Edition: Jazz Big Band Arrangement

Description: Afro-Cuban/Swing - Difficult

Publisher: Jazz Lines Publications

Although his accomplishments as a trumpeter are universally acknowledged, in the early days of the bebop movement Dizzy Gillespie crafted a handful of highly creative and unique arrangements that serve as textbook examples of how to adapt the movement's harmonic and rhythmic idiosyncrasies to a big band format. This 1948 arrangement of the swing era standard "Lover, Come Back To Me" puts a highly modern spin on what was already considered to be an old classic.

After the rhythm section (with the pianist instead playing on celeste) sets up the 3/4 Afro-Cuban feel in the first 4 bars, the saxophones come in with a simple multi-textured rhythmic riff. Gillespie enters with the melody at measure 13, showcasing a tenderness rarely associated with his playing. The backgrounds consist mostly of simple but effective riffs and pads in the saxophones and trombones, with a re-appearance of the introductory riff in the first ending at measure 41.

The saxophones take over the first half of the melody on the bridge at measure 47, with Gillespie resuming the lead role at measure 59. A brief rubato statement from Gillespie is followed with a powerful ensemble blast in measure 72, followed by a suddenly slower tempo with Gillespie performing the final few measures of the melody with some subdued saxophone accompaniment.

The arrangement undergoes another sudden shift in speed with a typically brilliant Gillespie solo break setting up a rapidly faster tempo at measure 77. A drum break sets up the band's full entrance at measure 85, with Gillespie screaming over the top of the raucous ensemble. Some dissonant horn blasts under the final melody statement at measure 101 set up the same chord that occurred in measure 72, followed by another significant downshift in tempo as Gillespie leads the saxophones in a re-harmonization of the final few measures of the melody. The arrangement comes to a conclusion with Gillespie hanging out on top of a noticeably dissonant (and very bebop-infused) final chord from the ensemble.

This arrangement is for jazz big band featuring trumpet soloist. Piano doubles on celeste. In addition, a part for conga drums has been created that is roughly based on Chano Pozo's performance on the original recording. This is not a transcription - it has been prepared from Dizzy Gillespie's original set of parts.

Full Score
Trumpet Soloist
2 Alto Saxophones
2 Tenor Saxophones
Baritone Saxophone
4 Trumpets
3 Trombones
Bass Trombone
Guitar
Piano
Bass
Drums
Conga Drums

Trumpet Soloist: G6
Trumpet 1: D6
Trombone 1: Ab4