- mixed register trombone, Rhodes electric piano
I have always had a special love of this song. Aside from it’s beautiful stark and simple melody; it’s origin as an early American love song paints a poignant picture of a kind of “Romeo and Juliet” troubled love that tried to reach out and bridge boundaries. A vividly reverent tribute to both nature AND a lovestruck canoe-going trader who wants to marry the daughter of Shenandoah, a Native American chief, this song is an emotional gem on many levels. Shenandoah
Usually in the Key of D, I have lowered it to C as the trombone sounds very rich in the lower register. The harmony in the verse was loosely reworked from a Keith Jarrett version I found online and I added the intro motif and middle vamp.
The beautiful sound of the Fender Rhodes electric piano is featured (I love the Rhodes!). This is handled by the Roland MKS-20, an amazingly expressive rack mounted piano module that I just had repaired (cost a fortune but worth it!).
Details on the Roland MKS-20
The Roland MKS-20 was an innovative rack mounted digital piano module that was not based on samples, but rather on a type of early additive re-synthesis called “Structured Adaptive®” or “SA” synthesis. This ground-breaking technology provided an extremely expressive response, compared to the limited sampling technology of that era.
The MKS-20 design cleverly combined the digital side of the instrument with high-quality analog components and effects, resulting in a far warmer sound than most keyboards of the day. Velocity-triggered algorithms activated harmonic combinations which mimicked the naturally-occurring color changes of mechanical keyboards. Each of the 128 velocities had its own discrete color for each key, resulting in a highly expressive and organic sound.
American Folk Song
I remember singing this southern Appalachaian folk song as a kid in elementary music class and it stuck in my head every since! It is also often titled: “Every Night When the Sun Goes In”. It's a very beautiful yet plaintive melody. My simple arrangement features the acoustic guitar with trombones.
Shelby Flint does a beautiful version of the tune, a few other versions are listed below as well.
The term Marbletown is referring to the graveyard. She is speaking of dying. The gravestones were made of marble and the cemetery is a small town of marble with many souls dwelling there. This is a desperately sad traditional folk song about a young girl who becomes pregnant and finds that the father of the child will have nothing to do with her once he finds out.
- Bossa Nova Ballad (written by Bruno Martino)
I have always been enamored by the beauty of this tune. Although it was an Italian pop song, Joao Gilberto "put it on the map" with his poignant bossa nova version. My arrangement features low register trombone and a mellow emulation of jazz guitar, Fender Rhodes electric piano and electric bass to keep it soft and sensuous.
Although this was minor hit in Italy when released, it eventually became a worldwide jazz standard largely through its bossa nova re-interpretation by João Gilberto. Chet Baker—in his always understated lyricism—recorded a wonderful version of this as well.
- Bossa Nova Ballad written by Edu Lobo, Torquato Neto and Lani Hall (English Lyrics)
OMG... What can anyone say about this gorgeous tune other than its a privilege to play it on the trombone. The lyric for the vocal version both in Portuguese AND English are so perfect you want to just melt. Be sure to check out Bonnie Bowden singing with Sergio Mendes (and keep a handkerchief nearby...)
written by Antonio Carlos Jobim
Unrequited love or just a longing for someone that can never be, Ligia is another achingly beautiful tune by Tom Jobim.
Tom Jobim's genius for harmony is the focus of this stripped down arrangement featuring the trombone accompanied by only a jazz guitar, an acoustic bass and the subdued addition of a string quartet. There's no improv solo, just the tune once through and a short tag/coda.
A show tune is a popular song originally written as part of the score of a “show” (or stage musical), especially if the piece in question has become a standard, more or less detached in most people's minds from the original context. - Wikipedia
composed by George Gershwin
Summertime was composed in 1934 by George Gershwin for the 1935 opera Porgy and Bess. The song soon became very popular and is recognized as one of the most covered songs in the history of recorded music, with more than 33,000 covers by groups and solo performers.
I have styled the arrangement as an organ trio (organ/organ pedal bass, jazz guitar, drums) backing up the trombone. I get a little raunchy with the plunger - it's one more great expressive tool for the bone :-)
FORM: Intro Tune (Changes) > Organ Solo > Bone Solo > Interlude > Tune (Changes) > Short Vamp (Fade out)
music by Jule Styne
This is a great tune for the trombone and I have kept it in the original key of Bb. My arrangement features a prominent lush orchestral countermelody behind the trombone and jazz rhythm section. A snippet of the antiphonal writing can be seen here. There's no improv section—just the tune once through.
