The Genius of the Jazz Giants - Vol.4

7/22/2019 The Genius of the Jazz Giants - Vol.4

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THE GENIUSOF

ELLINGTON

FOR COOTIE 8

.....12

.....20CLORY ,,,..14

PORTRAIT OF BERT WILLIAMS .... 16

SWEDEN.... ........18

SHEARING

IT BAD AN D THAT AIN'T COOD . , .26........23

.....28THE RAINBOW. ........30

A CHANCE ON LOVE .... ,.......32

srAcY

BE THAT WAY . ........ 68

coMtNC VtRCtNtA. ......73SINC, SINC (Wittr A Swing) ...90

THE ROCKIES.... ........78O',CLOCKJUMP. ........84

BOOK 4

THOMAS "FATS" WALLER

AUNT HACAR'S BLUES. ..,....34I'M NOBODY'S BABY ...36I'M SITTINC ON TOP THE WORLD ....... 38

THEJTTTERBUCWALTZ.... ...40ONCE rN A WHILE..... .......44SWINCIN' DOWN THE IANE ...,...46

MARY LOU WILLIAMS

DON'TBIAMEME.. ....48HOWAM rTO KNOW? .......s0lN A M|ST ........52SLEEPYTIMECAL. ......54

BOB ZURKE

AT SUNDOWN . ........56cHrNA BOY . ..... s8

oNE O',CLOCK JUMP. ........ 60

SUNDAY. ,,,66

O 1986 Columbia Pictures Publications,

15800 N.W' 48th Avenue, Miami, Florida 33014

Editor: David C. Olsen / Production: FrankJ. Hackinson / Printer: Central Litho (Miami)

WARN INC: Any duplication, adaptation or arrangement of the compositions contained in

this collection, without the written consent of the owner, is an infringement of U.S.

copyright law and subject to the penalties and liabilities provided therein.



DUKE ELLINGTON

Duke Ellington came from a prosperous Washington, D.C. family. He firstplayed piano in public while a high school student. After graduation he performedlocally, and formed his own Duke's Serenaders. Ellington moved to New Yorkand, in 1924 took over the reins of the Washingtonians group, touring and playingresidencies (including a long stay at the Kentucky Club), before beginning his sig-nificant position at the Cotton Club in Harlem. He remained there Aom t927 until1931, except for national tours and recording sessions.'It was during this periodthat Ellington recorded such important songs as Eost St Louis Toodle-oo (his firsttheme), Black Beauty, Birmingham Breakdown, The Mooche, Md lndigo,Rockin' In Rhythm, and Creole Rhapsody.

The Duke Ellington Band appeared in the movie Check andDouble Checkin1930, and made its first trip abroad - to London and Paris - in 1939. The first ofhis famous Carnegie Hall conceits was held in 1943, featuring the premier ofBlack, Brown and Beige. This extended piece was the first in a string of longerworks which have become an integralpart of jazz 6qrnposing history, notably SuchSweet Thunder, Liberian Suite/A Tone Parallel To Harlem: The Harlem Suite, ADrum Is A Woman, The Far East Suite, The Latin-Amencan Suite, New WorldA0oming: Harlem: The Golden Brwm and The Green Apple, Suite Thursday,and Deep Soufh Suite. The Carnegie Hall concerts were annual events through1950.

His shorter songs, however, are the ones best remembered. His lyric-writingcollaborators included John La Touche, Johnny Mercer, Ted Koehler, DonGeorge, Peggy Lee, Johnny Burke, and Mitchell Parish. Among Ellington's mostfamous song compositions are Sophishcated Lady, Do Nothing Titl You HearFrcm Me, Solitude, Satin Doll, Mood Indigo, ln A Sentimental Mood, Drop MeOff At Harlem, Ko-Ko, Don't Get Around Much Anymore, and with Billy Stray-hom, Take The 'A' Train. During the 1960's Ellington and his band visited India,the Middle and Far East, and Australia. Constant touring - at home and overseas -became the band's customary practice until Duke Ellington's death in May, 1974.His son Mercer continues to lead the band.

Duke Ellington recorded with many of the most famous vocalists of ahalf-century. Mahalia Jackson, Ella Fitzgerald, Billie Holiday, Kay Davis, andAdelaide Hall all were featured with Ellington or his band. Many instrumentalistswere also fortunate to record with Ellington, including Max Roach, Charlie Mingus,Johnny Hodges, John Coltrane, and Coleman Hawkins, all of whom shared top-billing with Ellington.

