Mercy Mercy Mercy

Ed

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Can anyone recommend a good big band arrangement of Mercy Mercy Mercy.

I play in a group that has a nice arrangement and another group that plays the Buddy Rich version. I can't recall who did the nice arrangement. I don't care for the one that is attributed to the Buddy Rich Big Band. It doesn't flow like the song should in my opinion.
 
Can anyone recommend a good big band arrangement of Mercy Mercy Mercy.

I play in a group that has a nice arrangement and another group that plays the Buddy Rich version. I can't recall who did the nice arrangement. I don't care for the one that is attributed to the Buddy Rich Big Band. It doesn't flow like the song should in my opinion.

IIRC, the version recorded by Rich was arranged by Phil Wilson.

Didn't Maynard's band play that tune as well?
 
Years ago I played a concert with Nat Adderly as guest soloist. We played the Buddy Rich big band chart with the little "Indian" motif. Nat wasn't happy about the chart, mostly because of the tempo.

"I'm not sure about this arrangement," he said.

The bandleader asked, "Is it because of the Indian part?"

Nat said, "No, I like the Indian part. It's just too ******* fast!
 
I don't think it's too fast but I hate the Indian part. Cliche is probably the nicest thing I can say about it.
 
I feel the same way about the "quoting" that some tenor, alto and soprano players are fond of throwing in whenever they have a thirty-two bar solo section to fill. Hearing "Mary Had A Little Lamb" or "Pop Goes The Weasel" tossed off, instead of improvisation around the general tune of the piece, just sounds trite.

But, that's just me. That the trend continues is evidence that I'm not in the mainstream on this one.
 
Do you dislike quoting in improvisation in general or only during a solo passage of an ensemble performance?

The trumpet solo in Basie's "April in Paris" heavily quotes "Pop Goes the Weasel," and most bands that play the chart cover the solo note for note. The general feeling is that listeners expect to hear it played the way Basie recorded it.
 
Mostly in improvisation. In many cases, it's just evidence of the player not having "anything to say", and a cheap out in such circumstances.

The written quoting, in the Basie number as in many others, is a norm, Much of music is repetition in any event, and "Pop Goes The Weasel" seems to fit the rest of the chart in your example.

Another one that crops up pretty often is the "Jingle Bells" schtick that some trumpet players like to throw in at the end of an otherwise "non-Christmas" tune. I had a trumpet player once who used to wear that one out, despite specific requests not to. I don't have that trumpet player any longer...
 
Mostly in improvisation. In many cases, it's just evidence of the player not having "anything to say", and a cheap out in such circumstances.

The quote idiom goes way back. It is used mainly as a musical bon mot rather than as a substitute for an idea. It is, in itself, an idea, but only when applied spontaneously and creatively.

Some jazz courseware actually teaches the idiom with examples. That abandons the spirit of the idiom, methinks.

Satch used to quote a pop 20s tune when he played Ain't Misbehavin. I played a gig with Allan Vache last night, and he played the same quote. From 70 years ago. In that case it's not the player not having anything to say. Allan has a lot to say on his clarinet.

Art Tatum was a prolific quoter. Dexter Gordon, too. Anybody who says Tatum and Dex had nothing to say can meet me at the OK Corral at high noon.

The written quoting, in the Basie number as in many others, is a norm, Much of music is repetition in any event, and "Pop Goes The Weasel" seems to fit the rest of the chart in your example.

As I recall, the accompanying chord changes are reharmonized to fit the solo. We're playing the chart in a rehearsal band Wednesday. I'll have to take a look.

Another one that crops up pretty often is the "Jingle Bells" schtick that some trumpet players like to throw in at the end of an otherwise "non-Christmas" tune.

Yeah, Dexter quoted "The Christmas Song" on the bridge to "Body and Soul." Now everybody does it.

And the Star Trek theme over "Out if Nowhere." Clever the first time, but beaten to death.

Once you can identify and discuss a quote, it has become a cliche. The ones I like are the ones that just come out of the blue, and particularly if the line of the quote is suggested more rhythmically than melodically or if the line is matched to a chord sequence that is not in the passage being quoted. Bird was really good at that.

Bassist Lou Morrow says that whenever he comes up with an original quote, the next night the other players are playing it.

I had a trumpet player once who used to wear that one out, despite specific requests not to. I don't have that trumpet player any longer...

Only because of the quote? I can see the severance notice. "Fired on account of Jingle Bells."

The Orlando guys have an onstage ritual whenever a player does a quote. They dig in their pockets to present him with an imaginary chit indicating that he now owes the band a drink.

I used to quote Dixie on cornet in a Dixieland band because the bass player refused to play the tune and would stand tacit if it was called. It was his social statement of the time, I think. I'd sneak it in when he wasn't expecting it.

I like quotes. They make me laugh.
 
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I'm guessing it would depend upon the skill of the player and the venue. As a hobbyist play many gigs for free and to mostly tourist audiences, using a quote is my chance to test the audience and have fun too. However, I tend to quote by pulling from the Charlie Parker omnibook.

That said our 80 some year old trumpet player used to do it once a concert. That was until he couldn't play anymore. But mostly the band members smiled; the audience never seemed to comment by applause, a knowing grin, or by commenting afterward.
 
When I first began giging extensively in NYC, all of the veterans I worked with seemed to quote the first four measures of 'Pretty Baby" in the first four measures of the bridge of "Satin Doll.' It was like a tradition amongst NY players. Most of those players are gone now, so I guess that's why I don't hear it played that way anymore. If I hear it while I'm soloing on Satin Doll, I'll play it. I don't rule anything out.

From what I understand, Thad Jones played the Pop Goes the Weasel quote on like the 20th take of April in Paris, he was getting bored and just played the obvious.

I remember reading an interview of Dexter and the guy asked DG why he quoted Jingle Bells and White Christmas so much in his solos. DG's reply was something like..."I dig 'em, man."

Bird and Diz liked to quote a Percy Granger tune as a tag to some of their recordings. I think it was called It's So Peaceful in the Country, or something like that.

Quotes can serve as a form of bandstand communication. I used to work with a piano player who used to play the nine note opening theme to the tv show "Dragnet" if the shady club owner we were working for at that time would enter or leave the joint, to signal someone in the band to get with the guy about our pay for that evening. He'd be comping behind someone's solo, or soloing himself and you would hear, dum de dum dum.....dum de dum dum, dee. Then someone would bolt from the stand and get the money before this cat split with it.


Julian
 
Dragnet! :D

I LOVE that story.

I'm always tempted to quote Mary Had A Little Lamb but haven't found the right time for it.
 
Bird and Diz liked to quote a Percy Granger tune as a tag to some of their recordings. I think it was called It's So Peaceful in the Country, or something like that.

That'd be "Country Gardens" or "In an English Country Garden."

One of the ones that seems to crop up a lot in this neck of the woods is Duke's "Rockin' In Rhythm."

I seem to be prone lately to quoting David Raksin's "Laura".
 
My favorite quote is the Flintstones theme over the beginning of blues changes. Don't know where it came from - it just popped out one day.
 
My favorite quote is the Flintstones theme over the beginning of blues changes. Don't know where it came from - it just popped out one day.

The Flintstones theme is built on Rhythm changes, so I guess that's a quote of a quote of a...
 
Wild Bill Davison always quoted the first measure of Hoagy's "New Orleans" in the 3rd measure of the bridge to Hoagy's "New Orleans." When I asked him about it, he said, "I thought that's how it went."
 
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