Further Details (expand/collapse)
People is considered a signature tune for Barbra Streisand. It was composed by Jule Styne and Bob Merrill for the 1964 Broadway musical Funny Girl. The single, sung by Streisand, was released in January 1964, and peaked at number five on the Billboard pop chart, becoming the singer's first Top 40 hit. It also spent three weeks at number one on the Pop-Standards (adult contemporary) chart in June/July 1964. In 1998, Streisand's version was inducted in Grammy Hall of Fame.
In 1964, a bossa nova version featuring Barbra Streisand and Stevie Wonder was released on Columbia Records. Featuring lots of Stevie's amazing harmonica playing as well as his awesome singing, the duet gives new life to a timeless classic.
written by Burton Lane and Alan Jay Lerner
"On a Clear Day You Can See Forever" was the title tune to a 1965 Broadway Musical written by Burton Lane (music) and Alan Jay Lerner (lyrics).
My arrangement features a string ensemble and evolves into a latin groove for the short solo section.
The song has been recorded by a number of artists, the most famous of which is the Barbra Streisand version who was the star in the 1970 film. The song is reminiscent of Ravel's "Dawn" (Daybreak) movement from his ballet "Daphnis et Chloé".
Andy Williams does an absolutely wonderful version from his 1966 TV special.
Here's a "mini score snippet" of the strings part in the 1st Verse (NOTE: this will appear in a new window/tab)
Other Versions: (expand/collapse)
- written by Frederick Loewe, Alan Jay Lerner
"I've Grown Accustomed to Her Face" is a song from the 1956 musical My Fair Lady, with music by Frederick Loewe and lyrics by Alan Jay Lerner.
Ah... such a beautiful tune with such rich harmonic changes... This was always a fun tune to play on the cocktail piano gigs I used to play. I wrote the intro figure ages ago and yes, its kind of a thrill to finally record it with bone (especially accompanied by the rich Rhodes sound of the MKS-20).
Form is: INTRO › HEAD › BONE SOLO ON TUNE › SOLO ON LANGUID VAMP OUT
I've Grown Accustomed and You Are So Beautiful pair nicely together and I've kept them in the original keys (Eb and F respectively) which highlights the trombone in its middle register. Chet Baker does a touching version nicely posted as a YouTube video (link below).
music by Frederick Loewe, lyrics by Alan Jay Lerner
It's kind of strange that this tune is not more widely known but its really a beautiful tune with equally beautiful lyrics.
If Ever I Would Leave You is from the musical Camelot based on the King Arthur legend. The original Broadway production ran in 1960 for 873 performances, winning four Tony Awards. It featured Julie Andrews as Queen Guenevere, Richard Burton as King Arthur and Robert Goulet as Sir Lancelot. If Ever I Would Leave You would became Robert Goulet’s signature song. The film version was released in 1967 with Richard Harris as King Arthur, Vanessa Redgrave as Guenevere, and Franco Nero as Lancelot.
The original key of Bb was very low, perfect for Robert Goulet but I changed the key to F to keep the trombone on a less bassy sounding range. My arrangement features the Rhodes electric piano, acoustic bass and strings. The strings play a prominent role throughout.
FORM: Intro › Tune (AABC) › Interlude › Solo (AA) › Tune Recap (BC) › Outro (vamp/fade)
Other Versions: (expand/collapse)
by Leigh Harline and Ned Washington
When You Wish Upon a Star was written by Leigh Harline and Ned Washington for Walt Disney's 1940 adaptation of Pinocchio. The original version was sung by Jiminy Cricket (Cliff Edwards). This classic song is heard over the opening credits and in the final scene of the film and has since become the representative song of The Walt Disney Company.
The song reached the top one in Billboard's Record Buying Guide and the American Film Institute ranked it seventh in their 100 Greatest Songs in Film History.
Rather than the Rhodes electric piano, my arrangement features guitars (acoustic and jazz) as well as a smattering of strings throughout.
FORM is Intro › AABA (tune) › short interlude › Bone solo (AA) › short interlude › B › Coda (Outro)
Other Versions: (expand/collapse)
written by Vincent Youmans / Irving Caesar
Tea for Two is originally from the 1925 musical No, No, Nanette (a second jazz standard, “I Want to Be Happy” also was from No, No, Nanette). In the 1950 musical film, Tea for Two, it was sung by Doris Day and Gordon MacRae and became immensely popular.