CONCERTO FOR COOTIE 8IN A MELLOW TONE 12

KO-KO 20MORNING GLORY 14

A PORTRAIT OF BERT WILLI,AMS 16

SERENADE TO SWEDEN 18



GEORGE SHEARING

Blind since birth, George Shearing's handicap has never interfered with his bril-liant piano playing or his imaginative composing and arranging. After playing in a

L7-piece blind band led by Claude Bampton, Shearing commenced a solo pianoc:lreen Winner of the Meldy Molcer poll for seven years as top Brifish pianisl

Shearing moved to the United States where his first big hit was Septemfur ln The

Roin, performed by his quintet Shearing is best known intemationally as the

composer of Lullaby Of Bidland. Wtitten in 1952 as the theme for the famous

night spot, it became the most popular jazz standard of the postwar years. Today,

after two White House performances and an honorary doctorate, Shearing's

career continues to flourish, with engagemenb as a soloist with the major Amer-ican symphony orchestas, in educational institutions, and in nightclubs, hotels andjazz festivals both here and abroad.

I GOT IT BAD AND THAT AIN'T GOOD 26INVITATION 23

TAURA 28OVER THE RAINBOW 30

TAKING A CHANCE ON LOVE 32



THOMAS "FATS'' WALLER

Thomas "Fats" Waller, bom in New York City in 1904 was one oI Jaz'smost colorful individuals. fu a pianisf organist and songwriter of great ability, anda singer of average talent, he was one of the most popular and irrepressibleperformers in America. As a songwriter, his tunes have been well-established inthe pop repertory; among his best-known being Honeysuckle Ro*, Ain't

Misbehauin', Black And Blue, Keepin' Out Of Mischiet' Nour, BIue Tuming GtayOuer You, and The Jitterbug Walb.

Waller's father was a church minister. His mother was proficient at boththepiano and organ, which perhaps explains his preference for the latter instument inhis early recordings. He began piano study at age six, when he received lessons

from James P. Johnson, King of the Stide Piano. He also studied with Cal Bohmand Leopold Godowsky. His style had already been developed when he

commenced recording in 1922. The early Mrscle Shool Blues and BirminghamBlues both demonstate the flexible stide version that became Waller's tademark.

Waller's early work was predominantly as a soloist, but later he worked inseveral bands, including those of Jack Teagarden, Ted Lewis, Bud Freeman, and

Louis Armstong. Waller's real claim to commercial success and fame came inL934, with the first of the Fats Waller & His Rhythm bands, which provided a

perlect setting for his infectious singing style. Later attempts at leading his own bigband proved unsuccessful.

Fats Waller appeared in Hollywood movies such as Siormy Weather andHooray For Loue, as well as many ftlm shorts. In 1978, Ain't Misbehauin', aBroadway musical featuring his.music, opened to critical acclaim, and revivedinterest in his career.

AUNT HAGAR'S BLUES YI'M NOBODY'S BABY %

rM SITTING ON TOP OF THE WORLD 38THE JITTERBUG WALTZ M

ONCE IN A WHILE MSWINGIN' DOWN THE IANE 46



MARY LOU WILI,AMS

Mary Lou Williams was bom in Pittsburgh in 1910. Her first position in a band

was as a member of the group led by alto sax player and future husband, John

Williams. She is well known for her lengthy association with Andy Kirk's orchestaas arranger and as pianist from 1931 - L942. She also arranged for Benny

Goodman, Duke Ellington, Louis Armstong, Tommy Dorsey, Earl Hines, and

others. As a pianist she ranks with the very best; Williams is noted for her

rhythmical, two-fisted style at the keyboard. Mary Lou Williams is also a

multi-faceted composer, contibuting to the Ellington and Goodman repertoires, as

well as writing two beautiful Masses. For the past two years she has served on the

faculty of Duke University.

DON'T BI.AME ME

HOW AM I TO KNOWIN A MIST 52

SLEEPY TIME GAL

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BOB ZURKE

Bob Zurke rose to prominerrce as a pianist when he replaced Joe Sullivan with the

Bob Crosby band in late 1936. Considered one of the prernier boogie-woogieperformers of his day, he achleved great populadty. After leaving Crosby in 1939,

he led his own band but reallzed no commercial succes. His last years were spentas a soloist in Los Angeles.

AT STINDOWN 56CHINA BOY 58

ONE O'CLOCK JI.JMP 60

SUNDAY 6



9078

.JESS STACY

One of the glirrg era's top pianists, Jess Stacy performed with some of the best ofthe Big Bands, Cttfufly selGtarght, and with a background of riverboat performing,Stacy rose to fame foi fffu E€rTry G

-oodmanband. In addifion to s€rr€ral sfids *rith

Goodman, Stacy performed r+i$r tre ban& of F{orace Heidt; Tommy Dorsey, andJack Teagarden, as well as fcming hb o*rn goup. He has recorded with G€neKrupa, Lionel Hampton, t{arry Jarires, and Eddie Condon.

