink hatchmarks: images slowly coalescing into something startlingly simple and powerful. She edits as she plays followingspontaneous notes to unanticipated distinations, then returning without remorse to restate a previous phrase, slightly altered.She decorates incessantly, and in fact, has had to train herself to leave spaces where the air can blow through. "I'm trying," she

says, "to play fewer notes."The result of these efforts is a peculiarly elusive style, one which evades easy categorization. McPartland is a modern

player, in that she neither composes nor performs within the confines of any historic genre, yet she has nothing in common withthe experimental fringe. She is a gracious and flexible pianist who, in the estimation of New Yorker magazine jazz criticWhitney Balliett, has "moved beyond adroit adulation into her own, special realm. It is, in the way of Johnny Hodges and SidneyBechet and Tatum, an emotional, romantic, and highly inventive one."

Marian McParbland plays fewer club dates nowadays ("1 ean't stand the noise anymore"), but more concerts. To makeroomfororchestrationsof herowntunes ("TwilightWorld" and "InThe Days of OurLove") andeventually-hopefully-forhermajorwork-in-progress, "SilentSpring," a suiteforpiano and orchestrabuiltaroundenvironmental themes. Sheprofessestobehappywith herwork to date, but anxious, as ever, to explore new realms. "I reallydofeel as if I'm still learning," she reflects. "Ofcourse, there are times when I think I play badly, but there are other times-a few at least-when I actually think I'm gettingbetter."

"I'm glad I'm not a singer or dancer," she muses, "because then I'd probably have to quit sooner or later. In this business Ican go on forever. " She gives every indication of intending to do just that. She looks and acts at least twenty years younger thanshe is, and she watches her health. She keeps a Red Cross Pacard on herpiano that reads: THANKYOU FOR NOT SMOKING.

She knocks on wood. She skirts wide round intimations of retirement-"I really think musicians ought to be exempt from that,don't you?"-and admits that she just can't imagine leaving the thick of things. "I do love it," she says, "and there's so much Ihaven't done yet. I can't stop now. I wouldn't dare. It's a tace, you know, and I can't a^fford to lose my place." She gleams."Baides," she adds, smiling, "I enjoy it. It doesn't feel much like work to me."

And it doesn't sound much like work either.



Conmrd I{o- CI86 Side I Irack 2

EMILYf,/ords by

JOHNNY MERCERMusic by

JOHNNY MANDEL

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@t 96+ uerno-coLDwyN-MAyER INc.All Rkhts Controfied by MILLER l,tUSlC CORpOnATION

An Rights of MTLLER tviqSrc conronxrioN Gigred to cBs CATALOGUE PARTNERSHTP. All Rights Administered by CBS MILLER CATALOG

lnternational C.opyright Secured Made In U.S.,q,. All Rights Reserved



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t4Concord No- CI86 Side I TYack 3

SWEET AND LOVELY

J = ca. 1488

ce(6)

(fi feell

Words and Music byGUS ARNHEIM, HARRY TOBIAS

andJULES LEMARE

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ce(6) (sus) ce(6) (sus) ce(6) cbsltsl

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*Bass and drums start with 4 measures to set up the feeling.Sweet And Lovely - 10 - I

@ 1931 (Renewed 1959) METRO-GOLDWYN-MAYER INC'All Rights Controlled by ROBBINS MUSTC CORPORATION

AII Rthts of ROBBINS MUSIC CORPORATION Asigred to CBS CATALOGUE PARTNERSHIPAll Rights Administered by CBS ROBBINS CATAITOG

Internationd Copyright Secured Made In U.S.A- A[ Rights Reserved



l5

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And Lovcly - 10 - 6



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Sweet And Lovely - 10 - 9



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5



24 Ilolcyon No. 115 NOW'S THE TIME Side I Tlack 4

LAURAWords by

JOHNNY MERCER

Freely

(Intro.)

nn:-bs

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Am7A

Cm9 FTis( clEb

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nbmaizI

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Music byDAVID RASKIN

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@ 1945 (Renewed 1973) TWENTIETH CENTURY MUSIC CORPORATIONAtl Rights Controlled by ROBBINS MUSIC CORFORATION

All Rights of RoBBINS I{USIC CORPORATION Asigned to CBs CA'TALOGUE PARTNERSHIP- All Rights Administered by CBS ROBBINS CATALOGInternational Copyright Secured '}tade

In U.S.A- A[ Rights Reserved

,

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29

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Laura-6-6



30 Halqon No. l00INTERPL,4IY Side I Ttack 3

Fm6(e)

Words and Music byBERNICE PETKERE

) = ca.'192

CLOSE YOUR EYES

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@ 1933 (Renewed 196l) MILLER MUSIC CORPORATIONAll Rights of MTLLER MUplc coRpgRAiroN asigneo to cBs caiAlbcuB pl.nrNnnsrup

All Rights Adrninistered



31

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33

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Close Your Eyes - 15 - 5



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Your Eyes - 15 - 10

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40

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49

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If You Could See Me Now - 5 - 5



Ilalcyon No. 117 LIVE AT THE CARLYLE Side 2 Tlack 4

Wor& byM. LEWIS

FOR ALL WE KNOW

ama;e(ft r )

J.

Music byFRED COOTS

Freely

A(adde) D6(e)

6

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mp\24\

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All We Know - 6 - 1

1934 (Renewed 1962) LEO FEIST' INC. and TRO CROMWELL MUSIE



51

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For All We Know - 6 - 3ll-..-__Jt r, fi rt_



53

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The Artistry of Marian McPartland_NEW

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