The song's contains abrupt key changes--atypical for a show tune--but nevertheless it became a huge success, Even the great Russian composer Dmitri Shostakovich did his own arrangement "Tea for Two - Opus 16" which was first performed on November 25th, 1928. It was incorporated as an entr'acte to his ballet The Golden Age as Tahiti Trot and was first performed in 1929.
My arrangement is done as a cha cha and features the trombone (of course!)..
Other Versions: (expand/collapse)
A jazz standard is a composition that is held in continuing esteem and is commonly used as the basis of jazz arrangements and improvisations. The most common categories of origin are: Tin Pan Alley, Broadway musicals and Hollywood movies and to a less extent certain jazz composers. - jazzstandards.com
written by Hoagy Carmichael (lyrics by Johnny Mercer)
This is another gorgeous song from yesteryear. The music was penned by Hoagy Carmichael ("Stardust", "Georgia on My Mind" and others). Its a beautiful melody and sits well with the trombone.
My arrangement features the jazz guitar paired with vibes.1 The bone solo section is based on quartal-voiced harmony for a bit of contrast.
FORM is Intro › AABA (tune) › Bone solo › B (Vibes Solo) › A (Tune Recap and coda)
Linda Ronstadt does an absolutley stunning version... be sure to check out the YouTube link.
- Jazz Guitar: Roland D-50 / JV-880 combo
- Vibes: Roland MKS-20
written by Hoagy Carmichael
Another amazing jazz standard written by the ever-so-talented Hoagy Carmichael.
I have rewritten the tune in 3/4 rather than the original 4/4 time signature. My arrangement is in F, keeping the trombone in a resonant yet somewhat brighter register. (Norah Jones, who recently made this tune famous once again, does it in the key of C).
As in my other tunes in this studio arrangement section, the interplay between the Rhodes, jazz guitar and electric bass keeps the accompiament subtly lively despite the absence of a live drummer.
FORM is Intro > AABA (tune) > AA (Bone solo) > B (surprise!) > A (Tune Recap) > Outro
This song was been covered by a wide variety of artists. Ned Washington’s lyrics wonderfully capture the soft sensuality of love at its best. Three eclectic choices below:
written by Ray Evans
This beautiful tune was written by Ray Evans and Jay Livingston for the Paramount Pictures film Captain Carey, U.S.A. (1950). The soundtrack version by Nat King Cole spent eight weeks at number one in the Billboard singles chart in 1950 and Cole's version of the song was inducted into the Grammy Hall of Fame in 1992. Among his many recordings, Nat King Cole described this song as one of his favorites.
It's a gorgeous melody and I have chosen to keep the arrangement simple. There's no improv solo—just the melody once through. Strings provide a lush orchestral countermelody.
composed by eden ahbez (a.k.a. George McGrew)
George McGrew—the songwriter—was living in a cave when he wrote this masterpiece! He was following a back-to-nature lifestyle called Lebensreform and had changed his name to “eden ahbez" (lower-case letters).
The tune was first made famous by Nat King Cole debuting on the Billboard charts of April 16, 1948. Nature Boy stayed there for 15 weeks, ultimately peaking at number one. It also reached a peak of number two on the R&B charts and went on to sell a million copies in 1948.
The success of the song allowed ahbez to accumulate about US$20,000 ($199,363 in 2016 dollars!) in royalty. However, Billboard reported that ahbez kept only 50% of the royalty for himself, and distributed the rest among people who had helped him in bringing the song to limelight. About 25% was shared with Mrs. Loraine Tatum for helping him with the lyrics and the rest with Cole's valet, Otis Pollard, who had brought the song to Nat King Cole's notice.
My Latin-flavored arrangement features both an acoustic and jazz (electric) guitar. I kept the song in the original key of Dm as the trombone sounds very dark and rich in the lower register.
Other Versions: (expand/collapse)
composed by Ernesto Lecuona
I have always wanted to record this tune, it was written by Cuban composer/pianist Ernesto Lecuona and has such a beautiful melody. Andalucía (Andalusia) is a region in southern Spain known for its hot, dry and mountainous terrain. The region was historically long under Moorish (Arabic) influence and the many recorded versions of this song stylistically reflect the flamenco-esqe music associated with this region of Spain.