--FCffiT- clE E+l,er i[rAY 68

I'M COMII\G VIRGINIA 74$lFlG, SEYC. SING (Wtrh A Scflrs)SWIIIGTIME IN THE ROCKIES

TWO O'CLOCK JUMP U



CONCERTO FOR COOTIE

Moderately

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MORNING GLORY

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DUKE ELLINGTON

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A PORTRAIT OF BERT WILLIAMS

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SERENANE TO SWEDEN

By

DUKE ELLINGTON

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KO-KO

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I GOT IT BAD AND THAT AIN'T GOODAnanged byGEORGE SHEARING

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PAUL WEBSTERDUKE ELLINGTON

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From the 20th Cenury-Fox Motion picture ,,LAURA"

LAURAArranged byGEORGE STIEARING

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From the M-G-M Picture "THE WITARD OF OZ"

OVER THE RAINBOWAnanged by

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TAKING A CHANCE ON LOVEby

SHEARING

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AUNT HAGAR'S BLUESAnanged by

THOMAS "FATS'' WALLER

illtrdium tempu

J. TIM BRYMNW.C. HANDY

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I'M NOBODY'S BABYArranged byTHOMAS "FATS'' WALLER

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LESTER SANTLY

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I'M SITTING ON TOP OF THE WORLDArranged by

THOMAS "FATS'' WALLERLEWIS and YOUNGRAY HENDERSON

Medrum tempo



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THE JITTERBUG WALTZ

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TI{OMAS "FATS'' WALLER

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ONCE IN A WHILEby

"FATS'' WALLER

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SWINGIN'DOWN THE LANE

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GUS KATINISHAM JONES

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DON'T BLAME MEDOROTHY FIELDS

JIMMY McHUGHAnanged by

MARY LOU WILLIAMS

Slow tempo

33s

Copyright @ 1932 (Renewed 1960) ROBBINS MUSIC CORPORATIONAll Rights of ROBBINS MUsIc coRPoRATIoN Assigned to cBS CATALOGUE PARTNERSHIP

All Rights Controlled and Adr4inistered by CBS ROBBINS CATALOG INC.International Copyright Secured Made In U.S.A. All Rights Reserved



49



by

LOU WLLIAMS

HOW AM I TO KNOW?

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JACK KING

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IN A MISTAnanged by

MARY LOU WLLIAMS BD( BEIDERBECKE

Moderately

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SLEEPY TIME GAL

Ananged by

MARY LOU WILLIAMS

F:r-st temo

JOS. R. ALDENRAYMOND B. EGAN

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RICHARD A. WHITING

tempo

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AT SUNDOWNby

ZI.JRKE

Moderato

WALTER DONALDSON

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CHINA BOYArranged by

BOB ZURKE

Allegro

DICK WINFREEPHIL BOUTELIE

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ONE O'CLOCK JUMP

COUNT BASIE

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SUNDAYAnanged by

BOB ZURKE

NED MILLERCHESTER COHN

JULES STEIN

BENNIE KRUEGER

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Ananged by

JESS STACY

Moderato2

DON'T BE THAT WAY

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BENNY GOODMANEDGAR SAMPSON

MITCHELL PARISH

* All small notes are to be played 21t.

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I'M COMING VIRGINIA

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STACY

WILL MARION COOK

DCNALD I{EYWOOD

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SWINGTIME IN THE ROCKIES

Ananged by

JESS STACYBENNY GOODMAN

JAMES MUNDY

Copyright@ 1936 (Renewed 1964) ROBBINS MUSIC CORPORATIONAll Rights of ROBBINS MUsIc coRPoRATIoN Assigned to CBS cATALocuE PARTNERSHIP

All Rights Controlled and Administered by-CBS ROBBINS CATALOG INC.International Copyright Secured Made In U.S,A. All Rights Reseryed

Moderately Fast Swing tempo



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TWO O'CLOCK JUMPAnanged byJESS STACY

HARRY JAMESCOUNT BASIE

BENNY GOODMANMedium tempo

Copyright @ 1942,1944 (Renewed 1970, 1972) ROBBINS MUSIC CORPORATIONAll Rights of ROBBINS MUSIC CORPORATION Assigned to CBS CATALOGUE PARTNERSHIP




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Ananged by

JESS STACYLOUN PRIMA

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Copyright @1936 (Renewed 1964) ROBBINS MUSIC COR-PORtr'IION

All Rights of RoBBINS MUSIC CORPORATION A,ssigned to cBS CATALOGUE PARTNERSHIPAll Rights Controlled and Administered by CBS ROBBINS CATALOG INC.

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The Genius of the Jazz Giants - Vol.4

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Transcript of The Genius of the Jazz Giants - Vol.4