Copyright is owned by the Author of the thesis. Permission is given for
a copy to be downloaded by an individual for the purpose of research and
private study only. The thesis may not be reproduced elsewhere without
the permission of the Author.
i
ii
The Way of Steve Lacy:
Finding individuality through musical genealogy
By Lucien Johnson
A thesis and compositions towards a Master of Music in
composition at the New Zealand School of Music,
2012
iii
Acknowledgements
In the year 2000 I saw Steve Lacy perform at the Wellington International Jazz
Festival. I was deeply moved and challenged by his music and I became
determined to study under this master. In 2004 my dream looked to have
come true, as I gained a place in the New England Conservatory where Lacy
was teaching. However it was not to be, as his illness and passing in that year
robbed the world of one of the great and somewhat underestimated
musicians of the 20th Century. Instead of going to Boston I went to live in
Paris for some years, where I ended up performing with some of Lacy’s
former collaborators, people such as John Betsch and Alan Silva. This project
is my way of understanding his work and concluding to some extent the
unconscious influence he has had in my life over the last eleven years.
I would like to thank my two supervisors for their superlative assistance.
Firstly John Psathas, for his perspicacious help in refining my compositions
and challenging me to probe further into the areas that took me beyond my
natural habitat. Secondly Norman Meehan for his astute guidance in my
written work as well as his buoyant encouragement and kindliness.
I would like to thank all the musicians who partook in the recordings I made:
Greg Malcolm, Chris O’Connor, He Jun, Tristan Carter, Andrew Filmer,
Charlie Davenport, John Rae, Patrick Bleakley, Anthony Donaldson, Nick Van
Dyke, Daniel Yeabsley and the NZSM orchestra.
iv
I would also recognise the help of a couple of fellow saxophone playing Lacy
devotees around the world, Huw Lloyd and James Wylie, for their exchanges
of various Lacy artefacts and anecdotes.
Finally I would like to dedicate the project to my mother Cecilia for all the
years of standing by her musician son and to my sister Miranda for setting the
tone in our family with regards to academic achievement and in other regards
too.
v
Table of Contents
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vi
List of Audio Examples
CD 1
1 – ‘I’m Coming Virginia’, Sidney Bechet, The Victor Sessions, Master Takes
1932-43, 1990, Victor
2 – ‘I’m Coming Virginia’, Dick Sutton, Progressive Dixieland, 1954, Jaguar
3 – ‘Charge ‘em Blues’, Cecil Taylor, from Jazz Advance, 1956, Blue Note
Records
4 – ‘Big Stuff’, Gil Evans, from Gil Evans and Ten, 1957, Prestige
5 – ‘Louise’, Cecil Taylor, performed by the Steve Lacy Quartet from The
Straight Horn of Steve Lacy, 1961, Candid
6 – ‘Evidence’, Thelonious Monk, The Complete Riverside Recordings, Vol.13,
Riverside, 1960
7 – ‘Evidence’, Thelonious Monk, Thelonious Monk Quartet: At Carnegie Hall,
1957, Blue Note
8 – ‘Evidence’, Thelonious Monk performed by Steve Lacy, Evidence: with Don
Cherry, 1961, Prestige
9 – ‘Brilliant Corners’, Thelonious Monk, performed by Steve Lacy/Roswell
Rudd Quartet, 1964, Hat Hut
10 – ‘Monk’s Dream’, Thelonious Monk, performed by Steve Lacy/Roswell
Rudd Quartet, 1964, Hat Hut
CD 2
1 – ‘Bone’, Steve Lacy, from The Way, 1980, Hat Hut
2 – ‘Existence’, Steve Lacy, from Remains, 1991, Hat Hut
3 – ‘The Cuckoo’, Steve Lacy, from Rushes, 1990, New Sound Plane
4 – ‘A folk song’, Steve Lacy, from Futurities II, 1984, Hat Hut
5 – ‘Alabama Song’, Kurt Weil, Kurt Weill’s The Seven Deadly Sins and Berlin
theatre songs, Sony Masterworks, 1997 (track recorded 1955)
6 – ‘Papa’s Midnite Hop’, Steve Lacy, from Trickles, 1976, Black Saint
7 – ‘Swiss Duck’, Steve Lacy, from The Way, 1980, Hat Hut
8 – ‘The New Duck’, Steve Lacy from Weal and Woe, 1973, Emanem
9 – ‘Chagrin’, Steve Lacy, performed by Steve Lacy and the Borromeo String
Quartet (unreleased recording)
10 – ‘Itinerary’, Steve Lacy, from Itinerary, 1990, Hat Hut
vii
List of Recorded Compositions
CD 3
Performed by Lucien Johnson (tenor saxophone), Greg Malcolm (guitar), Chris
O’Connor (drums), compositions by Steve Lacy
1 – Art
2 – Bone
3 – Papa’s Midnite Hop
Performed by Jun He (violin), Tristan Carter (violin) Andrew Filmer (viola), Charley
Davenport (cello) compositions by Lucien Johnson
4 – The Night’s Plutonian Shore part i: Murders in the Rue Morgue
5 – The Night’s Plutonian Shore part ii: Descent into the Maelstrom
6 – The Night’s Plutonian Shore part iii: The Golde Bug
7 – The Night’s Plutonian Shore part iv: The Raven
8 – The Night’s Plutonian Shore part v: The Black Cat
9 – The Night’s Plutonian Shore part vi: The Premature Burial
CD 4
Performed by the Troubles, Lucien Johnson (saxophones, flute), Daniel Yeabsley
(saxophones, clarinet), Nick Van Dijk (Trombone, Trumpet), Tristan Carter (violin)
Andrew Filmer (viola), Charley Davenport (cello), Patrick Bleakley (Double Bass),
John Rae (drums), Anthony Donaldson (percussion) compositions by Lucien Johnson
1 – The Giddy Heights
2 – The Lupanar of Pompeii
3 – Report from the Anti-World
4 – Blue Night Road
5 – Les Oiseaux d’Amour
6 – Amethyst Twilight
7 - Mystique
8 – Breadline Blues
9 – No More Troubles
Performed by the Troubles with the NZSM orchestra
10 – Cigars of the Pharaoh
1
Introduction
Tips, a Steve Lacy composition written in 1979, set to music fragments of text
found in the notebooks of French painter and sculptor Georges Braque. They
were, in Lacy’s words, “aphorisms, speculations, observations, but especially
advice to himself as an artist, and to all other artists.”1 Lacy would cite one of
these tips in particular as having a profound influence on him: “Do not
imitate what you wish to create”.2
Lacy has never been accused of being an imitator; indeed American jazz great
Lee Konitz described him as “representing the sound of the soprano
saxophone.”3 There is, however, a paradox in the fact that he spent the first
fifteen years of his professional career – a career which had included leading
bands and recording several albums under his own name – studying and
playing the music of others, rather than writing his own material for his
ensembles to perform.
Lacy’s dedication to his mentors, and they included Cecil Taylor, Gil Evans
and, above all, Thelonious Monk, led him to discover his own musical voice,
not through imitation but through inspiration. In studying their compositions
Lacy found solutions to musical problems; but while taking from their
methods and devices, he was able to adapt and disguise them to suit his
personal sound and musical language.
1
Lacy, Steve, Findings: My Experience with the Soprano Saxophone, Paris: CMAP,
1994, p.147
2
Steve Lacy, ‘Composition’, lecture, New England Conservatory, 22 November 2003
3
Weiss, Jason (ed.), Steve Lacy: Conversations, Durham and London: Duke
University Press, 2006, p.i
2
What he learnt from his masters, however, was just as much to do with the
relationship of the music they were playing to the world around them, as it
did to musical craft. They gave him advice on performance practice,
musicianship and how to become or act like a certain type of musician. Lacy
observed how philosophy, politics and general culture were integrated into
the music that was being created. As there was no curriculum in his informal
education, Lacy was able to pick and choose his lessons according to where
his interests lay and it is perhaps the plurality of these methods that resulted
in the diversity in his own body of work. His oeuvre consisted of around 250
vocal compositions (not to mention a huge quantity of instrumental pieces),
inspired by texts from a huge range of philosophy, poetry, literature and
found writings, from the ancient to the modern, the profound to the everyday.
In light of his own sense of reverence, Lacy becomes irresistible as a model for
other musicians in search of their own way. Not only is there a wealth of
technical information hidden in both his improvisations and compositions, on
close examination it becomes clear that he often arrived at his results through
his studies and sense of musical genealogy. Listening to Lacy, we hear
snippets of the collective spirit of his early Dixieland bands; the playful
curiosity that is the hallmark of Thelonious Monk’s music; the probing avantgarde stylings of Cecil Taylor; and the sense of instrumental colour that Gil
Evans possessed; all contained within one unmistakable language with its
own characteristics and peculiarities. What is more, any student of Lacy’s
becomes aware of a learned philosophy and a wide knowledge of culture
3
embodied in the music he made and which is alluded to in the wealth of
interviews he gave and in his own writing.
Steve Lacy was an improviser and a composer. His music was largely a
mixture of these two means of musical creation (although he was also to
investigate free improvisation and largely notated music) and demonstrates
not only that these methods are not exclusive of each other, but that rather
than being in opposition they lie, in essence, on the same continuum. On this
subject composer Frederic Rzewski quoted Lacy:
In 1968 I ran into Steve Lacy on the street in Rome. I took out
my pocket tape recorder and asked him to describe in fifteen
seconds the difference between composition and improvisation.
He answered: ‘In fifteen seconds the difference between
composition and improvisation is that in composition you have
all the time you want to decide what to say in fifteen seconds,
while in improvisation you have fifteen seconds.’
His answer lasted exactly fifteen seconds and is still the best
formulation of the question I know.4
Despite being easily identifiable, Lacy’s music also defies genre definition.
He began as, and indeed was at all times a proud self-proclaimed jazz
musician, yet a survey of his work demonstrates a path that extends beyond
jazz. His legacy has been diverse: as the most prominent American musician
in the European free improvisation scene since the late 1960s; as one of the
earliest and most prolific practitioners of solo saxophone works; as a
composer of song cycles which fuse Weill/Eisler-esque melodies and
arrangements with free improvisation; as well as being an assiduous student
of Thelonious Monk’s music, examining and recording the larger part of his
repertoire. “I call my music jazz: that’s what it is. I don’t see any other name
4
Bailey, Derek, Improvisation, its nature and practice in music, London: Da Capo
Press, 1992, p.141
4
for it,”5 he would state. Yet in suites such as Futurities and Rushes or pieces
such as Chagrin for string quartet and soprano saxophone, in his musique
concrète inspired solo album Lapis, or his improvised outings with Evan
Parker or Joelle Léandre, jazz is sometimes no more than an insinuation; a
backdrop to the highly idiosyncratic music being performed, if not created, in
the moment.
This research project traces Lacy’s life in music, looking at his long period of
apprenticeship, the brief but important period in which he focussed
exclusively on free improvisation, and the subsequent years spent
formulating and creating his own music. It uses both musical analysis of his
improvisations and his compositions and commentary on the path he chose,
in an attempt to define his place in 20th century music and the legacy he leaves
us.
The second part of the project involves my own compositions, which
investigate areas similar to those which Lacy explored in his lifetime. These
include finding a relationship between composition and improvisation in
which both methods are given equal value. Their respective qualities, such as
the collective interplay found in improvisation or the structure that
composition supplies, are being cultivated. The point of these works is not to
investigate methods of composition or conduction in which improvisation or
semi-improvisation can be integrated. In this music the improvisers have as
few limitations as possible, so that they are free to improvise. The works
merely look to find a balance where these two methods can co-exist.
5
Weiss, Steve Lacy: Conversations, p.41, reprinted from Jazz Magazine (December
1965)
5
The pieces are mostly idiomatic although they use genre as a point of
departure rather than a fixed entity. They attempt to transcend, or in some
cases to subvert, the idiom to which they are referring. They have been
written intuitively and developed and refined through live performance.
The compositions for the ensemble, The Troubles, were developed over a year
of weekly live performances and there was a degree of autonomy and
democracy for all the performers. A score in this music is perhaps akin to
many of the practices to be found in the creation of contemporary theatre,
where a text can be treated, elaborated upon, toyed with, where there are
moments where things have been devised by the ensemble, rather than
viewed as a sacred object. It is possible to imagine that Lacy too worked in
this manner with his regular group.
In these pieces I have tried to heed Braque’s lessons, and to avoid mimicry,
yet in this work I hope to capture something of the spirit of Steve Lacy.
6
Jazz Advance - from traditional jazz to the avant-garde
The most important things in the legacy of jazz are collaboration
between musical partners; appetite and inspiration; stimulation;
and research…I would find someone stronger than myself and
attach myself to him for long enough to understand what he
was doing, and that made me stronger. But one cannot be a
passive disciple. You have to turn on the master, to find a way
of satisfying him, to keep him happy.6
Steve Lacy began his professional career in New York in the early 1950s
playing Dixieland music, a style with its roots in New Orleans in the early 20th
century, and through his studies of bebop (particularly the music of
Thelonious Monk), big band (through his involvement in the Gil Evans
Orchestra) and free jazz (under the tutelage of Cecil Taylor) he covered every
major genre in jazz. In the mid 1960s he began exploring, and indeed was
amongst the vanguard, in the field of free improvisation, which having no
preconceived structure made few references to what is commonly viewed as
the jazz language. All of these strands of influence can be found in Lacy’s
original body of work, to which he gave the stylistic label “post-free”. From
the writing of his first song cycle The Way, written and revised over several
years in the late 60s to the time of his death in 2004 this oeuvre comprised
over 250 songs and many more instrumental pieces.
In choosing to play exclusively the soprano saxophone, Lacy confined himself
to a path which was unorthodox from the beginning, as there were very few
performers on this instrument. Furthermore, there was no palpable need for
it in modern jazz groups, which often contained an alto or tenor saxophone,
6
Siron, Jacques, Extraits d’un interview inedite avec le saxophoniste Steve Lacy, Paris,
October 1994, available from www.siron/aaPDF/interview_Lacy.pdf accessed 18
November, 2010
7
or both. To some extent Lacy was able to pick and choose the repertoire he
performed and it was through the study of the compositions of his Monk and
Taylor in particular, that he was to devise an original approach to
improvisation; one that was informed by compositional material rather than
imitation of the few forefathers of his instrument. Later, when Lacy worked
to develop a compositional style, it was his experience in improvisation that
aided his journey. He wrote works for himself and a small pool of musicians
with whom he collaborated throughout much of his life. He wrote works that
suited these players and their instrumental styles. There are implicit rules in
these pieces, and yet the ultimate goal is always musical freedom.
Lacy was drawn to the soprano saxophone after hearing a recording of the
New Orleans master Sidney Bechet playing ‘The Mooche’, a piece by Duke
Ellington.
I first heard Bechet on record when I was about 18 years old and
soon after I bought a soprano…In 1932, Bechet had organized a
violent little band with Tommy Ladnier on trumpet. To me
these remain among the most exciting jazz records ever made.7
However by the early 1950s the instrument had fallen out of vogue, the sound
having been so strongly identified with Bechet and early jazz. The
instrument also posed extreme technical problems; it is notorious for being
difficult to play in tune, especially in its higher register. Many swing era
players, such as Johnny Hodges, another inspiration for the young Lacy, had
since given up the instrument to concentrate on the tenor or alto saxophone,
which, unlike the soprano, were regular features of big band instrumentation.
With Bechet having taken voluntary exile in France, the presence of the
7
Liner notes in Lacy, Steve, Steve Lacy: Early Years 1954-1956, Fresh Sound Records,
FSR-CD 364
8
soprano in the American scene in the immediate post-war period was close to
non-existent.
Lacy’s first teacher in New York when he was in his teens was clarinettist and
tenor saxophone player Cecil Scott, who had been involved in ragtime music
in New York since the twenties. 8 Soon he began to allow Lacy to come and
join him in the concerts he was playing around Manhattan. In this manner
Lacy was to share the bandstand with many greats of the previous era, such
as Henry ‘Red’ Allen, Pee Wee Russell, Buck Clayton, Dickie Wells, Max
Kaminsky, Rex Stewart, ‘Hot Lips’ Page, Pops Foster, Zutty Singleton, Wille
‘the Lion’ Smith and Buster Bailey.9 Lacy was to find that playing a rare
instrument had its benefits and he was able to participate without taking
someone else’s job or feeling the heat of competition. Occasionally in
interviews Lacy would emphasise the contrast between Dixieland and the
avant-garde music that he was soon to embrace, yet it is clear from listening
to his first recordings that he always possessed a progressive streak. Lacy
had joined Dick Sutton’s sextet in 1954 and in the same year they recorded for
Jaguar Records. In Lacy’s words:
This was an attempt to revitalize classic (Condon-style) jazz by
adding modern elements such as closely voiced bop background
figures and contrapuntal lines to abstractly treated, conventional
Dixieland structures.10
8
There is some debate regarding the term ‘Dixieland’, which is generally used for the
revival bands of 1940s and 50s. ‘Ragtime’ is used by Sidney Bechet in his
autobiography Treat it Gentle, while ‘New Orleans’ or ‘Traditional Jazz’ are also
common. I have used “Dixieland” to describe Lacy’s bands as they largely fall into
the revival category, and ‘Ragtime’ to describe the music from the original generation
of the 1920s and prior.
9
Lacy, Findings: My Experience with the Soprano Saxophone, pp.8-13
10
Liner notes in Lacy, Steve, Steve Lacy: Early Years 1954-1956, Fresh Sound
Records, FSR-CD 364
9
In fact the sound of the group owes more to Gerry Mulligan’s ‘cool school’
style than anything from New Orleans, even if the material being performed
is from the ragtime or early swing era. Lacy, at the age of just twenty and
only two years after picking up his instrument, had already developed a
personal sound, and if his initial inspiration was Sidney Bechet then he had
already largely shed himself of this particular influence. Audio examples 1
and 2 (Lacy’s entry point is at 1:18) show the difference in tone and approach
between first Bechet and then Lacy on the same piece, the New Orleans
standard ‘I’m Coming Virginia’. Bechet’s approach is hot, loud with a wide
and extremely fast vibrato. There is a swagger and nostalgia in his sound.
Lacy’s version however is cool and crisp, understated, even a little reserved.
At this time, the epoch of Miles Davis’ Birth of the Cool and the prominence of
Lennie Tristano, Lee Konitz and the West coast style of Mulligan and Chet
Baker, Lacy would have sounded utterly contemporary, even playing music
that was thirty years old.
In 1953 Lacy met a young pianist who had been studying classical music at
the New England Conservatory by the name of Cecil Taylor. Taylor
approached the young saxophonist one evening after he had finished
performing with his Dixieland band. “You’re young,” he said, “why are you
playing that music from the past? Music is a language and you have to invent
your own language.”11 The comments greatly affected Lacy and the meeting
was to prove a radical turning point. Lacy was to play in Taylor’s band for
the next six years, and although Taylor was only a five years older, he took on
a mentor role for the young saxophonist.
11
Weiss, Jason, Steve Lacy: Conversations, p.44, reprinted from interview by Paul
Gros-Claude Jazz Magazine, February 1971
10
Taylor’s band seldom performed during this time. Indeed one of the morals
that Lacy was to take from Taylor was the sense of musical dedication and
perseverance in the face of adversity. For adversity was to challenge them in
every aspect of the musical path they had chosen: “He battled his instrument,
throttled it, and his neighbours were pounding on the walls and he went on
playing anyway. You have to have a certain warlike nature and a kind of
thirst for violence, in a way…otherwise you’ll never tame your instrument.”12
It was not just his neighbours who found it difficult to comprehend Taylor’s
vision: “He was considered a terrorist, a musical terrorist. The club owners
would lock up their pianos, and the critics would scribble furiously.”13
Other musicians were also polarised by Taylor’s radicalism. This is
thoroughly detailed in A.B Spellman’s essay on Taylor in Four Lives in the
Bebop Business, notably the experience he had with the trumpeter Kenny
Dorham in recording the album that was eventually released as Coltrane Time.
Dorham made some “subtle and not-so-subtle comments” about Taylor’s
playing and, according to Taylor, effectively sabotaged the recording session
through his negativity.14 But for Lacy, who was used to the density of New
Orleans collective improvisation, Taylor’s almost garrulous style may have
seemed relatively normal. The pair also shared a love of Duke Ellington and
performed some of his pieces in their group. It is interesting to note that with
Taylor, on the early recordings it seems Lacy has not altered his playing style
to suit the new music. Lacy’s sound on ‘Charge ‘em Blues’ (audio example 3)
12
Weiss, Jason, Steve Lacy: Conversations, p.123, reprinted from interview by Kirk
Silsbee, Cadence, October 2004
13
Weiss, Jason, Steve Lacy: Conversations, p.219, reprinted from interview by
Christopher Cox, The Wire, November 2002
14
Spellman, A.B, Four Lives in the Bebop Business, MacGibbon & Kee Ltd, London,
1966, pp.69-70
11
has the same detached dryness as during Dick Sutton’s sessions, and while he
takes a few more rhythmic risks, he seems mainly concerned with fitting in
with the rhythm section and remaining harmonically correct. “Look Lacy,”
Taylor would goad him, “never mind things, go for the thing.”15
Lacy’s collaboration with Taylor involved life lessons as much as music
lessons. “He’s a very important figure in my life,” recounted Lacy in 1997
while playing opposite him in a German music festival. “He turned me on to
dance like Cunningham and Balanchine; he clued me in on politics, films, a
certain amount of literature and theatre, and humanity, people.”16 Although
it is unclear how much Taylor was to affect Lacy’s instrumental style, an
influence was unquestionably to resurface when Lacy began writing his own
compositions from the mid-sixties (see chapter four).
In 1957 Lacy was contacted out of the blue by the arranger and pianist Gil
Evans. Apparently Evans had stumbled across Lacy playing Dixieland, five
years earlier on a talent show.17 Evans asked him to play on his first record,
entitled Gil Evans plus Ten and although Lacy by his own admission was not a
strong sight-reader, he was to provide Evans with a unique orchestral colour.
Theirs was to become a lifelong, if intermittent collaboration, and Lacy was to
play on Evans’ final recording, the duet album Paris Blues, just before Evans’
death in 1986. In listening to ‘Big Stuff’ (audio example 4) from Gil Evans and
15
Siron, Jacques, Extraits d’un interview inedite avec le saxophoniste Steve Lacy,
Paris, October 1994, available from www.siron/aaPDF/interview_Lacy.pdf accessed
18 November, 2010
16
Weiss, Jason, Steve Lacy: Conversations, p.187, reprinted from interview by John
Corbett, Downbeat, February 1997
17
Weiss, Jason, Steve Lacy: Conversations, p.198, reprinted from interview by Lee
Friedlander and Maria Friedlander, American Musicians, 1998
12
ten, we hear Lacy as both soloist and as part of the ensemble. Lacy’s unique,
almost arrhythmic phrasing has begun to appear by this point and he brings a
strong individuality to his interpretation of the theme. In the ensemble
sections his crisp and elegant tone soars above the other saxophones.
Lacy appreciated not only Evans’ orchestration skills but also his sense of
personality: “He seemed to understand the significance of individuals. He
was a collector. He used older players mixed with younger players, and it
worked.”18
The collaboration was mutually beneficial as Lacy was able to study
arranging and composition techniques with Evans, which no doubt were
useful to him in later years as he assembled larger scale bands and orchestras
for projects such as the Futurities pieces based on Robert Creeley’s poems, and
Itinerary for 20 piece ensemble. In these works, Lacy experiments with
instrumental colour, a feature of Evans’ impressionist influenced arranging
style.
Playing with Evans was also to bring Lacy into the public eye, and to the
attention of other musicians. He was able to secure his first recording
contracts, making Soprano Sax (1957) and Reflections (1959) for Prestige and
then The Straight Horn of Steve Lacy (1961) for Candid, and at one point was
even in line to take up the vacant saxophone role in Miles Davis’ quintet,
although this did not eventuate19. On his early records Lacy plays the music
of his mentors, Taylor, Ellington and Monk, as well as some jazz standards.
18
Martin, Mel, Saxophone Journal, Volume 16, Number 3 Nov/Dec,1991
Weiss, Jason, Steve Lacy: Conversations, p.199, reprinted from interview by Lee
Friedlander and Maria Friedlander, American Musicians, 1998
19
13
The groups for these sessions were pick-up bands rather than units that
worked together regularly, although they contained some of the leading
players of the time, such as drummers Elvin Jones and Roy Haynes and
pianists Wynton Kelly and Mal Waldron.
On ‘Louise’ (audio example 5), a Cecil Taylor composition from The Straight
Horn we see how much Lacy’s style has matured in the five years from his
first ragtime sessions, as well as having a hint of what was to come. His tone
is fuller and rounder, and there is a much harder attack to his articulation,
rather than the ‘cool school’ sound of his early years. Certain devices, which
were to become trademarks of his improvisatory style, have begun to appear.
Rhythmic sleight of hand is apparent, largely through the use of 3:2
polyrhythm, which is almost more frequent in the solo than regular eighth
note runs (see transcription below, bars 33-34, 38-40, 45-46, 71-74). Large
intervallic leaps occur (at bars 42, 49 and 62), perhaps in an effort to ward off
melodic predictability. The concept of deconstructing the melody, quoting
and altering fragments of the theme is present (bars 53-58), and just as grace
notes are a feature of the composition at bar two, Lacy uses grace notes as a
thematic device throughout his solo (bar 29, 38-43, 53-55, 73-74, 86-89). These
ideas were to develop in his interpretation of Thelonious Monk’s music,
which is analysed in the following chapter.
Through his choice of repertoire Lacy was positioning himself in the postEllington school of jazz. This school included Gil Evans, Taylor, Monk and,
to some extent, Miles Davis. The aesthetic concerns of these jazz musicians
involved an emphasis on depth in composition and structure, combined with
14
finding a unique instrumental voice which served the music. In some ways
this was against the grain of the prevalent bebop and hard bop jazz styles
which during the 1950s valued virtuosity and saw the history of jazz from
Louis Armstrong to Charlie Parker as the progressive liberation of the
improvisatory expression of the individual.
15
Soprano Saxophone
Louise
Solo by Steve Lacy
Cecil Taylor
3
#
& #44 j ™™ œ œ œ œ œ œ œ œ Œ œ œ#œfij œ œfij œ œ œ œ œ œ œ œ œ œ œ Œ
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Theme
6
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17
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solo3
w
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31
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3
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‰ œj œnœ œ œ œ œnœ œ œ œ ≈#œ. ‰ nœ. œ bœ œ #œ nœ œ œ
R
œ nœ œ œ
.
3
3
3
35
œ
3
3
##
nœ3 ‰ œ œ œ œ
j œ #œ œ
‰
œ
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Œ
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&
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J
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3
39
#
&#
3
3
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3
3
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j
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œ ˙
j
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3
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3
3
3
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œ
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n
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#
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‰
œ
J
&
J œ#œfij œnœ œ n œ # œ œ œ œ œ
J J œ#œ œ œ
œ
3
3
3
43
16
2
Soprano Saxophone
47
#
&#
Œ
#œ
œ #œ
3
œ#œnœ nœ
j œ #œ œ Œ ‰ œ œ
#
œ
#
œ
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nœ œ œ nœ
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J
nœ ™ œ
3
œ fij œ fij œ
fij œ œ œ œ ™ œ œfijœ
‰ J #œ œJ ‰ œ œ ‰ J
‰ œ#œ #œ
J
51
#
& # bœbœ œ œ nœbœnœ œ #œ#œ œ œ Ó
55
# #œfijœ nœ
& # J ‰ ‰ œJ œ œ œ ™ j
œ ˙
j
nœ
œ œ#œ œ œ œ œ œ Œ ‰ œ œ œ œ œ ‰ œj #œ œnœ œ œ
#>œ
60
œœ œ œ
##
œ
‰
Œ
Œ
‰
œ
œ
J
Œ ˙
&
œ œ œn œ œ # œ œ œ œ J #œ œ
65
œ nœ œ œ #œ œ nœ œ œ
œ œ #œ œ nœ œ œ œ 3
## #œ œ œ œ œ ‰
‰ J #œ œ œ
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&
œœ
3
3
3
69
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&#
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j œ
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œj
œ
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œ œ Œ ‰ œj œ œ#œ ‰ œ#œfiœ œfiœ œfiœ
J
3
3
3
## œ#œfij œ œ œ œ œ nœ œ ™
&
74
j
Œ œ. œ #œ œ œ œ œ œ œ #œ
#œ œ nœ œ œ œ
œ #œ
3
78
œ œ # œ #œ œn œ œ œ œ œ #œ n œ nœ œ. #œ. nœ
##
œ
œ
Œ
œ
œ
& œ
#œ
#œ œ œ œ#œ
œ œ #œ
3
3
82
#
‰ j nœ #œ ‰ œj n˙
& # nœ œ œ œ œ œ
#
œ
œ
nœ
#œ
œ #œ
87
#
&#Œ
œ œ œ œfi
œ
œ
œ œfi
œ
œ
œ œfiœ
‰ œj œ œ œ œ Œ œ œ œ œfiœ œ
Œ
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90
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& # ˙™
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‰ œ #œ œ nœ
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Figure 1: Transcription of Steve Lacy’s solo on ‘Louise’ by Cecil
Taylor. Lacy, Steve The Straight Horn of Steve Lacy, 1961, Candid
17
Schooldays – Lacy and the music of Thelonious Monk
One night in 1955 Cecil Taylor took his young apprentice to a concert of
fellow pianist Thelonious Monk.20 At the time Monk was still an
underground figure who had yet to achieve fame in the wider public sphere.
His reputation amongst musicians, however, was already established and he
was widely acknowledged to have played a leading role in the invention of
bebop. According to Lacy: “Monk was the brains of the bebop revolution. He
supplied the structure and a lot of the language…Even the look: he had the
beret, the dark glasses, the goatee. Monk was the king of bebop.”21 Lacy was
drawn to Monk’s music, its “profound humanity, disciplined economy,
balanced virility, dramatic nobility, and innocently exuberant wit.”22 His
study of this repertoire was to become a lifelong pursuit. Many of the
characteristics of Lacy’s instrumental style (as well as his compositional
method, if perhaps less overtly) were derived from devices that Monk’s
musical language.
Lacy was to record an album of Monk’s compositions as early as 1958,23 the
first time that someone other than the composer himself had recorded an
album exclusively of his music. He was later invited to join Monk’s group for
20
Weiss, Steve Lacy: Conversations, p.199, reprinted from interview by Lee
Freidlander and Maria Freidlander in American Musicians, 1998
21
Weiss, Steve Lacy: Conversations, p.218 reprinted from interview by Christopher
Cox in The Wire, November 2002
22
Weiss, Steve Lacy: Conversations, pp13-14, reprinted from interview by Nat
Hentoff and Martin Williams, Jazz Review, September 1959
23
Lacy, Steve, Reflections: Steve Lacy plays Thelonious Monk, 1958, Original Jazz
Classics
18
a 16 week engagement at New York’s Jazz Gallery in 1960 and subsequently
played on a Monk big band project.24
The following case study of Monk’s composition ‘Evidence’ compares Lacy’s
approach with that of two other saxophonists and contemporaries, Harold
Land and John Coltrane. It reveals to what extent Lacy’s approach differed
from other improvisers, as well as showing the importance Monk was to have
on the development of his style.
Figure 2: ‘Evidence’ by Thelonious Monk, lead sheet, (Bb Horns)
24
Monk, Thelonious, Big Band and Quartet In Concert, 1964, Columbia Records
19
q = 180
Fmaj7
& b 44 Ó
Tenor Saxophone
&b
T. Sax.
3
3
Eb7
F
Ϫ
3
3
œ
œ œ œ
Ó
3
Amin7
D7
Gmin7 œ
œ
œœœ
œ œ œ #œ œ œ œ œ œ#œ œ bœ œ œ
œŒ
J
œ œ bœ
C7(#11)
Œ ‰
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œ œ Bb7
œ œ œ œ œ Fœ
œ
œ œ œ ˙
& b œ Œ ‰ œJ
3
F7
œ bœ œ
œ œ œ Ó
BbMaj7
Eb7
œ œ F7œ œ #œ œ œ#œ
œbœ œ
œ
b
œ
œ
#œ œ œ œ Œ Œ ‰ œ bœ bœ œ ‰ J
& b ‰ nœJ œ
J
œ
21
F6
A7alt
Dmin
G7
C7(#11)
˙ œ
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Œ
œ
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&b
J
17
T. Sax.
D7
Bb7
Fmaj7
13
T. Sax.
Thelonious Monk, solo by Harold Land
œ
œ œœœœ œ
œ œ œ œ œ œ ˙™
&b œ œ œ œ œ
J œ bœ
J
9
T. Sax.
Evidence
œ œ œ œ#œ œ œbœ Gmin7 œ œ #œ œ œ œ C7(#11)
œ #œ œ œ œ
œ
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‰œ
J
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F7
5
T. Sax.
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3
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b
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œœ
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J
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25
T. Sax.
Fmaj7
3
T. Sax.
T. Sax.
Bb7
œ
& b œ™ J Ó
Ó
3
D7
Gmin7
C7(#11)
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33
T. Sax.
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Œ
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F7
29
3
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C7
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3
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3
37
F7
41
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Gmin7
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T. Sax.
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T. Sax.
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45
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3
3
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3
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20
2
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3
53
T. Sax.
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49
F6
&b Œ œ œ
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œ
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3
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#œ
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3
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F
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61
T. Sax.
3
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œ
œ
b
œ
Œ
‰
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&
57
T. Sax.
3
3
C7(#11)
œb œ œ œ œ œ œ œ ˙™
Œ ‰ #œj œ œ œ
Figure 3: Harold Land solo on‘Evidence’ by Thelonious Monk, from
Thelonious Monk: The Complete Riverside Recordings, Vol. 13.
Riverside Records, 1960
Harold Land’s solo (audio example 6 from 3:35) can be seen as a wellexecuted, typical hard bop approach to improvising on the harmonic
progression of the composition. The melodic lines are structured around the
idea of landing on a strong note of the chord – usually the root note, 5th, 7th or
in particular the 3rd- on a strong beat of the bar (the first or third beat) and
using arpeggios or scalar approaches in between these “pillar” notes. This
often includes the enclosure of a pillar note by the notes a tone or semitone on
either side (for example the E flat and C leading to the D on the first beat of
bar 11). Land’s vocabulary also contains certain ‘licks’ - melodic fragments
which are repeated over a similar chord sequence in other improvisations.
The figure at bar 2-3, for example, is repeated almost verbatim at 42-43 and
again at 58-59. Variation occurs in the use of blues passages (bars 30-32, 37-40)
and rapid double time runs (bars 23-24, 33-36).
