Music Suggestions Wanted
- Thread starter pete
- Start date
There's the classic Doris Day version of Sentimental Journey, which is basically (in the original) a combo plus bass clarinet behind the vocalist.
More readily available is the Latin tune Watch What Happens. The arrangement that I use opens with vocalist and piano doing the verse, followed by a guitar entry, and then band (with bass clarinet) behind for the chorus. There's then a lyric trombone solo, followed by a wind-down chorus (where the bass clarinet again becomes prominent).
One of the versions of I've Got You Under My Skin that we use opens with an extended figure on the bass clarinet, and closes with the same.
On the Walt Stuart arrangements of New York, New York and I've Got You Under My Skin, I always play the baritone part on the bass for the first third of the piece. The transposition (using the register key shift trick) is a simple one, and the bass blends better in both cases.
(In NY,NY, the first part of the tune is scored for clarinets and flute, so the omission on Walt's part was probably a "Which bari players have a bass clarinet?" decision. On the other, it just works well.)
In general, if the rest of the saxes are on clarinet and flute, I almost reflexively play the baritone part on the bass. Only if the baritone part parallels the trombones do I stay on the sax.
Those are just the ones that I recall off the top of my head. All of them are vocals, not jazzers.
More readily available is the Latin tune Watch What Happens. The arrangement that I use opens with vocalist and piano doing the verse, followed by a guitar entry, and then band (with bass clarinet) behind for the chorus. There's then a lyric trombone solo, followed by a wind-down chorus (where the bass clarinet again becomes prominent).
One of the versions of I've Got You Under My Skin that we use opens with an extended figure on the bass clarinet, and closes with the same.
On the Walt Stuart arrangements of New York, New York and I've Got You Under My Skin, I always play the baritone part on the bass for the first third of the piece. The transposition (using the register key shift trick) is a simple one, and the bass blends better in both cases.
(In NY,NY, the first part of the tune is scored for clarinets and flute, so the omission on Walt's part was probably a "Which bari players have a bass clarinet?" decision. On the other, it just works well.)
In general, if the rest of the saxes are on clarinet and flute, I almost reflexively play the baritone part on the bass. Only if the baritone part parallels the trombones do I stay on the sax.
Those are just the ones that I recall off the top of my head. All of them are vocals, not jazzers.
I'm a big fan of Thad Jones charts. The interlude in Central Park North has a nice woodwind feature.
Here's a link to a recent recording: http://www.emusic.com/album/One-More-The-Thad-Jones-Repertory-Band-One-More-The-Summary-Music-Of-Thad-Jones-Vol-2-MP3-Download/11284280.html I have copies of the original on vinyl and cassette, so links are out of the question.
Here's a link to a recent recording: http://www.emusic.com/album/One-More-The-Thad-Jones-Repertory-Band-One-More-The-Summary-Music-Of-Thad-Jones-Vol-2-MP3-Download/11284280.html I have copies of the original on vinyl and cassette, so links are out of the question.
Look for stuff arranged by Don Costa. His woodwind writing is pure genius. The delicate woodwinds are never wasted because they are exposed. Steve Lawrence, Eydie Gorme, and many other "Vegas" acts used him. To quote Jack Fieirman, Steve and Eydie's musical director, "Oh, why did he leave us?"
OOPS! I forgot the obvious - Henry Mancini.