Edition: Jazz Big Band Arrangement with Vocal

Description: Swing - Medium Difficult

Publisher: Jazz Lines Publications

Few arrangers knew how to 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 big band version was recorded by her on several occasions with multiple bands, most notably the Duke Ellington (1966) and Count Basie Orchestras (1979). She also recorded this arrangement in the studio in 1966 with Marty Paich's Orchestra 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. For the live recordings, the first statement features vocals with saxes and trombones; trumpets are added for the second statement. However, for the Whisper Not album studio recording Ella opted to have only rhythm section accompaniment for the first time through the tune and the backgrounds played for the second statement of the melody. 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 brass play some strong, punchy hits around the vocals at measure 38, with the saxophones joining in on the fun with a swinging counter-line of their own 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 is based on Marty Paich's pencil score and the original set of parts used during the studio recording and the numerous live performances over the years. This is not a transcription.

 

Full Score
Vocal
2 Alto Saxophones
2 Tenor Saxophones
Baritone Saxophone
4 Trumpets
4 Trombones
Guitar
Piano
Bass
Percussion: Vibraphone/Congas (Optional)
Drums

Vocal Key: Bb
Trumpet 1: Eb6
Trombone 1: Bb4