21
q = 180
Amin7
Evidence
Thelonious Monk, solo by John Coltrane
D7
C7(#11)
œ bœ
n œ œ œ œ œ œ œ œ b œ œ b œ œ œ #œ Gmin7
œ
œœ#œ œnœ œ œ œ œ œ œ œ œ
4
œ
R
J
œœ
Œ ≈
Œ
& b4 ‰
FMaj7
Tenor Saxophone
3
Bb7
Eb7 G7
C7
F
œ
œœœœ
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b
œ
œ
bœ
&b œ
œœœœ
F7
5
T. Sax.
9
T. Sax.
Fmaj7
&b Ó
C7
œ œF œ œ œ
œ bœ œ œ
Œ Œ ‰ J
Eb7
Œ ‰
œœœ œ
bœ œ
3
3
Amin7
œ œ#œ œ œœ
œ œ œ œ#œ œœD7œœ#œœ œ œ Gmin7 œ œ œœ C7(#11)
œœ
œœœœœœœnœœœœ
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bœœ ‰ œœœnœbœœœœ œœœœœœ
œ
Fmaj7
&b
3
F7
&b œŒ
33
œ
Fmaj7
&b
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Bb7
bœœ
œ b œ œ œ œ œ œ Eb7
œ
œ
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œ
3
Œ ‰ œJ
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G7
C7
F
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œ
C7(#11)
b œ œ b œ œ œ D7
œ nœ œ œ œ œ œ œ bœ
œ
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œ
œ #œ œ Œ ‰ œJ
Amin7
3
bœ œ bœ œ œ
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œ œ Bb7
œ Eb7
œ
œ
œ
b
œ
J
Ó
&b ‰
b œF b œ œ
F7
37
T. Sax.
œ
G7
F6
29
T. Sax.
Eb7
œ œ œ b œ œ # œA7alt
œ œ œDmin
œ G7 œ œ œ œ œ œ n œ œ C7(#11)
œœœœ
œ
œœœ œ œ œ œ
œnœbœ œ œ œ œ œ œ œ œ
Œ ‰ œœ œœ œ
b
&
25
T. Sax.
Bb7
œ œ BbMaj7
F7
œ
œ
œ œ œ œ bœ
œ
œ
œ
œœœ œ
b
œ
b
œ
J
œ
œ
œ
œ
œ
‰
Œ
b
œ
& œ
œ
3
T. Sax.
3
ghosted
Cmin7
21
T. Sax.
b œ œ ™ œ b œ C7(#11)œ œ œ
bœ
œ œ œ œ œ œ b œ œ bœ
œ
J
Œ ‰
Gmin7
œ œ œ bœ œ œ œ œ bœ œ œ œ
& b œ Œ ‰ bœ œ œ œ ‰ œ œ
œ œ
17
T. Sax.
Amin7
D7
œ œ œœœœœœœ
#œ
3
F7
13
T. Sax.
œœ
‰ œ
J
Fmaj7
Amin7
D7
Gmin7
œ œ
‰ J œ
C7(#11)
3
œ œ œ œ œn œ œ œ
œ œ œ œ#œbœ
œ œ œ œ bœ œ bœ œ bœ œ
œ
œ
œœ œ œœœœ œ
œ
Œ
&b
œ
41
T. Sax.
45
T. Sax.
&b
F7
œ œ œ bœ
Ó
Bb7
Ó
3
3
3
œ bœ œ
œ
œ G7œ œ œ œ C7œ œ œ œ œF
J
‰ Ó
Eb7
22
2
Cmin7
49
T. Sax.
&b
b œ œfib œ œ b œ œ
œ ˙
53
œ œ œœ
&b
œfij
F6
T. Sax.
F7
Eb7
œ b œ œ œ œ BbMaj7
œ œ œ œ œ œ œœ
œ œ œ bœ œ œJ
œ œ œ #œ œ œ œ œ œ
œ
‰
J œ
œ
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œœ
3
bœ bœ œ œ
œœœ
œœ œ
œ
œ Œ ‰ œ œ#œ œ œ œ œ œ œ œ
œ
œ
‰
Dmin
G7
Amin7
3
œœœ
C7(#11)
3
57
T. Sax.
œœœœ
Fmaj7
&b
C7(#11)
ghosted
œœœœ
Œ
b
&
60
T. Sax.
T. Sax.
œ œ nœbœ œ œ Œ
œ œ œ bœ œ œ
F7
D7
‰ œ œ œ œr #œ ™ œ œbœ ™ œ
Bb7
Eb7
G7
œœ
Œ ‰ œœ
ghosted
G7
C7
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œ
J
œ œ Œ Ó
œ œ nœ œ
‰
F
œ œ œ ™ œ nœ
‰J
D7
Gmin7
Amin7
C7(#11)
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œb œ œ ™ n œ b œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
&b
65
Fmaj7
69
F7
3
T. Sax.
&b
Fmaj7
F7
Bb7
F6
Fmaj7
89
œ
& b œœœœ
Eb7
bœ œ
G7C7
‰ ÓŒ
œ ™b œ b œ b œ œ œ œ œ
F
#œœ œ œbœbœœnœœœ
3
3
G7
C7(#11)
# œ œ œ œ œ n œ œ œDmin7
œ
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œœ
œ
A7alt
Amin7
œ œ œ œ #œ œ œ
œ
œœœœœœœ
Gmin7
œ D7 b œ
bœ ˙
œ
≈ ≈Œ Œ ‰ J
C7(#11)
œ bœ œ œ œ œ
œ #œ œ œbœbœ
Œ
G7
C7
F
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œ œ œ #Eb7
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J
J
&b Œ ‰
93
T. Sax.
œ œ œ œ œ#œ ‰ Œ #œ#œ œ œ œ œ œ œ n œ œ œbœ
Cmin7
œ œœœœ œ
& b œ ‰ œ#œ œœ
85
T. Sax.
Ó
F
3
ghosted
3
T. Sax.
Œ
C7
œ œ œ œ œ œ F7œœœœbœœœœ œ œ# œ œ œ œœœœBbMaj7
œ œ œ œ œ œb œ œ œœn œ œ œœ Eb7
œ œœœ bœœœ œb œœœœ
œ
œ
œ
œ
œ
œ
œ
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œ
œ
b
œœ
&
81
T. Sax.
œœ œ œ œ
G7
œ œ
œ œœœbœœœœ œ œ œ
œ
œ
œ
œ
œ
œ
b
œœœœbœœ
&
77
T. Sax.
œ bœ œ œ œ œ
J
Eb7
Amin7
D7
Gmin7
C7(#11)
œœ œœ œ œ œ #œ œ œ œœœœ œ œ œ œ œ œ œ#œœ œ œ œ œnœ œœ
œ œ œœœœ œœ
œ
#
œ
œ
œœ
œ
œ
œ
œ
Œ
œ
n
œ
b
œ
b
&
œ
73
T. Sax.
œœœœœ
Bb7
F7
Figure 4: John Coltrane solo on ‘Evidence’ by Thelonious Monk from
Thelonious Monk Quartet: At Carnegie Hall, Blue Note Records, 1957
(released 2005)
23
At first glance, John Coltrane’s solo (audio example 7 from 0:51) seems
radically different, largely due to the quantity of rapid, cascading notes that
he plays. He was at this time in the midst of his “sheets of sound” period of
the late 1950s, which was typified by an immense virtuosity, precision and
endurance, as well as an exhaustive grasp of the harmonic progression in
question. Yet in identifying the method behind his logic, we see that his solo
is effectively another example of Harold Land’s approach, taken to the
extreme. Like Harold Land, Coltrane’s language is mostly built out of scalar
or arpeggiated passages, and licks. A typical example of a Coltrane “lick”
appears at bar 3, which has become known in the jazz coterie as the “Cesh lick”
(chromatic embellishment of static harmony). For another example, a pattern
using a diminished scale appears at bar 80 and is reiterated at bar 90.
The examples of Land and Coltrane, while using different vocabularies, are
constructed using similar methods, and can be seen as exemplifying the
strategy that the majority of jazz players of the era (and indeed, since) have to
taken to interpreting a jazz composition. A general vocabulary is developed,
whether highly personal as in the case of Coltrane, or more conventional as in
the case of Land, and that vocabulary can be adapted to any composition by
transferring melodic patterns to the order of the harmonic sequence in
question. In neither example is there any reference to the original Thelonious
Monk melody of example 1. The licks and patterns that Land and Coltrane
play in these solos would undoubtedly be found in other solos in pieces with
similar chord changes. The following solo by Steve Lacy (audio example 8,
2:32) demonstrates an entirely different approach to improvisation and its
relationship to a composition.
24
Evidence
q = 180
4
& b4 Ó
FMaj7
Soprano Saxophone
5
S. Sax.
&b
9
S. Sax.
&b
13
S. Sax.
&b
œ
œF7
bœ ™
œ
&b Œ
F7
S. Sax.
37
S. Sax.
&b Ó
41
S. Sax.
FMaj7
&b Ó
45
S. Sax.
Ϫ
&b Ó
F7
Ϫ
(B7)
Ϫ
bœ ™
œBb7
j
œ ˙
#œ
J
œ
J
Gmin7
˙
Œ
œ
>.
Gmin7
Ó
œ-
Œ
Ó
œ Amin7œ
bœ
Eb7
œ
G7
œ
D7
œ
œ
Eb7
œ
œ œ
œ
C7(#11)
3
œ œ œ #˙
œ
‰ œ œ
J
œ #œ C7(#11)œ
J
C7
˙™
#˙
˙
F
j
œ œ
G7
œ
Ó
C7(#11)
C7
˙ Gmin7 œ ™
˙
Œ
˙
3
‰
Ó
C7(#11)
b˙
œ œ œ œ bœ
œ
Ó
˙
˙
œ^ C7(#11)
3
Bb7
˙
Gmin7
D7
bœ
J
#œ ™
Eb7
Gmin7
œ
bœ
F
˙
b˙
bœ
Eb7
C7(#11)
C7
w
˙
Œ
bœ
F
#˙
G7
b˙
˙
˙
C7
˙
Œ
C7(#11)
œ
œ
G7(#11)
Dmin
D7
Bb7
œ
b˙
Ó
wA7alt
Œ
œ
nœ
J
nw
œ
œ
BbMaj7
Amin7
(B7)
œ
F7
late
F7
œ
J
Eb7
œ
œ œ œ œ
3
Œ œ œ #˙
&b
33
S. Sax.
FMaj7
Bb7
Amin7
œ
b ˙(B7)
&b
# ˙G7
œD7™
œ
j
œ œ
“”
œ
˙
˙ Eb7
Bb7
œ bœ
J
(B7)
Gmin7
œ #œ
#˙
Œ
D7
œ #œ
Amin7
‰
&b Ó
29
˙
œ bœ Œ
FMaj7
25
S. Sax.
˙ FMaj7
F6
œ
b (B7)
˙
F7
&b Ó
21
S. Sax.
b˙
Cmin7
17
S. Sax.
œfij
Amin7
Œ
Thelonious Monk, Solo by Steve Lacy
F
œ
œ
œ nœ^ Œ
Œ
Ó
25
2
Cmin7
S. Sax.
53
S. Sax.
&b
œ ™F6 œ œ
J
57
S. Sax.
&b œ
FMaj7
bœ
&b
73
S. Sax.
&b Œ
& b #œ
81
S. Sax.
S. Sax.
&b Œ
93
S. Sax.
&
3
(B7)
Bb7
Ó
Œ
Ó
œ
.
b bœ
œ
FMaj7
œ
Ó
œ
F7
Œ
(B7)
n˙
A7alt
Œ
Bb7
Œ
œ C7(#11)œ b œ
œ
œ
F
C7(#11)
3
G7 3
‰ œj #œ œ œ œ nœ ™
bœ
C7
œ
b˙
Œ
Œ
Œ
Gmin7
Œ
Eb7
bœ
F
j
j œ ˙
œ ‰ œ
Ó
bœ
Œ
C7(#11)
Œ
Œ
œ
œ.
G7
˙
#˙ ™
Eb7
œ
G7
œ #˙
œ
n˙
œ œ œ œ œ œ œ
Œ
œD7 b œ.
œ
œ.
Ó
Dmin
Amin7
œ
C7
Gmin7
3
Œ
F
BbMaj7
#œ
Œ
j
nœ œ
j
œ
œ
J
‰ œ. Œ
J
œ
œ
œ
C7(#11)
‰
#œ ™
Ó
œ œ Œ
Gmin7
Œ
˙
Œ
G7
D7
Eb7
œ
œ
C7
œ
œ
œ
bœ ™ nœj Œ
F7
F6
89
S. Sax.
bœ
&b Œ
œ bœ ™
j
œ œ b˙ ™
œ œ œ œ œ
F7
G7
Eb7
Amin7
3
3
Cmin7
85
Bb7
œ
Gmin7
œ œ ‰ œJ #œ
œ
C7(#11)
œ bœ
Amin7
b œ.D7 œ.
œ.
‰ J Œ
nœ
bœ œ bœ œ œ nœ
&b Œ
j
œ
Eb7
œ bœ
œ.
J
G7
bœ ™
Bb7
œ
œ
œ œ œ œ œ œ
œ œ œ œ
bœ bœ
‰ œœ
bœ nœ
D7
Ó
(B7)
‰
3
(B7)
Œ
Amin7
œ
œ
Dmin
Œ
j
‰ nœ ‰ œ œ bœ
J
FMaj7
77
S. Sax.
F7
bœ bœ
Eb7
BbMaj7
œ œ œ œ œ œ
A7alt
œ
Ϫ
&b ˙
69
S. Sax.
œ
bœ nœ
&b
65
S. Sax.
FMaj7
F7
61
S. Sax.
F7
œ
œ œ œ
&b œ
49
Œ
C7
Ϫ
Œ
j
œ
Œ
Ó
#œ.
C7(#11)
œ
F
Œ
#œ
Ó
˙™
Figure 5: Steve Lacy solo on ‘Evidence’ by Thelonious Monk,
from Evidence with Don Cherry, Prestige, 1961
The sparsity of Lacy’s playing is immediately striking. The strings of eight
note or sixteenth note runs found in Land and Coltrane are gone. Instead,
26
jagged percussive or longer held notes, which hang ambiguously across
barlines, are utilised. The similarities with the unexpected rhythms of the
composition are unmistakable. It is also interesting to note the pitch range
exercised by Lacy, going from the heights of the high Bb in the altissimo
register of the soprano saxophone in bar 27 to the low B of bar 70. Most of
Land and Coltrane’s solos are performed exclusively in the upper register of
the tenor, from written C above middle C to F an octave and a half higher.
Thus Lacy is employing a range of about double (three octaves as opposed to
one and a half) the other saxophonists examined here, who are typical of
players of the period. Lacy’s exploration of the limits of his instrument had
already begun.
Closer examination of the solo shows how Lacy is approaching improvisation
in a fundamentally different manner from that of his peers. Lacy’s solo is
based upon musical materials present in the composition and does not only
relate exclusively to the underpinning harmonic sequence. ‘Evidence’ is a
unique composition that uses illusion and sleight of hand. The rhythmic
punctuations of the A sections, falling predominantly off the beat, appear to
gather speed and momentum. They contrast with the regularity of the
punctuations in the B section, in which the intensity is lifted through the
rising semitone movement in the melody. When the irregular rhythms return
in the final A the drama created by the change is palpable. In Lacy’s solo
rhythmic illusions are prominent. This is present from the first phrase he
plays, a succession of ascending half-notes falling on the offbeats of the bar
followed by a held note of three beats, followed by more half notes, this time
on the beat.
27
Although on paper this would seem a relatively simple phrase, it has the
effect of “throwing” the ear of the listener so that the eight bar cycle becomes
difficult to distinguish. Lacy uses rhythmic tricks such as these throughout
the solo: at bar 39 a three-note figure which begins on the and-of-three is
repeated in the following bar beginning on the and-of-beat two.
This device, known as rhythmic displacement, occurs again at bar 49, where a
figure is repeated three times starting on beat one. On the fourth repetition it
is displaced, starting on beat two, and has a similar effect on the listener’s
perception:
A second feature of Lacy’s solo is a sense of polytonality. This also is inherent
in Monk’s composition. Many of the chords in the piece are polychords, or
chords upon chords. For example, the third chord implies an F# Major triad
over a C Major, in the fourth bar there is an E over Bb, in the fifth bar an A
over Eb, in the eighth a B over Eb and so on. At certain points in Lacy’s solo
he implies tonal centres which are suspended above the actual harmony, and
28
yet the melodic intervals still relate to the underlying chords without clashing.
This is most prominent in the section from bars 57 to 64.
Lacy begins by playing a C major arpeggio over the F major 7 chord. A slight
rhythmic variation including displacement begins on beat three of the
following measure. This time Lacy plays an Ab major 7 chord which
traverses the underpinning D7 to G minor. In the following measure Lacy
descends a B major triad with the F# landing during C7 chord and the D# and
B landing on the F7 chord, thus accentuating the tritone substitutes of these
chords. The figure is then transposed down in semitones, thus playing Bb
major over the underpinning chord (which is also Bb) and then A major over
the G7#11 chord which emphasises the #11 sound of the chord.
Lacy often cites the melody in his solos, however this is usually in a disguised
form. In this solo Lacy often refers to the first three notes E, G and G# (the
third note is sometimes replaced by C which is the upper horn harmony in
the lead sheet arrangement). This occurs at bar 26, broken up in the middle of
a longer phrase:
29
The next two times the cell is played in an inverted form (G, E, G#) at bar 36:
And at bars 41-43 (G#, E, G natural):
The upper horn part (E, G, C) becomes the basis for a new theme at bar 57:
The cell appears with staccato articulation at bar 66:
Then in a flurry of triplets at bar 73:
Before making its final appearance at bar 90:
Despite all these occurrences, the listener does not have the impression that
Lacy has been repeating himself, as these quotations of the melody have all
been cloaked in the middle of phrases, played in different parts of the form, or
given different individual rhythms or articulation.
It is not just the tonal information of the composition that Lacy will use in this
manner. Lacy often takes the rhythms of a piece but substitutes different
30
notes to these rhythms. In his book Findings, Lacy describes this method as
‘Isometric Variations’.25 He utilises this device at 81 for several measures.
Instead of ascending chromatically as does the melody, he descends
successive major third intervals. For the remainder of his solo he continues to
confound the ear by hinting at the melody but choosing slightly different
notes and rhythms.
These techniques suggest that Lacy’s approach to improvisation relates to,
and is different in, each composition he played, depending on the melodic,
harmonic and rhythmic content of that piece.26 This is opposed to the
common practice (exemplified by Land and Coltrane) of developing a single
approach to improvisation that can be applied to all models, of reorganising
ones musical vocabulary to suit the harmonic progression in question.
In 1962 Steve Lacy teamed up with trombonist Roswell Rudd to form his first
regular working quartet. Rudd and Lacy had followed remarkably similar
paths up to this point, being young white jazz players who had begun in neoDixieland bands in New York before being introduced to the avant-garde via
the revolutionary pianist Cecil Taylor. As players however, one could not
have found a more unlikely pairing. Lacy’s crisp, delicate and icy soprano
sound, with his ambiguous rhythms and advanced harmonic knowledge was
pitched against Rudd’s brash, growling trombone style full of sharp rhythmic
punctuations, slides and other textural devices.
25
Lacy, Findings: My Experience with the Soprano Saxophone, 1994
This point will be reinforced in the other solo transcriptions of Lacy’s work
throughout this thesis
26
31
After experimenting with various repertoires Lacy and Rudd decided to
concentrate exclusively on the music of Thelonious Monk:
We wanted to see what was happening with this music, see
what it was all about and why it sounded so good. And why it
was so interesting, and why it was so hard to play and why
nobody else was playing it…27
The Steve Lacy/Roswell Rudd Quartet also featured Dennis Charles on
drums. A total of 27 different bass players played with the group, with Henry
Grimes playing on the group’s one live album, Schooldays. By dispensing with
a harmonic instrument, especially given that the composer himself was a
pianist, Lacy and Rudd were seen as radicals and avant-garde, even if nearly
50 years later the music sounds cheerful and nonabrasive. In 1962 no
legitimate jazz venues were brave enough to take them on and so
they systematically scoured New York street by street, eventually finding
some small coffee shops and the basement of an Armenian restaurant that
would allow them to play. They made virtually no money from the concerts.28
You have read the expression ‘Sunday painters.’ Well, we didn't
want to be that. We wanted to play that every night and for a
long enough time so that we got to the bottom of it and also, so
that we could play it freely.29
The work that Lacy created with this group, documented on Schooldays, can
be seen as representing the final point of his apprentice years before he
moved into the areas of original composition and free improvisation. It was
also Lacy’s first record as leader that was completely authoritative.
Paradoxically the group could not find a record company to release the tapes
27
Steve Lacy speaking in Bull, Peter, Lift the Bandstand, Jigsaw Productions, 1985
Davidson, Martin, ‘The Great Big Beautiful Sounds of Steve Lacy’, IntoJazz, May
1974, available http://www.emanemdisc.com/addenda/stevelacy.html, accessed
March 2010
29
Jung, Fred, ‘A Fireside chat with Steve Lacy’, All About Jazz, June 5, 2004,
available, http://www.allaboutjazz.com/php/article.php?id=2124, accessesed March
2010
28
32
until over a decade later when it was finally put out by Emanem, a small,
independent British avant-garde label.
The techniques that he was using in the ‘Evidence’ solo were further
developed and other ideas, such as the integration of collective improvisation
were introduced. Lacy’s solo on ‘Brilliant Corners’ (audio example 10, 3:45) is
notable for demonstrating two techniques in creating variations on the
original theme: first, the rhythmic contraction or expansion of the melody
and second, the reiteration of the melodic line with the interpolation of
auxiliary notes.
Brilliant Corners
Bb Lead Sheet
q = 100
CMaj7
Eb7
4
&4 œ
œ œ b˙
5
CMaj7
Eb7
&
Bmin7
16
&œ
19
&
3
Ó
CMaj7
bœ œ œ
Eb7
œ œ b˙
Ab7
G7
b œ œ bœ
Ó
Bb7 3
Ab7
3
E7
Eb7
Ó
CMaj7(#11)
#œ Ó
œ œ
3
3
Db7
Ab7
F#7
3
Ó
œ œ b œ bœ b œ œ œ #œ b œ bœ œ
Ó
Ab7
Asus7
3
Ab7
œ œ œ b œ bœ bœ
G7
Eb7
œ œ œ b˙
G7
3
œ bœ œ œ bœ
b œ bœ
œ
CMaj7
G7
b œ œ œ œ œ œ b œ œ bœ
œ
œ
œ bœ œ œ bœ
b
œ
œ
œ3 œ
bœ
œ œ
Bb7(#11)
œ œ œ
CMaj7
G7
#œ
œ œ #œ œ œ œ
3
CMaj7
bœ œ bœ œ œ bœ
œ ˙
E7
3
12 Bmin7
&
bœ
G7
Ab7
&œ
œ œ b˙
9
Ab7
Thelonious Monk
Ab7
G7
CMaj7
˙
3
Œ
œ œ œ
Bb7
b œ b œ œ bœ
3
3
bœ œ œ œ œ œ
CMaj7
2nd time is double tempo
3
œ bœ œ œ bœ
œ œ Ó
œ
b œ bœ
œ
Figure 6: Lead sheet for ‘Brilliant Corners’ by Thelonious
Monk, Bb horns
™™
33
Brilliant Corners
Solo by Steve Lacy
from the album "Schooldays"
CMaj7
5
& ˙
~~~
S. Sax.
9
S. Sax.
CMaj7
4
&4 Ó
‰
œ#œ
& Œ œ
A7sus
Ab7
G7
œ œ œ œ œ j b œ bœ bœ
œ œ
bœbœ Œ
œ œ œ™
Ab7
3
Œ
#œ œ œ œ
œ#œ
7
œœœœ
Eb7
Ab7
G7
CMaj
Bb7
.
œ œ œJ b œ ™ œ œbœbœ
œ
b
œ
#
œ
bœ œ bœ œ bœ œ
& ‰ œ #œ œ œ œ œ
bœ
œ bœ œ Œ Ó
5
S. Sax.
& Œ
Eb7
G7
œ
‰j jÓ
œfib œ
S. Sax.
& Œ
œ bœ
œ
&
#œ ‰ œJ
œ
J Œ
‰
&
38 CMaj7
S. Sax.
42 CMaj7
S. Sax.
& Œ
œ
G7
E7
Eb7
Ab7
œ œ œ
#œ œ bœ nœ
Eb7
Ab7
A7sus
œ
œ
œ
œ
Ab7
œ
œ
CMaj7
œ Œ
G7
j
œ œ ‰ œ œ
œ
œ
#˙
œœœ œœœ
Ó
3
œ
Ab7
œ
#œ
Œ
Db7
F#7
œ bœ bœ œ œ bœ
œ œ bœ Ab7
Ó
G7
œ bœ
û ‰ œJ Œ bœ
Eb7
œ
Bb7
3
œ bœ œ b œ
3
œ
œ bœ œ œ bœ œ
œ #œ #œ
œ bœ œ
&
CMaj7
œ
Ab7
E7
35 Bb7(#11)
S. Sax.
3
G7
œ œ œ bœ
Eb7
31 Bmin7
S. Sax.
Ab7
œ bœ bœ
& œ œ œ
œ
CMaj7
3
Eb7
27 CMaj7
S. Sax.
G7
3
3
œ œ bœ 3
œ
œœ
Œ
œœ
‰ ≈ r ≈ œr ≈bœr ® œ ™bœ œ œ bœ œ bœ œ œ
œ
œ
œ œ œ
œ
3
3
q=200
double time
23 CMaj7
Ab7
bœ # œ Œ
Ab7
5
20 CMaj7
G7
Ó
œ bœ bœ
œ œœ œ
#œ œ œ
3
16 CMaj7
S. Sax.
bœ Œ bœ Ó
Bb7
j
œfi
3
&
Thelonious Monk
CMaj7
E7 œ bEb7
Db7
F#7
Bmin7
œ~ Ab7
# œ # œ œ™
œ œ ‰ œ œ ~~œ~ b~ œ œ~~~
œ
r
#
œ
œ
œ
œ
≈
‰
‰
Œ
#
œ
j
J
J
œ #œ
bœ œ # œ #œ
3
3
œ
E7
13 Bb7(#11)
S. Sax.
G7
‰ œ ‰ j
œ œ b˙
Eb7
Ab7
G7
CMaj7
œ #œ
3
3
œœœ
œ
œ
œ bœ œ œ œ
œœ
œ bœ œ ™ bœ œ œ Œ œ œ
Ϫ
3
3
3
Bmin7
b œ~~~
œ bœ bœ
Ab7
~~~
Soprano Saxophone
Eb7
CMaj7
œ
‰
3
Bmin7
œ #œ nœ œ bœ œ
œ bœ œ
G7
Ó
Bb7
‹
bœ
œ œ œ œ œ œ bœ
G7
j bœ
œ
CMaj7
œ œ
œ
‹G7œ
û Œ
Œ
Ab7
3
œ
œ
œ
Œ
34
q=100
a tempo
2
Bb7
3
Ab7
G7
3
œ œ Ÿ~~~~~~~~
œb œ œ n œ œ œ
œ
b
œ
œ
Œ bœ bœ bœ œ J J œ
& Œ œ œ œbœ œ œ œbœnœ bœ œ œ ≈ Œ Ó ~~~~ J ‰ b˙
Ϫ
~ 3
œ
3
3
#
œ
œ
49 CMaj7
Eb7
Ab7
G7
CMaj7
œ
œ œœœœ
j bœ œ bœ œ œ bœ
rœœœ œ Œ Œ
œœ
Ó
‰
≈
Œ
‰
b
œ
& Œ ‰ J
œ
œœ bœ
53 Bmin7
F#7
B7
œ œ E7œ™ œ œ™#œ E7#œ Eb7nœ Ab7 . Db7
œ
r
œ
œ
b
œ
œ
b
œ
œ
‰ ≈#œ œ œ œ bœ bœ œ#œ œ#œ#œ œ Ó
& Œ ‰
S. Sax.
S. Sax.
S. Sax.
Eb7
CMaj7
b œ.
J
& ‰
œ
57 Bb7(#11)
S. Sax.
S. Sax.
Ab7
G7
CMaj7
~~~~~
45
Ϫ
A7sus
˙
Ab7
w
G7
œ #œ œ œ œ œ nœ #œ
Ó
3
Ab7
G7
CMaj7
Bb7
Ab7
G7
œ œ b œ œœbœ #œ nœbœœbœbœœœ 3 3œœ#œœnœœœœ#œœ bœœœ 3 œ3
œ
#
œ
œ
bœ
nœœœ œœ
bœ‰œ#œœ œ
& Œ‰ œ #œœœœ
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64 CMaj7
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Ó
Figure 7: Solo by Steve Lacy on ‘Brilliant Corners’ by Thelonious
Monk, from Schooldays, 1963, HatHut Records,
35
Rhythmic Contraction
Original Melody, bar 7-8:
Variation 1, solo bar 7-8
Variation 2, solo bar 22
Variation 3, solo bar 29
Variation 4, solo bar 51
Variation 5, solo bar 66
Although in the above examples the order of the notes is not always exactly
the same as in the original melody, the concept of rhythmic contraction is
clear enough with the quarter note triplet arpeggios landing on the raised
fourth being replaced by eighth note or sixteenth note triplets in the variations.
Another example can be found in the opening bar of the bridge of the piece:
36
Original Melody, bar 9
Variation, solo bar 9
Interpolation
Interpolation involves using the original existing melody and interjecting
other notes in between them. In these cases not all the notes of the melody
are necessarily used in the improvised line but the overall contour of the line
is clearly discernible.
Original Melody, bars 1-2
Variation 1, solo bars 27-28
Variation 2, solo bars 71-72
Variation 3, solo bars 82-83
37
Variation 4, solo bars 86-87
‘Monk’s Dream’ (audio example 10), from the same sessions, is a riff based
composition. It does not contain the rhythmic or harmonic complexities of
‘Brilliant Corners’ and is thus less rich in material for the improviser. Rather
than utilise the melody exclusively in his solo, Lacy concentrates on the
movement C# (from the D Major 7 chord) to Bb (over the C7 chord) which are
the strong notes of the melody at bars 5 and 6. His initial 5 note phrase stated
at bar one, travels from C# to Bb and is then repeated, but displaced by a beat
at bar three. The phrase is then rhythmically expanded from bars 4 to 6
before being repeated at bar 9 (with the addition of an interpolated note) but
again displaced. The extra note provides the inspiration for a further
development at bars 10-11 and again at 12-13 before the additional notes
themselves become a theme in their own right and Lacy continues to develop
this theme rather than the first. In this manner he creates a seemingly endless
source of inspiration, of continual evolution in his solos, which is never in
need of a pattern or cliché; it perpetuates itself.
This form of thematic development, based on the key notes of the melody, is
another example of how Lacy was able to draw out material from the
composition rather than approach improvisation from prescribing practiced
patterns over the harmony of the piece.
38
Solo by Steve Lacy
Monk's Dream
q=200
DMaj7
Soprano Saxophone
5
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53
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gr
Œ
39
Figure 8: Solo by Steve Lacy on ‘Monk’s Dream’ by Thelonious
Monk, from Schooldays, 1963, Hat Hut Records, 1963
Lacy was to continue to study and perform Monk’s work on and off for the
rest of his life. In the late 90s he renewed his alliance with Roswell Rudd (this
time with Lacy’s regular rhythm section of the time comprising of JeanJacques Avenel on bass and John Betsch on drums), forming what they called
“Monxiland” which combined Monk’s music with New Orleans style
collective improvisation. The roots of this idea can be heard in the Schooldays
album in pieces like Bye-Ya, which contains only collective improvisation.
Lacy was able to develop a musical language out of Thelonious Monk’s music,
not by imitating the craft of the pianist, but by seeking out the principals of
the language and adapting his own material to these concepts. They included
strategies such as thematic development, and rhythmic and harmonic
illusions, as well as qualities such as playfulness and “exuberant wit”30. More
directly, it grew from basing improvisation on the composed elements of each
individual piece, with its own structure, its own set of rules, and its own
inherent logic. As Lacy was to unlock the secrets in each of these pieces, the
principals and methods were to become the basis of his own original
synthesis of composed and improvised music.
30
See page 17
40
The Forest and the Zoo – Lacy and free improvisation
The experience with playing Monk’s music and getting to the bottom
of it and going through it led to the freedom on the other side…31
By 1965 Lacy’s Schooldays group had disbanded. Roswell Rudd had decided
to concentrate on playing his own original music, the band had never had a
regular bassist (27 in total had been used32) and countless gigs in semiprofessional venues and under difficult circumstances had become too
difficult to sustain. An interview with Garth W. Caylor Jr from this year
reveals a frustrated and restless Lacy: “I can’t savour music at this point,
that’s what I want to say.”33 His apprentice days were clearly over and he had
little left to learn from playing with the older masters. It was time to find his
own path, even if at that time he still seemed unsure as to which direction that
would take. From the interview one can judge that he felt alienated by a
younger creative scene many of whom had not spent years working under
established band leaders as Lacy had done: “there wasn’t much going on last
night that Cecil Taylor wasn’t into almost fifteen years ago…Cats are willing
to freak out in public and own up to it afterwards.”34 Although only 30 years
old he already felt washed up; “I feel almost like half a generation before
those people;”35 and unwanted. “Even Evidence is four years old now.
31
Steve Lacy in Bull, Peter, Lift the Bandstand, Jigsaw Productions, 1985
Weiss, Steve Lacy: Conversations, p.37, reprinted from interview by Phillipe Carles,
Jazz Magazine, August 1965
33
Weiss, Steve Lacy: Conversations, p.32, unpublished interview by Garth W. Caylor
Jr., 1965
34
Weiss, Steve Lacy: Conversations, p.26, unpublished interview by Garth W. Caylor
Jr., 1965
35
Weiss, Steve Lacy: Conversations, p.25, unpublished interview by Garth W. Caylor
Jr., 1965
32
41
Nothing’s happened for me on records since then.”36 He was obliged to take a
mundane day job for the first time in years and was looking to escape New
York. He wished to begin a new life and take a new direction in music.
We had been playing tunes and keeping the beat and playing
very strictly up to that moment. About 1965 we broke that
barrier and just started to play freely. Well that’s a long story,
but we were tired of the tunes. And this includes the Monk
tunes that we’d worked on so carefully for so many years. We
got tired of them after a while. Now isn’t that funny? So no
matter how high the quality of something, you can’t dwell on it
forever because you get tired of it, you get sick and tired of it, so
you have to leave it.37
Lacy looked to his friend Don Cherry, the trumpet player for the Ornette
Coleman Quartet who had arrived in New York from California to great
sensation a few years earlier. Don Cherry had become a close friend of Lacy’s
and he provided the type of musical provocation that Lacy was happy to
receive. Although they had played together on Lacy’s album Evidence, it was
towards less structured music that Cherry was leading Lacy.
His playing was really free. He used to come over to my house
in ’59 and ’60, around that time and he used to tell me ‘Well,
let’s play.’ So I said, ‘OK what shall we play?’ And there it was.
The dilemma. The problem. It was a terrible moment. I didn’t
know what to do. And it took me about five years to work
myself out of that. To break through that wall. It took a few
years to get to the point where I could just play.38
When Lacy decided to leave the New York jazz scene, he went initially to
Copenhagen to meet with Cherry, before circumstance led him to Rome.
