SWEET GEORGIA BROWN (LITTLE BIG BAND)
Recorded by Ella Fitzgerald
Arranged by Marty Paich, Prepared for Publication by Dylan Canterbury, Rob DuBoff, and Jeffrey Sultanof
Cat #: JLP-9747
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Edition: Jazz Little Big Band Arrangement with Vocal
Description: Swing - Medium Difficult
Publisher: Jazz Lines Publications
Few arrangers knew how to better play up Ella Fitzgerald's (many) strengths than Marty Paich. This take on the classic standard Sweet Georgia Brown allows Fitzgerald to embrace her more playful side, keeping the spotlight on her throughout and naturally building around her infectious energy. This little big band arrangement is a reduced instrumentation of Paich's original full big band chart that Fitzgerald recorded on several occasions with multiple different bands, most notably the orchestras of Count Basie and Duke Ellington. This particular arrangement was recorded in 1966 and released on the Whisper Not album.
The ensemble wastes no time roaring to life in the short but sweet introduction before getting out of Fitzgerald's way at measure 5. The melody is stated three consecutive times, with Fitzgerald becoming looser and more improvisatory with each successive chorus. The first statement is just vocals and rhythm section, with the horns returning for the second statement. These backgrounds are low key and non-intrusive, meant solely to add a little something extra to the proceedings that weren't initially there.
It's the third chorus where the band begins to become more proactive in their accompaniment, as the horns play some strong, punchy hits around the vocals at measure 38, with the saxes and trombone providing a swinging counter-line at measure 46. Fitzgerald alters the tune's melody substantially in order to fit around said figures, and continues to adjust the melody accordingly over the course of the entire final chorus. The final 8 measures of the melody are extended a pinch before a bit of vocal-ensemble back and forth at measure 70. Fitzgerald continues to playfully manipulate and extend the tune over a pedal point at measure 78 before ushering the band into the final salvo at measure 91. A copied introduction sets the stage for a few sour ensemble chords and one final collective band blast.
This publication was prepared from the original set of parts used during the recording session and Marty Paich's pencil score - this is not a transcription.
Vocal
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
2 Trumpets
Trombone
Guitar
Piano
Bass
Drums
Trumpet 1: Eb6
Trombone: A4