Home » CHUCK ISRAELS JAZZ LINES PUBLICATIONS SERIES: SET OF ELEVEN ARRANGEMENTS [DOWNLOAD]

CHUCK ISRAELS JAZZ LINES PUBLICATIONS SERIES: SET OF ELEVEN ARRANGEMENTS [DOWNLOAD]

Based on the Music and Style of Bill Evans
Arranged by Chuck Israels
CHUCK ISRAELS JAZZ LINES PUBLICATIONS SERIES: SET OF ELEVEN ARRANGEMENTS [DOWNLOAD]
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Cat #: JLP-1019DL

$420.00

This product is available for immediate download after purchase.

 

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Edition: Eleven Jazz Little Big Band Arrangements

Description: Swing - Difficult

Publisher: Jazz Lines Publications

Eleven of the new Chuck Israels little big band arrangements in a specially-priced set!

All are also available individually; please click below for full information on them all.

Five-JLP-7450

Funkallero-JLP-7451

One For Helen-JLP-7452

Peri's Scope-JLP-7453

Re: Person I Knew-JLP-7454

Show-Type Tune-JLP-7455

Speak Low-JLP-7456

Very Early-JLP-7457

Walkin' Up-JLP-7458

Waltz For Debby-JLP-7460

Who Can I Turn To?-JLP-7459

 

Bill Evans’s music is widely appreciated for its nuance and beauty, for its sophisticated harmonic language, and for the extraordinary gradations of touch in his piano playing. All of these are highly developed in his music, but each of them can be heard to some degree in music that precedes Bill’s. There are superb classical pianists whose touch rivals his, a rich history of piano music that includes other characteristics of his music, and wonderful examples of creative and expressive jazz piano playing. But there is one feature of Bill Evans’s music that is nearly unique and usually overlooked; its unparalleled rhythmic variety and invention.
Immersion in this music was the richest experience of my bass playing life. As a composer/arranger, I have taken what I understand from Bill’s aesthetic system, the balanced qualities that made it so rewarding to hear and to play, and included those elements in my writing in every way I could.
Playing an accompanying role while Bill played those extraordinary rhythms was relatively easy, since his execution was rock solid and independent of his surroundings. His consistently reliable control of those complex cross rhythms against a deeply felt pulse made it possible to participate in the music with an intuitive understanding of how they related to the more usual rhythms I could create without fully understanding how complex and sophisticated they were. Notating them so that others can experience how it feels to perform them has been at the same time a more daunting and an illuminating process.
These rhythms have informed all of my music, but they are especially prominent in these interpretations of pieces on which Bill has left his indelible stamp. They are difficult to read, but not impossible to play, and they are an unending source of inspiration and out and out fun.
Anthony Newley’s lovely show tune - a medium tempo piece with trumpet, bass and piano solos and an ensemble chorus. The bass plays the melody introducing the out chorus.
-Chuck Israels

Bill Evans’s music is widely appreciated for its nuance and beauty, for its sophisticated harmonic language, and for the extraordinary gradations of touch in his piano playing. All of these are highly developed in his music, but each of them can be heard to some degree in music that precedes Bill’s. There are superb classical pianists whose touch rivals his, a rich history of piano music that includes other characteristics of his music, and wonderful examples of creative and expressive jazz piano playing. But there is one feature of Bill Evans’s music that is nearly unique and usually overlooked; its unparalleled rhythmic variety and invention.

Immersion in this music was the richest experience of my bass playing life. As a composer/arranger, I have taken what I understand from Bill’s aesthetic system, the balanced qualities that made it so rewarding to hear and to play, and included those elements in my writing in every way I could.

Playing an accompanying role while Bill played those extraordinary rhythms was relatively easy, since his execution was rock solid and independent of his surroundings. His consistently reliable control of those complex cross rhythms against a deeply felt pulse made it possible to participate in the music with an intuitive understanding of how they related to the more usual rhythms I could create without fully understanding how complex and sophisticated they were. Notating them so that others can experience how it feels to perform them has been at the same time a more daunting and an illuminating process.

These rhythms have informed all of my music, but they are especially prominent in these interpretations of pieces on which Bill has left his indelible stamp. They are difficult to read, but not impossible to play, and they are an unending source of inspiration and out and out fun.

-Chuck Israels

 

Full Score
Vocal (on Waltz for Debby)
Alto Saxophone/Flute/Clarinet
Tenor Saxophone/Flute/Clarinet
Baritone Saxophone/Bass Clarinet
2 Trumpets
Trombone
Guitar
Piano
Bass
Drums

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