There he was to meet Irene Aebi, a young classical cellist, who was later to
become his wife and singer in his later bands. He also met Triestian
trumpeter Enrico Rava, who himself was something of a Cherry disciple, and
36
Weiss, Steve Lacy: Conversations, p.24, unpublished interview by Garth W. Caylor
Jr., 1965
37
Steve Lacy in Bull, Peter, Lift the Bandstand, Jigsaw Productions, 1985
38
Bailey, Improvisation, its nature and practice in music, p.55
42
formed a quartet with him. Travelling to England they exchanged their
Italian rhythm section for two exiled South Africans, drummer Louis Moholo
and double bassist Johnny Dyani and, after some concerts back in New York,
Rava’s Argentinian wife arranged some performances for them in Buenos
Aires. Unfortunately they were disappointed to find an audience who had
little knowledge of recent developments in jazz. What is more, they arrived
in the midst of a right-wing political takeover. With only a one-way ticket
and little money, the band were unable to get out of the country for an entire
year. Under these bizarre circumstances the band forged a path towards
freely improvised music, with no preconceived melodies, harmonies or
structure. They met with some appreciation from a small group of followers
but found most listeners antipathetic to their explorations. A strong critique
came from the master of tango Astor Piazolla who, after hearing the group,
was apparently quoted as saying that they “played with knives between their
teeth.” After seeing them he “went home and listened to Vivaldi all night to
calm his nerves.”39
At the end of the sojourn the band made an extremely striking recording
named The Forest and the Zoo. As an album of completely improvised music it
stands amongst the first in the genre (even Cecil Taylor’s classic Café
Montmatre sessions, Nefertiti, the Beautiful One has Come (1962) contained
some pre-composed themes). The record unleashes some of Lacy’s most raw,
untamed and violent playing.40
Lacy’s totally free period was temporary and he was to return gradually to
39
Weiss, Steve Lacy: Conversations, p.67, reprinted from interview by Raymond
Gervais and Yves Bouliane, Parachute, autumn 1976
40
Listen to track 2, “The Zoo” (01:35-02:40) The Forest and the Zoo, ESP, 1966
43
looking for ways to make his music more concise and precise through the use
of composition. Nevertheless, his improvised music explorations would lead
to intermittent partnerships with many of the leading European free
improvisers such as Derek Bailey (notably in appearances with Company),
Joelle Leandre, Evan Parker, Han Bennink and the Globe Unity Orchestra.
Lacy also ran free improvisation workshops in Rome and Paris with both
amateur and professional musicians in the late 60s and early 70s. As JeanJacques Avenel recounts:
I remember Steve had a workshop…called the Clinic. It was
crazy. It was open to everyone who wanted to play and it was
held in the big room beneath Le Centre Americain. Sometimes
there were up to thirty musicians who would play. There were
no scores. From time to time he intervened when a drummer
played too loud, he’d stop them and say ‘there has to be balance.’
We’d play for four hours like lunatics. I remember at first I
couldn’t hear myself, and then after a while because of playing I
believe I managed to catch a sound there because you really had
to play. Otherwise you leave. There were lots of people who
couldn’t stand it, and I could understand that. If you wanted to
hear what you were doing you really had to pull on your
strings.41
In fact, Lacy saw free improvisation, which he continued to do sporadically
for the rest of his life, as a sort of informal laboratory of musical exploration,
rather than regarding it as his personal artistic vision.
We always go back to total freedom as a way of research, and
we stay there for quite a while just to see what we can fish out.
But I object to the meandering and I object to the act part of it.
When it becomes an act it's dead for me. You have to find
something else.42
One could speculate that Lacy’s initial foray into free improvisation may well
have contained an element of exorcism of his period of mentorship. A crucial
41
Jean-Jacques Avenel, interview with the author, November 2008
Steve Lacy in Davidson, Martin, ‘The Great Big Beautiful Sounds of Steve Lacy’,
IntoJazz, May 1974, available http://www.emanemdisc.com/addenda/stevelacy.html,
accessed March 2010
42
44
notion for free improvisation, to respond to one’s instinct, not to censor
oneself through self-analysis, “just to play” like his friend Don Cherry, would
seem to be at odds with some of Monk’s teachings for example, where he
would advise Lacy to “stick to the point, not to play a lot of weird notes just
because you think they’re interesting.”43 It would certainly have to have been
a contrary approach to the type of painstaking analytical research that Lacy
would have made in transcribing and learning Monk’s entire repertoire. Yet
in practice these things are sometimes closer than they appear. In his book
Findings, Lacy shows how he took a systematic approach to discovering how
to make experimental music. Below is a list of sounds that he learned to
reproduce on the soprano saxophone.
Figure 9: Extract from Lacy, Steve, Findings: My Experience with the
Soprano Saxophone, Paris: CMAP, 1994
Lacy’s work from this point, both his compositions and his instrumentalism,
were hugely informed by his practice of improvised music. This was literal,
in terms of the research of sound and extended techniques, which became a
feature of his saxophone playing after this time, even when he returned to
43
Steve Lacy in Bull, Peter, Lift the Bandstand, Jigsaw Productions, 1985
45
very structured music. It also led to the use of more open harmonies in his
compositions; in most of his pieces the improvised sections are based on just
one scale, or are totally free, unlike the music of his mentors (even the early
Cecil Taylor repertoire).
Free improvisation also pushed Lacy into a conceptual and philosophical
territory that he had not experienced before and which was to indelibly alter
all of his subsequent work:
There is a freshness, a certain quality, which can only be
obtained by improvisation, something you cannot possibly get
from writing. It is something to do with the ‘edge’. Always
being on the brink of the unknown and being prepared for the
leap. And when you go on out there, you have all your years of
preparation and all your sensibilities and your prepared means,
but it is a leap into the unknown.44
In Lacy’s subsequent work, he looked to combine improvisation and
composition, not by drawing them closer together but in some ways by
intentionally keeping them apart. He gave as much freedom and
placed as much trust in the performer as possible, leaving them
unrestricted by limitations. The composition was placed in and around
the improvisations, giving structure and intention to each individual
piece of music. The performers were undoubtedly encouraged,
however, to play “on the brink of the unknown”.
44
Bailey, Improvisation, its nature and practice in music, pp.57-58
46
Prospectus - Lacy’s “Post-free” music
From the late sixties onwards Lacy was to concentrate on creating his own
musical language, one that combined composition and improvisation,
restriction and freedom. It was to draw upon his own wealth of influences
and the various branches of jazz that he had been involved in, while also
incorporating music from outside his personal sphere, particularly Japanese
music and theatrical music models.
Lacy’s argument, in reverting to a more structured base was simply that
after a year of playing free every night, the music began to sound the same
and therefore it was no longer free.45 When limits and control began to
reappear in the music, Lacy began to call his music “post-free” which in turn
was soon succeeded:
After some years of this, the discarded elements (melody,
harmony, rhythm, structure, form) returned to the music, but
not like before: renovated, refreshed, wide open with
possibilities. We called this ‘poly-free’, because the freedom
might be anywhere in a given piece. Also one became free to be
not free, if one chose.46
The Way – Eastern philosophy and the makings of a compositional voice
Lacy’s first work, and one of his most enduring, was a song cycle based on
Lao Tzu’s Tao Te Ching, or The Way. Lacy discovered Witter Bynner’s
translation of the ancient Chinese text in 1959, pondering over it for several
years before deciding to set parts of it to music.
45
46
Lacy, Findings: My Experience with the Soprano Saxophone, p.75
Lacy, Steve, Findings: My Experience with the Soprano Saxophone, p.75
47
Lacy was to persistently revise the work before finally recording the full band
version with vocals in 1979 for Hat Hut Records, although he was to record
many instrumental versions of the suite both prior to and after this live
concert version. The pieces went through numerous stages during their
conception period, reaching a high point of complexity, before he gradually
stripped the work back to its most essential form. ‘Bone’, seen below (audio
example 11), was to become Lacy’s signature composition. Just as Lao Tzu’s
text cuts to the heart of the matter, the piece is a work of profound simplicity,
a childlike melody juxtaposed against a bass ostinato in a related but different
tonality. Its natural swing encourages playfulness and the exuberance of the
vitality that the lyrics champion. The sense of polytonality is achieved with
the melody strongly insinuating the key of G while the bass alternates
between B and C. In a way, this piece, one of his earliest, perfectly
encapsulates his style and the philosophy surrounding his music. He would
remark about this piece many years later: “You go through the complex to get
to the simple…we try to get it down to the bone. You want to end up with
something that’s easy…Easy to love!”47
47
Weiss, Steve Lacy: Conversations, p.189, reprinted from interview by John Corbett,
Down Beat, February 1997
48
49
Figure 10: ‘Bone’ by Steve Lacy, published in Lacy, Steve, Prospectus
(sheet music), Margun Music, Massachusetts, 1988
50
The score for ‘Existence’ further extends the practice of using a minimum of
materials for maximum effect. The melody line employs octaves exclusively,
transposed and rhythmically altered. A scrawled sheet of instructions given
to band members regarding the piece sheds light on the methods that Lacy
used in developing material, as well as the relationship between
improvisation and composition in his music and how he would blur the lines
between these elements.
51
52
Figure 11: ‘Existence’ by Steve Lacy, from the author’s private
collection
Each line of the poem relates to a particular mode (mainly unorthodox
pentatonic scales). As the instructions at the bottom of the page state, the
performer “warms up” on the notes of the first scale, then outlines each
different mode. They then play the written composition “uptempo”. After
53
that the performer makes a free improvisation and finally returns to the
melody in a slow, rubato manner.48 Lacy’s solo instrumental version of this
piece on the album Remains (audio example 12) demonstrates a virtuosity and
unparalleled mastery of his instrument, at one point hitting a high A’’’’ (4:37),
more than an octave into the altissimo range (in other words, a major ninth
higher than the highest note a soprano saxophone can actually produce using
standard fingering). In the use of space, breath and texture, ‘Existence’
demonstrates the influence, not just of a passing interest in Eastern
philosophy; from the early seventies onwards Lacy was to frequently travel to
Japan, to tour and perform with local musicians and artists. He took lessons
from the master of shakuhachi, Watazumido-So, and ‘Existence’ bears the
hallmarks of this tutelage.
Certain musical devices were to remain constant throughout Lacy’s body of
compositions and in the two pieces above already there are examples of these
techniques. ‘Bone’ uses a double stopped bass ostinato and in ‘Existence’ the
outlining of unorthodox scales (often pentatonic scales derived from sources
such as Japanese, Indian or Jewish music) were to become features of nearly
all of Lacy’s pieces, along with repetitive cell structures (brief composed
melodic fragments which are repeated many times before a new one is
introduced), close harmonies in lead parts (often two saxophones in major or
minor seconds) and the doubling of the vocal part with soprano saxophone.
Lacy’s Tao cycle remains his defining work, combining his simple, nursery
rhyme-like sense of the avant-garde (like Monk, many of his compositions
48
The form of this piece bears some resemblance to Indian raga and it is quite
possible that this was a conscious decision, especially given that the piece is an
homage to John Coltrane who himself was interested in Indian Classical Music.
54
contain tunes which are easily retainable, while the improvisations that ensue
use extended and experimental techniques) with his interest in Eastern
philosophy and metaphysical subject matter. In particular he seemed
intrigued by the observational nature of much Eastern literature especially in
the mundane or every-day aspects of life.49
‘Prospectus’ – concealed information in Lacy’s compositions
The following piece is one of Lacy’s most frequently played compositions,
‘Prospectus’, to the extent that it became something of a “standard” for his
ensembles. The lyrics are from a found poem by Blaise Cendras, apparently
taken from a Japanese tourist brochure (translated from the French):
Come and see our own isle.
It’s all the way down south
In the Japanese possessions
This little country is certainly
too little known in Europe.
It merits a bit more attention.
The fauna and flora have great variety
And hardly have been studied until now.
And then you’ll find everywhere you look,
A picturesque point of view,
And in the interior
Some ruins of Buddhist temples,
Which are, in their genre,
Pure marvels
Prospectus is a jubilant piece, and Lacy’s notes to the score instruct the player
that the piece should be “light and gay, off the ground”. The piece features
49
The most extreme example is from “Postcard” (1977), which used as inspiration a
postcard from his mother-in-law who was away on holiday.
Dear Irene and Steve,
This is a very beautiful and interesting country,
Yesterday we were on an excursion along the coast
And inland to this most fascinating town with twenty seven mosques,
Swimming is ideal,
The hotel lies in a huge pine forest,
Lots of love and kisses,
Moms
55
some of Lacy’s favourite aforementioned touchstone devices such as doublestopped bass parts, and melody and background parts make frequent use
major second intervals (notably the two saxophones play in major seconds
throughout the introduction). It also features repeated cell devices, the
introduction being repeated four times before the vocals enter. Unusually the
soprano saxophone doubles the vocal line, meaning that there is little room
for melodic interpretation by the vocalist.
56
57
58
59
60
61
Figure 12: ‘Prospectus’ by Steve Lacy, published in Lacy, Steve,
Prospectus (sheet music), Margun Music, Massachusetts, 1988
62
Remarkably, despite what is quite a challenging piece for the performers to
play, with large intervals for the vocalist, double stops at a fast tempo for the
bass player and thick, clustered chords in the piano part, the instructions for
the improvising could not be simpler: improvise in C Major.50
In an interview conducted with Lacy’s double bass player Jean-Jacques
Avenel I questioned him about improvising around this piece:
Lucien Johnson: For example the piece ‘Prospectus’, how did
that work?
Jean-Jacques Avenel: ‘Prospectus’ was in the key of C. So you
do what you want with that.
LJ: But it seems to me that there’s a lot more to it than that. A
lot more to it than just C!
JJA: Yes well there are all the different C’s! There are all the C
scales and so there’s every note if you want. But the piece gives
off a tonal centre, which is the tonality of C.
Often that piece caused problems for pianists actually. Bobby
[Few] was at ease everywhere but other pianists didn’t know
what to do. But in Steve’s pieces there were often different
tonalities that crossed over each other. Sometimes if we asked
he might say yes there’s that one but there’s also that one which
is the contrary of that one and this one! So you could do your
own little cuisine! Otherwise you could find something in the
colour of the piece or in the rhythm of it. Use that as a
trampoline. But you weren’t forced to. If you asked, he’d
happily say, yes it works like that you can do that – or not!
It was always open.51
One can assume that this is what Lacy meant when he said that the freedom
could be anywhere in the piece. After playing a challenging written
composition, the performer is then free to improvise in an open situation with
only a tonal centre of C Major as his/her guide. Yet it would also seem that
there are many more unwritten understandings to this within the group, as is
confirmed by Avenel’s comment that many pianists just did not know how to
approach the piece.
50
In the introductory explanation notes to Lacy, Steve, Prospectus (sheet music),
Margun Music, Massachusetts 1988
51
Jean-Jacques Avenel, interview with the author, Paris, November 2008 (see
appendices)
63
In the version recorded on the documentary Raise the Bandstand52 with Avenel,
Bobby Few, Aebi, Steve Potts and Oliver Johnson, the improvisation is
collective rather than with individual solos. Thus one could argue that one of
these understandings is an appreciation of the historical references behind the
music. This stems back to New Orleans collective improvising styles, through
Monk (and Lacy’s instructions to play it “off the ground” certainly recall
Monk’s advice to “raise the bandstand”). Another unwritten understanding
may be the importance of group listening, and the two saxophonists display
this in their conversational, intertwining melodies. It may simply be a matter
of taste and aesthetics; Few’s piano playing is highly percussive, reminding
one of a marimba player with hard mallets rather than the technique of a
classical piano player with rounded fingers. Potts’ alto sound is harsh and
abrasive and this is an excellent foil to Lacy, just as Roswell Rudd’s gnarly
trombone had been previously. Johnson’s drumming is joyous and vital, with
a light calypso ever present, but also open enough to break down into a free
rubato style at any given moment.
It would seem these players are indeed free and open to explore the piece
from any angle they wish, as Avenel states, and yet, as he implies, there is to
some degree a “right way” and a “wrong way” to play them. The players
have been chosen precisely because they understand the history behind the
music, their playing suits Lacy’s own tastes (even if this includes an element
of juxtaposition in the group) and they have enough trust in their intuitive
senses to be able to listen and react in an empathetic manner. Therefore any
instruction beyond “improvise in C” becomes superfluous and would
52
Bull, Peter, Raise the Bandstand, Jigsaw Productions, 1985
64
possibly hinder the dynamics of group and individual independence within
Lacy’s unit.
The Woe, The Cry and Rushes – A political message
In contrast with Prospectus or Postcard which chose universal, everyday
themes, Lacy was to create works which were topical and broached serious
political subjects. ‘The Woe’ (1974) was a suite for tape and quintet53 which
protested against the Vietnam war. As described by David Lee in Coda
Magazine, 1996:
The Woe should enter history as a classic free jazz statement.
The quintet performs it along with taped sound effects; and the
sheer passion makes most other tape and live-playing efforts
seem like intellectual exercises. Against the soundscape of
machineguns, tank engines and bomb bursts, the furious
playing of the quintet becomes the essence of warmth and
compassion. The effect is heartrending.54
The album certainly contains some of the most expressionistic music that Lacy
was to record.
In 1996 Lacy was to make settings of poems by the controversial Bangladeshi
poet Taslima Nasrin. The Cry, described by Lacy as a “jam opera”55, employs
texts which condemn the treatment of women in traditional Islamic societies
and earned their author a two-year prison sentence for “the public expression
of outrageous religious sentiments”56 in Bangladesh, as well as various death
53
Lacy indicated an interested in tape pieces and musique concrete around this time
such as in his first solo saxophone album Lapis (1972) which included various
overdubbed environmental sounds.
54
David Lee, Coda Magazine, 1996 available
http://www.emanemdisc.com/E4004.html, accessed March 2010
55
As quoted in Huotari, Allen, Steve Lacy: The Cry, Review in
www.allaboutjazz.com, published May 1, 1999
56
As quoted in Huotari, Allen, Steve Lacy: The Cry, Review in
www.allaboutjazz.com, published May 1, 1999
65
threats. The piece was unique in its instrumentation (soprano saxophone,
bass clarinet, accordion, harpsichord, double bass, percussion and voice) and
also included theatrical elements, such as props, scenographic design and
lighting effects. By this point Lacy’s interest in combining music and poetry
had naturally led to an interest in contemporary music theatre and many of
his song cycles were presented in a semi-theatrical fashion, without ever fully
entering into narrative or character portrayal.
A cycle of Lacy’s entitled Rushes (1990), for voice, soprano saxophone and
piano, suggests that Lacy may have been exploring the music of German
composer, Hanns Eisler. The cycle recalls Eisler’s leider in their use of
harmonies and subtle ostinatos broken up by rubato interventions.57 There is
also a strong political flavour to Rushes with the pieces being settings of
poems by 20th Century dissident poets from the Soviet Union. ‘The Cuckoo’
(audio example 13) is a poem by Anna Akhmatova in which the cuckoo in the
clock personifies the poet’s own sense of entrapment within the communist
regime, and the composition perfectly encapsulates this feeling of chilling
claustrophobia and insinuated menace.
Although The Woe has an immediacy through its power and energy, there is a
clear demonstration of the conceptual development of Lacy’s music through a
comparison with his later political works. In The Woe, Lacy uses literal
representations of warfare, and the music is in retaliation to these sounds, to
bombastic effect. In Rushes and The Cry, Lacy draws the listener in by
combining the power of the texts with the subtleties and nuances of his
compositions.
57
Notably The Hollywood Songbook, 1938-43 or later pieces for voice and piano such
as In the flower garden, 1955
66
Futurities – music theatre
One of Lacy’s most well known cycles used the poetry of contemporary
American poet Robert Creeley and the music was released as a two volume
set on Hat Hut records. The piece was semi-theatrical and incorporated stage
design and choreography. In this work, named Futurities, one feels Lacy’s
Kurt Weill influence at its strongest58. Indeed even the instrumentation, a
nine piece band with voice, two saxophones, trombone, piano, acoustic guitar,
harp, double bass and drums, invokes the sort of classical/jazz/cabaret
synthesis which Weill created for The Threepenny Opera. A piece like ‘A Folk
Song’ (audio example 14) bears a striking similarity to many of Weill’s pieces,
notably the classic ‘Moon of Alabama’ (audio example 15) from The Rise and
Fall of the City of Mahogany. Both compositions feature rigid, march-like
rhythms underpinned by a darkly percussive piano vamp, and a certain
harmonic ambiguity. Even Aebi’s voice has certain aesthetic qualities in
common with Weill’s muse, Lotte Lenya, who played Jenny in the first
production of The Threepenny Opera and was later to become his wife; a deep
and broad alto, brittle and avoiding prettiness and occasionally breaking into
sprechstimme.
Trickles – instrumental works
Although Lacy saw his song cycles as his major composition work, his
instrumental pieces have often had more critical success (although this is
perhaps due to the absence of Aebi’s distinctive voice which has had
58
Both Weill and Eisler were brought to the public attention through their music
theatre collaborations with Bertolt Brecht during the Weimar Republic in Germany.
67
something of a polarising effect on listeners). The album Trickles, recorded for
Black Saint in 1976 documented a New York sojourn, and saw him teaming
up with his Schooldays sparring partner Roswell Rudd, along with fellow
Americans Kent Carter on double bass and Beaver Harris on drums. The
influence of Lacy’s jazz mentors comes to the fore in this album. The theme
for the title track has a distinctive New Orleans flavour in some of the sections,
while Rudd’s bucket muted trombone introduction is reminiscent of the
colour Tricky Sam Nanton brought to the Duke Ellington Orchestra. One can
also decipher a strong Cecil Taylor influence, notably in the use of repeated
cells and close intervals, techniques that come to the fore in Taylor’s albums
of the 1960s such as Unit Structures, Conquistador and in particular the music
released by Taylor on the Gil Evans album Into the Hot. Lacy was to admit the
influence in an interview in Melody Maker in 1979:
Those pieces on a record like Into the Hot they gave me a key.
That was kind of a gift to me. I really got into that kind of
composition, whereas he got out of it and went beyond that.
Even the titles Bulbs, Mixed they’re kind of like my titles.59
The influence of Monk is also apparent throughout the album particularly in
the naïve, nursery rhyme flavour of some of the melodies. This is keenly felt
in particular on the track ‘Papa’s Midnite Hop’ (audio example 16),
transcribed below.60
59
Weiss, Steve Lacy: Conversations, p.87, reprinted from interview by Brian Case,
Melody Maker, April 1979
60
As this is a transcribed notation it does not include dynamics or other instructions
that may have been given to the performers, or a drum part which may or may not
have been included.
68
q
3
3
3
3
3
3
3
3
3
3
69
3
3
3
Figure 13: transcription of ‘Papa’s Midnite Hop’ by Steve Lacy, from
Lacy, Steve, Trickles, 1976, Black Saint
As with ‘Bone’ or ‘Prospectus’, devices such as the double stopped bass
ostinatos and repeated cells are employed. In the second reading of the main
70
theme at bar 23, Lacy uses an ‘isometric variation’61 in the soprano part, while
the trombone part continues with the original theme.
‘The Duck’ became another of Lacy’s theme songs and was recorded in many
contexts, with the name changing according to the location where he was
performing. Audio example 17, for instance, is named ‘Swiss Duck’, released
on the album The Way recorded live in Geneva. This piece demonstrates an
inversion of Jean-Jacques Avenel’s previous statement about the
improvisation being based on any part of the composition. The composition
is one that could only have grown out of improvisation, being full of growls,
croaks, snarls, tweets and of course the occasional quack. Although it may
appear at first difficult to discern where in fact the composition ends and the
improvisation begins, a comparison with another version, such as the solo
piece (‘The New Duck’, audio example 18) recorded on the album Weal and
Woe makes this more clear. Once again this piece demonstrates the interest
Lacy had in combining the composed and the improvised, the prepared and
the unprepared, the known and the unknown. In this piece, brief as it is, he
succeeds in integrating the textures, playfulness and humour of improvisation
into the written (or at least, prepared) sections.
‘Chagrin’, ‘Worms’ and ‘Itinerary’ – large scale and crossover works
Lacy was to undertake ambitious and unexpected compositional projects as
time progressed. He would experiment with different instrumentations and
collaborate with players from outside the jazz or European improvised music
traditions. As Jean-Jacques Avenel states, “I found some of his scores for
61
Lacy’s use of “isometric variations” in his improvised soloing has been mentioned
in Chapter Two.
71
baritone, for violin, he was always wanting to grow…I think the thing which
wounded Steve the most was that he wasn’t recognised enough as a
composer.”62
The unreleased ‘Chagrin’ was a work for string quartet and soprano
saxophone, performed in audio example 19 by Lacy and the Borromeo String
Quartet. We catch a glimpse of what Lacy may have sounded like had he
been a purely classical composer. It is fascinating to hear many of Lacy’s
trademark techniques such as repeated cell structures or limited melodic
material (pentatonic or even four note scales) being adapted to a classical
ensemble. He even tackles the problem of swing at certain moments, a
delicate operation for a classical ensemble. The pizzicato hocket section
provides a bed for Lacy to branch out and provides the illusion of swing,
whilst not asking the performers to imitate an actual swing feel. In rare
opportunities to write for larger ensembles Lacy was to explore the colours
possible in combining jazz, classical and contemporary instrumentalists.
‘Worms’, written in 1972 and performed by the Globe Unity Orchestra, was
an early exploration into the possibilities of a larger ensemble. Again some of
Lacy’s trademarks are apparent: seconds, both major and minor are employed
throughout, as are the repetition of cell structures. Lacy’s instructions to the
improvisers are to “involve effects (rather than music) such as rattling,
squeals, shrieks, shudders, bumps and other graveyard sounds”.
62
Jean-Jacques Avenel, interview with the author, Paris, November 2008 (see
appendices)
72
73
74
75
76
Figure 14: ‘Worms’ by Steve Lacy, published in Lacy, Steve,
Prospectus (sheet music), Margun Music, Massachusetts, 1988
77
His concepts for large ensemble reached their zenith the 1990 album Itinerary.
The sixteen piece ensemble resembles a jazz big band, but with additional
elements such as the harp, bass clarinet and flutes. Lacy’s semi-orchestral
vision is a blend of impressionism and modernism somewhat reminiscent of
Gil Evans. There is experimentation with colour throughout, executed with
poignant effect on the title track, ‘Itinerary’ (audio example 20). Rather than
dense and continuous blocks of sound, as we see in ‘Worms’, ‘Itinerary’
experiments with different instrumental combinations within a large
ensemble. For example, the soprano and piano figures shown below at C are
repeated but given to the flute and the second and third trombones
respectively at D (further below).
78
7

C
19




 
Alto Sax.


 
Ten. Sax.




B. Cl.












Tbn.1




Tbn.2












Fl.
Sop. Sax.
Flug.1

Flug.2
Tba.
Pno.
Gtr.
Hp.
Vc.


Perc.

mf


 
 


 

mp
f
      



  


     

         



 
 

  


















 


A. Bass
Dr.


I
voice
sail


f pizz.

f

-

ed
through ma - ny





wa - t - ers




      







cymbal

improvise

p
C
f
p
79
13
Fl.

Sop. Sax.
37




mf
     


Alto Sax.

   
Ten. Sax.


B. Cl.






Tbn.1


Tbn.2


Flug.1

Flug.2
Tba.




Pno.
Gtr.
Hp.
 


















 

























mf


         
     













D


mf





etwas leiser als ss+cello, aber deutlich hoerbar




    

mf
















   
    
   
       
  





sto ries
f
 cello
 
                           







  

f


         




A. Bass




D

 
Dr. 
Vc.
    





Perc.   
p
f
Figure 15: Extract from ‘Itinerary’ by Steve Lacy, from the author’s
private collection
In Itinerary Lacy takes several different approaches to improvisation and
composition and the nebulous space that exists between these two poles. In
80
many of the parts, notably the percussion, drums and piano, there are verbal
instructions, or just general dynamic markings, rather than full notation.
15
Fl.


42
 












 



Sop. Sax.

Alto Sax.



Ten. Sax.



B. Cl.











Flug.1

Flug.2
Tbn.1
Tba.
Pno.
Gtr.



Vc.
 




A. Bass
Dr.


  

  

Hp.

 
Tbn.2







f















 
 







deep cluster



gliss
f





 




  
                                   
 





 




                                   




















   









Perc.   
p
f
Figure 16: Extract from ‘Itinerary’ by Steve Lacy, from the author’s
private collection
81
Meanwhile the trombone solo and then the alto solo (shown below) are
completely free improvisations, arrhythmic and without forced tonal
references (although the cello and harp parts have optional scales on
which to base their accompanying).
82

25
H
63


Sop. Sax.


Alto Sax.

Ten. Sax.


B. Cl.






Tbn.1


Tbn.2




Fl.
Flug.1

Flug.2
Tba.
Pno.
Gtr.
Hp.
Vc.


Perc.



 















A. Bass
Dr.

H


 




alto solo











SOLO
 





alto solo



alto solo



alto solo


alto solo
f


alto solo


alto solo

VEREINZELT (FREE VOICINGS)
  alto solo








alto solo





alto solo
  alto solo





alto solo


 


FREE BACKGROUND - use this scale if you want
  alto solo
 





FREE BACKGROUND - use this scale if you want






alto solo
alto solo
alto solo











 


 







 


 



 

 


Figure 17: Extract from ‘Itinerary’ by Steve Lacy, from the author’s
private collection
83
At C the soprano saxophone (naturally played by Lacy himself) repeats the
vocal melody. Yet on the recorded version, Lacy extemporises on the theme,
moving, at times, far away from the written score. In this music, the score is
not a sacred object but a guide to the musician. The musician can potentially
move in and out of it, provided he or she understands it well enough.63 This
becomes an assertion of their freedom and independence. For a performer
with a background in improvisation, music is a malleable entity, a celebration
of the given moment and an acknowledgement of the essentially ephemeral
nature of music. This in its turn has its own implications: most notably the
rejection of what Derek Bailey describes as “the physical and hierarchical
separation of playing and creating”64. In other words, not only does the
improviser reject the notion that musical creation must be kept separate from
musical performance (with all the hierarchical composer/performer
relationships that that implies) it also rejects the notion of a composed piece as
a static, completely predetermined object. With his interpretation of the score
of ‘Itinerary’, Lacy proves once again that he is “turning on his master”; even
though by this stage his only master was undeniably himself.
63
For this to work the musician must also understand when it is appropriate to diverge.
In this case, Lacy is playing the lead part and has a certain amount of space in which
to extemporise. Had he been playing more of an accompanying role it is unlikely he
would have diverged in this manner.
64
Bailey, Improvisation: Its nature and practice in music, p.67
84
Conclusion
As composer, Steve Lacy was hugely prolific and his oeuvre encompassed a
huge range of stylistic influences. These ranged from the various jazz styles,
through free improvisation, contemporary music theatre, adaptations of
various world musics (notably shakuhachi techniques and modes from
Japanese music) as well as the exploration of contemporary classical music
and, at times even musique concrète.65 He was to skirt around all these genres,
never entrenching himself in any one form. At the same time his music is
built up of a relatively small number of devices (certain modes, often
unorthodox pentatonic scales; arranging habits such as double stopped bass
ostinatos, lead horn parts in seconds, the doubling of the vocal line with the
lead saxophone; repeated cell structures). This, along with his immediately
identifiable saxophone sound, developed over years of apprenticeship and
exploration, gives his music an instantly recognisable quality.
The paradox of being eclectic and yet highly individual, that his vision should
display enormous breadth as well as determined precision, is at the heart of
why Steve Lacy’s music was truly ahead of its time and forward thinking. In
transcending idioms or categorisation, and yet being hugely informed and
practiced in many different traditions, Lacy serves as model for the
contemporary musician.
“We miss his integrity, his courage and his warmth,”66 Jean-Jacques Avenel,
long time colleague and friend would state. Courage was a quality Lacy
demonstrated from the outset. He had the courage to play an instrument that
65
Lacy makes some obvious references to musique concrete, including pieces for
tape and saxophone, and field recordings on the album Lapis, 1975, Saravah
66
Jean-Jacques Avenel, interview with the author, Paris, November 2009 (see
appendices)
85
was uncommon and unfashionable and resolutely stick to that instrument all
his life; to apply himself to the music of other musicians who he esteemed,
even if they weren’t necessarily recognised at the time; he took political
stances in his life and music; he had the courage to defy stylistic limitations
and cross boundaries between definitions of genre; and he persevered with
approaches, such as using poetry and writing for voice, when this was
uncommon and sometimes unpopular within his peer group and industry.
Perhaps more than all of those factors, he had the courage to play and
compose music in which simplicity and naivety were essential qualities. This
was not music that sought to impress or compete through virtuosity or
through purely conceptual means.
The music of Steve Lacy indeed possessed courage. Through its craft it had
integrity. Warmth was its nature.
86
Composition Notes
My composition project is made up of four separate parts; two arranging
projects and two projects of new compositions:
1 – The study and subsequent arrangements of pieces by Steve Lacy for
trio
2 – arrangements of old compositions of my own, re-scored for string
quartet
3 – new compositions for the Troubles, an 8 piece ensemble featuring
jazz musicians and string players from classical music backgrounds
4 – a piece for orchestra and jazz quartet
Although labelled a “composition” masters, this project falls in between
classifications. “Performance” cannot be separated from “composition”, in
many of these pieces, as my improvisations are important elements in the
composition and can be treated and judged as “instant composition”.67
Likewise, stylistically the pieces are often closer to jazz than classical music,
yet the emphasis on notation, instrumentation and colour are uncommon in
jazz outside of arrangers such as Gil Evans and George Russell. A notable
precursor to this type of work is “third stream” music. Whereas third stream
was a conscious effort to combine classical and jazz music, I feel that my
project has been a less conceptual, perhaps ingenuous approach, adapting my
compositions to the elements at hand.
A large part of this project has investigated the nature of improvisation and
composition, their differences and similarities. As a performer, I would
observe that there is a large difference in mental approach from improvising,
67
This term was coined by Dutch improvisers Misha Mengelberg and Han Bennink in
reference to their practices with the Instant Composers Pool, a collective of
improvisers and composers. The idea is similar to that expressed by Lacy in page 3 of
this essay, which downplays the apparent differences between composition and
improvisation.
87
which demands an access to the creative faculties; and interpreting a
composition, which does not. For me, improvisation is instant composition.
Indeed, when I compose I have often found that this process is even less
creative than improvising. That is to say, in composition there is often a
struggle to find an initial idea which employs ones creative powers, yet once
this has been achieved, the bulk of the work (orchestration, finding counter
melodies, arrangement and so forth) becomes largely a logical and rational
process. In improvisation, there are a lot of logical and rational exercises that
take place in preparation for the performance (and musical logic must always
be present in a good improvisation) yet the best music always seems to occur
when the improviser manages to turn off their analytical brain and rely on
instinct.
As a listener and audience member I have observed myself becoming easily
bored by concerts of total improvisation or total composition. In concerts of
completely notated music the separation of the creative element from the
performance can potentially lead to a phenomenon where the performer
merely carries out orders. The only risk is that s/he will make a mistake,
which is a risk that gives rise to dread rather excitement for the audience. On
the other hand, I have found that improvised music concerts can be oddly
predictable. Left to their own devices, improvisers often get into a routine of
how to make music, and the element of surprise, which should be the
strength of this method, is sadly non-existent.
