Program Notes

ROCK SOLID | Jeff Jarvis

Rock Solid is an original reminiscent of the Doobie Brothers and Steely Dan songs of the 1980s, and utilizes a variety of rhythmic figures commonly used in rock and funk charts. Designed to make high school groups sound their best, it's loaded with great learning material, and it's simply fun to play.

BLACK BUTTERFLY | Ellington, Mills, and Carruthers

Arranged in 1936 by Duke Ellington, Black Butterfly was transcribed especially for Jazz at Lincoln Center's 2021-2022 Essentially Ellington High School Jazz Band Program. We love this chart for its adherence to historical performance practices and trueness to the compositional voice of Duke Ellington.

SPLANKY | Hefti, Arr. Nestico

There are few collaborations in the world of big band jazz that have produced more classic outcomes than those of bandleader Count Basie and arranger Neal Hefti. At the start of their association in 1951, Basie was looking to revive his big band after a period where economics had forced him to downsize his unit to an octet. Hefti, a youthful veteran who had already written for Woody Herman, Buddy Rich, and Charlie Parker, was looking to expand his name in the public eye. When the two brought their highly sympathetic musical personalities together, the result was a completely re-defined sound of the Basie organization, and big band jazz in general, by combining the easy-swinging riff-based style of Basie's 1930s groups with Hefti's more contemporary, orchestrated sensibility. Their relationship reached its apex with three albums comprised entirely of Hefti's arrangements: 1957's The Atomic Mr. Basie, 1958's Basie Plays Hefti, and 1962's On My Way & Shoutin' Again. These universally-acclaimed classics left the sound of big band jazz permanently altered for the better, revived Basie's fortunes as a bandleader, and paved the way for Hefti's transition to the world of scoring for television and film. Of all of Hefti's arrangements during this fruitful period, Splanky has the most in common with the sound of the original 1930s Basie outlets.

FLOW CHART | Paul Baker

With a tempo around 152 bpm, this chart sets the tone from the first measure with a cool fusion groove in the rhythm and trombones, and there's a cool bari part too! There's great variety with the feel changing back and forth throughout the chart, from fusion to half-time rock, to a driving 4/4 rock and back again, all a great showcase for the rhythm section!

HOMEWARD BOUND MARCH | John Philip Sousa

The only clue to the existence of this unpublished march was a mention in the list of compositions given in Sousa's autobiography, Marching Along, until manuscripts turned up in the basement archives of the Sands Point home in 1965. Several copyists' manuscripts for band bearing the names of U.S. Marine Band musicians were found. Marine Corps enlistment records for these men are incomplete, so establishing an exact date for the composition is improbable unless other manuscripts are someday discovered. Inasmuch as it was written while Sousa was leader of the Marine Band, it would seem that it would have been written during the homeward leg of one of the Marine Band tours (1891 and 1892) or perhaps in the return from the engagement in Fayetteville, North Carolina (1889).

- Program Note from John Philip Sousa: A Descriptive Catalog of His Works

CAVERNS OF SONORA | William Owens

Abounding in mystery and majesty, the Caverns of Sonora in southwestern Texas are recognized as one of the most spectacular and significant cave systems in the world. Best known for a stunning assemblage of crystal formations, The caves remain quite alive with formations still developing.

This work is an engaging homage to this beauteous gift of nature. The opening is slow and mysterious, exuding feelings of intrigue as to what secrets the caves may hold. Suddenly becoming brisk in tempo, a somber melody gradually grows into a powerful statement. While driving percussion and dark harmonies now drive the music, the feeling of mystery remains throughout.

- Program Note from score

SHORTCUT HOME | Dana Wilson

Shortcut Home is a rousing, rather elaborate fanfare that features each section of the ensemble. Drawing upon various jazz styles, the music proclaims and cascades, always driving towards the "home" of the final, C Major chord.

- Program Note by composer

OCTOBER | Eric Whitacre

October is my favorite month. Something about the crisp autumn air and the subtle change in light always make me a little sentimental, and as I started to sketch I felt that same quiet beauty in the writing. The simple, pastoral melodies and subsequent harmonies are inspired by the great English romantics (Vaughan Williams and Elgar) as I felt that this style was also perfectly suited to capture the natural and pastoral soul of the season. I'm quite happy with the end result, especially because I feel there just isn't enough lush, beautiful music written for winds.

- Program Note by composer

THE GOLDEN STAR MARCH | John Philip Sousa

On the front cover of this World War I dirge is the following inscription:

Dedicated to Mr. Theodore Roosevelt

In memory of the brave

Who gave their lives

That liberty shall not perish.

Specifically, the march was composed on memory of Theodore Roosevelt and his son Quentin Roosevelt, who was killed in France. Sousa summed up his sentiments in an interview. "It will not be a monetary success. One cannot write from his heart and write for rewards. I was thinking of these fine young boys who will never return."

The composition was heartily but seriously received immediately after the war but was dropped from the Sousa Band repertoire gradually as the nation returned to normal. Taps was included in one section of the march, and this brought about several sorrowful reactions from audiences. At one concert in Reno, Nevada, for instance, women burst into tears and band could scarcely hear itself play.

- Program Note from John Philip Sousa: A Descriptive Catalog of His Works

BENEATH THE CANOPY | Cait Nishimura

I’ve always cherished any time spent in the forest. While the mighty and majestic treetops are what I’m drawn to first, I’ve come to enjoy observing and investigating the environment that exists beneath the canopy. It is here where many birds, animals, and insects make their homes; where mushrooms and mosses magically appear; and where visitors to the forest leave footprints on trails.

Beneath the Canopy is a hopeful, uplifting, and energetic piece for concert band that is meant to evoke a walk through the woods. The layers of melodies and harmonies throughout the piece represent the various levels of the forest, from the ground to the understory and up to the canopy. The colours and textures within the ensemble depict the flora, fauna, and funga of the forest.

This piece was commissioned by the Vancouver Technical Secondary School Senior Band, directed by Amanda Killburn and Elizabeth Riegert. It was originally composed for flexible band instrumentation in five parts. This version for full concert band provides opportunities for all sections of the ensemble to shine.

- Program Note by composer