Concert Program

"Don't Get Around Much Anymore" is a jazz standard written by composer Duke Ellington.. The song was originally entitled "Never No Lament" and was first recorded by Duke Ellington and his orchestra on May 4, 1940. "Don't Get Around Much Anymore" quickly became a hit after Bob Russell wrote its lyrics in 1942. Two different recordings of "Don't Get Around Much Anymore", one by The Ink Spots and the 1940 instrumental by Ellington's own band, reached No. 1 on the R&B chart in the US in 1943. Both were top-ten pop records, along with a version by Glen Gray. The Duke Ellington version reached No. 8 on the pop chart.

- Program Note from Wikipedia

Georgia on My Mind is a song by Hoagy Carmichael and Stuart Gorrell, closely associated with the cover version by Ray Charles, a native of Georgia, who recorded it for his 1960 album The Genius Hits the Road. It became the official state song of Georgia in 1979.

The song was written in 1930 by Hoagy Carmichael (music) and Stuart Gorrell (lyrics). Although it is frequently asserted that the lyrics were written not about the state of Georgia, but rather for Carmichael's sister, Georgia Carmichael, Hoagy Carmichael himself contradicted when he wrote that the song was composed when bandleader Frankie Trumbauer suggested that he write about the state of Georgia. According to Carmichael, Trumbauer also suggested the opening lyrics should be "Georgia, Georgia ...", with the remaining lyrics coming from Gorell. Carmichael made no mention at all of his sister in his telling of the song's genesis.

The song was first recorded on September 15, 1930, in New York by Hoagy Carmichael and His Orchestra with Bix Beiderbecke on muted cornet and Hoagy Carmichael on vocals.

- Program Note from Wikipedia

The classic riff tune, "The Blues Walk", first appears on the landmark 1954 album by the Clifford Brown and Max Roach Quintet. The album was released two years before Brown's untimely death at just 25 years of age.

Duke Ellington composed this naïve-sounding tune for an octet record that he made with the father of the tenor saxophone, Colman Hawkins, in 1962 for Impulse Records. The simple chord progression will sound familiar. Ellington wrote several great pieces on this progresson including "Stompy Jones, and "Flaming Sword" but I'm sure everyone will recognize it as chords to "Happy Birthday"

Earl Brent’s lyrics describe a patron in a bar or lounge, lamenting the absence of “Angel Eyes.” Brent’s choice for the hook and title, “Angel Eyes" has become a popular Jazz Standard having been recorded by such luminaries as Ella Fitzgerald, Frank Sinatra, Ray Charles, Willie Nelson, Sting, and many more.

A prodigy jazz pianist at the age of 14, Claude Bolling became the leader of a small group which won first place in the jazz polls of Europe for five consecutive years. He first recorded at the age of 18 and continued his music "underground" during the WWII, since Jazz was forbidden by the Nazis. This experience paid off toward the end of the war when many jazz musicians came to Paris. He quickly became the most sought-after pianist for concerts and records, and he finally had the opportunity to meet the musician he admired most, Duke Ellington. Through the years, Bolling made friends with many classical musicians who asked that he compose music for them. He has written a series of compositions which juxtapose the classic and jazz idioms, the Suite for Flute and Jazz Piano being one of them.

In the Baroque era, a suite was an instrumental collection of dance movements. In the Suite for Flute and Jazz Piano, however, the term is used in its modern application, signifying an instrumental composition with a number of contrasting movements. There is also great fluctuation of mood within the movements caused by the constant dialogue between the jazz and classical elements which seem to fight, stimulate, mimic and interrupt each other. The Suite has seven movements, but only movment VII Veloce will be played today. This composition was written for flutist Jean-Pierre Rampal.

-- Notes by Cindy Woolley

One of the most famous drum features in the big band pantheon, Cute has been performed countless times over the years by countless bands. Its bright and light tempo and cheeky melody provide a marvelous framework for Sonny Payne's deft brushwork on the original recording, but there are a few other fun surprises along the way as well.

After four measures of drums to establish the tempo and feel, a Basie piano 'plink' ushers in the melody, carried by the bucket-muted brass while the drums continue to provide fills in the gaps. Said melody is followed up by a flute solo, handled delightfully by Frank Wess on the original. Following this chorus of flute is a chorus of drums. Once the drums have wrapped up their statement, a sax soli commences. Another drum fill sets up the ending - an appropriately cutesy blip in the flute and bass.

• Program note from the publisher

Recorded in 1967 by Count Basie & His Orchestra on the landmark album Basie Straight Ahead, this beautiful tune features alto saxophone throughout.

Originally released on Gordon Goodwin's hit album "Big Phat Band - Swingin' For The Fences", this sizzling Latin masterpiece written in a "songo" style features intricate unison lines, blazing ensemble passages, and a continuously energetic rhythmic drive. For the mature band, this is one impressive chart!

-Program note from the publisher

From Trombone Shorty's acclaimed CD Backatown, here is the hot title cut arranged for big band in a funky medium tempo. Combining the elements of New Orleans second line and contemporary rock styles, this unique chart features a blend of catchy riffs, solid ensemble passages, and stop-time breaks. This chart exudes a spirited and unmistakable New Orleans swagger!

-Program note from the publisher