Of course, these are generalisations and any fine music transcends the
methods used in order to produce it. However, personally I have found that
my favourite kind of music (as both listener and musician) has both
88
improvised and composed elements in it, and many of the following pieces
look at various ways of integrating these methods.
1 – Steve Lacy Arrangements
Just as Lacy began by studying and performing the music of his mentors, I
decided to start this project by learning and performing some of Lacy’s works.
I invited Greg Malcolm, himself a fan and student of Lacy’s music, on guitar
and Chris O’Connor to perform some concerts exclusively of Lacy’s music in
Wellington and Christchurch, culminating in a recording session. Taking our
cues from the Georges Braque quotation “do not imitate what you wish to
create” we searched for an original take on Lacy’s music. With Malcolm
having his origin in noise music, the atmospheres he was able to create took
the pieces some distance away from the original acoustic landscapes that Lacy
would inhabit, while often I would attempt more textural improvisations
(notably in Papa’s Midnite Hop) rather than strictly melodic ones.
I have included three pieces from these sessions, Art, Bone and Papa’s Midnite
Hop.
2 – Arrangements of my own jazz or improvised pieces for string quartet
I gave my self the challenge of writing for string quartet, and to write
through-composed works, which did not include improvisation but which
somehow endeavoured to capture the spontaneity of improvised works.
The Night’s Plutonian Shore was originally a series of pieces based on the
stories and poems of Edgar Allen Poe that I wrote in 2007-8. In the original
format these pieces were in lead sheet form only and were workshopped and
performed by a nine piece jazz-rock ensemble, with improvised sections, and
89
performers having some role in the production of their parts. In these
arrangements for string quartet the themes are present but some parts are
inspired by the improvisations of jazz musicians in the original lineup, and
other parts are entirely new variations. I used this assignment to explore
ways of integrating extended techniques into a melodic landscape, which is a
practice I am interested in both as an improviser and composer.
I was partly inspired to write this piece by listening to Lacy’s Chagrin, which
demonstrated how the string quartet can sound effective in the style of jazz
crossover and theatrical music. I also listened intently to George Crumb’s
Black Angels, in order to see how melodic material could be infused with
textural sound and extended techniques.
3 – Pieces for the Troubles, an eight piece ensemble featuring jazz musicians
and string players from classical music backgrounds.
Throughout the year I have been performing a weekly residency at a club in
Wellington with an ensemble called The Troubles. The gig turned from a trio
jazz gig into an 8 piece group, consisting of two woodwind players, one brass
player, a double bass player and drummer (all of whom had jazz or
improvised music backgrounds) and three string players (who had classical
music backgrounds). I have included 9 compositions from a live recording
we made at the end of this period.
Initially, my aim was to produce works that were largely composed. I wished
to make a point of difference between our group and most jazz ensembles in
which improvisation on standard repertoire is the norm. So the early pieces,
such as The Giddy Heights, The Lupanar of Pompeii, Blue Night Road, Amethyst
90
Twilight and Report from the Anti World are largely composed with only small
sections (if at all) for improvisation. They also include composition
techniques such as tone rows (in The Giddy Heights, Report from the Anti World
and also in Mystique) which are derived from European art music and
uncommon in jazz. I wished to experiment with colour as well and The
Lupanar of Pompeii in particular (something of an homage to Kurt Weill)
employs several instrument changes for the performers and the repetition of
melodic fragments played by various instrumental sub-groups. At a certain
point however, I felt that the improvisational aspect of the group was being
neglected, so I wrote pieces such as Les Oiseaux d’Amour and Breadline Blues,
which fulfilled these needs. Mystique was something in between these two
categories, and, a little inspired by the Steve Lacy piece Sweet Sixteen, it opens
with a drum solo and conducted hits on a tone row, which then becomes the
melodic basis of the composition. No more troubles was a nursery rhyme-like
piece that became our light-hearted theme song.
My research into Lacy is an underlying influence in this group. The
combination of deceptively simple melodies with occasional bursts of
complexity is a feature of these compositions. The fragment of interview with
Jean-Jacques Avenel found on page 61 was crucial with how I wished to work
with this group. Through constant performing a level of understanding and
trust built up within the group, so that eventually, instruction and direction
was more and more unnecessary. Just as Lacy’s instructions for soloists on
the composition ‘Prospectus’ were reduced to “improvise in C” my
instructions for soloists in these pieces were as limited as possible, in order to
allow for the maximum to freedom and independence.
91
In improvised sections in The Troubles, I have often been inspired by the
compositional approach taken by Lacy as outlined in chapter 2 of this thesis.
For instance, in my solo in The Giddy Heights, my solo contains disguised
fragments of melody and isometric variation.
Without relying on imitating Lacy’s musical devices, such as repetitive cells
or the particular pentatonic scales that he frequently employed, I feel these
pieces belong to the same aesthetic family as Lacy’s music. They strive for
similar qualities, such as the playfulness and “exuberant wit” that Lacy found
so attractive in Thelonious Monk’s music, and the juxtapositions of naivety
and childlike melody with avant-garde complexities and textural devices,
often in the same piece.
4 – Jazz Quartet and Orchestra
My final project was to write a piece for jazz quartet (essentially a stripped
back Troubles) and orchestra. For this project I placed certain limitations on
myself, in order better explore the areas I did wish to investigate. Firstly, I
decided to use a simple jazz form for the piece, that is to say, a theme – solo –
theme arrangement, rather than something with many sections and tempo
changes. Secondly, I wanted to make sure that all orchestra parts were
relatively simple and playable. A large factor in making these decisions was
that I knew that the piece would need to be rehearsed and recorded in just
half an hour with a student orchestra, and under these conditions, the simpler
the piece the stronger the results.68 Instead, I wanted to look at colour, and to
68
Unfortunately, with the orchestra reading unable to be held before October 2011,
the recorded version in my submission contains a midi orchestra along with the jazz
group.
92
experiment with different instrumental combinations. A vital element in this
type of work is achieving a balance between the orchestra and the jazz group.
This is prominent in terms of volume; adding a drum kit to an orchestra
means that the latter are obliged to play in the top half of their dynamic range.
But it is also in terms of distributing content so that although the jazz players
are in effect the soloists, all the orchestra have enough to keep them occupied
and there is equilibrium between the two parties.
Where Lacy often uses pentatonic scales derived from ethnic sources
(frequently Japanese or Jewish music) this piece uses five note scales from
Ethiopian music. There are two basic scales being employed in this piece, the
first in the A sections being 1, 2, flat 3, 5, flat 6 and the second during the
bridge sections 1, flat 3, sharp 4, 5, major 7. In the bridge sections this scale is
transposed in different key centres. These scales seemed to me to suggest
certain harmonic colours which is why I was interested in using the orchestra
for this piece. With this piece I have attempted to hint at the power and
potential energy such a huge ensemble can possess, at the same time keeping
as much of the composition as subdued as possible. This seemed to me a
fitting metaphor for Steve Lacy’s subtle powers as composer and saxophonist.
93
Selected Discography
Bechet, Sidney, The Victor Sessions, Master Takes 1932-43, 1990, Victor
Evans, Gil, Gil Evans and ten, 1957, Prestige
Globe Unity Orchestra, Compositions, 1979, JAPO
Lacy, Steve, Axieme, 1975, Red Records
Lacy, Steve, Evidence: with Don Cherry, 1961, Prestige
Lacy, Steve, Futurities, 1984, Hat Hut
Lacy, Steve, Lapis, 1971, Saravah
Lacy, Steve, More Monk, 1989, Soul Note
Lacy, Steve, Morning Joy, 1986, Hat Hut
Lacy, Steve, NY Capers and Quirks, 1979, Hat Hut
Lacy, Steve, Remains, 1991, Hat Hit
Lacy, Steve, Rushes, 1990, New Sound Plane
Lacy, Steve, The Forest and the Zoo, 1966, ESP
Lacy, Steve The Straight Horn of Steve Lacy, 1961, Candid
Lacy, Steve, The Way, 1980, Hat Hut
Lacy, Steve, Trickles, 1976, Black Saint
Lacy, Steve, Weal and Woe, 1973, Emanem
Lacy, Steve/Rudd, Roswell, Schooldays, 1964, Hat Hut
Monk, Thelonious, The Complete Riverside Recordings, Vol.13, Riverside, 1960
Monk, Thelonious, Thelonious Monk Quartet: At Carnegie Hall, 1957, Blue Note
Sutton, Dick, Progressive Dixieland, 1954, Jaguar
Taylor, Cecil, Jazz Advance, 1956, Blue Note
Weil, Kurt, Kurt Weill’s The Seven Deadly Sins and Berlin theatre songs, Sony
Masterworks, 1997
94
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95
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Litweiler, John, Ornette Coleman: A Harmolodic Life, New York: William
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101
Compositions
102
The Night’s Plutonian Shore: String Quartet
The Night's Plutonian Shore
Lucien Johnson
Part i: Murders in the Rue Morgue
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q=88
col legno tratto
° b 4 ˙™
Violin I & 4
The Night's Plutonian Shore
Part ii: Descent into the Maelstrom
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The Night's Plutonian Shore
Part iii: The Golde Bug
q = 132
° 5
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116
The Night's Plutonian Shore
q=76
sul tasto
Part iv: The Raven
˙™
° 4 ‰ #œ œ#œ œ
Violin I & 4
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Violin II
Viola
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7
°
&
w
&
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Lucien Johnson
Hold like viol; bow behind left hand
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q=76
sul tasto œ
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119
The Night's Plutonian Shore
Lucien Johnson
œ#œ œ œ œ œ
j
b
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‰œ
Part v: The Black Cat
q = 220
° 4
w
Violin I & 4 œ
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120
2
23
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46
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4
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q=110
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5
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108
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114
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q=220
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102
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125
The Night's Plutonian Shore
° 4 q=72
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col legno battuto
∑
Lucien Johnson
Part vi: The Premature Burial
126
2
21
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127
3
34
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128
The Giddy Heights
The Giddy Heights
q=164
Lucien Johnson
Alto Saxophone
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q=164
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The Lupanar of Pompeii
The Lupanar of Pompeii
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Lucien Johnson
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140
5
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46
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mp
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p
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w
w
w
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141
6
G
57
°
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q=112
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bw
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fill in to original tempo mp
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mp
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b
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w
3
=
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62
°
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b
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bw
w
nw
nw
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142
7
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66
°
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w
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/
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n œ- Œ
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b
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b w
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w
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71
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b
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143
8
76
°
Bari. Sax. &
Ten. Sax.
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b w
˙
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/
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82
°
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w
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mp
bŒ
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p
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b
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3
3
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144
9
bw
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bb b˙ ™ nœ œ œ œ bœ n w
b
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¢
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89
°
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w
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Trombone
######
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mp J
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.
mp
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mp
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96
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/
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145
10
102
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107
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Ϫ
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∑
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B‹
#
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p
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146
11
112
.
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117
° #### w
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Bari. Sax. &
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Œ nœ œ Œ œ Œ nœ œ Œ
. .
. .
Œ œ. œ. Œ œ Œ œ. œ. Œ
-.
œ Œ œ Œ œ.
-.
? Œ ? Œ
œ
œ
Œ œ Œ
-.
-.
œ Œ œ Œ
-.
#w
w
w
nw
w
∑
Œ
Œ nœ œ Œ œ
. .
Œ œ. œ. Œ œ
œ
w
∑
œ. œ.
∑
To Cl.
∑
> >
>
>
>
>
>
>
>
>
>
>
???????? ? ??????? ???? ??? ? ????????
œœœœœœœœ
>. . . >- . . >. .
#œ. œ. œ. -œ œ. œ. œ. œ.
>
>
>
>œ. œ. œ. >-œ œ. œ. >œ. œ.
œ
>.
#œ.
>
>œ.
œœ
J
Ϫ
Ϫ
œ
œ. œ. œ- œ. œ. œ. œ. #>œ. œ. œ. >-œ
>
>
>. . . >œ. œ. œ- œ. œ. œ. œ. œ œ œ œ
>
>
.œ œ. >œ- œ. œ. >œ. œ. #>œ. œ. œ. >-œ
œœ
J
œ
Ϫ
œ. œ. œ.
>
>
œ. œ. œ.
œ.
œ.
#œ. œ. œ. -œ œ. œ. œ. œ.
>
>
>
>. . . >- . . >. .
œœœœœœœœ
œ. œ. >œ. œ. #>œ. œ. œ. >-œ œ. œ. >œ. œ.
#œ œ
J
#œ
Ϫ
#œ œ
J #œ
147
12
° #### >œ Œ Ó
#
Bari. Sax. &
#### >œ Œ Ó
Ten. Sax. &
¢
121
? ##
Tbn.
/
Dr.
F©7
>
Œ O™
° ##
&
Vla.
B ##
Vc.
? ##
#˙ ™
poco>
Œ ˙™
>
poco
>œ
>˙™
ŒÓ Œ
Db.
? ##
>œ
ŒÓ
ŒÓ
>œ
>œ
ŒÓ
B‹
∑
∑
∑
∑
∑
∑
∑
∑
To Tpt.
∑
?? ?? ?? ? ?
Œ
>
Œ ˙™
poco
=
° ####
#
Bari. Sax. &
∑
poco
Vln.
¢
∑
>
Œ #˙ ™
poco
∑
>
‰Œ Ó
?
J
∑
∑
poco
∑
∑
K
∑
>
Œ ˙™
∑
Ó
∑
Ó
∑
Ó
?? ??
p K
œ #œ
#
œ
œ œ
Œ
mf
œ œ
œ
#œ œ
Œ
mf
œ #œ œ œ
Œ
#œ
Ten. Sax.
¢
##
&##
∑
? ##
Tbn.
∑
∑
∑
∑
œ #œ œ œ œ
˙™
œ #œ œ nœ œ
n˙ ™
œ œœ œœ
œœ
œ ™ œJ œ œ œ ™ J œ œ ™ œJ œ œ
mf
L
Clarinet in Bb
˙
nn
n
n nÓ b
∑
∑
∑
˙™
mf
œ ™ œJ œ œ œ ™ œJ œ œ
128
∑
?? ?? ?? ??
∑
∑
∑
Flute solo C‹
p
bbb
∑
Trumpet in Bb
&
bbb Ó
˙
p
/
Dr.
° ##
Vln. &
n˙ ™
Vla.
B ##
˙™
Vc.
? ##
˙™
Db.
? ##
¢
∑
?? ?? ?? ?? ?? ?? ????
˙
Ó
˙
Ó
˙
Ó
œœ
œ ™ œJ œ œ œ™ J œ œ™ #œJ œ
#œ ˙
Ó
#w
# œ œ œ œ nœ
nw
Πbw
Œ
w
w
L
bbb
-œ.
bbb œ
-.
-.
b
bb œ
-.
arco œ
bbb
œ-. œ-.
œ-.
œ-.
œ.
œ-.
œ-.
œ.
œ-. œ-.
œ-.
œ.
œ-.
148
13
133
° b w
Cl. &
b
Fl. & b b
¢
Tpt.
Dr.
Vln.
&b w
B bbb œ œ œ
-. -. -.
-. -. -.
?
b
Vc.
bb œ œ œ
-œ. -œ. -œ.
?
b
Db.
¢ bb
=
139
°
&b
∑
b
Fl. & b b
¢
∑
Tpt.
Dr.
&b
Vla.
B bbb
q=80
∑
w
w
∑
w
w
∑
∑
-œ.
-.
œ
-œ.
-.
œ
-œ.
-.
œ
-œ.
-.
œ
-œ.
-.
œ
-œ.
-.
œ
-œ.
-.
œ
-œ.
-.
œ
-œ.
-.
œ
-œ.
-.
œ
-œ.
-.
œ
-œ.
-.
œ
-œ.
-.
œ
b-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
œ.
b-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ.
-œ
G7(b9)
∑
-œ.
-.
œ
-œ
-œ
∑
-œ.
-.
œ
-œ. -œ. -œ. œ -œ. n œ
œ œ œ œœ
-. -. -. -. œ
-œ. -. -. -. -.
œ œ œ œœœ
-œ - -œ. -œ. -. -.
œ œ œnœ
œ
N
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
M
?b w
Vc.
bb
? bb w
Db.
¢ b
∑
-œ.
-.
œ
∑
∑
w
w
M
∑
/
° b
Vln. & b b
-œ.
-.
œ
œ. -œ
To Bari. Sax.
œ œ ˙™
∑
-œ. -œ. -œ. -œ.
F‹
∑
˙™
∑
/
° bb
& b
∑
w
Vla.
Cl.
Cº
∑
œ œ ˙™
˙™
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
q=80
∑
Baritone Saxophone
Solo D‹
nq=112
∑
w
con sord. mp
w
cresc.
>
>
>
????????
fill in to original tempo mp
cresc.
? ? ? ?
N mp q=112 cresc.
∑
œœœœœœœœ
>- . . >- . . >- .
mp cresc.
>- . . >- . . >- .
∑
œœœœœœœœ
>-œ œ. cresc.
œ. >-œ œ. œ. >œ- œ.
mp
∑
solo
˙™
mf
∑
∑
œ ™ œœœ œ œ œ œ
œœ
bw
3
∑
mp
w
cresc.
∑
149
14
145
°
Bari. Sax. &
∑
F‹
∑
C©
∑
∑
b w
Fl. & b b
¢
bw
w
&b
w
w
w
/
>
>
>
??????? ?
>
>
> >
>
> >
>
>
???????? ???????? ????????
Tpt.
Dr.
° bb
& b œ- œ.
>
>- .
b
B
b
Vla.
bœœ
>œ- œ.
?
b
Vc.
bb
Vln.
Db.
?b
¢ bb
∑
=
149
°
Bari. Sax. &
w
œ. -œ œ. nœ œ
> >- .
.œ >-œ œ.
nœ- œ.
>
.œ >-œ œ. œ. œ œ nœ œ n>œ- œ. œ. >œ- œ. œ. >-œ œ. n>œ- œ. œ. >œ- œ. œ. >-œ œ. >-œ œ.
œ. -œ œ. œ. nœ œ#œ œ
>
>
œ. -œ œ. œ. nœ œ#œ œ
œœœœœœœœ
>- . . >- . . >- .
>-œ œ. œ. >œ- œ. œ. >-œ œ.
nw
∑
œœœœœ
>- . . >- .
>-œ œ. œ. >œ- œ.
∑
E‹
∑
∑
∑
w
To Ten. Sax.
&b w
w
w
Dr.
/
w
° b
& b b nœ œ œ œ œ œbœnœ œbœ nœ- œ. œ. œ- œ. œ. œ- œ.
>
>
>
>- . . >- . .
>
>
b œ œ œ œ œbœnœ œbœ n-œ œ. œ. œ- œ. œ. >œ- œ.
Vla. B b b nœ
>- . . >- . .
>œ- œ. œ. >œ- œ. œ. œ œnœ œ >-œ œ. œ. >œ- œ. œ. >œ- œ.
?
b
Vc.
bb
?b
¢ bb
∑
∑
Œ
-œ
-œ Œ
ff
∑
∑
>
>
>
> >
>
>
>
>
??????? ? ???????? ??????? ?
Vln.
Db.
∑
O
b w
Fl. & b b
¢
Tpt.
œ. -œ œ. œ. -œ œ.
>
>
œ. -œ œ. œ. -œ œ.
>
>
.œ >-œ œ. œ. >-œ œ.
? Œ
ff O
œ- œ. œ. œ- œ. œ. œ œ œ œ ‰ œj ‰
>
>
ff
>- . . >- . .
j
œ œ œ œ œ œ œnœ œ ‰ œœ ‰
œ
ff
>-œ œ. œ. >œ- œ. œ. œ œ
œœ -œ‰
œ
∑
ff
-œ Œ
ff
?Œ
j
œ œ.
j
œœ œœ
.
œ œ.
J
œ
œœ
œ
Œ
-œ
150
15
153
°
Bari. Sax. &
œ- Œ
œ-
œ- Œ
Œ
Tenor Saxophone
b
Ó
Ten. Sax. & b bb
¢
Tpt.
Dr.
senza sord.
Ó
&b
° b
&b b
Vla.
B bbb
Vc.
? bb
b
Db.
?b
¢ bb
158
Ten. Sax.
Tpt.
Œ œ ˙
?Œ
‰ œj ‰
j
‰ œœ ‰
j
œ œ.
j
œœ œœ
.
-œ œ ‰ œ œ.
J
œ-
Œ
b
¢ & b˙
œ- Œ
n˙
n˙
& b b˙
? Œ
?Œ
? Œ
?Œ
‰ œj ‰
j
œœ ‰ œœ ‰
-œ
œœ
j
œ œ.
j
œœ œœ
.
œ œ- œ ‰ œ œ.
J
œ
Œ
-œ
/
? Œ
? Œ
-œ Œ
-œ
Œ
Œ
-œ
œ
œ
œ bœ œ
w
œ
œ
? Œ
-œ
Œ
œ.
œ bœ
-œ
˙
Œ nœ
˙
Œ nœ
? Œ
?Œ
‰ œj ‰
j
œœ ‰ œœ ‰
-œ
œœ
?Œ
‰ œj ‰
j
‰ œœ ‰
j
œ œ.
j
œœ œœ
.
-œ œ ‰ œ œ.
J
j
œ œ.
j
œœ œœ
.
œ œ- œ ‰ œ œ.
J
œ
Œ
-œ
Œ
-œ
-œ
To Cl.
Œ
To Fl.
˙
˙
? Œ
-œ Œ
Œ
-œ Œ
œ w
? Œ
? Œ
-œ
Œ
-œ
3
3
Dr.
-œ Œ -œ Œ -œ Œ
j
œ œ
bœ ™ nœ w
œ œ
j
bœ ™ nœ w
j
œ œ.
j
œœ œœ
.
œ. œ- œ ‰ œ œ.
J
-œ Œ
Œ
˙
‰ œj ‰
œj
œœ ‰ œœ ‰
Œ
-œ
-œ Œ
=
°
Bari. Sax. &
ff
ff
? Œ
/
Vln.
Œ œ ˙
-œ
˙
? Œ
? Œ
∑
Ó
∑
Ó
∑
? ? ? ?
p
mp
° b
j j
j j
Vln. & b b ‰ œ ‰
œ œ. œ ‰ œ ‰ œ œ. œ
j j
j j
b
Vla. B b b ‰ œ ‰ œ œ
. œ ‰ œ ‰ œ œ. œ
-œbœ ‰ œ œ. œ -œbœ ‰ œ œ. œ
?
b
Vc.
J
J
bb
‰ œj ‰ œj œ œ ‰ œj ‰ œj œ Œ
.
.
bw
‰ œj ‰ œj œ. œ ‰ œj ‰ œj œ. œ ˙
f
-œbœ ‰ œ œ. œ -œbœ ‰ œ œ. Œ w
J
J
? b -œ
Db.
¢ bb
-œ
Œ
Œ
-œ
-œ
Œ
Œ
-œ
œ.
Œ
-œ
-œ Œ
œ- Œ
? Œ
Œ
œ ™ œJ œ œ
mp
Œ
Œ
-œ
-œ
Œ
Œ
-œ
˙
mp
151
16
163
°
Bari. Sax. &
Ten. Sax.
Tpt.
Dr.
Vln.
Vla.
∑
∑
∑
∑
∑
∑
b
∑
∑
∑
∑
∑
∑
&b
∑
∑
∑
∑
∑
∑
¢&
/
?? ? ? ?? ?? ?? ? ? ?Œ Ó
° bb
& b
bw
w
nw
B bbb œ œ bœ œ œ
œ bœ nœ bœ nœ œ b œ
3
? bb w
Vc.
b
œ ™ œJ œ œ
?
b
Db.
¢ bb
œ bœ
w
3
w
œ bœ
w
œ ™ nœJ œ nœ œ ™ nœJ œ nœ
169
°
Bari. Sax. &
Ó
Ó
Ten. Sax. & b
¢
Tpt.
&b Ó
œ bœ n˙ ™
bœ ˙
Ó
œ bœ n˙ ™
bœ ˙
Ó
>
Œ ˙™
∑
poco
Vc.
Db.
œ™ œJ œ œ
œ œ
bw
#œ œ ˙ ™ œ #œ œ bœ œ ˙™
Πbw
bŒ
Flute
nœ œ nœ œ
œ ˙™ œ bœ nœ œ œ b˙ ™ nœ œ œ œ bœ n w
Πbbb
Clarinet in Bb
mp
œ
w
w
mp
#œ #œ œ
Œ
œ #œ b˙ ™ œ œ œ œ œ ˙™ Œ w
?? ? ? ?Œ Ó
P
° b
b
∑
∑
Vln. & b
Vla.
Ó
bœ ˙
w
p
Dr.
?? ??
œ bœ n˙ ™
P
=
>
Œ O™
poco
/
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
B bbb
∑
∑
∑
∑
∑
∑
∑
∑
?b
bb
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ
?b
¢ b b œ™ J
œ
152
Report from the Anti-World
q=132
Report from the Anti-World
A
° 4
Tenor Saxophone & 4
∑
Œ œ ˙
Lucien Johnson
∑
w
™™
#4
Œ Œ œœœœ œ œ œœœœœ œ œœœœ œ Œ Ó
¢& 4 œ. œœœœœ
. . . . . œ. œœœœ
. . . . œ.
.... . . ..... . .... .
f
4
∑
∑
Œ œ b˙
Trumpet in Bb & 4
w
™™
.... . . ..... . .... .
4 . ..... . .... .
/ 4 œ œœœœœ œ œœœœ œ Œ Œ œœœœ œ œ œœœœœ œ œœœœ œ Œ Ó
™™
Baritone Saxophone
Drums
mf
Violin
Viola
B bb 44
Violoncello
? bb 44
Double Bass
=
° bb 4 q=132 ∑
& 4A
Œ
œ b˙
w
Œ œ ˙
w
f
∑
œœœœœ
. . . . . œ. œœœœ
....
....
. . . . . œ. œœœœ
œœœœœ
œ. Œ Œ œœœœ
. . . . œ. œ. œœœœœ
. . . . . œ. œœœœ
....
. . . . œ. œ. œœœœœ
. . . . . œ. œœœœ
....
œ. Œ Œ œœœœ
∑
∑
Tpt.
Dr.
™™ œ. œ. œ œ. œ. œ. œ œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. œ. œ. œ. ≈ Œ
Vla.
Vc.
Db.
∑
™™
œ. Œ Ó
œ. Œ Ó
5
# ™
™ œœœ œ œœœ œ œœœ ‰ œœœ œœœœœ≈Œ
. . . . . . . .
. . . . . . . . .
∑
∑
& ™™
Vln.
™™
™™
™™
f
° B™
™
T. Sax. &
B. Sax.
∑
f
œ.
f
? bb 44 œ.
¢
™™
¢&
/
° bb ™B
& ™
œ. œ. œ
B bb ™™ œ œ œ
. .
? bb ™™ œ. œ. œ
? bb ™™ œ. œ. œ
¢
œ.
œ.
∑
™™
∑
™™
.
. .
‰ œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ. œr ≈ ‰ ™™
3
3
≈Œ
∑
™™
œ. œ. œ. ‰ œ. œ. œ. œ. œ. œ. œ. œ. ≈ Œ
œ. œ. œ. ‰ œ. œ. œ. œ. œ. œ. œ. œ. ≈ Œ
∑
™™
∑
™™
∑
™™
œ. œ. œ. œ œ. œ. œ. œ.
œ. œ. œ
œ. œ. œ
™™
fill in
3
œ.
œ.
∑
‰
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. œ. œ. œ. ≈ Œ
153
C.
œ œ. . œ. . œ. œ. . œ. .
°
#œ nœ #œ nœ Œ
T. Sax. &
2
8
B. Sax.
¢&
Tpt.
&
Dr.
/
#
œ. œ. . œ. . . . . j
#œ nœ œ œ œ œ. œ ‰
‰
.
∑
∑
∑
∑
œ. œ #œ œ nœ Œ
. . . .
œ. œ. œ. œ. œ. Œ
‰ œ.
œ. #œ. œ. nœ. œ œ. œ œ
. . .
‰ œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. #œ. œ. nœ.
Œ
.œ . .
œ # œ. œ n œ.
Œ
œ. œ. #œ. œ. nœ. . œ
œ . œ. œ
‰
.
.œ . .
œ # œ. œ n œ. œ. œ. œ. .
œ
‰
? bb œ. œ. #œ. œ. nœ. œ. œ. #œ œ nœ Œ
. . .
? bb œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. Œ
Db.
¢
.
‰ œ œ. #œ. œ. nœ. œ œ. œ
. . œ.
. . . . . . . . .
‰ œœ œœ œœœœœ
œ. œ #œ œ nœ
. . . .
œ. œ. œ. œ. œ.
C
° bb œ. œ. #œ. œ. nœ.
Vln. &
œ. œ. # œ. œ. n œ.
b
Vla. B b
Vc.
∑
j‰
œ.
. . . .
. . . .
œ. ‰ fill
œ. œ.inœ. œ. œ œ œ œ œ. œ. œ. œ. œ œ œ œ
J
j
œ. ‰
œ. ‰
J
∑
j
œ. ‰
œ. ‰
J
∑
∑
∑
=
œ. œ. . œ. . . . .
#œ nœ œ œ œ œ œ œ œ. œ. œ. œ. w
. . œ.
# œ. œ. . œ.
#œ nœ. œ œ. œ œ œ œ œ. œ œ œ Ó
B. Sax. &
¢
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°
T. Sax. &
Tpt.
&
Dr.
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154
D
14
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T. Sax. &
B. Sax.
Tpt.
Dr.
3
Œ œœ˙
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# ™
™ œœœ ‰ œœœj ‰ œœœœ œ œ œ œ œj ‰ œœœœ œœœ ‰ œœœj ‰ œœœœ œ œ œ œ œj ‰ œœœœ ™™
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J
J
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D
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∑
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™
j
j
j
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? bb ™™ œœœ ‰ œœœJ ‰ œœœœ œ œ œ œ œJ ‰ œœœœ œœœ ‰ œœœJ ‰ œœœœ œ œ œ œ œJ ‰ œœœœ ™™
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¢
= 18 E
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°
˙
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J
‰
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T. Sax. &
Vc.
B. Sax.
Tpt.
3
# ™ j 3
™ œ œ œ œ œ œ œ œ œj œ œ œ œ œ œ œ œj ‰
j
Œ
& ™™ œ œ ‰ œ ˙
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j
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j
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3
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b ™
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j 3
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j
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3
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n˙ ™
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4
21
T. Sax.
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.
∑
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. .
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. .
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∑
Dr. /
J
J
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.
3
3
# œ. œ. . œ.
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j
j
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.
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.
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Dr. /
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b
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3
j 3
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3
3
156
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28
°
T. Sax. &
B. Sax.
¢&
Tpt.
&
#
Œ œœ˙
j‰
‰
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j
Œ
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H
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5
4 bars drum solo
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....
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J
J
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˙
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b
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/
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n˙
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¢
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T. Sax.
°
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B. Sax.
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Tpt.
&
Dr.
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3
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3
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3
n˙ ™
bœ
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&
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3
3
157
6
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‰
36
T. Sax.
°
&
B. Sax.
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Tpt.
&
#
J
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Œ
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J
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˙
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Dr.
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/
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n˙ ™
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b
&b œ
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nœ #œ
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?
b
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J
¢ b
Vc.
∑
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∑
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JJ
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JJ
JJ
J
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JJ
JJ
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=
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°
T. Sax. &
B. Sax.
¢&
Tpt.
&
Dr.
/
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w
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w
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w
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w
w
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∑
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w
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J
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JJ
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J
JJ
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158
7
K
45
°
T. Sax. &
B. Sax.
¢&
Open tenor solo Gminor
™™ ™™
∑
#
™™ ™™
∑
open tenor solo
™™ ™™
w
™™ ™™
∑
open tenor solo
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Tpt.
&
w
™™ ™™
∑
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∑
∑
∑
∑
∑
/
Groove
Dr.
œ œ ‰ œ œ œ œ œ ™™ ™™
J
∑
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∑
∑
∑
∑
∑
° b
Vln. & b
w
Vla.
Vc.
open tenor solo
™™ ™™ w
K
w
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open tenor solo w
™™ ∑
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B bb w
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J
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˙
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∑
∑
∑
∑
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∑
∑
∑
∑
∑
∑
™™
∑
∑
∑
∑
∑
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&
∑
∑
∑
∑
∑
∑
∑
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/
∑
∑
∑
∑
∑
∑
∑
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Tpt.
Dr.
° b
Vln. & b ˙ ™
Db.
˙
#w
∑
¢&
Vc.
œ nœ œ
∑
B. Sax.
Vla.
˙
˙
œ #œ œ w
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˙
Open tenor solo Gminor
?b
™ ™
Db.
¢ b œ œ ‰ œJ œ œ œ#œ ™ ™
=
52
°
∑
∑
T. Sax. &
#
∑
˙
œ
˙
œ nœ œ #w
#w
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˙
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œ nœ œ # w
˙
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˙
™
B bb ˙
œ w
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œ w
?b
¢ b
∑
∑
∑
∑
∑
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w
˙ #œ œ œ
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™
˙ #œ œ œ
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w
w
∑
∑
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159
8
L
°
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T. Sax. &
59
B. Sax.
Tpt.
Dr.
˙
œ #œ œ
w
˙
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# ™
™ œ œœœœœ œ œœœœ œ œœœœœ œ œœœœ œ œœœœœ œ œœœœ œ œœœœœ œ œœœœ
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˙
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w
w
˙
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& ™™
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....
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/
° b ™w
˙
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w
˙
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&b ™ L
w
˙
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w
˙
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b ™
Vla. B b ™
w
˙
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w
˙
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?
™
b
Vc.
b ™
. . . . œ. œœœœœ
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....
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Db.
¢
=
63
°
œ
w
˙
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˙™
T. Sax. & #w
Vln.
B. Sax.
Tpt.
Dr.
¢&
#
œ. œœœœœ
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....
œ
w
˙
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˙™
& #w
/
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....
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° b
& b #w
˙™
Vla.
#w
B bb
Vc.
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Db.
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w
˙
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œ
w
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w
˙
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. . . . œ. œœœœœ
. . . . . œ. œœœœ
. . . . œ. œœœœœ
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....
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? b œ. œœœœœ
¢ b
160
9
67
° #w
T. Sax. &
B. Sax.
¢&
˙
w
#
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/
Dr.
° b #w
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#w
b
Vla. B b
#w
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Vc.
Vln.
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˙
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w
w
w
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=
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70
°
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B. Sax.
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w
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˙
b
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Db.
. œ. œ. bœ.
¢ b
>œ
R ≈‰ Œ Ó
r
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161
Blue Night Road
Blue Night Road
A q=108
° 7
∑
Alto Saxophone & 8
Lucien Johnson
∑
∑
∑
∑
7
¢& 8
∑
∑
∑
∑
∑
? 78
∑
∑
∑
∑
∑
° 7 Solo ∑
Violin & 8
∑
∑
∑
∑
Tenor Saxophone
Trombone
con sord
Viola
B 78 œbœ œ œ œ œ œ œbœ œ œ œ œ œ œbœ œ œ œ œ œ œbœ œ œ œ œ œ œbœ œ œ œ œ œ
mp con sord
Violoncello
? 78 œ#œ œ œ œ œ œ œ#œ œ œ œ œ œ œ#œ œ œ œ œ œ œ#œ œ œ œ œ œ œ#œ œ œ œ œ œ
mp pizz.