I first heard the tune as recorded by Curtis Fuller. It was popularized in the 1950s by the Italian singer, guitarist, dancer, and actress Caterina Valente. The English lyrics are simple yet poignantly wonderful. Xavier Cugat released a great version on the Mercury label in 1965.
My arrangement is in the key of F and incorporates a strong Latin groove. Latin percussion (bongos, congas, cowbell, etc.*) and two acoustic guitars (both a 12 string and a nylon string) provide a pulsating blend of salsa and flamenco behind the trombone and strings.
* Customized from Agustin Espina: Latin Percussion (Samplephonics) Tracks
Other Versions: (expand/collapse)
music by Eddie Heywood
"Canadian Sunset" was written by jazz pianist Eddie Heywood with lyrics by Norman Gimbel. An instrumental version reached #2 on the Billboard Hot 100 chart in 1956. It emerged as a jazz standard in the 60s and quite a few artists covered it.
Canadian Sunset (Wikipedia)
- written by Billy Preston and Bruce Fisher
This song was of course made famous by Joe Cocker—a master of the “emotional crescendo and frenzied climax.” Its a shoe-in for the trombone as well as it sounds great in the original key of F. I have given the accompaniment a gospel bluesy 12/8 feel, featuring the acoustic piano and organ. In addition, a jazzier sounding Fadd9 chord adds a tinge of richness to the harmony.
Form is: INTRO › HEAD › BONE SOLO ON TUNE › SOLO ON VAMP OUT/ FADE...
My bone playing is purposefully raw and borderline distorted. It’s tough to capture Joe Cocker’s bluesy grit but sweet and mellow nuance was NOT the approach on this one. :-)
Although as mentioned, Joe Cocker made this song a hit, probably fewer people know that this was penned by Billy Preston, Bruce Fisher and yes Dennis Wilson of the Beach Boys together one night at a party. Dennis Wilson never claimed copyright credit.
written by Burt Bacharach and Hal David
Another more recent gem, this time from the 60s. "The Look of Love" was written by Burt Bacharach and Hal David and sung by Dusty Springfield, The song appeared in the 1967 film “Casino Royale” and in 2008, it was inducted into the Grammy Hall of Fame.
About the Music
Really great chord changes and an unusual time signature change of a single 2/4 bar in the B section makes this a really hip song. My arrangement builds on a groove set up by the electric bass and kick drum. The acoustic guitar complements the more prominent jazz guitar throughout the tune.
FORM: Intro > Tune (A/B) > Bone Solo (A) > Surprise! (B) > Vamp/Fade
written by Neil Young
I pulled this from JukeBones - a Flash-authored Jukebox of an assortment of songs I rearranged for trombones way back in 2001. Both songs are from his 1970 Album: After the Gold Rush. I have emulated the sound of the French Horn with an cup mute. Birds is an absolutely beautiful song - so simple yet stunning when sung by Neil Young in his strange high and haunting voice.
music by Michel Legrand
"What Are You Doing the Rest of Your Life?" was written by Michel Legrand (with lyrics written by Alan Bergman and Marilyn Bergman) for the 1969 film “The Happy Ending”. The song was nominated for an Academy Award for Best Original Song.
Michel Legrand won the 1973 Grammy Award for Best Instrumental Arrangement Accompanying a Vocalist for a version performed by Sarah Vaughan. More than thirty years later, Billy Childs, Gil Goldstein, and Heitor Pereira won the 2006 Grammy Award for the same category for a version performed by Chris Botti and Sting.
This is truly an incredibly beautiful song. My arrangement features a hefty dose of Rhodes piano with strings. I have transposed the tune to Dm (it is often written in Am).
Chick Corea, Keith Jarrett, etc.
more tunes coming soon...
composed by Keith Jarrett
This tune is from Keith Jarrett’s Köln Concert solo improvisations released in 1975 by ECM Records. The recording became the best-selling solo album in jazz history and the all-time best-selling piano album with sales of more than 3.5 million!
It’s a beautiful melody. My arrangement is in Dm (rather than Am) keeping the trombone in the richer sounding middle register. It features strings, a “jazz guitar” and acoustic bass encapsulated as a light bossa nova.
FORM: Intro › Tune (changes) › Solo (changes) › Extended Vamp › Interlude (Intro) › Tune Recap (changes) › Tag Ending