Ellington - Jack the Bear (Berger) (fs+p)

JACK THE BEAR BY DUKE ELLINCTON Transcribed by David Berger for Jazz at Lincoln Center

F U L L

S COR E

This transcription was made especially for Essentially Ellington 2004: The Ninth Annual Jazz at Lincoln Center High School Jazz Band Competition & Festival.

Major support for Essentially Eflington is provided by The Jack and Susan Rudin Educational and Scholarship Fund, Surdna Foundation, Danny Kaye and Sylvia Fine Kaye Foundation, Verizon Communications, and Verve Music Group. Additional support is provided by The Heckscher Foundation for Children, the National Endowment for the Arts, Ciligroup Foundation, the Ella Fitzgerald Charitable. Foundation, The Charles Evans Huqhes Memorial Foundation, The New York Times Company Foondalion, Gail & Alfred Engelberg, Elroy and Terry Krumholz Foundation, Robert E. and Elizabeth Anne La Blanc Foundation, and other generous lunders. J
provided in the publlcalion or this year'S Essenlially Ellington music series. EMI Music PUblishing, Famous Music Corporation & Mr. Irwin Z Robinson, Hal Leonard Corporation, MUSIC Sales Corporation I Tempo Music Inc" W8 Music Corp., the George Gershwin Family Trust, and especially the Estates 01 Duke Ellington and Mercer Ellin~ton

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HlIHGTOH Annual High Schaallaulla.nd Call'lpootltlan'

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Jazz at Lincoln Center

REHEARSAL NOTES:

JACK THE BEAR INSTRUMENTATION: Reed 1 - Alto Sax

Trombone 1

Reed 2 - Alto Sax

Trombone 2

Reed 3 - Clarinet

Trombone 3 (opt. Valve)

Reed 4 - Tenor Sax

Guitar

Reed 5 - Baritone Sax

Piano

Trumpet 1

Bass

Trumpet 2

Drums

Trumpet 3 (opt. Cornet)

ORIGINAL RECORDING INFORMATION: Composer: Duke Ellington

Arranger: Duke Ellington Recorded: March 6, 1940, in Chicago, ll, Time: 3:15 Master Number: 8$-044888-1 A

Original Issue: Victor 26536 Currently Available on CD:

Never No Lament: The Bfanton- Webster Band-Duke Elling/on Bluebird (RCAlBMG) 82876508572 Personnel: Duke Ellington. piano; Wallace Jones and Cootie Williams, trumpets; Rex

Stewart. cornet; Lawrence Brown and Joe "Tricky Sam" Nanton, trombones; Juan Tizol, valve trombone; Otto Hardwick, Johnny Hodges, Barney Bigard, Ben Webster, and Harry Carney, reeds; Fred Guy, guitar; Jimmie Blanton, bass; Sonny Greer, drums.

• Although Jimmie Blanton had been recording with the Duke Ellington Orchestra October 1939, it was this tune that both brought him to the attention of the jazz work changed the way the bass would be played forever. Originally titled Take 11 Away arrangement had been rehearsed and discarded by Ellington before Blanton, webster Strayhorn joined the band, According 10 Mercer Ellington, Strayhorn came across score and suggested a new introduction and editing letters A and J to feature a call response with Blanton. Ben Webster (on tenor) merely doubled the clarinet part oov octave. Originally written as a tribute to the now obscure stride pianist Jack the Bear, a sudden this chart was perfect for the transformed Ellington Orchestra.

• Although Blanton only solos at the beginning and ending, this piece belongs to hin presence is felt at every moment whether soloing or walking. Listen to his strength, e swing, and imagination. He was to the bass what Louis Armstrong was to the trump: years before. The sheer energy he puts into his playing is unparalleled. This is SOmE to strive for. Although bass amplifiers have been in vogue for nearly 40 years, I strongl courage their use on this type of music. Although they artificially increase the bass' ume, they also lengthen the decay of each note (lessening the impact of the attack distort the tone, but worst of all, they eliminate the bassist's struggle to be heard. It energy in that struggle that creates the great feeling of swing we hear in this music.

• Although ostensibly a blues, Jack the Bear combines several forms with the blues Following an eighf-bar intra derived from the reed part at H2 (with answers from the be the A theme at A, a 12-bar blues chorus that neglects to go to the sub-dominant on th bar, and then a four-bar unison tag that is a variant on the old vaudeville tag (IV #lVo I vi, then B (B theme--eight bars), C (eight bars), D (eight bars), E (a repeat of the B theme the lour -bar tag. Then starting at F we have four blues choruses, the last of which inser four-bar tag as the last four measures. Then at J it's back to the intra. only this time with alternating with the ensemble instead of piano. Instead of the four-bar tag, the bass h vises a cadenza and the band puts a final chord on the end.

• Since the advent of rock-and-roll and amplification, dynamics have been virtually non-e) in pop music. This has bled over into jazz as well. So much of Jack the Bear is cepenor dynamics. Nonce the terraced diminuendo in the intra and the crescendos and sudden" at Band E. These phrases make no sense without the changes in dynamics.

Solo Order: Jimmie Blanton; Duke Ellington; Barney Bigard, clarinet; Cootie Williams; Bigard, clarinet; Harry Carney, baritone sax; Tricky Sam Nanton; Blanton,

• For those bands Wishing to create more solo space, letters F and G may be opened solos. If this is the case, the backgrounds should be played on cue.

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• The bass cadenza at trrs end may be improvised or extended. If so, the final chord on cue.

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