Double Bass
? 78 œj ‰ ‰ Ó
¢
∑
∑
j
œ‰‰Ó
∑
p
6
A. Sax.
°
&
∑
∑
10
8 Ó
¢&
∑
Tbn.
?
∑
∑
10
8
Vln.
°
&
∑
∑
10
8
T. Sax.
∑
10
8 Ó
Ϫ
B
78 #˙
Ϫ
10
8
œ ™ #œ ™
78 ˙
Ϫ
10
8
#œ ™
mp
mp
∑
78
∑
10
8
∑
78
∑
10
8
Vla.
B œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ 10
8 œ bœ œ œ œ ™ œ™ œ ™ œ™ 78 #œ œ œ œ œ œ œ 10
8
Vc.
™
™ œ œ œ œ
? œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ 10
8 œ #œ œ œ œ™#œ œ™ œ 78 œ œ œ 10
8
Db.
¢
?
∑
∑
10
8
∑
78
∑
10
8
162
2
10
° 10
A. Sax. & 8 Ó
T. Sax.
10 Ó
¢& 8
# œ ™#œ ™ œ™
#œ ™
# œ ™ œ™#œ ™
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78 ˙™™
˙™
78 #˙ ™™
˙™
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∑
10
8
‰
∑
10
8
Tbn.
? 10
8
∑
78
∑
∑
∑
10
8
Vln.
° 10
&8
∑
78
∑
∑
∑
10
8
Vc.
™
B 10
8 #œ œ œ œ œ œ™ œ ™bœ ™
œ œ œ œ œ ™bœ ™bœ ™ œ ™
? 10
8
78 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 10
8
Db.
? 10
8
78 j ‰ ‰ Ó
œ
Vla.
¢
14
° 10
A. Sax. & 8 Ó
T. Sax.
10 Ó
¢& 8
78 œ œ œ œ œ œ œ œ œ œ œ œ 10
#œ œ œ
#œ œ œ
#œ œ œ 8
pizz.
∑
∑
Ϫ
78 #˙
Ϫ
10
8 Ó
œ ™ #œ ™
78 ˙
Ϫ
10
8 Ó
#œ ™
pizz.
10
8
j
œ‰ ‰ Ó
# œ ™#œ ™ œ™
#œ ™ 78 ˙™™
# œ ™ œ™ ™
#œ œ ™ 7 #˙ ™™
8
Tbn.
? 10
8
∑
78
∑
10
8
∑
78
∑
Vln.
° 10
&8
∑
78
∑
10
8
∑
78
∑
Vc.
™
B 10
8 œ#œ œ œ œ ™ œ™ œ ™ œ™ 78 #œ œ œ œ œ œ œ 10
8 #œ œ œ œ œ œ™ œ ™bœ ™ 78 œ#œ œ œ œ œ œ
œ œ œ œ œ ™ œ™ œ ™ œ™ 7 œ œ œ œ œ œ œ 10 œ œ œ œ œ ™bœ ™bœ ™ œ ™ 7 œ œ œ œ œ œ œ
? 10
8
8
8
8
Db.
? 10
8
Vla.
¢
∑
78
∑
10
8
∑
pizz.
78 j ‰ ‰ Ó
œ
163
18
A. Sax.
T. Sax.
° ˙™
&
¢&
˙™
3
‰
∑
98 Ó
#œ ™ œ™
7
œ 8 ˙™™
˙™™
‰
∑
98 Ó
œ ™ #œ ™
7
#œ 8 ˙ ™™
˙ ™™
Tbn.
?
∑
∑
98
∑
78
∑
∑
Vln.
°
&
∑
∑
98
∑
78
∑
∑
Vc.
B œ#œ œ œ œ œ œ œ#œ œ œ œ œ œ 98 œ#œ œ œ œ œ œ œ
J
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ 9 œ œ œ œ œ œ œJ œ
8
Db.
?
Vla.
¢
∑
pizz.
98
j
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23
°
A. Sax. & ˙™™
T. Sax.
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˙
¢& ˙ ™™
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˙
78
∑
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˙
To Fl.
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∑
∑
°
Vln. &
∑
∑
∑
B #œ
j
œ œ œ œ œ œ #œ œ œ œ nœ ™
? œ œ œ œ œ œ j
bœ œ œ
bœ œ œ ™
Vc.
Db.
¢
?
∑
Ó
Ϫ
˙
‰Œ
b˙
‰Œ
b˙
∑
‰Œ
∑
Vla.
∑
∑
C
?
Tbn.
78
#œ œ œ œ œ œ œ #œ œ œ œ œ œ œ
78 œ œ œ œ œ œ œ œ
bœ œ œ
bœ œ œ
‰Œ
∑
∑
Clarinet in Bb
Ϊ
Ó
Flute
Ϊ
Ó
∑
con sord
œbœ œ œ œ œ œ œbœ œ œ œ œ œ
œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ
∑
∑
j
œ ‰‰Ó
∑
pizz.
164
4
œ œ œb œ
#œ œ œ
œ
œ #œ œ
#œbœ nœ
œ
œ
œ
œ
bœ œbœ
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b
œ
Fl. &
b
œ
n
œ
œ œ œ
¢ bœ
œ œœ
bœ bœ œ
bœ
?
œ bœ œ bœ nœ bœ œ œbœ nœ
Tbn.
p
°
Vln. &
œ bœ œ œ œ œ œ œ bœ œ
28
°
Cl. &
œ #œ œ œ
∑
œbœ œ œ
∑
œbœ œ œ
œ
∑
œ œ œ œ œ œ œ œ œ œ
B
œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ bœ œ œ œ œ œ
# œ œ œ bœ
bœ œ œ
bœ nœ bœ œ œ
?
œ
∑
œ
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bœ bœ œ
bœ
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?
∑
∑
∑
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¢
Vla.
bœ œ
bœ œ œ nœ
œ
#
œ
œ
œ
≈ #œr bœ œ œ
‰
œ œ œ ≈ #œ bœ œ
œ bœ
œ
œ
œ
œ
œ
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≈ œr œ œ œ
‰
œ
Fl. & Œ
œ
¢
bœ nœ bœ œ bœ œ
œ
œ
œ
œ
?
œ ≈ r œ œ œ bœ œ ≈ r œ œ œ bœ œ
Tbn.
bœ œ œ
bœ
nœ
°
Vln. &
œ œ œ
œ œ œ œ œ œ œ
œ œ œ œ
Vla. B
bœ œ œ
œ bœ œ œ œ œ œ
œ b œ n œœ b œ œœ b œ œ
œ œ
œ œ
œ œ œ
b
œ
b
œ
?
œ
œ
œ
r
r
≈
≈ œ œ
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bœ œ œ
bœ
nœ œ œ
31
°
Cl. & Œ
Db.
¢
?
∑
∑
165
33
° ˙
Cl. &
˙
Fl. &
¢
5
#œ œ œ
œ b œ #œ
œ ≈ œ œ œ ≈ bœr
R
œ bœ œ
œ b œ œ bœ
‰
Œ
≈
≈ œR œ bœ ≈ œ
b Rœ
œ bœ œ œ
b
œ
n
œ
œ
œ
bœ œ bœ œ
bœ œ œ œ
? ≈
≈ R œ bœ ≈ œr œ bœ œ œ
≈
Tbn.
°
Vln. &
œ bœ œ œ œ
œ bœ œ œ œ œ œ
œ œ
B
Œ
Vc.
¢
œ
?
∑
bœ
œ bœ nœ œ œ œ #œ
œ
°
œ œ #œ
≈
Cl. & nœ
bœ
œ bœ nœ
œ
œ
œ
b
œ
œ
bœ œ
œ œ
≈
Fl. &
¢
œ bœ œ œ
bœ œ bœ
?
≈ œ œ bœ ≈ œr
≈
Tbn.
R
°
Vln. &
œ bœ œ œ œ
œ œ
35
B
∑
#œ œ œ
œ b œ #œ œ œ
≈
≈ R œ œ ≈ bœr
œ bœ œ œ
b œ œ bœ œ
≈ R œ bœ ≈ œ
≈
Rœ
b
b
œ
n
œ
œ
bœ œ œ bœ œ ≈ œ œ œ
œ
œ
bœ
œ
œ
œ
œ
œ
#œ œ œ œ
œ œ
œ #œ œ œ œ œ œ
bœ
œ œ bœ
bœ bœ nœ œ œ œ œ
œ bœ œ œ ≈ œr
œ
? ≈
≈
bœ œ ≈ bœr nœ bœ œ œ
Vla.
Vc.
Db.
≈
#œ œ œ œ
œ œ
œ #œ œ œ œ œ œ
œ œ bœ
œ œ bœ
b
œ
œ
œ
œ bœ œ œ ≈ œr
œ
b
œ
n
œ
? ≈
≈
bœ œ ≈ bœr nœ bœ œ œ
Vla.
Db.
‰
¢
?
œ
∑
∑
166
6
37
bœ œ
bœ œ œ nœ
°
œ
#
œ
œ
œ
œ
r
r
≈ œ bœ œ
≈#œ bœ œ
Cl. & œ œ œ
bœ
œ
œœ
œ
œ
b
œ
b
œ
œ bœ ≈ œr œ œnœ
≈ œr œ œ œ
Fl. & œ œ
¢
œbœbœ œ
œœ
? ≈
≈ bœ œ œ œ ≈bœ œ œ œbœ ≈ œr œ œ
Tbn.
Vln.
°
&
œ œ œ
œ œ œ œ
œ œ œ œ
Ϫ
œTo Alto Sax.
J ‰ ‰ Ó
Ϫ
œTo Ten. Sax.
J ‰ ‰ Ó
bœ nœbœ œbœ œ œ
œ
œ
bœ
œœœ
≈ œbœ ≈ œ œ
œ œ œ
œ œ œ œ œ œ œ
B
œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ b œ n œœ b œbœœ b œ œ œ œ œ œ
œbœbœ œ
œ œ bœ
œœ r
œœ œ
b
œ
œ
?
œ
œ
œ
≈
≈
≈
≈
≈ œbœ ≈ œ œ
Vc.
bœ œ œ bœ œ œ
œœ œ
? j
∑
∑
Db.
¢ œ ‰ ‰ Ó
Vla.
40
°
Cl. &
∑
D Unaccompanied tenor soloAlto Saxophone E
U
™™
™™ ‰#œ ™ œ™ 78 #˙
∑
Tenor Saxophone
Fl.
? ˙
Tbn.
Vln.
°
&
Vla.
B
Vc.
? ˙
Db.
?
¢
˙
˙
10
8 Ó
Ϫ
10
8 Ó
# œ ™#œ ™ œ™
#œ ™ 78
# œ ™ œ™ ™
#œ œ ™ 7
8
™™
U
∑
™™ ‰ œ ™ #œ ™ 78 ˙
‰ Œ ™™
U
∑
™™
∑
78
∑
10
8
∑
78
‰ Œ ™™
U
∑
™™
∑
78
∑
10
8
∑
78
‰ Œ ™™
U
∑
™™
∑
‰ Œ ™™
U
∑
™™
∑
™
78 #œ œ œ œ œ œ œ 10
8 #œ œ œ œ œ œ™ œ ™bœ ™ 78
œ œ œ œ œ ™bœ ™bœ ™ œ ™ 7
78 œ œ œ œ œ œ œ 10
8
8
™™
U
∑
™™
∑
78
∑
¢&
Ϫ
∑
∑
10
8
∑
78
167
7
45
° 7 ˙™™
Alto Sax. & 8
˙™
#˙ ™™
˙™
Ten. Sax.
7
¢& 8
‰
∑
10
8 Ó
#œ ™ œ™ 78 #˙
Ϫ
10
8
‰
∑
10
8 Ó
œ ™ #œ ™ 78 ˙
Ϫ
10
8
Tbn.
? 78
∑
∑
∑
10
8
∑
78
∑
10
8
Vln.
° 7
&8
∑
∑
∑
10
8
∑
78
∑
10
8
B 78 œ#œ œ œ œ œ œ œ#œ œ œ œ œ œ œ#œ œ œ œ œ œ 10
8 œ#œ œ œ œ ™ œ™ œ ™ œ™ 78 #œ œ œ œ œ œ œ 10
8
œ œ œ œ
œ œ œ™ œ™
? 78 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 10
8 œ œ œ™ œ™ 78 œ œ œ 10
8
Vla.
Vc.
pizz.
?7 j
Db.
¢ 8 œ‰‰Ó
50
° 10
Alto Sax. & 8 Ó
Ten. Sax.
10 Ó
¢& 8
pizz.
j
œ‰‰Ó
∑
# œ ™#œ ™ œ™
#œ ™ 78 ˙™™
# œ ™ œ™ ™
#œ œ ™ 7 #˙ ™™
8
10
8
78
∑
˙™
˙™
∑
10
8
‰
∑
98
‰
∑
98
Tbn.
? 10
8
∑
78
∑
∑
∑
98
Vln.
° 10
&8
∑
78
∑
∑
∑
98
78 œ œ œ œ œ œ œ œ œ œ œ œ 98
#œ œ œ
#œ œ œ
#œ œ œ
Vc.
™
B 10
8 #œ œ œ œ œ œ™ œ ™bœ ™
œ œ œ œ œ ™ bœ ™ bœ ™ œ ™
? 10
8
Db.
? 10
8
78 j ‰ ‰ Ó
œ
Vla.
¢
∑
78 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 98
pizz.
∑
pizz.
j
œ‰ ‰ Ó
98
168
8
54
° 9
Alto Sax. & 8 Ó
#œ ™ œ™
7
œ 8 ˙™™
˙™™
˙™™
9
¢& 8 Ó
œ ™ #œ ™
7
#œ 8 ˙ ™™
˙ ™™
˙ ™™
Ten. Sax.
Tbn.
?9
8
∑
78
∑
∑
∑
Vln.
° 9
&8
∑
78
∑
∑
∑
B 98 œ #œ œ œ œ œ œ œ 78 #œ œ œ œ #œ œ œ œ #œ œ œ œ
J
œ œ œ
œ œ œ
œ œ œ
? 9 œ œ œ œ œ œ œJ œ 7 œ œ œ œ œ œ œ œ œ œ œ œ
8
8 bœ œ œ
bœ œ œ
bœ œ œ
Vla.
Vc.
Db.
?9
¢ 8
78
∑
∑
∑
∑
Ϫ
U
˙
‰ Œ
Ϫ
U
˙
‰ Œ
58
°
Alto Sax. & ˙
œ œ œ œ œ #˙
‰ Œ
¢& ˙
œœœœœ ˙
‰ Œ
Ten. Sax.
˙
#˙
Tbn.
?
∑
∑
∑
U
∑
Vln.
°
&
∑
∑
∑
U
∑
˙
‰ Œ
b˙
‰ Œ
œ #œ œ œ œ œ œ
˙˙
‰ Œ
Ϫ
b˙
∑
U
˙
‰ Œ
B
Vla.
Vc.
Db.
#œ œ œ œj nœ ™
? œ
j
bœ œ œ œ ™
U
œ bœ œ œ œ œ œ ˙
#˙
¢
? Ó
‰ Œ
‰ Œ
169
Les Oiseaux d’Amour
Les Oiseaux d'Amour
q=240
Lucien Johnson
A
C
° 4 œ œ. œ œ. œ œ. œ œ. œ œ. œ.
‰ J‰
‰ J‰
‰
Soprano Saxophone & 4
J
J
J
Baritone Saxophone
4
¢& 4
Trombone
? 44
° 4
Violin & 4
Viola
G
B¨
B¨
∑
∑
∑
∑
∑
∑
∑
∑
∑
B¨ A
? 4 q=240 ∑
4
∑
B 44
B¨
B¨
∑
j.
j .
œ œ. ‰ œ œJ ‰ œ œ. ‰ œ œJ ‰ œ œ. ‰
mf
j.
j .
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3
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j
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.
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170
2
10
C
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°
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3
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B. Sax.
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3
°
& Ϫ
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B Ϫ
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¢
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15
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3
j
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B¨
Ϫ
B¨
Ϫ
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G3
3
3
3
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F7
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F7
C
F7
Ϫ
3
B¨
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F7
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J
F7
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3
C
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3
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B¨
3
3
œ
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3
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°
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C
j
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J
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.
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.
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bœ ™ bœj ˙
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bœ ™ bœ ˙
J
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bœ ™ bœ ˙
J
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bœ ™ œ™ bœ
171
3
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˙™
20 E¨
° œ bœ œ b œ
S. Sax. &
B¨
3
3
bœ
F7
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Ϫ
™
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Ϫ
¢
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˙
? bœ
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3
°
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B
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J
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¢
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J
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bD¨œ ™
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B
Vc.
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D¨
¢
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D¨
D¨
D¨
? bœ ™
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Ϫ
bœ
bœ œ
b
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?
Tbn.
S. Bass
3
bœ ™
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° œ bœ œ b œ
S. Sax. &
24
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D¨
Œ
3
j
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bœ bœ ™
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F7
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43 ˙ ™
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43 b˙ ™
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œ
bœ œ
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G7
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3
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.
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.
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.
A¨7 b œ
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3
3
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j
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3
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172
4
28
D7
° #œ
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œ
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Tbn.
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C7
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œ
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B
C7
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Vc.
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œ
bœ œ
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G7
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D7
b˙ ™
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G©
#œ
B
#œ
B
œ
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œ
B
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b˙ ™
b˙ ™
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F7
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b˙ ™
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∑
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Œ
Œ
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Œ
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Œ
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Œ
∑
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Œ
Œ
∑
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Solo over form
173
Amethyst Twilight
Amethyst Twilight
q = 72
° 4
Soprano Saxophone & 4 ∑
∑
∑
∑
∑
∑
∑
4
¢& 4 ∑
∑
∑
∑
∑
∑
∑
4
&4 ∑
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∑
∑
∑
∑
∑
Alto Saxophone
Flugelhorn
° 4
& 4 œj œ bœ nœ œ bœ ˙
œ
mp
4 j
bœ
Viola B 4
œ œ œ bœ nœ œ ˙
mp
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J
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w
Œ
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Œ
œ bœ nœ
œ bœ nœ
mp
Double Bass
?4
¢ 4‰
∑
∑
∑
∑
∑
7
∑
°
S. Sax. &
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°
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˙
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b˙
˙
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¢
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∑
∑
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j
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bœ
j
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∑
46
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œ
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w
46 w
46 w
46
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J
∑
44
174
2
13
° 4
S. Sax. & 4
∑
∑
∑
∑
∑
∑
∑
4
¢& 4
∑
∑
∑
∑
∑
∑
∑
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& 44
∑
∑
∑
∑
∑
∑
∑
Vln.
° 4
&4
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B 44
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˙™
œ bœ ˙
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bœ nœ ˙
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?4
¢ 4
∑
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J
œ bœ #œ ˙
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b œ œ œ bœ
bœ bœ œ b˙
‰J
˙™
˙™
∑
∑
∑
∑
20
°
S. Sax. &
∑
∑
∑
∑
Ó
¢&
∑
∑
∑
∑
Ó
&
∑
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Flug.
∑
∑
B œ #œ œ nœ
w
Œ
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¢
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˙™
Œ
˙™
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∑
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∑
œ bœ ˙
Œ ‰ œJ #œ œ œ #œ
mp
œ #œ œ b œ ˙
Œ ‰ œJ #œ œ
∑
∑
Ó
bœ nœ b˙
Œ ‰ j
bœ œ bœ bœ nœ
mp
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mp
°
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œ #œ œ nœ w
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Œ
˙™
∑
#œ ™ œ œ #œ # w
#˙
#œ ™ œ œ #œ # w
#˙
Œ œ™bœ œ œ w
˙
∑
∑
Ó
∑
∑
Ó
∑
∑
Ó
∑
∑
∑
∑
∑
175
3
27
° ˙™
S. Sax. &
˙™
Alto Sax. &
¢
& ˙™
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Œ
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˙ b˙
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Œ
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˙ b˙
˙ #˙
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w
Œ
bœ bœ nœ bœ bœ n˙
b˙ n˙
b˙
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˙
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°
&
∑
∑
∑
∑
∑
∑
∑
Vla.
B
∑
∑
∑
∑
∑
∑
∑
Vc.
?
∑
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
∑
Db.
¢
bœ #˙
44 #œ œ œ #œ œ
bœ #˙
44 #œ œ œ #œ œ
˙™
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œ
˙™
°
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bœ 4 w
S. Sax. & Œ ‰ J
Œ ‰ œJ
œ#œ nœ #œ œ œ 6
bœ 4 w
Alto Sax. & Œ ‰ J
¢
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34
j
& Œ ‰ bœ œ bœ œ bœ œ
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œ
46
w
œ
‰J
œ
‰J
˙™
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°
&
∑
∑
46
∑
44
∑
∑
∑
Vla.
B
∑
∑
46
∑
44
∑
∑
∑
Vc.
?
∑
∑
46
∑
œ bœ œ bœ œ œ
44
b
œ
n
œ
b
œ
œ
bœ nœ
Db.
?
∑
∑
46
∑
œ bœ œ
44
bœ nœ œ bœ
œ
b
œ
œ
bœ nœ
¢
176
4
40 # œ b œ
œ œ œ #œ ˙
°
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Alto Sax. &
¢
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&
Vln.
°
&
∑
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B
∑
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Œ #œ ™ œ#œ #œ
˙™
Œ
œ #œ œ nœ œ #œ œ nœ #w
Œ #œ ™ œ#œ #œ
˙™
Œ
#œ œ œ œ #œ œ œ œ w
∑
∑
∑
∑
Œ
œ™bœ œ œ
∑
∑
Ó
bœ œ œ œ œ bw
œ
bw
w
˙
˙
Vc.
? œ
˙
œ b˙
œ bw
bœ œ œ œ
œ
bw
w
˙
Db.
?
¢ œ ˙
œ b˙
œ bw
bœ œ œ œ
œ
˙
bw
w
˙
˙
47
°
S. Sax. & #w
w
f
Alto Sax.
¢& #w
&
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°
Vln. &
w
f
w
w
∑
f
∑
f
B bw
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?
Vc.
Db.
¢
?
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#œ œ œ œ # w
˙™
#œ #œ œ œ #w
˙™
œ #œ œ œ w
˙™
#œ œ œ œ # w
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Œ
w
&
Œ
w
∑
Œ
∑
Œ
∑
Œ
œ #œ œ œ w
œ #œ œ œ w
∑
∑
∑
∑
∑
∑
#œ #œ œ œ
f
œ #œ œ œ
∑
˙™
Œ
Œ
∑
p
f
# œœ œ œœ œ # w
#œ œ w
˙™
˙™
#œ œ œ œ
f
∑
p
˙™
p
∑
∑
f
f
bw
∑
#œ#œ œ œ
f
w
f
bw
#œ#œ œ œ # w
Œ
#œ œ œ œ
œ #œ œ œ
f
Œ
∑
177
5
° #w
S. Sax. &
#w
Alto Sax. &
¢
˙™
#w
˙™
° w
Vln. &
#w
Vla. B
˙™
56
&
Flug.
Vc.
&
Db.
?
¢
˙™
Œ
∑
∑
∑
Œ
∑
∑
∑
Œ
∑
∑
∑
Œ
˙™
#w
w
#w
w
#œ ™ œ œ #œ
p
œ™ bœ œ œ
#w
w
w
w
Œ
p
˙™
∑
#œ ™ œ œ #œ
#œ ™ œ œ #œ
p
Œ
w
Œ
Œ
∑
Œ
Œ
?
p
61
°
S. Sax. &
∑
∑
∑
∑
∑
∑
Alto Sax.
¢&
∑
∑
∑
∑
∑
∑
Flug.
&
∑
∑
∑
∑
∑
∑
Vln.
° Œ
&
Vla.
#œ ™ œ œ #œ # w
B Œ #œ ™ œ œ #œ #w
? Œ #œ ™ œ œ #œ
œ™ bœ œ œ
?
Œ
Db.
¢
Vc.
w
w
#w
w
w
w
Œ
#œ ™ œ œ #œ # w
Œ #œ ™ œ œ #œ #w
w
Œ #œ ™ œ œ #œ
œ™ bœ œ œ
Œ
#w
w
w
w
w
178
Mystique
q = 270
Open drum introduction
Hits on cue
Alto Saxophone
Mystique
° 4 œ bœ œ b œ
œ # œ œ bœ
& 4 bœ
œ œ œ ™™ Œ œ Ó
Lucien Johnson
œ Œ Œ
œ
f
Hits on cue
œ
œ
œ
bœ
4
œ
bœ
™
œ
Ó
bœ Œ Œ
bœ bœ
œ #œ
Tenor Saxophone & 4
œœœ™ Œ
¢
bœ
Open drum introduction
f
œ
Hits on cue
bœ
? 44 œ b œ b œ œ #œ œ bœ
œ™ Œ
Ó
Œ Œ
Trombone
bœ œ
œœ ™
f
Open drum introduction
>
>
>
4
Œ
Œ
Œ
Œ
Œ
™
œ
œ
œ
Percussion / 4
∑
∑
∑
∑ ™
Open drum introduction
f
bœ
on cue
° 4Hits
œ
œ
b
œ
bœ
œ
™
œ
œ
Ó
Œ
Œ
Œ
bœ
bœ
b
œ
™
œ
Violin & 4
œ œ
#œ
Open drum introduction
f
bœ
Hits on cue
4
œ
œ
bœ
œ
bœ
™
Œ
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179
2
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181
4
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Solo Section
182
5
60
°
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67
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183
6
74
°
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T. Sax. & Œ
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w
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184
7
88
Alto Sax.
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185
Breadline Blues
Breadline Blues
Lucien Johnson
Blues q=80
° 4
Tenor Saxophone & 4
Open Introduction
4
Baritone Saxophone & 4
¢
Open Introduction
? 44
Open Introduction
° 4
Violin & 4
Open Introduction
B 44
Open Introduction
Trombone
Viola
∑
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∑
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Open Introduction
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Blues q=80
Open Introduction
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String Bass
4
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5
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°
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‰ œJ #œ œ œ œ œ œ œ œ œ œ œ œ™ œ
œ œ œ œ
œ œ œ œ œ œ œ œ™ œ
bœ œ œ œ œ
œ œ œ œ œ œ œ œ™ œ
‰ J
mf
° G‹7
Vln. &
Vla.
B
Vc.
?
¢
G‹7
G‹7
œ
mf
∑
∑
∑
∑
∑
∑
∑
œ
œ œ œ
? œA
G‹7
S. Bass
œ œ
∑
mf
œ œ
œ
œ œ œ
œ œ
œ
œ œ œ
œ œ
œ
œ œ œ
œ œ
œ
œ œ œ
œ œ
œ
œ œ œ
œ œ
œ
œ œ œ
œ œ
œ œ
186
2
9
F©7(b9)
°
#
œ
œ œœ œ
œ
œ w
œ œ œ œ œ œ œ™ œ œ œ
Ten. Sax. & ‰ J
˙ ‰ j œœ
œ
CŒ„Š7
n˙ ‰ œ œ œ
J
C©7(b9)
sfp
œ œ œ#œ œ œ œ œ#œ œ œ œ ™ Œ
Bari. Sax. & ‰ J
#œ
¢
#w
sfp
œ
? ‰bœJ œ œ œ œ œ œ œ œ œ œ œ ™ Œ
Tbn.
FŒ„Š7
bœ œ
b˙ ‰ œJ
E7(b9)
E¨Œ„Š7
w
sfp
°
Vln. &
∑
∑
E7(b9)
Vla.
B
∑
∑
E7(b9)
Vc.
?
E¨Œ„Š7
w
˙
sfp
¢
œ
? œ
S. Bass
13
œœ
œœ
œ
œ
œœ œ
œœ
œœ
œœ
A‹7
°
Ten. Sax. & w
E‹7
Bari. Sax.
¢&
?
Tbn.
°
Vln. &
G‹7
œ œ
sfp
E¨Œ„Š7
E7(b9)
E¨Œ„Š7
w
b˙ Ó
E‹7
‰ œJ œ œ#œ œ œ#œ œ œ#œ œ œ œ ™ œ
∑
∑
E7(b9)
#œ
‰ œJ œ œ œ œ œ œ œ œ œ œ œ™ œ
∑
∑
Œ
A‹7
bœ œ œ œ œ
œ œ œ œ œ œ œ œ™ œ
‰J
G‹7
∑
G‹7
¢
?
∑
∑
mf
G‹7
G‹7
œ
œ
œ
œ
œ œ œ œ œ œ œ œ
œ
G‹7
S. Bass
œ
#warco
‰ œJ œ œ œ bœ œ œ œ bœ œ œ œ œ ™ œ
G‹7
G‹7mf
bœ œ œ œ œ
œ
œ
œ
n
œ
œ
œ œ œ œ œ œ œ™ œ
B œ œ œ œ œ œ œ œ
‰J
Vla.
Vc.
G‹7
œ
Ó
b˙
n˙ Ó
E¨Œ„Š7
w
sfp
œ
Ó
? œ
œœ
œ
œnœ
œ
œœ
œ
œœ
G‹7
œ
œœœ
œœ œ
œœœ
œœ
œœ
œœ
œœ
œœ
œ
œ
œ
187
3
17
Ten. Sax.
Bari. Sax.
° ‰ œ#œ œ œ œ
œ
œ œ œ œ œ œ œ™ œ
& J
‰ œJ#œ œ œ œ œ œ œ œ œ œ œ œ™œ œ œ œ
œ œ œ#œ œ œ œ œ#œ œ œ œ ™ œ
‰
&
#œ
J
¢
‰ œJ œ œ#œ œ œ#œ œ œ#œ œ œ œ ™Œ
? ‰bœJ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ
bœ œ œ
‰ J œ œ œ œ œ œ œ œ œ œ ™Œ
Tbn.
° ‰ œ œœœ
bœ œ œ œ bœ œ œ œ œ ™ œ
& J
bœ œ œ œ œ
œ œ œ œ œ™ œ
œ
œ
J
B
œ
‰
Vla.
Vln.
Vc.
¢
S. Bass
?
œ
œ œ œ
œ
œ
œ
? œ
21 F©7(b9)
° w
Ten. Sax. &
sfp
Bari. Sax.
S. Bass
b˙
bœ œ
‰ œJ
∑
∑
˙
Ó
E7(b9)
E¨Œ„Š7
sfp
¢
∑
CŒ„Š7
sfp
w
? #arco
sfp
E¨Œ„Š7
b˙
Ó
E¨Œ„Š7
n˙
E7(b9)
E¨Œ„Š7
E7(b9)
E¨Œ„Š7
? w
œœ œ œœœ œ œ
œœ œ œœœ œ œ
∑
sfp
? w
œœ œ œœœ
œœ œ œœœ
j
‰ œ œ œ w
œ œ
‰ œJ
˙
n˙
° w
Vln. & E7(b9)
sfp
w
B
Vla.
E7(b9)
Vc.
FŒ„Š7
#w
¢& C©7(b9)
Tbn.
œœ œ œœœ
œœ œ œœœ
‰ œJ œ œ œ bœ œ œ œ bœ œ œ œ œ ™œ œ œ œ
bœ œ œ œ œ
œ œ œ œ œ œ œ œ™Œ
‰J
b˙
Ó
Ó
∑
∑
w
œ
œ
nœ
œ
œ
œ
œ
œ
œ
œ
œ œ
œ
œ œ
œ
œ œ
œ
œ œ
œ
œ œ
œ
œ
nœ
œ
œ œ œ œ
œ œ œ œ
188
B
4
Ó
-œ. >-œ
Œ
Ó
Ó
-. >œ œ Œ
Ó
Ó
#œ Œ
>
#>œ
Œ
° œ
Œ
Vln. & œ
Ó
#œœ Œ
Ó
>
B œœ Œ
Ó
>
#œœ Œ
Ó
Ó
b>œ
#œ Œ
Ó
#œ Œ
>
25
Ten. Sax.
° >œ Œ
&
¢& >œ Œ
>œ
?
Œ
Tbn.
Ó
Bari. Sax.
Vla.
>œ
?
Vc.
¢ œ Œ
B
?
œ Œ
S. Bass
>
D‹7
29
Ten. Sax.
#>œ Œ
Ó
°
& V V V V
Œ
Ó
-.
bœœ
>-œ
œ Œ
Ó
Ó
>-œ
œ Œ
>-œ
œ Œ
Ó
œœ Œ
Ó
Ó
-œ.
œ
b-œ.
œ
nœœ Œ
Ó
Ó
Ó
-. >œ œ Œ
œœ Œ
Ó
œ> Œ
Ó
Ó
C
E7
V V V V
V V V V
V V V V
D7
G
B7
C‹7
F7
B¨
D7
V V V V
V V V V
V V V V
F7
B¨
D7
V V V V
V V V V
∑
∑
V V V V
collective improvisation
V V V V
C‹7
° collective improvisation
Vln. & V V V V
V V V V
collective improvisation
Vla.
B
Vc.
?
∑
V V V V
C‹7
S. Bass
?
V V V V
B¨
D7
V V V V
V V V V
V V V V
F7
B¨
D7
V V V V
V V V V
V V V V
collective improvisation
V V V V
V V V V
∑
C‹7
collective
improvisation F7
¢
Ó
A‹7
¢& V V V V
Tbn.
b-œ. >-œ
Ó
G7
collective improvisation
?
Ó
Œ
>œ
>œ
Œ
collective improvisation
Bari. Sax.
#>œ Œ
Solos on A,B in between solos
189
5
A‹7
33
° ™
& ™VV V V V V V
Backgrounds on cue
œ#œ ˙
œ#œ ˙
™
Œ
Œ
™
Bari. Sax. &
¢
V
Ten. Sax.
œœ ˙
œœ ˙
Backgrounds on cue
? ™™ Œ
Tbn.
Œ
Backgrounds on cue
° ™
Vln. & ™
3
3
3
V
3
3
Tbn.
°
Vln. &
Vc.
S. Bass
¢
? ˙
V V V
œ œ˙
Œ
Œ
V
œ œ˙
3
˙
˙
3
VV V
V V V V V V V
#w
n˙
w
˙
˙
Ó
˙
Ó
Œ œ b˙
V
V V
V
V
3
V
˙
V
Ó
Ó
3
3
œœœœœœ
œœœœœœ
3 œ œ3œ
œ
œ
œ
3
E7
V
˙
3
G‹7
V V
œœœœœ
œ
œœœœ
œ
œ
3
3œ œ œ œ œ
œ
FŒ„Š7
Œ ˙™
œœœœ
œœ
bw
œœœœœ w
œ
3
3œ œ œ œ œ
w
œ
3
?
V
3
B ˙
Vla.
V
3
3
3
F©7
œ œ˙
b˙
3
œ œ œ œ3œ œ
VV V
37
°
Ten. Sax. & V V
V
œ nœ ˙
Œ
Bari. Sax. &
¢
? Œ
œœœœœœ
V
œœ ˙
3
œœœœœœ
3
V
VV V
œ#œ ˙
Œ
Œ
3
3
V V V
V
œœ ˙
œœœœœ ˙
œ
œœœœ ˙
œ
œ
3
3œ œ œ œ œ ˙
œ
3
? ™™
VV V
S. Bass
Œ
3
œœœœœ
˙ œ on cue ˙
Backgrounds
œœœœ
œ
™
Vla. B ™ ˙
œ
˙
3
œ
œ
œ
3œ on cue
Backgrounds
œ
˙
œ
˙
?
™
Vc.
¢ ™
G‹7
VV V
œ#œ ˙
Œ
3
E¨Œ„Š7
V V V V V V V
V
190
6
41
A‹7
°
Ten. Sax. & V
V
V
V
V
°
Vln. & ˙
Vla.
Vc.
S. Bass
¢
3
3
3
3
3
3
3
3
™™
œ
œ
œ
œ
œ
œ
œ œ œ œ œ ™™
œ
3
3œ œ œ œ œ
œ
™™
œ œ œ œ œ œ
˙
œ œ œ œ œ œ
˙
œ 3œ œ œ 3œ œ
˙
3
?
3
3
3
G‹7
V
V
V
™™
V
œ œ œ œ ‰ œ œ œ œ œ ™™
œ
œ
3
3
3
œ
œ
œ œ œ œ œ œ œ œ
œ
™™
‰
3
B ˙
˙
?
V
3
œ œ œ œ
Bari. Sax. & ‰ œ
¢
˙
3
3
œ œ œ œ œ
˙
? ‰
Tbn.
3
V
V
V
V
V
V
™™
191
No More Troubles
No More Troubles
q=220
°
3 œ Œ
Tenor Saxophone & b 4 Œ
mf
3Œ œ Œ
Baritone Saxophone &
4
¢
mf
bœ
?
3
b
Œ
Œ
Trombone
b b4
Violin I
° bb 3
& b4
Viola
B bbb 43
Œ œ Œ
œ œ nœ œ
Œ
Œ bœ Œ
Œ
Œ œ Œ
Œ
œ bœ œ bœ
bœ œ œ œ
Lucien Johnson
Œ
nœ œ œ
bœ œnœ
œ œbœ
œ
œœœ
Œ bœ œ Œ
Œ
Œ
Œ
Œ
œ Œ
Œ
œ œ Œ
bœ
œ œ Œ
∑
Œ
mf
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
pizz.
?b3
Violoncello
¢ b b 4 ˙˙ ™™
pizz. f q=220
˙˙™™
?
3
b
Double Bass
b b4
Ó
˙˙ ™™
˙˙ ™™
˙˙ ™™
˙˙™™
œœ
œœ
Ó
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙ ™™
f
A œ
n œ œ œbœ
œ nœ œ
œ
™™ ™™ Œ Œ Œ œ Œ Œ œ
œnœ
Œ Œ Œ œ œŒ
œ œbœ
bœ œbœ
œ
œ
œ
œœ œ
#œ œ œ bœ
b
œ
b
œ
œ
™™ ™™ Œ Œ Œ Œ Œ
Œ
Œ
Œ
Œ
B. Sax. &
œ
#œ
¢
nœ œ œ
b œ œ nœ
bœ
bœ œ œ œ
bœ
œ
œ œŒ
?
b
™
™
Œ
Œ
Œ
Œ
Œ
Œ
∑
Œ
Œ
™
™
Tbn.
bb
8
°
œœ˙
T. Sax. & b
° b
Vln. I & b b
Vla.
B bbb
?b
¢ b b ˙˙ ™™
? bb ˙˙™™
D. Bass
b
Vc.
∑
∑
œ œ œ
™™ ™™ œ œ œ œ œ œ œ
˙
œ
f
œœ œ œœ œ œ œ ˙
œ
™™ ™™
œ
œ œœ œ œ œ
œ œœ œ œœ œ
f
™™ ™™ ˙ ™
˙™
™™ ™™ ˙˙™™
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙ ™™
Ó
Ó
œœ
œœ
˙˙ ™™
˙™
˙™
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙ ™™
œ œ
œ œ
192
2
.
B œœ
°
™™ ™™ ‰ J
œœ˙
T. Sax. & b
œ œ.
#œ œ œ bœ
™
™
‰
B. Sax. &
œ#œ ™ ™ J
¢
nœ œ œbœ
œ œ.
œ
nœ ™ ™ J
?b
™ ™‰
Tbn.
bb
œ œ
° b ˙™
™
™
b
™ ™
Vln. I & b
œ œ
b ˙™
™™ ™™
Vla. B b b
16
?b
Vc.
¢ b b ˙˙ ™™
? bb ˙˙™™
D. Bass
b
œ.
œ
œ
œ œ. œ.
˙
Œ
‰J
œ
Œ œ œ œ œœœ ‰ J
˙
œ œ œ œœœ œ
Œ
Œ
‰J
œ
œ œ œ œ œ œ œ b˙
œ
œœœ œœœ œ
˙
Œ
˙
œ. œ.
˙
Œ
œ. œ.
Œ
Œ œœœœ
œœœœ
Œ
˙
Œ
œœœœ
œœ œœœ œ
œ
œ
œœ œœœ œ
œ
œ
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙™™
˙˙ ™™
œœ™™ œœ ™™
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙™™
˙˙ ™™
œœ™™ œœ ™™
œœ˙
™™ ™™ œ œ œ
œ œ
œ ˙
œ œ œ œ
œ œ œ
œ œ
œ œ œ œ
? bb œ œ ˙
b
™™ ™™ œ œ œ
œ œ
œ ˙
œ œ œ œ
œ œ œ
œ œ
œ œ œ œ
¢&
Vln. I
° bb b˙ ™
& b
Vla.
˙™
B bbb
? bb ˙˙™™
¢ b
? b ˙˙™™
D. Bass
bb
Vc.
œ.
Œ
œ œ œ œœœ
œœ˙
°
T. Sax. & b
Tbn.
Œ
˙
Cœ œ
œ œ œ œ n˙
bœ
œ œ œ ˙
™™ ™™
Œ
24
B. Sax.
˙™
™™ ™™ ˙™
B ˙™
™™ ™™ ˙™
œ.
™™ ™™ œ œ œ œ œ œ b˙ bœ Œ œ
œ œ ˙
œœœœ
œœ ˙
™™ ™™
œ Œ œ œ œ ˙
™™ ™™ œ œ œ
C
™™ ™™ œ œ œ
œœœœœ
œ n˙ bœ
œœœœœœ
œœœœ
Œ
œ œ
b˙ bœ Œ œ œ
œœ ˙
œ Œ œ œ
œ œ œ
œ œ œ œ
˙
œ œ œ
œ œ
œ œ œ œ
œ œ
œ ˙
œ œ œ œ
œ œ œ
œ œ
œ œ œ œ
193
32
˙™
°
T. Sax. & b
D œœ
œœœœ œ œ œœ œ œ œ œ œ œ
œœ
™™ Œ
Œ Œ
‰J
‰JŒ
Œ Œ
‰JŒ
‰JŒ
œœœœ œ œ œœ œ œ œ
œœ
œœ
™
‰JŒ
Œ
Œ
‰J
‰JŒ
Œ
Œ
Œ
™
B. Sax. &
¢
œœœœ œ œ œœ œ œ œ
œœ
œœ
œœ
?b
œ ™™ Œ
Œ Œ
‰JŒ
Œ Œ
‰J
‰JŒ
Tbn.
bb
° b
œ œ œœ œ œ˙
œ
œ
™
œ
b
œ
œ
œ œœ œ
™
Vln. I & b ˙ ™
œ œ
œ œ œœ œ œ
œ˙
œ
œ œœ œ œ
b
™
B
˙™
b
™
Vla.
b
˙™
?b œ
™
¢ b b œ œ ™ ˙˙ ™™
œ œ D ˙™
?
œ ™™ ˙™
D. Bass
bbb
Vc.
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙ ™™
œœœœ
40
œœ
œœœœ œœ
°
Œ
Œ
Œ Œ
Œ Œ
T. Sax. & b
œœœœ
œœ
œ œœ
œ
œ
œ
Œ
Œ
Œ Œ
Œ Œ
B. Sax. &
¢
œœœœ
œœ
œœœœ œœ
? bb Œ
Œ
Œ Œ
Œ Œ
Tbn.
b
œ œ
° b ˙™
œ
œ
œ
œ
œ
œ
œ
Vln. I & b b
œ œ œœ œ œœ œ
™
˙
œ
b
Vla. B b b
?b
¢ b b ˙˙ ™™
? bb ˙˙™™
D. Bass
b
Vc.
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙ ™™
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙™™
œ œ
‰JŒ
œ œ œ
‰JŒ
œ
œ œ
œ œ
œœ
œœ
˙˙ ™™
˙˙ ™™
œ œ œœ œ œ œ œ œ œ
‰JŒ
‰J
‰JŒ
‰JŒ
œ œ œ œ œ œ œ œ œJ œ
‰JŒ
‰J
‰JŒ
‰ Œ
œ œ œœ œ œ œ œ œ œ
‰JŒ
‰J
‰JŒ
‰JŒ
˙™
œœ
œ
œ
œ
œ
œ
œ
œ
œœ
œ œœ œ œœ œ
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙™™
˙™
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙ ™™
3
194
4
48
°
T. Sax. & b
B. Sax.
Tbn.
¢&
?b
bb
˙™
Solo break, to be repeated until a
E
>
™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ ‰ Œ Œ
∑
™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ ‰ Œ Œ
∑
J
>œSolo break, to be repeated unti
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
J‰Œ Œ
™™
∑
Solo break, to be repeated until a
˙™
˙™
>
™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ ‰ Œ Œ
∑
Solo break, to be repeated until a
>
™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ ‰ Œ Œ
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œSolo break, to be repeated unti
J‰Œ Œ
™™
∑
Solo break, to be repeated until a
E
>
™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Œ
∑
J
° b ˙™
Vln. I & b b
Vla.
Solo break, to be repeated until a
™
B bbb ˙
?b
¢ b b ˙™
? bb ˙˙™™
D. Bass
b
Vc.
55
°
T. Sax. & b
B. Sax.
Tbn.
¢&
? bb
b
∑
∑
∑
∑
∑
∑
° b
Vln. I & b b
∑
∑
B bbb
∑
∑
Vla.
?b
Vc.
¢ bb
∑
∑
? bb
b
∑
∑
D. Bass
F
œ œ œ œ œ ˙™
œ
œ
œ œ
œ
™™ œ œ œ œ
œœ
œ
œ
˙™
œ
œ
œ
œ œ
œœ
œ œœ œ œœ œ
˙™
™™ œ œ œ œ œ
œœ
œ
œ
˙™
œ
œ
œ
œ œ
œœ
œ œœ œ œœ œ
˙™
Sung
œ œ
œ œ
œ œ
Sung day in this world there'll be no more
Some
œ œ
œ œ
Sung day in this world there'll be no more
Some
™™ œ œ œ œ œ
™™
œ œ
Some day in this world there'll be no more
Sung
œ œ œ œ œ
œ œ œ œ
Sung day in this world there'll be no
Some
œ more
™™ œ œ œ œ œ œ œ œ
œ œ
Sung day in this world there'll be no more
Some
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙™™
˙˙ ™™
˙˙ ™™
˙˙ ™™
˙˙™™
™™ œ œ œ œ œ
œ œ
œ œ
Sung day in this world there'll be no more
Some
™™ œF œ œ œ œ
œ œ
Some day in this world there'll be no more
195
5
64
°
œ ˙
T. Sax. & b
trou - bles
B. Sax.
¢&
œ ˙
œ
œ œ œ œ œ œ
œ œ ™
˙
œ œ
œ œ œ œ œ œ œ
œ œ
˙™
When the timecomes in this world with - out
Trou - bles can on - ly bringheart break you see
œ
œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ
?b œ ˙
bb
Trou - bles can on - ly bringheart break you see
œ œ
˙™
When the timecomes in this world with - out
° b trou - bles
Vln. I & b b
œ ˙
trou - bles
b
œ ˙
Vla. B b b
Trou - bles can on - ly bringheart break you see
œ œ œ œ œ ˙™
œ
œ
œ
œ
Trou - bles can on - ly bringheart break
see
œ you
œ
œ
œ
˙™
œ
œ
œ
œ œ
When the timecomes in this world with - out
œ œ œ œ œ
œ
œ
œ
œ
When the timecomes in this world with
œ - outœ
œ
œ
œ
œ
œ
œ œ
?b œ ˙
Vc.
¢ bb
trou - bles
Trou - bles can on - ly bringheart break you see
œ œ
˙™
When the timecomes in this world with - out
? bb œ ˙
b
trou - bles
Trou - bles can on - ly bringheart break you see
œ œ
˙™
When the timecomes in this world with - out
trou - bles
Trou - bles can on - ly bringheart break you see
When the timecomes in this world with - out
trou - bles
Tbn.
D. Bass
72
°
œ ˙
T. Sax. & b
œ
œ
œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ ˙™
œ
œ
œ
œ
We'll throw a
ha - ppy con - tent trou - ble free
We'll throw a
ha - ppy con - tent trou - ble free
œ œ œ œ œ ˙™
œ
œ
œ
œ
We'll throw a
œ œ œ œ œ ˙™
œ œ œ œ
Eve - ry one
° b trou - bles
Vln. I & b b
œ ˙
Eve - ry one
trou - bles
Vla.
B bbb œ ˙
sing no more
œ œ œ par - tyœ and
œ œ œ œ
œ
œ œ œ œ œ ˙™
œ œ œ œ
trou - bles
Tbn.
œ œ œ œ œ œ
œ œ œ
ha - ppy con - tent trou - ble free
? bb œ ˙
b
¢&
œ œ œ œ œ
œ œ œ œ
We'll throw a
Eve - ry one
B. Sax.
œ œ
œ œ œ œ œ œ œ
ha - ppy con - tent trou - ble free
œ œ
œ
œ
˙™
œ
œ
œ
œ
œ
trou - bles
œ ˙
œ œ œ œ œ
œ
œ
œ
œ
œ œ œ œ œ ˙™
œ œ œ œ
Eve - ry one ha - ppy con - tent trou
œ - bleœ free™
œ
œ
˙
œ œ
œ
œ œ
sing no more
œ œ œ par - tyœ and
œ œ œ œ
œ
- ty and sing no more
œ œ œ par
œ œ œ œ œ œ
?b œ ˙
Vc.
¢ bb
trou - bles
Eve - ry one
? bb œ ˙
b
trou - bles
Eve - ry one
ha - ppy con - tent trou - ble free
We'll throw a
trou - bles
Eve - ry one
ha - ppy con - tent trou - ble free
We'll throw a
D. Bass
par - ty and sing no more
œ œ œ
œ œ œ œ œ œ
We'll
- ty and sing no more
œ throw
œ aœ par
œ œ œ œ œ œ
- ty and sing no more
œ œ œ par
œ œ œ œ œ œ
par - ty and sing no more
196
6
80
°
œ n˙
T. Sax. & b
B. Sax.
Tbn.
¢&
œ
œ œ œ œ œ
œ
œ œ n˙ ™
œ
œ œ œ œ œ
œ
œ
œ
œ œ œ œ œ
œ
œ
trou - bles
Lau - ghing our heads off and stam - ping our feet
trou - bles
Lau - ghing our heads off and stam - ping our feet
œ n˙
?b œ
b b b˙
œ n˙ ™
œ b˙ ™
œ œ œ
œ
œ œ
œ œ œ
œ œ œ œ
œ œ
œ œ œ
œ œ œ œ
œ œ
œ œ œ
Dan - ces and rag - times and fox - trots and
Dan - ces and rag - times and fox - trots and
- ghing our heads off and stam - ping our feet Dan - ces and rag - times and fox - trots and
° b trou - bles Lau
œ
œ œ œ œ œ œ
b
œ œ œ œ œ
Vln. I & b
œ œ œ
œ b˙
œ œ œ b˙ ™
trou - bles Lau
heads off
stam - ping our feet Dan
rag - times
fox - trots and
œ - ghing
œ - cesœ and
œ our
œ and
œ and
œ
œ
œ
œ
™
œ
œ
œ
b
b
˙
œ œ œ
œ
œ
b˙
œ
Vla. B b b
œ
œ œ œ œ œ
œ
œ œ b˙ ™
Dan - ces and rag - times and fox - trots and
? bb œ
b b˙
trou - bles
Lau - ghing our heads off and stam - ping our feet
œ
œ œ œ œ œ
œ
œ
Dan - ces and rag - times and fox - trots and
trou - bles
Lau - ghing our heads off and stam - ping our feet
Dan - ces and rag - times and fox - trots and
?b œ
Vc.
¢ b b b˙
trou - bles
Lau - ghing our heads off and stam - ping our feet
D. Bass
œ
œ b˙ ™
œ œ
œ œ œ
œ œ œ
œ nœ ™ œj
B. Sax. &
¢
tan - gos
The Trou
will
œ - bles
œ
œ
j
?
Tbn.
bbb œ bœ ™ œ
play some free
œ œ œ
jazz
play some free
œ œ œ
play some free
88
°
œ nœ ™
T. Sax. & b
tan - gos
° b tan - gos
Vln. I & b b
œ bœ™
tan - gos
b
B
b b œ bœ ™
Vla.
The Trou - bles will
The Trou - bles will
j œ œ œ
œ
The Trou
œ will
œ
j œ - bles
œ
j œ œ œ
œ
tan - gos
The Trou - bles will
? bb œ ™ j œ œ œ
b bœ œ
tan - gos
?b
Vc.
¢ b b œ bœ ™
D. Bass
œ
J
tan - gos
The Trou - bles will
The Trou - bles will
œ œ œ
œ
œ œ
œ œ œ
œ œ œ
œ
œ œ
œ œ œ
n˙ ™
œ œ œ œ œ
œ
at
ha - ppy
Dee - dle dee - dle dee - dle
jazz
at
ha - ppy
Dee - dle dee - dle dee - dle
jazz
at
ha - ppy
Dee - dle dee - dle dee - dle
œ œ œ b˙ ™
jazz at ha - ppy
œ œ œ b˙ ™
Dee - dle dee - dle dee - dle
play some free
œ œ œ
jazz
at
ha - ppy
Dee - dle dee - dle dee - dle
play some free
œ œ œ
jazz
at
ha - ppy
Dee - dle dee - dle dee - dle
play some free
jazz
at
ha - ppy
Dee - dle dee - dle dee - dle
œ œ œ
play some
free
œ œ œ
œ œ œ
œ œ œ
n˙ ™
œ œ œ b˙ ™
œ œ œ b˙ ™
œ œ œ b˙ ™
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ
œ
œ œ œ œ œ
œ
197
7
˙
œ œ œ œ œ
œ n˙
No more trou - bles
Dee - dle dee - dle dee - dle daa
94
T. Sax.
B. Sax.
° b n˙
&
bœ
daa
dee
n˙
nœ
daa
dee
¢&
Vln. I
? bb
b b˙
° b daa
& b b b˙
Vla.
B bbb b˙
bœ
daa
dee
Tbn.
daa
bœ
dee
bœ
dee
Vc.
? b
¢ b b b˙
bœ
daa
dee
D. Bass
? bb
b b˙
bœ
daa
dee
Œ œ œ
Œ
Œ
œ
bœ
dee
˙
œ œ œ œ œ
œ n˙
No more trou - bles
Dee - dle dee - dle dee - dle daa
dee
˙
œ œ œ œ œ
œ b˙
No more trou - bles
Dee - dle dee - dle dee - dle daa
œ œ
œ œ
Œ œ œ
œ
œ
œ
˙
No more trou - bles
Œ œ
œ
œ
˙
œ œ œ œ œ œ
b˙
œ œ œ œ œ
œ b˙
Dee - dle dee - dle dee - dle daa
˙
œ œ œ œ œ œ
b˙
No more trou - bles
Dee - dle dee - dle dee - dle daa
No more trou - bles
Œ œ
œ
œ
Dee - dle dee - dle dee - dle daa
nœ
bœ
dee
bœ
dee
bœ
dee
bœ
Œ œ œ
Œ
Œ
Not for
œ œ
Not for
œ œ
me
˙™
Not for
me
Œ œ
œ
Not for
Œ œ
œ
˙
bœ
No more trou - bles
Dee - dle dee - dle dee - dle daa
dee
Not for
œ
˙™
me
Œ œ
œ
dee
me
Not for
Œ œ œ
œ œ œ œ œ
œ b˙
Œ œ
œ
˙™
Not for
˙™
˙™
me
˙™
me
˙™
me
198
Cigars of the Pharoah
Cigars of the Pharoah
A
Clarinet in Bb
° b4
&b 4
Clarinet in Bb
b4
&b 4
Bassoon
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙™
œ œ œ b˙ ™
œœ
? b 44 ˙ ™
b
Bassoon
? b4
¢ b4
Lucien Johnson
q=104
mf
bœ
bw
∑
œ œ™
mf
w
˙
œœ w
˙
œœ
˙™
mf
∑
œ œ ˙™
œ œ œ b˙ ™
bœ
bw
w
mf
Ó
Ó
w
œ
œ ˙™
œ
Ó
w
˙
w
œ ˙
˙ ‰ œœ w
˙
Ó
˙
Ó
˙
Ó
œ
Œ œ œ w
œ ™ œ™ ˙
=
O
11
Fl.
Ride cymbal
∑
/
Dr.
mf
Fl.
Ob.
b ˙™
&b
Cl.
b
&b w
Bsn.
Tbn.
Hp.
∑
œ œ ˙™
œ œ œ b˙ ™
bœ
œ œ ˙™
mf
œ ˙
bœ
œ ˙
œ
œ
˙™
œ
Ϫ
Ϫ
œœœ ˙
w
w
w
w
w
˙
sfp
œœœ
∑
∑
O
w
w
w
sfp
Œ
Ó
˙™
sfp
w
˙
w
sfp
b
&b
∑
?b
¢ b
∑
∑
∑
b
&b
∑
∑
∑
? bb
w
˙
Œ œ œœ
˙
sfp
œœœ
Œ ˙™
Œ ‰ œj ˙™
˙
∑
˙
˙™
O
w
‰ œœ ˙
˙
O
mp
w
œ œ œ b˙ ™
bw
œ
?b
¢ b Œ ˙™
{
∑
mf
b
&b w
œ œ
œ œ
? bb
° b
&b
Hns.
œœ
mf
b
&b
∑
bw
∑
Ob.
Bsn.
œœ
° b ˙™
&b
b
&b
Cl.
∑
∑
∑
Ó
˙
w
˙
˙
w
w
œ œ #œ œ
sfp
Ó
Ó
sfp
∑
f
∑
∑
∑
∑
Ó
œ #œ œ œ
œ#œ œ œ
#œ œ œ œ
#œ œ œ# œ ®®≈ Œ
gliss.
‰
œ œ œ#œ œ
œ#œ œ œ ≈
œ
199
2
16
Tpt.
b
&b Ó
T. Sax.
b
&b Ó
A. Bass
? bb
Dr.
Fl.
Fl.
/
B
‰ j œ œ. œ œ Ó
œ. .
mf
‰ j œ œ. œ œ
œ. .
∑
O O O
mf
3
3
mf
‰ j œ œ.
œ. .
˙
3
3
3
‰ j #œ œ œ œ œ j
‰ j œ œ.
œ
œ œbœ œ œj œ œ œ œ œ œj œ œ œ œ ˙
œ. .
œ
Amin7(b5) j
j
j
œ
œœ œ ‰œœ
œ
œœ œ ‰œœ œ
œ ‰ œ
Ó
jœ
œ ‰œ
Gmin
O
3
‰ œj #œ œ#œ œ œ œ œbœ œ œj œ œ œ œ œ œj œ œ œ œ
œ
J
œ œ Ó
œ œ Ó
jœ
œ ‰œ œœ
play time
? ? ? ?
° bb w
&
f
bw
b
&
?
? ?
?
? ?
?
?
? ? ? ?
? ? ? ?
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
f
Ob.
Ob.
Cl.
bw
&b
f
w
b
&b
f w
b
&b
f
Cl.
bw
&b
f
Bsn.
? bb w
f
Bsn.
Hns.
?b
¢ b w
° bf
&b w
f
b
&b w
f
Tbn.
Vib.
=
Tpt.
?bw
¢ b w
f
b
b
{&
˙˙˙
∑
mf
22
œœœœœœ ™™™
J
3
w
w
ww
Œ
3
j
j
b
& b ‰ œj #œ œ#œœœœJ œbœœ œ œ œ œœœ œ œ œ œ œ œ
3
T. Sax.
A. Bass
Dr.
Vib.
Vln. I
Vln. II
˙
Ó
˙˙ ™™
˙™
‰ œœœœ ™™™
™
œœœ ™™™
j
œœ
œ
C
3
‰ j œ#œ œ œ œnœ œ nœ œœœ#œ œ œ œ œ œ ˙
œ
˙˙
˙
œœ ™™
Ϫ
j
œœœœ
3
‰ j œ#œ œ œ œ œ œ
œ
3
3
3
3
3
b
Ó
‰ j #œ œ œ œ œ œ #œ œœ
‰ j œ#œ œ œ œ œ
& b ‰ œj #œ œ œœœœj œbœœ j œ œ œœœ j œ
œ
œ
œ
œ
œ
œ
œ
œ œ œœœ
n œ œ œ # œ œ ˙ Cmin(maj7#11)
˙
BMaj(b6)
jœ
j œ Cmin(maj7#11)
j
œ
œ
œ
?b
#
œ
#
œ
#
œ
œ
œ
œ
œ
‰
‰ œ
œ
œœ œ‰ œ œ œ ‰
œ ‰ J
b œ ‰œ
nœ œ
nœ
œ
J
J
/
?
? ?
?
?
œ
? œœ
?
.
œœœ
?
b
{ & b ˙˙˙˙ ™™™™
° b
&b
∑
∑
b
¢& b
∑
∑
Œ
‰
œœœ
?
?? ? ? ? ? ? ?
?
œœœ w
œ
n
œ
œ
w
w
œ
w
œ#œ
J
& œœ
°w
nw
sul tasto
∑
C
mp
wsul tasto
#w
∑
mp
?
?? ? ? ? ?
˙™
Œ #˙˙˙ ™™
w
w
200
3
28
Tpt.
T. Sax.
A. Bass
Dr.
b
& b #œ œ œ œ œ
b
&b œœœ
nœ #œ
BMaj(b6)
? bb œ
‰ j
#œ œ #œ œ#œnœ #œ
œ œ #œ œnœ œ
3
‰ j
n
œ
œ
œ #œnœ œ œ
#
œ
œ
œ
œ
œ
œ
#œ
œ œ #œ œ ˙
Amin(#11)
j œ nœ G#(b6)
œ#œ œ
‰
‰
œ
œ
#œ œ
J
œœœœœ ˙
/
?
?
?
3
œ œ œ nœ œ ˙
??
? ? ? ?
?
‰ j
œ
œ œ #œ œ œ œ
‰ j
œœœœœ ˙
#œ œ œ nœ œ
œœ
nœ bœ œ Gmin(#11) ‰ œj œ œ
‰
œ
J
#œ
? ?
? ?
.
Œnbœœœœ #œœœœ Œ
? ?
œ
œ. œ # œ. œ œ. œ. .
# œ. .
œ œ.
# œ. œ œ. œ. œ œ. .
.
F#(b6) ‰ œ œ
œ
J
œ
? ? ? ?
w
bnww
w
Ó
w
bw
w
Vln. I
b #ww
w
{&b n w
° b nw
&b
Vln. II
b #w
&b
nw
bw
w
B bb
∑
sul tasto
w
bw
w
˙
? bb
∑
w
#˙
Vib.
Vla.
Vc.
¢
œœœ
Œ
∑
normale
˙
‰ j œ œ.
œ. .
normale
‰ j œ œ.
œ. .
#˙
Ó
mp
∑
∑
. œ.
‰ œ. œ
J
mp
=
33
Tpt.
bœ œ Ó
&b
T. Sax.
b
&b œ œ Ó
A. Bass
/
Fl.
° b
&b
∑
b
&b
∑
Cl.
Bsn.
Vln. I
Vln. II
Vla.
Vc.
Db.
3
3
3
3
3
3
˙
‰ j #œ œ œœœ j
œ
œ œbœœ œj œ œ œœœ œj œ œ œ œ ˙
œ
jœ
j
? bb ‰ œj œ œ
œ
œ
œ œ œ™
œ
œ œ™
œ
œ ‰ œ
Dr.
Ob.
3
‰ j #œ œ#œœœœ œbœœ œj œ œ œœœ œj œ
œ
œ œœœ
J
?? ??
?
? ?
?
? ?
∑
?
∑
?
‰ j #œ œ#œœœœ œbœœ œj
‰ j œ œ. œ œ Ó
œ
œ. .
J
3
3
3
‰ j #œ œ œœœ j
‰ j œ œ. œ œ Ó
œ
œ œbœœ œj
œ. .
j
j
j
œ
œ œ œ œ ‰ œ œ œ œ œ™
œœ
? ? ? ?
∑
?? ??
Ó
?
œ ˙
Œ ‰J
1.
? ?
˙
mf
∑
∑
∑
Ó
1.
Œ ‰œ ˙
J
˙
mf
b
&b
∑
?b
∑
¢ b
° bb -œ œ. Ó
&
b& b œ œ. Ó
B bb
∑
∑
Ó
1.
Œ ‰ œj ˙
Ó
Œ ‰ bœ b˙
J
Ó
Ó
œ ˙
Œ ‰J
˙
œ ˙
Œ ‰J
œ œœ ˙
œ™ œJ
œ œ ˙
œ ‰ œJ œ
˙
mf
∑
∑
∑
1.
˙
˙
mf
Ó
˙
˙™
œœ œœœœ˙
˙
mp
˙™
œœ œœœœ˙
Ó
˙
˙™
œœ œœœœ˙
Ó
‰ ˙
˙™
œœ œœœœ˙
˙™
œœ œœœœ˙
mp
Ó
Ó
∑
œ
œ œ œ™
? bb œ™ œJ
f
œ œ œ œ™
? b œ™ œJ
¢ b
f
∑
normale
mp
mp
‰ ˙
mp
∑
˙
˙
?
201
4
39
Tpt.
T. Sax.
A. Bass
D
3
j
b
& b œ œ œœœ œ œ œ œ œ œ ˙
3
b
& b œ œ œœœ j œ
œ œ œœœ ˙
jœ
? bb
œ œ œ™
œ ‰ œ
E
Ó
∑
∑
∑
∑
∑
Ó
∑
∑
∑
∑
∑
j
œ œ
jœ
jœ
jœ
jœ
œ ‰ œ œœ œ ‰ œ œ œ ‰ œ œœ œ ‰ œ œ
œ
Time
Drum breakdown, fill in...
/
Dr.
? ?
?
?
?
?
?
j ˙ ™
œ
1,2.
‰ J ˙™
‰
œj
‰1,2. J œ œ ˙˙
‰
Fl.
° b ˙™
&b
Œ
Ob.
b
&b ˙™
Œ
b
& b ˙™
? b ˙™
¢ b
Œ
1,2.
Œ
Ó
Óœ œ
Cl.
Bsn.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Db.
b
&b
∑
? bb
∑
{
° bb
& ˙™
b
&b
˙™
B bb
˙™
? bb
˙™
?b
¢ b ˙™
?
?? ??
jœ
œ ‰ œ œœ
Gmin
?? ?? ?? ??
?? ?? ?? ? ?
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ w
∑
∑
∑
∑
∑
œœ w
∑
∑
∑
∑
∑
œ œ œœ
œ œ
œ œ
Œ
Œ
Ó
Ó
≈
œœœ
œ œœ œ
f
œœœœ
w
w
∑
œœ
w
∑
Œ
∑
Œ
∑
œœ w
D
j
œ
-œ-.. œ
œœ œ
J
Œ
Ϫ
Ϫ
ΠϪ
E
∑
202
5
46
A. Bass
Dr.
Ob.
? bb Amin7(b5)‰ œj œ
œ
/
b
&b
Bsn.
? bb
Tbn.
B. Tbn.
Hp.
œ
? ?
? ?
œ
œ
œ
° b œœœœ œ œ œ œœœ œœ œ
œ œœ œ
& b ‰ œœ
Cl.
Hns.
Gmin
œ
‰ œj œ
? ?
?
?
jœ œ
œ
œ ‰œ
œ
j
‰ œ œ
œ
? ?
? ?
?
?
?
∑
∑
∑
∑
∑
∑
œœ œœ œ œ
≈ œ œ œœœ œ
œ œœœ œœœ œœ œœœœ œœ ˙
≈
œ œœ
˙
f
∑
∑
w
∑
œ
?? ? ?
w
w
Gmin
ff
∑
∑
œ œ™ œœ œœœ
‰ œœœœ œ œœœœ œœ œ™
œ
‰
¢
° b
&b
∑
∑
∑
b
&b
∑
∑
? bb
∑
∑
?b
¢ b
∑
b
& b œœ œœ ™™
? bb œ œ ™
{
j
œ‰œœ
Amin7(b5)
œœ
˙˙™™
Œ
Œ
ff
‰ j
œ. œ. œ
mf
sfp
Ó
‰ j
∑
. . mf œ œ.
œœ™™ œœ œœ œœ œœ œœ. œœ œœ œœ. ‰ œœ ˙˙. sfp œ
J
J
∑
f
∑
œœ
œ
j
œ œ
œœ œœ
J
Ϫ
œœ™™
∑
Ó
∑
--œ..
œœ
j
œœ œœœœ ™™
œ œ œ™
J
Amin7(b5)
j
œ œ œ™
œœ œœ œœ™™
J
w
Œ
Œ
∑
∑
∑
Ó
∑
--œ..
œœ
?? ? ?
∑
∑
œœ
œ
?
jœ œ
œ
œ‰œ
Gmin
j
œœ œœ
œ œ
J
œœ œœ
j
j
œ œ œ™ -œ. œœ
œœ œœ œœ™™ -œœ. œ
J
J
f
œœ ™™
Ϫ
œœ
œ
203
6
52
A. Bass
j
? bb Amin7(b5)
œ ‰ œœ
/
Dr.
œ
Cmin(maj7#11)
? ? ? ?
? ?
° bb
& ∑
∑
Ob.
b
&b ∑
∑
Bsn.
? bb
C Tpt.
Tbn.
B. Tbn.
Hp.
Vln. I
∑
b
&b
∑
Bsn.
mf
œ
œ bœ
Vla.
Vc.
Db.
?
w
w
‰ œJ #œ
œ
? ? ?
∑
mp
/
? ? ? ?
°? b œœ nœœ œ ˙
œ˙
¢ b
? bb ff‰ œJ Œ
>œ
poco
Œ
mp
‰ j
n œ ˙™
>
‰ j
#œ ˙ ™
>
Œ
>œ
poco
mp
∑
>œ
œ
Œ
∑
˙˙ ™™
‰n#œœ
J
Œ
Œ
Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
nw
œ
∑
j
œ
œ ‰ œ œ #œ
Gmin(#11)
? ? ? ?
∑
Ó
° b
&b w
b
&b
w
B bb
nw
Œ
poco
mp
Œ
∑
? ? ?
™nœ
#œ œ œ œ#œ
œ #œ nœ
3
œj œ j
‰ #œj nœœ œœ ‰ œJ œœ œ œœ nœœ
‰ œJ
‰
J
3
∑
w
?
∑
ff
Œ
w
œ
Ó
œ
##œœœœ ™™™™
w
bw
w
œ
Gmin
œ
#œ œ œ œ
œœœœ
#œ œ œ œ
? bb
∑
∑
∑
#œ œ œ œ
?b
¢ b
∑
∑
∑
∑
˙
˙
Œ ˙˙
˙
Œ
.
.
œ œ. œ œ div.
Œ
.
f . œ
œ œ. œ div.
Œ
.
f . œ
œ
œ#œ.
Ó
. œ.
f. œ
œœ
Ó
f
#w Amin7(b5)
j
œœ œ ‰ œœ
‰ œj œ
? ? ? ?
∑
j
##œœœ w
ww
œœ ww
#
œ
Œ ‰ J w
w
#w
w
‰ œmpœ
J
? ? ? ?
∑
#œ œ œ
œ#œ n˙
J
∑
F#(b6)
nw
∏∏∏∏∏∏
Vln. II
œ
∑
w
∏∏∏∏∏∏
Vln. I
nœ
Œ
Œ
∑
Ó
˙
˙˙ ™™
˙™
° b
&b
{
BMaj(b6)
?œ ?
?
?
œ n# œœ œœ œœ œœ œ œœ
#œ
‰
.
j
Œ ™ œœ œ nœ
Œ ‰ J œ# œ œœ œœ œœ œœ œœ ˙˙ ™™
f
∏∏∏∏∏
Hp.
?
Œ œ
w
>.
sfp
3
.
.
≈
w
≈ œ™j œœ ##œœ œœ ™™ > nœœ œœ n#œœ œœ ™™ j œœjœœ n#w
Ϫ
œœ
œ n œœ w
œ
mf mf J
w
3
‰ ‰
Œ
∑
Ó
Œ
? bb
b solo
&b Œ
? ? ?
œ
‰ œ #œ
J
œ
∑
‰ œ ‰ nœ
J J
sfp
‰ œj ‰ #œj
Œ œ
>.
B bb
∑
∑
Vla.
G#(b6)
= ¢57? Amin(#11) j
A. Bass
bb œ ‰ œ œ nœ#œ œ ‰ nœJ bœ
Dr.
œ
∑
∑
b
& b ÓÓ
{
nœ
Cmin(maj7#11)
#œ
œ ‰ œJ
f
¢
° bb
&
?b
¢ b œ
b
& b œœ
? bb œ
BMaj(b6)
? ?
Fl.
Hns.
œ
#œ
œ ‰ œJ
div.
Œ
œ
œ
œœ
≥j
‰ œœ Œ
sf secco
∑
Ó
œ
œ
J
œœ
J
œ
œ
œ
œœœ
œœ
? ? ?
œ
?
∑
œœ
œœ
œ
œ
J
œ
œ œœ
J
œœœ
˙˙ ™™
˙˙ ™™
Ϫ
Ϫ
œœ™™
˙™
Œ
∑
œ œ. . œ
œ œ #œœ ‰ œ
J
J
.
.
œœ œ œ œ
‰ œ
J œ œ J
œ
‰ J
œ œ œ œ ˙™
œ
‰ J
Ó
j
œ‰
œ
Œ ˙
˙
204
7
F
Gmin
63
∑
∑
∑
? bbGmin ‰ œj œ
œ
Amin7(b5) j
œœ œ ‰ œ œ œ
Dr.
/
?
Vib.
{&
A. Bass
Hp.
Vln. I
Vln. II
Vla.
Vc.
Db.
? ? ?
bb
∑
b
&b Ó
Œ
? bb Ó
Œ
{
>œ
‰ œœ
J
>œ
‰J
° bb œœ œ œ œ œœ œœœœ
œ œœ
œ
&
bœ
& b œ œœ œœ œœ œœ œœœœœ
œ
B bb œ œ œ Œ ‰ œJ
? bb œ œ œ œ
œ
Ϫ
J
?b
Œ ‰ œœ
¢ b Ó
J
Gmin
œ
? ? ? ?
Œ
˙™
Œ
.
.j . œ
œ
‰œ
Ó . .
.j œ
‰œœ
Ó
˙˙
˙˙
œœ œ œœœ
œ œ #œ œ œ œ œœ
Ϫ
œ œœ œ œ œ ‰ œj
Ϫ
˙
˙
Ϫ
Ϫ
Ϫ
Ϫ
œj
œ
? ?
∑
>œ
#œœ Œ
Ó
>œ
Ó
Œ
œœ œ # œ œ œ œ œ
œ œ œœœœ
œ œœ œ œ ‰ j
œ
œ
∑
Amin7(b5) j
‰ œj œ œ œ œ ‰ œ œ œ
? ? ? ?
∑
˙™
˙˙™™
∑
j
j
œ œœ‰ œ
Amin7(b5) j
jœ œ
œ
œ œ ‰œ œ
œ‰œ
Gmin
? ?
?? ? ?
∑
>œ
Œ œ
>œ
Œ œ
T. Sax.
A. Bass
Amin7(b5)
b
&b
Gmin
∑
Amin7(b5)
∑
Ó
∑
∑
∑
Ó
∑
∑
∑
mf
œ œœ
j
œ œ œ œ œœ ™™ œ œ œ œ œ œ
œ
œ œœœœœ
œœ œ œ œ ™ j
œœ™™
œœ œ œ™ œ œ œ œ œ œ
œ
œ œœœœœ
œ
œ
œ
œ
Œ œœ œœœ œ
œœ
Amin7(b5)
∑
∑
Amin7(b5)
Amin7(b5) j
Amin7(b5) j
Gmin
j
? bb ‰ œj œ œ Gmin ‰ œj œ œ
œ
œ œ‰ œ œœ œ‰ œ œ œœ œ ‰ œ œ œ
œ
Dr.
/
Vib.
{&
Hp.
{&
??
? ? ? ? ??
j
bb œœœ ™™™ œœœ ˙˙
œ ™ œ ˙˙
bb
∑
jÓ
œœœœ ™™™™ œœœœ
∑
?? ?? ?? ? ?
œœ ™™
? Ó
w
‰ œ™
w
w
w
∑
∑
BMaj(b6)
b
&b
Cmin(maj7#11)
∑
BMaj(b6)
? bb
#œ
œ ‰ œJ
œ
Dr.
/
?
Vib.
b
{&b
Hp.
? ? ?
Cmin(maj7#11)
BMaj(b6)
∑
œ ‰ œJ#œ
œ
? ? ?
?
Œ #˙˙˙˙
BMaj(b6)
nœ
˙
∑
˙
Œ œœ œœœ œ
œ œœ œ
˙
j
œŒ Ó
œ≥ ‰ Œ ˙
œ.
œ
>
∑
œ œœ œ
Gmin
Cmin(maj7#11)
Amin7(b5)
∑
jœ
œ‰ œ œœ
Gmin
∑
∑
Cmin(maj7#11)
j
#œ
œ ‰ œ œ œ œ ‰ œJ
Amin7(b5)
? ? ? ? ?? ??
? ? ?? ? ?
œœ. ˙˙
œœ œœ.
œ˙
œœ Ó
œ œ#œ
Œ ‰ œœj ww
&
œ
œœ ww
°
Œ #œœ
∑
∑
∑
œœ
Amin(#11)
Amin(#11)
G#(b6)
∑
nœ
? ? ? ? ?? ?
?
bw
w
ww
∑
sf secco
j
#œ œ
œ ‰ œJ
œ ‰œœ
œ #œœ ww
œœœn œœ ww
w
j
b
j
b
{ & œœœœ n#œœœœ ‰ œœœœ œœœœ œœœœ œœœœ#œœœœ ‰ œœœœ œœœœ n œœœœ
.
.
∑
∑
∑
w
w
f
78
A. Bass
F
w
w
=
T. Sax.
Œ ˙˙˙ ™™™
˙ ™
∑
j
j
œ œ œ
œ œ œ ‰ œ œ œœ
œ œ œ œ œ ™ œj œ
œJ œ œ ‰ œJ œ™ œ œ œ
œ
Gmin
∑
jœ
œ ‰ œ œœ
Gmin
∑
=
70
∑
? ? ?? ?? ??
œ
œ
J
œ
œ
J
Ϫ
Ϫ
Solo
∑
∏∏∏∏
T. Sax.
b
&b
Gmin(#11)
∑
G#(b6)
#œ
nœbœ
œ ‰J
œ
? ? ?
?
bw
w
w
w
œ
?
nœ
?
œ nœ œ #œ
œœœœ œœœœ œœœœ œœœ
nœ
∑
œ
‰ œj œ œ
#œ
?
? ? ?
Gmin(#11)
‰ œj œ
œœ œœ ˙˙˙
‰ j
œœœœ n#œœœœ ‰ œœœœ ™™™ Œ#n œœœœ œœœœ œœœœ œœœœ#œœœ œœœ##œœœ œœœ œœœnnœœœ ˙˙˙
.
j
œœ œœ ‰ œœœ
œœ
205
8
84
T. Sax.
A. Bass
Dr.
Vib.
Hp.
Vc.
b F#(b6)
&b
∑
? bb F#(b6) ‰ œ œ œ
J
œ
/
∑
jœ
œ ‰œ œœ
Gmin
Amin7(b5)
∑
Gmin
Amin7(b5)
∑
Gmin
j
j
œ ‰ œœ œ œ ‰ œ œ œœ
Amin7(b5)
?? ??
?? ?? ? ?
œœœ œœœ œ
œ
œ
w
˙ ™™
œœœ ww
œ
b
œ œ œœœ
w
œ
‰
˙
œ
b
#œ œ
J
{&
œ
œ
#°
œœ
b
∑
∑
∑
&b w
w
w
œ
œ
œ ‰ œJ œ œ œ ‰ œJ œ œ ‰ œJ
? bb
∑
œ
œ
pizz.
°? b
œ ‰ œJ œ œ œ ‰ œJ œ œ ‰ œJ
∑
b
¢
mp
{
? ? ? ?
Gmin
∑
Gmin
Amin7(b5)
∑
Gmin
j
j
œ ‰œœ œ œ ‰ œœ
Amin7(b5)
œœ
∑
j
œ ‰œœ œ
Amin7(b5)
??
?? ?? ? ? ?
?
?? ??
w
œœ ™™™ œœœœ ww
w
.
.
w
‰œœœ œœœœœœ ‰ œœœ œœœœœœ ‰œœœœ ww
œœ ™ J
w
J
J
∑
œ œœ
œ œœ
œ ‰ œJ œ œ œ
œ ‰ œJ œ œ œ
∑
œœ
‰ J
œœ
‰ J
∑
œœ
œœ
œ ‰ œJ œ œ
œ ‰ œJ œ œ
206
9
91
T. Sax.
bGmin
&b
Amin7(b5)
∑
? bbGmin ‰ œj œ
œ
œœ
Dr.
/
?
Fl.
° bb
&
A. Bass
Ob.
Cl.
Bsn.
Hns.
?
b
&b
b
&b
?
?
Œ œœ w
w
Œ
p
p
Œ œœ ww
Œ
∑
° b
&b
∑
? ? ?
C Tpt.
Tbn.
Vib.
Hp.
Vln. I
?b
¢ b
Vla.
Vc.
Db.
Ó
Ó
∑
mf
∑
Ó
Ó
∑
mf
∑
∑
Ó
Ó
∑
p
∑
Œ
Œ
œ
w
Ó
Ó
∑
∑
Œ
Œ
p
p
Œ
Œ
p
Œ
Œ
p
Œ
Œ
∑
œœ
∑
jœ œ
œ
œ ‰œ
Gmin
?? ? ?
w
w
mf
œœ ww
mf
œœ
w
w
œ
œ
w
w
mf
mf
Ó
Œ
œ
mf
p
∑
∑
∑
b
&b
∑
B bb
∑
?b
¢ b
Gmin
∑
? ? ? ?
Ó
Ó
∑
∑
∑
Ó
Œ
∑
con sord.
Ó
Ó
p
Ó
Ó
con sord.
∑
p
Œ
Œ
Œ
Œ
œ
w
∑
∑
mf
œœ ww
∑
∑
mf
˙˙ ™™
Œ ˙™
˙˙ ™™
Œ ˙™
∑
œ
œœœœ
°
∑
∑
p
p
Ó
Ó
p
w
œœœ w
Œ
Œ
Œ
Œ
œ
œœ
œœ
∑
œ Œ
‰ œJ Œ œ Œ
j
œ ‰œ
∑
Œ
œ
‰ œJ Œ
j
‰ œŒ
œ Œ
‰ œj Œ œ Œ
j
œ ‰œ
∑
Œ œ ‰ œŒ
J
œ
Œ
œ
‰JŒ
œ
Œ
œ
‰JŒ œ Œ
œ ‰œ
J
∑
Œ
œ
œ ‰ œJ œ œ
Œ
bœ
‰JŒ
œ
Œ
œ
œ
‰JŒ
Œ
œ
∑
Œ
pizz.
mp
mp
∑
∑
Ó
Ó
Œ
Œ
∑
œœ
Ó
œ
pizz.
∑
mp
œœ
‰ J
∑
mf
œœ ww
œ œ ˙™
b ‰ œj œ œ‰ œ œ œ‰ j
b
‰
œ
w
œœ œœ œœ œœ œœ œœ œœœ w
{&
w
w
.
.
°
œ œœ œ œœ œ
œ
?bœ ‰ J
∑
‰J
{ b
G
pizz.
° b
∑
∑
&b
œ Œ ‰ bœJ Œ
? bb œ
Amin7(b5)
∑
mf
mp
Vln. II
Gmin
∑
p
b
&b
∑
?? ? ? ?? ??
Œ
Œ œ w
œ w
p
?b
¢ b
b
&b
?? ?? ?
Ó
Ó
∑
Amin7(b5)
∑
Amin7(b5) j
Amin7(b5) j
Gmin
Gmin
j
j
j
œ ‰ œœ œ œ ‰ œœ œœ œ ‰ œœ œ œ ‰ œœ œœ œ ‰ œœ œ
Ó
Ó
∑
Gmin
∑
Amin7(b5)
Ó
Ó
∑
G
∑
œ
non div.
pizz.
œ
mp
Ó
œ œ
Ó
œ œ Ó
œ
‰J
œ œ
Ó
œ
‰ œJ Œ
œ
œ
‰JŒ
œ œ Ó
207
10
98
T. Sax.
Amin7(b5)
b
&b
∑
Gmin
∑
Amin7(b5)
Cmin(maj7#11)
∑
BMaj(b6)
∑
Cmin(maj7#11)
A. Bass
Amin7(b5) j
Gmin
j
j
? bb Amin7(b5)
#œ
œ ‰ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ ‰ œJ
Dr.
/
Fl.
° bb
&
∑
b
&b
∑
Ob.
? ? ?? ?? ? ?
Bsn.
∑
∑
∑
?b
¢ b
∑
∑
Hns.
∑
w
b
&b
w
C Tpt.
Tbn.
Vib.
b
&b
ww
?b
w
¢ b w
b
{&b
Œ ˙
?? ??
œ ‰ œJ#œ œ nœ
? ? ? ?
œœ œ.
œ
Œ
Ó
mf
>.
j
œœ Œ
J. Œ
>
>.
j
‰ œœ Œ
‰ JŒ
>.
Œ
‰ jŒ
œ
>.
j Œ ‰ bœj Ó
n œ ™ œ.
>.
>
‰ j≈ j
œ. -œ™
Œ
‰ jŒ
œ
>.
jŒ ‰ j Ó
n œ.
# œ ™ œ.
>
>
∑
‰ j≈ j
œ. -œ™
.
bnœœ œœ œœ ŒŒ
mp
.
mp
.
Œ #œ̇ œ bnœœ œœ œ Œ
Œ
œŒ
mp
.
Œ
∑
Œ
∑
mp
‰
‰
˙
bœ œ
œ.
œ œ bœ œ œ
.
∑
∑
∑
∑
∑
∑
∑
∑
BMaj(b6)
œ
œ ‰ œJ #œ
? ?
Œ ™ #œœJ ˙˙
Ó
‰ œj ≈ œj™
. -
j
#œ. ‰ Œ
>
Ó
Ó
‰ .j ≈ -j
‰ œœ ≈ œœ ™™
.J -J
. ‰ œj ≈ œ™j
‰ œJ ≈ œJ ™
. -
.j ‰
‰
n
œ
# œJ
..
j‰
#nœœJ ‰
.
j‰ Œ
# œ.
>
j‰ Œ
œ
>.
Ó
Ó
??
œ. -œ
.
Œ nœ
#
œ
Œ
.
.
n
Œ # œœ
Π.
∑
n œ. -œ
∑
∑
∑
∑
mf
∑
b j j
&b ‰ œ ‰ œ Œ œ œ Œ
j
œ ‰ ‰ œj
Vla.
B bb ‰ œJ ‰ œ Œ œ œ Œ
J
œ‰‰œ
J
J
? bb ‰ œJ ‰ œJ Œ œ œ Œ
œ
œ
J‰‰J
œ
?bœ
Ó
¢ b
œ œ Ó
arco
∑
div.
œ
œ#œ œn œ œ w
œœ
°
nw
#w
w sul tasto
w
˙™
Œ #˙˙˙ ™™
w
n#w
ww
#œœ œœ. Œ
Ó
Ϊ
#œœ ˙˙
J
mf
arco
∑
arco
∑
div.
w
w sul tasto
#ww
œœ œœ.
Œ
Ó
Ϊ
nœœ ˙˙
J
w sul tasto
nw
œ œ.
Ó
Ϊ
#œ ˙
J
Œ
mf
arco
œ œ
∑
œ
‰JŒ
∑
œ
Œ
Ó
œœ
œœ
-
œ. -œ
mf
Vln. II
Db.
Cmin(maj7#11)
>.
>
nœ ™ œ. Œ ‰ bœJ
J
>.
.j
j
Œ
‰
™
œ
œ œœ ‰ nœ
#nϪ
Œ
J
.J
>.
>.
.j
j
œœ ™ œœ Œ ‰ nœœ
#
n ™ J Œ ‰J
.
>.
>.
‰ œJ Œ
Œ ˙
Œ
mf
j
œ‰‰œ
J
Vc.
œ
œ ‰ œJ#œ
n#w
w
bœ œ œ Œ
.
mp
° b œ œŒ
&b ‰ J ‰ J œ œ Œ
Vln. I
BMaj(b6)
BMaj(b6)
∑
mf
b
&b
° b
&b
w
w
∑
mp
Cl.
œ
nœ
?? ? ? ? ? ? ?
∑
Cmin(maj7#11)
∑
∑
∑
∑
∑
∑
∑
208
11
105 Amin(#11)
b
&b
T. Sax.
G#(b6)
∑
Amin(#11)
/
Dr.
Bsn.
Hns.
? ? ??
.
° bb nœœ œœ Œ
&
.
b j ‰ Ó™
& b nœœ ‰ Ó™
.J
. ? bb nœj ‰ ˙™
œ‰
¢
.J n -˙ ™
° b ‰
& b œj n˙ ™
. b
&b j ‰
œ. n ˙ ™
b
∑
&b
C Tpt.
??
Ó
b j
& b œ. ‰ Ó™
Ob.
Cl.
G#(b6)
j
? bb
œ ‰ œ œ nœ#œ œ ‰ nœJ bœ œ
A. Bass
Fl.
Gmin(#11)
∑
? bb
B. Tbn.
¢
? bb
{
b b˙˙˙ ™™™
&b Œ ˙™
Gmin
∑
Amin7(b5)
∑
Amin7(b5) j
Gmin
F#(b6)
‰œ œ œ
‰ œj œ œ
‰ œj œ œ œ œ ‰ œ œ œ
œ
J
#œ œ
?
? ??
∑
?? ? ? ? ?
?
∑
Œ
Œ
‰ œœj ˙˙
‰J
∑
∑
∑
∑
Œ
‰ j
œ ˙
∑
∑
Ó
Ó
∑
Œ
Œ
∑
Ó
Ó
Œ œœ
Œ œœ
∑
Œ
Œ
‰ j
‰ œœ ˙˙
J
‰ œj ˙
‰œ ˙
J
∑
.
Œ##œœ
Œ
.
.
Œ
Œ n œœ b œœ
..
Œ œ œ
Œ #œ nœ
.
∑
∑
Ó
Ó
œœ
Œ œœ
Œ
Œ
Œ
∑
Œ
# œ.
∑
œ n œ.
Œ
œ.
∑
∑
Œ
œ œ.
∑
∑
∑
∑
∑
∑
‰ j
œ ˙
>
Œ œ. Ó
>.
>
>
œ ‰ œ. Œ -œ œ.
J
‰ j
œ ˙
Œ œ
>.
>.
mf
œœ
senza sord Œ
∑
Π.
mf >>
.
œœ
senza sord
Œ
∑
Π>.
Ó
œ
>.
>.
œœ
>.>.
œ
œ
>.
Ó
Ó
Ó
Ó
œœœ ˙˙˙ ™™™
‰J
œ ˙™
∑
∑
∑
j
Œ œ Ó
œ. ‰ œ. Œ -œ œ.
.
> >
mf >
>
˙˙˙ ™™™
œœœ œœœ w
˙˙˙ ™™™
w
w
˙™
œœ w
˙™
∑
∑
œœœ œœ
œ œœ
3
°
Ó
∑
∑
Vln. II
.
b nœ œ
&b œ œ Œ
Ó
∑
∑
Vla.
œ.
B bb nœ Œ
Ó
∑
Vc.
? bb Ó
n˙˙
non div.
Œ
non div.
Œ
normale
‰œ ˙
J
∑
∑
div.
normale
j
‰œ ˙
∑
∑
Ó
Ó
∑
∑
div.
Ó
œœ
Œ œœ
normale
‰ œJ œ #œ œ œ w
bb˙˙ ™™
œœ
˙˙
#œœ œœ œœ w
w
b˙ ™
œ
˙
#œ œ œ w
mp
mp
‰ œ. j Œ -œ œ
>
>.
>. - >.
j
‰ œœ Œ œœ œœ
‰ J> Œ - .
>.œ.j œ>>.
œ
‰ œJ Œ œ œ
‰ >. Œ ->.
∏∏∏∏
œœ
∑
∑
mf
∏∏∏∏
#œœœ ˙˙˙
Œ ‰ œJ ˙
˙
?? ??
∑
Vln. I
? b arco
Ó
¢ b
? ? ??
Œ bœ œ
.
.
° b nœœ œœ Œ
&b
Db.
jœ
œ ‰ œ œœ
Gmin
Ó
Œ
div.
∑
?
mf
Vib.
Gmin
∑
∏∏∏∏ ∏∏∏∏
Tbn.
F#(b6)
œ
Gmin(#11)
??
∑
œ. ‰ œ. Œ
œ.
œ œ. ‰ œJ J ‰ œ
J
œ. Œ
jœ
œ ‰ œ œœ
œ. ‰ .
œ.
œŒ
œ œ. ‰ œJ J ‰ œ
J
œ. Œ
jœ
œ ‰ œ œœ
non div.
209
12
H
œ œ. Ó
112
b
&b
Tpt.
∑
Amin7(b5)
b
&b
T. Sax.
Gmin
∑
∑
∑
Amin7(b5)
∑
Gmin
∑
∑
Ó
Amin7(b5)
‰ j œ œ.
œ. .
Dr.
/
Fl.
° b
&b
Ob.
b
&b
b
&b
? >?
. # œj ≈ œ™j
‰ œ œ™
‰ >.J ≈ -J
>. ‰ #œj ≈ œj™
œ
‰ J ≈ œJ ™
>. ∑
?? ?? ??
?? ?? ?? ??
∑
∑
∑
˙˙
∑
∑
∑
∑
3
‰ œj #œ œ œœ œœj bœ j
œ œœ
j Amin7(b5)‰ œj
Œ
Œ
‰
œ
œ
œ
fill in
>j
? Œ Œ ‰ ?j ? ? j
œ
œœ œœ ™™
œ
J
Ó Œ ‰J
Ó Œ ‰f
Gmin
?? ? ?
∑
3
œ œ. Ó
∑
˙
˙
3
‰ œj #œ œ #œœ œœ œbœ œ œj
J
3
f
Amin7(b5) j
Amin7(b5) j
Gmin
j œ Gmin j œ
jœ
? bb Amin7(b5)
œ
œ œ
œ ‰ œ œ œ ‰ œ œœ œ ‰ œ œ œ ‰ œ œœ œ ‰ œ
A. Bass
∑
# œj œ ™
‰ œJ œ ™
‰
f
j Ϫ
‰ œœJ œ™
‰
œ
œ
?
˙
˙
?
∑
j
n œœ ˙˙
J
∑
∑
∑
∑
Ó
Ó
Œ
Œ
b
&b w
w
∑
∑
∑
∑
Ó
Ó
Œ
Œ
w
? bb w
¢
∑
∑
Ó
Ó
Œ ‰ œœj œœ ™
™
Œ ‰f J
j‰ Œ
œ
Ó
Œ ‰ j
Ϫ
f #œ
j
nœ ˙
j‰ Œ
œ
œœj ‰ Œ
J‰Œ
Ó
Œ ‰ j
f œ
Ϫ
j
œ ˙
Ob.
Cl.
Bsn.
∑
° b
&b
∑
∑
∑
b
&b
∑
∑
∑
C Tpt.
b
&b
∑
∑
∑
Tbn.
? bb
∑
B. Tbn.
? bb
Hns.
˙
˙
˙
∑
˙
∑
˙
˙
˙
˙
˙
˙
˙˙
˙˙
˙˙
˙
˙
˙
&
œ‰ Œ
J
f
.
œœ œœ Ó
Ó
f .
.
j
œ œ Œ ‰ œœ œœ™™
Œ ‰ J
j
œœ ˙˙
J
j
œœ ˙˙
J
∑
œœj ˙˙
J
f
Vib.
Vln. I
Vln. II
Vla.
Vc.
Db.
¢
∑
w
w
bw
w
b
&
{
° b ‰ #œj j™
& b œ. ≈ -œœ ™ ˙˙
>
b
∑
&b
w
B bb w
˙
˙
˙
˙
˙˙
˙˙
˙˙
˙˙
˙˙
˙˙
˙˙
˙˙
˙
˙
˙
non div.
˙
˙
˙˙˙
˙
˙
˙
˙˙˙
˙
˙
˙
w
w
w
w
˙
j
œ‰ Œ
∑
œ
œ œ. œ. .
f
non div.
∑
˙
˙
˙
˙
˙
∑
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
j
˙
? bb
œ ‰ œœ œ
˙
˙
jœ
˙
?b
¢ b œ ‰ œ œ
˙
˙
™ bœ bœ ™
œ œ. Œ J
f
œ
œ œ. œ. .
f
.
œ. œ
œ œ.
˙
œ‰ Œ
J
˙
œ‰ Œ
J
H
œ œ. Ó
∑
3
‰ j #œ œ #œœ œœ œbœ œ œ
œ
3
œ œ. Ó
œ œ.
f
Ó
∑
œ œ
‰ œJ #œ œ œœ œbœ œ œ
j
œ œ. Œ ‰ œ œ™
f
œ œ. Œ ‰ œ œ ™
J
f
œ ˙
J
3
œ ˙
J
œ ˙
J
3
210
13
119
3
Tpt.
j
b
& b œ œ œœœœ œ œ œ œ œ
T. Sax.
b
& b œ œ œœœ j œ
œ œ œœœ
˙
3
? bb
œ ‰
j
œœ
Dr.
/
?
Fl.
° b
&b
? ?
˙™
˙™
Gmin
A. Bass
Ob.
b
&b
Ob.
˙™
b ˙™
&b
Cl.
b ˙™
&b ˙™
Bsn.
Hns.
.
j œ œ. œ œ
œ. .
Ó
j œ œ œ.
œ. œ. .
Ó
j
œ œ œ ‰œœ
œ
?
? ? ?
?
Œ
Œ
∑
∑
j œ
œ ‰ œ
œ œœœ œ
j
œ œœœ
œ. ‰ œ™
b
&b
‰
œ œœœ œ
j
œ œœœ
. .
Ó
‰ .j œ
Ó
‰ œœ.
.J .
w
w
‰
œ.
.
œœ œœ
.
.
œ ‰
œ ‰
.
Tbn.
? bb
∑
?b
¢ b ˙™
Vln. II
b
&b
Vla.
B bb
?
.
œœj
‰
.J ‰
.j
œ‰
œ‰
.J
?
j
œœ
? ?
?
?
˙˙ ™
™
Ó
Œ
‰ œj
˙™
˙™
Ó
Œ
‰ j
œ
Vc.
Db.
? bb
œ ‰
?bœ ‰
¢ b
j
œœ
œ
œœ
J
œ œ œ
œœ
‰J
œ
œœ
∑
3
∑
∑
œ.
œ. ‰ ˙™
J
œ.
j‰
#œ. ˙ ™
Ó
Ó
Ϫ
‰ j
j
œœ œ œ
Ϫ
j
œ œ œ ‰ œJ
Ϫ
‰ j
j
œœ œ œ
Ϫ
‰ j
j
œ
œœ œ
∑
Œ
Œ
∑
.
œj ‰ ˙ ™
bœ ‰ ˙™
.J
Ó
Ó
Œ
Œ
∑
j
‰œ
‰ œJ
∑
3
3
3
3
‰ j #œ œ#œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ
œ
œ œœœ
3
3
3
.
œœ œœ œœ œœ œ œœ œ œ œj ‰
‰ j
œ œ œ œ ‰ ˙™
j
œ
˙™
J.
œœ œ
Ϫ
3
3
œ œ
Ó
‰ œJ #œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ
Ó
3
3
j
œ œ œ ‰œœ
Gmin
∑
∑
‰
? ?
œ ‰
∑
œœj œœ
J
.
j œ œ œ
œ. œ. .
œ œ
div. j
Ó
Œ
‰ œœ œœ œœ œœ œ œœ œ œœ œœ Œ œœ ##œœ
Ó
Œ
‰ J
. œ œ.
. œ. œ
œ œ œœœœ œ œ œ œ
œ
‰
˙
œ
J
˙
œ
∑
Ϫ
œ œ w
3
° bb
& œ œ œœœœ œ œ œ œ œ
3
.
3
3
j
œ #œ œ œ œ j
Œ œ # œ œ œ œ œœ œœ œœ œœ œœ
J
.
J
‰
∑
œ œ
? ?.
?3
?
3
œœ # œ œ œœ œ œj œ œ œ j
# œ œ œ œ œ œ œ œœ
J
J
Π.
3
j
‰œœ
Amin7(b5)
œ
∑
œ œœœ œ
‰ œœj œœ œœ œœ œ œ œ œ œ
‰ J
œ
‰ ?œj œ œœ œœ œ œœ œœ œœ œœ
œ
œ
‰ J
˙™
3
3
∑
∑
3
3
3
‰ œj #œ œ œ œ œ œj bœ j œ œ j
œ œœ œ œ œœ œ œ œ œ œ
Gmin
∑
Œ
Œ
3
‰ œj #œ œ#œ œ œ œ œbœ œ œj œ œ œ œ œ œj œ œ œ œ
œ
J
3
° b
& b ˙™
C Tpt.
Vln. I
‰
Amin7(b5)
∑
b ˙™
¢& b ˙ ™
b
&b
B. Tbn.
˙
‰
j œ
œ ‰ œ
œ
œ ‰ œJ
œ
œ œ
j
‰œœ
œ
œ œ
œœ
‰J
œ
œ ‰
j
œœ
œœ
œ
œ ‰
œœ
J
œœ
211
14
I
3
‰ j œ #œ œ œ œ nœ œ nœ œ œ œ#œ œ œ œ œ œ œ Œ
œ
124
Tpt.
b
&b ˙
Ó
f
T. Sax.
A. Bass
Dr.
Fl.
Ob.
Cl.
Bsn.
Hns.
C Tpt.
Tbn.
B. Tbn.
b
&b
˙
? bb
œ
/
3
Ó
Cmin(maj7#11)
j
‰œœ
œ œ
? ? ?
? ? ?
w
w
° bb ‰ j œ ˙
&
œœ
Vln. II
Vla.
Vc.
Db.
œ#œ
J
œ
BMaj(b6)
nœ
? ?
œ
‰
?
#w
w
?
? ? ? ?
w
w
? ?
?
#w
w
nw
#w
w
w
nw
#w
w
nœ #w
n#w
w
#w
w
w
n#w
mf
#w
nw
w
w
#w
nw
w
w
w
w
nœ
œ w
nw
w
nw
b j
&b ‰ œ œ œ
nœ w
#w
w
#w
w
w
#w
w
w
w
#w
w
b
&b
?b
¢ b
mf
∑
mf
œj bœ ™
œJ bœ ™
? bb ˙
˙
° b
&b ˙
b j
& b ‰ œ œ œ œ̇
B bb ˙
Ó
f
n# w
w
w
w
n# w
w
w
w
mf
∑
Ó
? ?
mf
° b‰ j
&b œ œ œ œ
œ
?
mf
mf
Vln. I
‰
‰ j œ #œ œ œ œ œ œ
Œ
œ
œ
œ œnœ#œ œ œ œ œ œ
#œ
Cmin(maj7#11)
BMaj(b6)
œ
œ
#
œ
#
œ
œ
œ#œ œ
‰
œ ‰ œJ
nœ œ
J
J
mf
b j
˙
&b ‰ œ œ œ
? b œ œ œ œ̇
¢ b ‰J
3
‰ j #œ œ œ œ œ œ #œ œ œ
œn œ œ œ œ œ œ Œ
œœ
#œ
f
Amin7(b5)
b j
& b ‰ œ œ œ œ̇
3
‰ j œ #œ œ œ œ œ œ #œ œ œ œ
Œ
œ
œ œ œ œ nœ œ œ
nw
w
I
œ œ n œ œ n œ œ œ œ#œ œ œ œ œ œ œ
‰ œ œ #œ œ
Œ
J
3
3
nw
w
œ œ œ œ #œ œ œ œ œ œ œ œ œ œ
nœ
‰ œ œ #œ œ
Œ
J
3
3
nœ ‰ j œ #œ œ œ œ nœ œ nœ œ œ œ#œ œ œ œ œ œ œ Œ
œ
‰ j œ #œ œ œ œ œ œ #œ œ œ œ
Œ
œ
œ œ œ œ nœ œ œ
œ œ œ œ #œ œ œ œ
‰ œ œ #œ œ
nœ œ œ œ #œ œ œ Œ
J
3
‰ œ œ #œ œ œ œ œ œ œ œ œ nœ
#œ œ œ œ # œ œ œ Œ
J
non div.
? bb
œ
j
‰œœ
œ œ
?bœ
¢ b
œœ
‰J
œ œ
‰
œ#œ
J
œ
‰
œ#œ
J
œ
3
nœ
œ
‰
œ#œ œ œ
J
‰
œ#œ
J
œ
nœ
œ
‰
œ#œ œ œ
J
‰
œ#œ
J
œ
nœ
œ
‰
œ#œ œ
J
nœ
œ
‰
œ#œ œ
J
212
15
129
Tpt.
T. Sax.
A. Bass
Dr.
3
b
& b ‰ j œ #œ œ nœ œ#œ œ #œ œ #œnœ #œ œ œ œ œ œ œ Œ
œ
3
b
Œ ‰ j
& b ‰ j œ #œ œ nœ œ œ œ #œnœ œ œ
œ
œ b œ œ œ.
#œ œ œ œ œ œ œ
œœ œœ
œ.
Amin(#11)
G#(b6)
Gmin(#11)
F#(b6)
j œ nœ
j
? bb
nœbœ œ
œ œ
‰
œ ‰ œ
#œ œ
œ ‰ œ
J
#œ œ
/
? ?
?
nb w
w
?
?
? ?
˙™
˙™
œ #œœ ˙˙
œ
b #w
&b w
bw
bw
˙˙ ™
™
œœ œœ ˙˙
nw
? bb
w
¢
bw
bw
˙™
˙™
œ œ ˙
œ #œ ˙
b w
&b w
Cl.
? ?
? ?
. >œ >.
.
.j
œ œ œœ
‰ œœ .
.
‰ .J .
>>
f
. . >œ >.
‰ .j
œ œœ
‰ œ œ .œ
> >.
.J .
f
. > >.
.
‰ .j œ œ œœ œœ
‰ œ
. >> >.>.
.J .
. œ
f . .
œ œœ
j
‰ œœ œ
‰ J . . > >.
.
œ œ
?
?
œœ œœ œœ œ œ
œ œ œœ œœ œ
œ
œœ œœ œœ œ œ
œ œ œœ œœ œ
œ
œœ œœ œœ œ œ
œ œ œœ œœ œ
œ
Ó
Ó
f
° b
&b w
bw
˙™
œ #œ ˙
b
& b nw
bw
˙™
œ œ ˙
˙˙ ™™
œœ œ ˙
œ ˙
C Tpt.
b
w
&b w
bw
w
Tbn.
nw
? bb w
bw
w
?b
¢ b w
bw
Vln. I
? ? ? ?
bw
w
Ob.
B. Tbn.
?
œœ œ ˙
œ ˙
Ó
w
° bb w
&
Hns.
? ?
˙™
˙™
Fl.
Bsn.
‰ j
œ
œ œ # œ œ œ œ œ. # œ.
J
> >.
œ. œ œ Ó
œ
œ
œ. # œ. - œ. .
> >.
œ œ Ó
œ
œ œ .
œ. # œ. - œ. .
Gmin
jœ
‰ œœ œ
œ ‰œ
J
° b ‰ j œ #œ œ nœ œ#œ œ #œ œ #œnœ #œ œ œ œ œ œ œ Œ
&b œ
3
Vln. II
3
b
& b ‰ j œ #œ œ nœ œ#œ œ #œ œ #œnœ #œ œ œ œ œ œ œ Œ
œ
Vla.
B bb ‰ œj œ #œ œ nœ œ œ œ #œnœ œ œ #œ œ œ œ œ œ Œ
œ
3
Ó
∑
Ó
∑
>.
œœ
>.>.
w
œ
w
.
>>
f
. œ. >œ >œ.
‰ j œ œ. -œ œ. œ
w
#œ. .
f
J> >
. œ. œ œ.
œ
.
j
œ
œ
œ
œ
œ
œ . œ #œ.
‰ œ œ #œ œ
#œ. .
> >.
œ œ
‰ j
j‰
œ
œ œ œ œ. œ # œ. œ- œ. œ. . Ó
#
œ
œ
œ
œ
.
>œ >œ.
. œ.
œ
.
‰ j
b
œ
œ
œ œ œ œ œ œ œ. œ. œ. #œ. œ
. .
‰ .j œ œ
‰ œ
.
.J .
f
.
œ.
‰ j œ œ. -œ œ. œ
#œ. .
Vc.
? bb
œ
‰
j
œ œ nœ #œ
œ
‰
nœbœ œ
œ
J
‰
j
œœ
œ
Db.
?b
¢ b œ
‰
j
œ œ nœ #œ
œ
‰
nœbœ œ
œ
J
‰
j
œœ
œ
#œ œ
#œ œ
>
œœ
>>
œ
Ó
Ó
Ó
Ó
Ó
Ó
œœ œœ œ œ
œ œ œœ œ œ
œ œ œœ
div.
Ó
‰
œœ
J
œ
jœ
œ ‰œ
œ œ
‰
œœ
J
œ
jœ
œ ‰œ
œ œ
213
16
134
3
3
3
b
& b ‰ œj #œ œ œ œ œ œj œ bœ œ j œ œ œ œ œ j œ
œ
œ œ œœœ
T. Sax.
? bb
œ
A. Bass
/
Dr.
Fl.
?
° bb #˙˙
&
Ob.
b
&b
Cl.
b
&b
Bsn.
? bb ˙˙
Hns.
C Tpt.
Tbn.
B. Tbn.
Vln. I
¢
# ˙˙
# ˙˙
3
j
‰œ œ
œ
? ?
>
œœ
>
>
#œœ
>
>
œ
œ
>>
œœ
>
?
>
œ
nœ
>
>
œ
#nœ
>
>
œœ
>
œ
œ
>
Amin7(b5)
Vla.
> >.
‰ j œ œ. œ œ
œ. .
Ó
˙
> >
‰ j œ œ. œ œ.
œ. .
Ó
3
j
œ œ œ ‰œ œ œ
œ ‰
j
œ œ
? ?
?
Ó
Ó
Œ
Œ
? ? ? ? ? ?
.
.
.j . œ œœ œœ
œ œœ œœ ˙˙
œ
‰œ .
œ
.
‰ .J .
Ó
Ó
Œ
Œ
œœ œœ œœ ˙˙
Ó
Ó
Œ
Œ
œœ œœœœ œœ ™™
∑
Ó
Ó
Gmin
Amin7(b5)
3
jœ œ
œ
œ ‰œ
Gmin
?
? ?
ff
3
> > >. > >. >
Œ ‰ œj œ œ œ œ ≈ œr
Œ ‰ œJ œ œ œ œ ≈#œ
> >>. >>. >R
>
>
˙˙
Œ ‰ j > . > >.≈ >r
Œ ‰ œœ œœ œœ œœ œœ ≈ œ
œ
> >. J
.j . œ. œœ œœ > >>. >>. >R
‰œœ
Ó
‰ J . . > >.
Ó
.
œ
j
‰œ œ
œ
?
?
?
Amin7(b5)
>
Ϫ
Ϫ
>
>
Ϫ
Ϫ
>
∑
Œ ‰ j
œ ˙
>
b
&b
Œ ‰ j
≈ r
œ œ œ. >œ œ. œ œ ™
> >> > >
f
∑
∑
Œ ‰ j
œ
>
Ó
Ó
Œ ‰ j
œ
> >. >
œœ œœ
>> >.>. >
œœ œœ œœ
> >. >
b
&b ∑
? bb
>
Ϫ
Ϫ
>
∑
>j
œ
œ
J
>
∑
>
Ϫ
Ϫ
>
>j
œ ˙
œ ˙
J
>
j
j
œ w
œ> ™
œ œ™
>
> >
œ œ œ œbœ œœ œ œ œ œ œœ œ
#
œ
œ
° b ‰ œ #œ
œ œœœ
˙
&b
J
?b
¢ b
∑
b
&b ˙
#˙
3
3
3
3
#œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ
œ œœœ
˙
œ œ
B bb ‰ œJ #œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙
non div.
3
3
3
3
˙
. .
‰ .j œ œ
‰œ .
.J . . .
.
‰ œj œ œ
‰J. .
.
≈ r
œ œ. >œ œ. œ
>> > >
Ó
Ó
> >. > >. >r
œœ œœ œœ œœ ≈#œœ
>>. >>. ≈ >R
?
∑
∑
ff
3
‰ œj #œ œ œ œ œ œj bœ j
œ œœ
Ó
Ó
Ó
Ó
>j
œœ
J
3
‰ œj #œ œ #œ œ œ œ œ bœ œ œj
J
° b
&b
3
Vln. II
˙
3
j
j
b
œ
& b ‰ œj #œ œ #œ œ œJ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ
Tpt.
>j
œ ˙
#œJ ˙
>
>
j
œœ ˙˙
J
>
∑
j
œ ˙
>
Ϫ
j
œ ˙
>
∑
>
œœ ™™
>
>j
#œœ ˙˙
J
>
>œ >œ. > > >. > >. r
>
bœ œ œ œ œ≈ œ œ™
œ ˙
J
> >
>œ >œ.
.
œ
. œ. œ
#œ œ # œ œ œ œ b œ œ œ
‰ œJ
Ó
‰ œJ
3
> >.
‰ j œ œ. œ œ
œ. .
. > >.
œ. œ œ œ
‰ œJ.
Ó
‰
3
3
j
#œ œ œ œ œ bœ œ œ
œ #œ œ
3
Ó
œ œ
‰ œJ #œ œ œ œ œ bœ œ œ
3
3
Vc.
? bb
œ
j
‰œ œ
œ
œ ‰
j
œ œ
j
œ œ œ ‰œ œ œ
jœ œ
œ
œ ‰œ
œ
j
‰œ œ
œ
Db.
?b
¢ b œ
j
‰œ œ
œ
œ ‰
j
œ œ
j
œ œ œ ‰œ œ œ
jœ œ
œ
œ ‰œ
œ
j
‰œ œ
œ
214
17
139
Tpt.
T. Sax.
A. Bass
Dr.
Fl.
Fl.
Ob.
Ob.
Cl.
Cl.
Bsn.
Bsn.
Hns.
˙
Ó
3
b
Ó
&b œ œ œ œ œ j œ
œ œ œœœ ˙
j
j
? bGmin ‰
œ œ Amin7(b5)
œ œ
b œ
œ ‰œœ
/
? ?
>
° bb œ™
& Ϫ
>
b
&b
>
b
& b œœ ™™
>
b
&b
?
>j >
œœ ˙˙
J
> >
∑
b>
& b Ϫ
Ϫ
>
b
&b
>
? bb Ϫ
Ϫ
>
?b
¢ b
> >
j
œœ ˙˙
J
>∑ >
° bb
&
j
œ ˙
> >
j
œ ˙
> >
∑
b
&b
C Tpt.
C Tpt.
b
&b
?
>j >
œœ ˙˙
J
> >
∑
>j >
œ ˙
œJ ˙
> >
∑
>Ϫ
Ϫ
b>
&b
Tbn.
K
3
j
b
&b œ œ œ œ œœ œœœ œ œ
>˙
>˙
>˙
˙™
>˙ ∑
w
>œ >˙
J
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙™
∑
>
˙
1.
∑
?
?? ?? ? ??? ? ?
>? ? ?
˙™
œ œ œ œ ˙™
œ
œ
œ
œ
˙˙
œ œ
œ œœœ
‰
Ó
>
œœ œœ w
w
œ‰ œ
Ó
‰ #œ œ
J
œ
>
™
œ
˙
œ œœœ
Ó
˙™
œœ
˙˙
Ó
>
w
œ‰ œ
∑
w
J
˙™
œ
œ
œ
œ
™
œ
œ
œ œ
œ œ˙
œ œœœ
>
‰
˙˙
Ó
>
œœ œœ w
œ‰ œ
w
Ó
‰ #œ œ
J
œ œ
>
œ œ ˙
˙
œ œ b˙
Ó
˙
Ó
>
œ œ
∑
œ œ ˙
œ œ b˙
∑
? bb Œ ™
œ
∑
2.
w
œ œ b˙
Ó
œœ
?? ?? ??
œ™ œ œ w
˙
˙
w
w
œ™ œ œ w
˙™
˙
œ œ
w
œ
œ ™ œJ œ œ œ œ b˙
œ œ
j
œ™ œ œ œ œ œ œ b˙
œ œœœ œ™ œœ w
˙™
w
j
œ‰ œ ˙
w
w
œ œœœ œ™ œœ w
˙™
w
œ œ ˙
j
œ‰ œ ˙
œ œ œ
œ
Vln. II
b
&b œ œ œ œ œœ œœœ œ œ
˙
œœ œœ w
‰ #œ œ
w
œ‰ œ ˙
J
Vla.
B bb œ œ œ œ œ œ œ œ œ œ œ
˙
‰ &œ œ œ œ œ œ ˙ ™
œ œ œ œ ˙™
3
3
Vc.
Db.
3
œœ
œœ
w
w
œ œ
œ
™
œ J
œ œ œ b˙
w
œ œœœ œ™ œœ w
œ ‰
j
œ œ
j
œœ œ ‰ œœ
œ
œ œ b˙
œ
œ ˙
œ
œ œ œ
?b
¢ b œ ‰
j
œ œ
j
œœ œ ‰ œœ
œ
œ œ b˙
œ
œ ˙
œ
œ œ œ
? bb
œœ
œ œ œ œ™ œj œ œ
œ œ œ b˙
œ
œ
w
œ œ œ œ™ œ
˙™
œœ
˙
Vln. I
Ó
œœ
w
œ œ ˙™
œ œ ˙™
œœ
œœ
w
˙™
œ
?b
Ó
¢ b >˙
° bb œ œ œ œ œ œ œ œ œ œ œ
&
˙™
œ™ œ œ w
œ œ ˙
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217
Appendices
1 - In October 2008 I interviewed Jean-Jacques Avenel, double bassist for Steve Lacy from 1981-2004. The
interview took place at Jean-Jacques’ apartment in the south of Paris and was conducted in French, which I
have subsequently translated.
LJ: You’re from Le Havre?
JJ: Le Havre, yes
LJ: And I’ve read that you were self-taught?
JJ: Yes, well…you could say self-taught because I never went to the conservatorium. But it’s not true
that we learn all alone. I learnt by watching people and above all I owe a lot to Kent Carter who was
Steve Lacy’s bassist before me. I met him in Le Havre when they came and he was lovely to me. He
was like a big brother. He invited me to his place and we played like possessed men, all night long.
LJ: Did he live in Le Havre?
JJ: No he lived in a chateau outside Paris. I mean he rented part of one, in a little hamlet called
Magnolet and he had a music studio down below…Kent was a real character…I’d go and see him
and sometimes stay for two or three days. We worked all night, playing the whole night. We’d
playing completely free and from time to time he might give me some technical advice. That helped
me a lot because actually when I first played with Steve I didn’t know how to play the bass. Steve
came to my town with Irene, his wife, and the deal was that he use a local rhythm section. There
wasn’t anybody who played the bass at that time. I had a friend who played drums and I borrowed
a bass from his brother.
I went to Paris with my friend in his little car to sit the audition. We met Steve. I was dying of fear,
obviously. I said to myself, ‘what’s this going to be like this thing?’ But Steve was very nice, very
charming. We played two or three hours and he said, ‘OK that’ll do.’ So we did this little tour of Le
Havre which was funny. It was after ’68. The cultural centre – Le Havre was run by a communist
municipality so they had ideas like that – had us playing in some incredible places; factories, the
social welfare office at the end of work, you know, some strange stuff.
LJ: It sounds like a great idea though…
JJ: It was a very good idea. It didn’t work every time though. For example I remember at the social
welfare office, the people had worked all day, they closed the counters and they left…they didn’t
really want to stay any longer. But there were always a few interested people. Anyway that’s just an
anecdote, it’s to say that I started playing before I knew how to play the instrument. I remember I
was a bit pathetic at the start because I had blisters, or rather; they weren’t blisters yet they were
gashes. There was blood everywhere…it was epic.
LJ: And what was Lacy like to deal with?
JJ: Steve was always charming. He was very open, and at the same time he kept a certain distance.
He’s not the kind of guy that would slap you on the back and say how’s it going, mate, no he kept a
certain distance, always a certain respect. But he was very tolerant and very encouraging as well. He
never said, that’s no good, this is a mess, no he was very positive.
LJ: Would he give you any advice?
JJ: Yes at first. His first piece of advice was ‘Keep the music alive. Whatever’s happening keep it
alive.’ What that means really is do what you want; you’re completely free but be lively. Tell a story,
don’t let the music die. That was his first piece of advice.
LJ: And were they his compositions?
JJ: There weren’t many compositions, maybe two or three. It was fairly improvised, but I do
remember there were two or three fairly straightforward compositions. It was the period that he
made his first solo album ‘Lapis’ in which he used overdubs. The 70’s were a time of research in
French music; it was very, very open. What we call free jazz etc…there were lots of American
musicians there was the Art Ensemble, Frank Wright, there was a really lively scene. Obviously
there were lots of French musicians as well, so there was a nice melting pot.
LJ: And you knew about that music at the time?
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JJ: No, no I played guitar, I loved Django Reinhardt and was more into bebop, although I didn’t
have a complete grasp of harmony at that point. I listened to Wes Montgomery, Barney Kessel,
people like that, shall we say swing to bebop. Then I heard Coltrane and that fabulous stuff and I
was completely astounded. Then when I met Steve I almost thought he was a Martian. I thought,
what’s going on? And then he was so encouraging and tolerant that in the end…playing’s just
playing. Up until the point where I felt that I had limitations and so I set about working seriously at
my instrument.
LJ: And that experience inspired you to come to Paris?
JJ: Absolutely. When he left I found myself all alone in Le Havre, I didn’t have to think too long
about it. At the time the only way to play a bit of music you liked was to be part of a dance band,
which wasn’t such a bad school either. But you had to learn a whole bunch of really annoying tunes
in order to have the right to play something that we liked for fifteen minutes each night.
So I came to Paris all alone, my drummer friend hesitated for a long time but didn’t come. I had met
Kent because at the end of the tour the rest of the band came to play. So I looked him up and he gave
me my first gig, replacing him with Collette Mali. She was a singer with a golden voice. She was an
extraordinary woman as well, a real character. She had had a fight with her bass player and then
Kent was supposed to replace him but he passed the gig on to me and I ended up staying with her
for two years. That allowed me to survive and I took the time to learn a bit more about the
instrument.
LJ: And then you played with Frank Wright?
JJ: After that, yes I went more into the free jazz scene. I played with Frank Wright for two or three
years, replacing Alan Silva. At the time the band was Bobby Few and Mohammed Ali, the brother of
Rashid. Often there was another sax, Noah Howard or Arthur Jones, and I played in Noah Howard’s
group as well. That was in the free jazz movement, 72, 73, 74.
LJ: And free jazz was more present back then than now?
JJ: Oh yeah, lots more. There was a cultural life, a musical life that was very, very intense. There
were more clubs, more places to play. One of the centres was Le Centre Americain. It was
welcoming; there were lots of musicians, dancers, theatre types. It was a meeting place for artists
who rehearsed and crossed paths. I remember Steve had a workshop there, every Monday he had a
thing he called the Clinic. It was crazy. It was open to everyone who wanted to play and it was held
in the big room beneath Le Centre Americain. Sometimes there were up to thirty musicians who
would play. Steve didn’t give any…there were no scores. From time to time he intervened when a
drummer played too loud, he’d stop them and say ‘there has to be balance.’ We’d play for four
hours like lunatics. I remember at first I couldn’t hear myself, and then after a while because of
playing I believe I managed to catch a sound there because you really had to play. Otherwise you
leave. There were lots of people who couldn’t stand it, and I could understand that. If you wanted
to hear what you were doing you really had to pull on your strings.
When he came to Paris he was already very famous. He had already done all that work with Monk
and Cecil Taylor and with his group with Roswell Rudd and Dennis Charles and the bass players…
LJ: The twenty eight bass players…
JJ: Yes the twenty-eight bass players. So he already had all that, but he still was able to question
himself. He had that magical phrasing, that whole fantastic language, and he was still able to look at
it objectively. He’d just spent time in Rome. I heard that he came to Paris because he heard Frank
Wright’s band and he loved Bobby Few’s playing. He wanted to play with him, which he did do a
bit later.
LJ: You joined his band about the same time as Bobby?
JJ: Yes at the same time. That’s to say I played a bit with him beforehand. From time to time he’d
do a concert with two bass players, or sometimes Kent was away so I filled in. So I was kind of part
of the family. I was often at his place, I already knew his music.
LJ: That was in 81?
JJ: Yes around then
LJ: And had Kent left Paris?
JJ: Kent never liked Paris. He was a guy that loved the countryside. I think he went to Angouleme.
LJ: Your playing is very different from his…
JJ: Yes probably.
LJ: Recently I heard a solo version you did of Eronel by Monk. I wondered if you had been
influenced by the kora, an instrument you also play?
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JJ: Many people have said that, I’m not sure but there must be something because lots of people
say that.
LJ: It’s astounding to be able to play the bass notes, the harmonies and the theme on the double
bass all at the same time.
JJ: When I learn a tune I like to keep the bass notes as well. Maybe it comes from the guitar, the
hand positions.
LJ: Can you talk about the way Lacy played solo?
JJ: It was fascinating. I never heard him repeat himself. I don’t know how it worked. He was very
musically cultivated. Not just musically. He always surprised me. Never was I bored when I played
with him or when I listened to him playing solo. Never did I think, that’s an old cliché he’s already
played that, never. It’s incredible. There was a freshness, and real sense of research. It was unique.
LJ: I find that in his first albums there’s a conscious effort to avoid clichés…
JJ: Yes that’s for sure. He hated that and he worked very hard to avoid it. It was something he
couldn’t stand, hearing a saxophonist or a pianist who played clichés.
LJ: His sense of swing was quite different as well.
JJ: Yes and at the same time he had great rhythmical freedom. Sometimes you’d think he was lost
but he always knew what he was doing. He gave a sense of liberty with his silences. His sense of
rhythm was very unique.
LJ: Was it a challenge to play with him for these reasons?
JJ: Yes of course. You had to play the compositions well, that was the least I could do! But after
that it was a challenge for everyone in the group because we needed to surprise each other. We were
lucky enough to play a lot, but that meant that to avoid boredom we had to be always surprising
each other. But that was possible because of the environment that he created. Everything was
allowed; we could go wherever we wanted. Never did I hear him say that’s no good, or do this, do
that. Sometimes he wouldn’t say anything or he didn’t seem very happy but then sometimes he’d
say ‘Man! Fantastic!’ He would encourage us, give us compliments. And that was the best school,
the liberty he gave all of us. When you’ve tasted that you don’t want to lose it.
LJ: So the heads were very difficult but the solo sections were very free?
JJ: Yes that’s right. It was up to you really. There were some pieces that had harmonic forms,
maybe ten or so. But otherwise you’d just pick and choose. Sometimes I’d get something happening
with Bobby, the pianist, or just do my own thing.
LJ: For example the piece ‘Prospectus’, how did that work?
JJ: ‘Prospectus’ was in the key of C. So you do what you want with that.
LJ: But it seems to me that there’s a lot more to it than that. A lot more to it than just C!
JJ: Yes well there are all the different C’s! There are all the C scales and so there’s every note if you
want. But the piece gives off a tonal centre that is the tonality of C!
Often that piece caused problems for pianists actually. Bobby was at ease everywhere but other
pianists didn’t know what to do. But in Steve’s pieces there were often different tonalities that
crossed over each other. Sometimes if we asked he might say yes there’s that one but there’s also
that one which is the contrary of that one and this one! So you could do your own little cuisine!
Otherwise you could find something in the colour of the piece or in the rhythm of it. Use that as a
trampoline! But you weren’t forced to. If you asked, he’d happily say, yes it works like that you can
do that – or not!
It was always open.
LJ: Are there any links with Ornette Coleman’s way of improvising then?
JJ: I’m not sure. Steve really had a particular style. I don’t think Ornette really influenced Steve.
Maybe, but there’s a whole research in terms of sound and sonority with Steve. Ornette had that
fluidity, his own sound, a continuous sort of respiration. Steve worked a lot with silences. His use of
silence is incredible. I think he learnt that in Japan.
LJ: In terms of composition, I don’t want to always bring it back to influences, but I find there’s
something of Kurt Weill in there, more than American jazz…
JJ: Yes, that’s to say that a broad culture is very important with Steve. He had an immense culture.
He was passionate about poetry and painting. The most important aspect of his music is his songs.
With the poetry he set to music. That’s what characterises his music above all. He made some great
instrumental music as well but the essence of his music is his poetry settings. I think he was crazy
about Irene’s voice, that clear powerful voice that comes from the Swiss Alps. All the songs are
written for her.
220
LJ: Exactly, and I find she has lots in common with Lotte Lenya (Kurt Weill’s wife and singer)
JJ: Yes but it’s not on purpose, it’s her natural voice. She never tried for that. The hard thing for
her was singing the melodies, which are extremely difficult. There are interval jumps sometimes of a
seventh or even a thirteenth and to sing that you need to practice a lot. There are easier pieces as
well and I’m thinking of ‘Somebody Special’ and ‘Nowhere Street’ from the Brion Gysin cycle, but
most of them were hard. You need to have a very precise voice, which is not often the case in jazz.
But in any case Irene was never strictly a jazz singer; she never looked to imitate. That’s why it was
different. The fact that Lacy played the melodies in unison also made it unique as well as hard.
Setting to music all those poems, all those cycles, was an immense task. At the moment we’re trying
to put a bit of order into the music and there are maybe a hundred or so pieces that we never even
touched, one’s that we never played. He never stopped composing. There are maybe three or four
hundred songs. There are hundreds that we played and worked on, the Brion Gysin cycle, the
William Burroughs, the Robert Creeley, ‘Futurities’. And then there were others that we didn’t get
around to. That’s what the project is now; I think Irene is getting into that, putting together a sort of
anthology, a catalogue of songs.
LJ: To be published?
JJ: Yes, to be published. To show the people that are interested how it works. Because there’s also a
fear that otherwise people will play them wrong. There’s lots of work to do because he left an
enormous amount of music and we didn’t have the time to play all of it. What’s more Steve had an
enormous amount of energy, he was always doing a hundred things. The band was one thing, then
there was the trio, the duets with Irene, he played with other people, he did lots of solo gigs, he
played with dancers…he had an incredible energy. He wrote all the time, he was always travelling
of course. I don’t think he had foreseen that he would leave us so soon. We miss him. The Parisian
scene misses him, and unfortunately it never gave him a homage that was befitting.
We miss his integrity, his courage and his warmth. He had everything at that same time, like a…I
don’t want to say guru, but it was someone who opened things, doors, windows. And then he
worked all the time. He was always working his instrument, his compositions, then he would
rework them…and when we look at his oeuvre we can see his writing, which became more precise,
which became more and more beautiful. And then his warmth, because he was always open to
things. Lots of people came to his place to see him, meet him, talk with him. And his presence, we
miss that too. You don’t meet many people like that. Not in one lifetime. When we have the chance
to know people like that – you don’t want them to go. Yes when he was there he changed the
Parisian scene. For example when played in a club we played eight nights in a row. Now it’s no
longer possible, we play one night. That’s not because of Steve, it’s the jazz scene that’s changing, the
world that’s changing. The epoch of clubs is finished. There are still a few clubs but it’s not the same
thing. Bands come play for a night in a little club, they rehearse at their place and then that’s it for
two or three months. It’s a real shame for the music because before we could tour. When we toured
in the States we played every night. We would play eight nights in a club in New York and then
we'd be taking planes every day. I remember a tour of 33 days where we played 31 gigs. Crazy! It’s
not possible any more. In order to have a group sound like that now – how do you it? It’s hard to
have a group that makes music so tight, so together. It’s another world, another way of working, I
don’t know where it’s heading. You have to invent things, invent venues.
LJ: Especially when we’re talking about a music that is essentially conversational.
JJ: Yes that’s true.
We’d rehearse sometimes at Steve’s when there was new material, which was pretty regularly. I
loved his rehearsals.
LJ: Would you go over pieces or just play?
JJ: Yes, heads, and then we’d amuse ourselves of course.
LJ: Did you ever do some free improv as well?
JJ: I did that at first but then afterwards he had so much material that he wanted to try out and see
how it worked on the inside. But it would come back to free improvisation because we’d play a head
or two and then we’d fly.
LJ: He also had some projects that were almost orchestral, for example on the CD ‘Itinerary’.
JJ: Yes.
LJ: Was it he who did the arrangements as well?
JJ: I think Franz Kolgmann did a few. Otherwise there were things like ‘Vespers’ one of the most
beautiful cycles and the most beautiful of Steve’s albums. ‘The Beat Suite’ and ‘The Cry’ he did the
221
arranging as well. When he was is Boston he continued to write, I found some of his scores for
baritone, for violin, so he was always wanting to grow. ‘Futurities’ is a very beautiful cycle as well.
But I think the thing that wounded Steve the most was that he wasn’t recognised enough as
composer. For he was a great composer. When we look at how it’s constructed, with such beauty. I
believe it wounded him very much. He was recognised as a saxophonist, as an improviser but not as
a composer.
LJ: He was slightly in between two worlds as well.
JJ: Yes
LJ: I think that he was regarded as a master and a leader in the field of free improvisation. For
much of the European press this was more interesting than his jazz works. But then in the States he
was maybe less well-known…
JJ: No when we toured the States over a period of fifteen years there was always an audience for
Steve. That was incredible, no matter where we went there were always aficionados and followers.
Maybe it was a new thing, this group, the songs, maybe it hasn’t been accepted yet. It’s something
that we’ll appreciate later maybe. ‘Art Songs’ he called it. He chose the great poets and he set them
to music. It stands alone as body of work. It’s not often that we sing the great poets in jazz. I don’t
even know if you’d call it jazz. Yes, there’s a piano, a double bass, a saxophone, drums…it has to be
jazz.
Now something’s happened. I don’t know if it’s fear or if we don’t know where we’re going or what.
Maybe it’s the schools as well. They’re making all these musicians of high calibre, but what are we
teaching them, we’re teaching them standards. What’s a guy who gets out of there going to do?
LJ: I read an interview with Lacy in which he said making jazz musicians teach in conservatories
was akin to putting Indians in a reservation!
JJ: Yes it’s going round in circles, eating its tail. There are a few adventurers who risk other things.
There’s a type of reaction since fifteen years or so. Something repulsive. At the same time there are
some great musicians doing it and doing it well…and redoing and redoing well…and doing it again
and doing it again really well…
LJ: So what about your projects now then?
JJ: I’ve got several. The first reason is survival. But I always liked moonlighting even when I was
playing with Steve. To escape and play some other music. I have a trio with the flautist Michel
Edelin and John Betsch and another group in Belgium. I do solos. Sometimes people ring me up.
I’ve got an African group but we don’t have any work. Each time I play with them people love it. I
love the kora. As Steve said it’s my secret weapon!
2 – Also in October 2008 I interviewed John Betsch, another longstanding member of Lacy’s group having been
drummer between 1988 and 2004.
Lucien Johnson: So maybe we could start with the first time you heard Steve Lacy…
John Betsch: The first time I heard Steve Lacy was on a recording with Don Cherry, Billy Higgins
and Carl Brown. They played ‘The Mystery Song’ by Duke Ellington. I can’t remember the name of
that recording but I remember that song
L: It’s called Evidence isn’t it?
JB: That’s the one. I was immediately struck by his sound and the concept that he had. I said ‘this is
different’. He and Don Cherry blended really well. That was about the summer of ’65 in New York.
L: What were you up to at that time?
JB I was at the home of a trumpet player called Mark Levinson, with whom I went up to the Catskill
Mountains and working with for the summer. I was at home in his apartment, and he put it on.
L Were you a student then or already playing?
JB I was in between schools, in between Fisk University in Nashville, Tennessee and Berkley School
of Music in Boston. I was just in New York for the summer and then we went up to the Catskill
Mountains to work in a hotel called the President. Anyway that was my introduction to the sound
and conception of Steve Lacy and I was very, very impressed.
But I was made aware of the soprano saxophone, I remember it very distinctly, I was about 6 years
old and it was on a kids TV show. There was a guy playing and he had on a fireman’s hat and I was
struck by the sound and the feeling because he had the real N’Orleans sound and spirit, that Bechet
swagger, and I remember it very well. Actually a kid in my elementary school band had one and
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that was the first time I saw one. And then of course My Favourite Things just changed
everything. But it’s like it’s always been around me.
L: It’s funny because Coltrane and Lacy seem to have nothing in common in terms of sound.
JB: Yeah Lacy had a mouthpiece that was very special. Very open rubber mouthpiece whereas
Coltrane played metal and it sounded more nasally.
L: And so how did you first meet Lacy?
JB: I first met him in New York at the Tin Palace, which was on the Lower East Side where I used to
play. We were just sitting there together at the table. We realised we’d both lived in the same town
in Massachusetts so we had something in common. Then the first time I heard him in person, him
and Steve Potts played a duo at a big loft called Inveron in New York. That was early 80s maybe late
70s . And then the sextet came to Ali’s Alley in New York and that was really something else. I’d
been listening to him on albums like Trickles and with the Monk tentet and Gil Evans, so I knew
what he was doing. That sound was so distinct that you could say, “oh yeah”. And that’s part of the
magic about it, to have a distinct sound. It’s interesting that he and Mal Waldron hooked up like
they did because they both had very distinct sounds. The minute you heard them you say “Boom!
that’s that.”
L: So how did it come to pass that you ended up playing with him?
JB: I met him after I moved here. I went round to his house with JJ Avenel one day. He was on the
project that I came to Paris to do, which was with a student of Lacy’s who was called Mike Ellis. He
invited me here. Whenever the quartet was playing I’d go hear them. Then one time Oliver Johnson
had a recording in Switzerland and Steve asked me to sub for him (Whistles). It was June 88 at the
Sunset. It was amazing. What really killed me was that Lacy would tell me things like “Just play,
don’t mind us!’ Don’t mind us?! You know he had that off the wall wit, like he’d say “this one’s just
straight ahead but it’s got a hole in it at bar nine”. Or when he taught me ‘As Usual’ he just recited
me the poem. ‘As Usual, the usual axe falls on the usual neck at the usual time in the usual place, as
usual.’ There’s a documentary called ‘Raise the Bandstand’ about Lacy, which is actually an
expression of Monk’s. And we did, it was a very special night, we levitated.
Then about a year later, Steve Potts rang me from Rome to tell me that Oliver Johnson had had an
epileptic fit and I had been unanimously voted into the band and that was that. That lasted 18 years.
L: Were you apprehensive at first?
JB: The first sextet gig was scary. That’s a lot to deal with. Just fitting in there and making it swing
was really hard. But I managed to find my niche and off we went.
L: One thing that strikes me also about Lacy is the way he deals with rhythm. When he plays eighth
notes it doesn’t sound like he’s even playing eighth notes.
JB: Johnny Griffin called it “Playing Snakes. He’s playing snakes.” (Laughter). Rhythmically he was
really something else. That was a tremendous challenge for me because it’s the drummer’s job to
make the band swing and it was hard. It was hard to work out how to deal with that. And that’s
why the first sextet gig was terrifying. I was screaming out for mama. It was hard to raise the
bandstand. But once we found it off we went.
L: It seems to me like he was making a conscious effort to avoid clichés especially in the early records.
JB: Clichés, yeah that’s the name of one of his songs. You know Alain Jean Marie? You know how
he doesn’t talk? Well Lacy was in Canada and had to see the dentist. Alain played with Steve over
there and Steve was zonked out. Alain rang me up and said it was the highlight of his career because
Steve Lacy doesn’t play clichés but that he was disappointed because Steve Lacy doesn’t talk!
(laughter) But he did not play clichés. And his writing was the same it wasn’t like anything else or
anybody else.
L: He almost made his own clichés with the writing.
JB: Exactly. Then his mastery of the instrument was just astounding. God! He could make
impossible sounds and he could make them so easily. That’s the definition of a true virtuoso, when
you can do the impossible shit and make it look easy. His range and control were astounding.
L: How did he go about rehearsing?
JB: He’d just run ‘em down. Run down heads. Sometimes he would fuck up like everyone. It
wasn’t the easiest music in the world.
L: Was it regular or before a gig?
JB: Usually just before a gig or if there was something new or if he felt something needed tightening
up. He was always himself no matter what the situation. He had completely unique ideas and
concepts - and people really went for it…Most of the time.
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L: After about 50 years! (laughter) Could you get by just off that when you were in his band?
JB: Only the Rolling Stones can get by off one band. Everyone’s gotta do what they gotta do, and
there were always conflicts. But we worked a lot. I mean we toured the States and even went to
Austin, Texas. It was like a baseball game, 200 people stuck outside. Because people just really
appreciated honest music. We went to Mexico, N’Orleans. We ate ourselves stupid there. We had a
great manager called Ann Raventish. She was very good at organising things, plus she was fun.
There was Japan also, that was phenomenal. We did a lot. I miss him.
L: He seemed to have a thing about opposites, especially with the other horn players. I’ve always
thought he and Roswell sounded kind of like Laurel and Hardy, and then with Steve Potts he found
someone that also had a contrary approach.
JB: Of course. But you know there wasn’t anyone else like him so the contrast was easy! Because he
was just himself.
I’ll never forget when we went to Italy. We did a workshop, and he spoke Italian so he conducted it
in Italian. I don’t speak Italian but I understood. His mind was so clear he could speak to you in
another language and you could understand him, you dig? That was astounding. That was a
brilliant, brilliant mind.
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