Blues for Pablo - JLP-8109 - Score.MUS - Ejazzlines.com
Blues for Pablo - JLP-8109 - Score.MUS - Ejazzlines.com
Blues for Pablo - JLP-8109 - Score.MUS - Ejazzlines.com
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Jazz Lines Publications<br />
Presents<br />
the jeffrey sultanof master edition<br />
blues <strong>for</strong> pablo<br />
As recorded by the miles davis/gil evans orchestra<br />
Arranged by gil evans<br />
edited by jeffrey sultanof<br />
full score<br />
from the original manuscript<br />
jlp-<strong>8109</strong><br />
Music by Gil Evans<br />
Copyright © 1956 BOPPER SPOCK SUNS <strong>MUS</strong>IC<br />
All Rights Reserved Used By Permission<br />
Layout, Design, and Logos © 2010 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM<br />
This arrangement has been published with the authorization of The Estate of Gil Evans.<br />
Jazz Lines Publications<br />
PO Box 1236<br />
Saratoga Springs NY 12866 USA
Background:<br />
Miles Davis signed with Columbia Records thanks to producer George Avakian, who heard him in per<strong>for</strong>mance at the 1955 Newport<br />
Jazz Festival. By then, Miles had kicked his drug habit and was getting himself together. There was one problem: Prestige Records still had<br />
him under contract <strong>for</strong> another year and a half and recorded him extensively during that time. But Avakian began planning Miles’<br />
recording activities the moment Davis signed his contract. It was the beginning of an association that would last over twenty years, long<br />
after other jazz artists left Columbia.<br />
Very early on, producer and artist discussed an album with a big band, and Avakian asked Davis to choose between Gunther Schuller<br />
and Gil Evans to arrange and conduct. Miles chose Evans immediately. When the album Miles Ahead was released, it made musical history.<br />
A mix of adaptations of classical music, an original by Miles and Evans, and current jazz pieces by Dave Brubeck, John Carisi and Ahmad<br />
Jamal arranged as one long suite, it helped to re-launch Evans’ career as well as Davis’ own. At around this time, eleven of the Miles Davis<br />
Nonet sides were reissued, and most listeners heard Boplicity and Moon Dreams <strong>for</strong> the first time. An album <strong>for</strong> Prestige called Big Stuff<br />
further solidified Evans’ standing in the jazz world.<br />
The Music:<br />
<strong>Blues</strong> <strong>for</strong> <strong>Pablo</strong> was originally written <strong>for</strong> Hal McKusick <strong>for</strong> inclusion on his Jazz Workshop LP recorded in 1956 <strong>for</strong> RCA Victor Records<br />
(this album also included Jambangle, which was later re-orchestrated and expanded <strong>for</strong> Evans’ Big Stuff LP <strong>for</strong> Prestige Records). Evans<br />
mixes an idea in minor that has two influences (a theme from Falla’s ballet El Sombrero de Tres Picos and a Mexican folk song 1 ) with a blues<br />
in major, and the effect is pure Gil Evans. His treatment of this piece <strong>for</strong> Davis’ album is identical in <strong>for</strong>m to the McKusick version, but<br />
is in a different key, and of course is set <strong>for</strong> a larger ensemble. Despite a large brass ensemble of five trumpets, four trombones<br />
(including a bass trombone) and tuba, he used four reeds, of which only one was a saxophone. The other reeds are flutes and bass<br />
clarinet. Please note that there is no piano part <strong>for</strong> this arrangement, and none should be added.<br />
There have been two previous editions of this music available. The first was prepared by Joe Muccioli <strong>for</strong> various per<strong>for</strong>mances he<br />
conducted that is available from the Gil Evans estate, the second an edited and partially transcribed edition made by Steve Lajoie and<br />
published in a folio by Advance Music. This Jazzlines publication is a newly edited per<strong>for</strong>mance edition prepared from a copy of the score<br />
used by the American Jazz Orchestra. The original score was discovered in 1995, part of three boxes of music belonging to Miles that<br />
were in storage <strong>for</strong> several years.<br />
This edition hues closely to what Evans originally wrote; the corrections consist of adding clear articulation (which is often nonexistent<br />
or misleading in Evans’ music) and fixing wrong notes. Don’t let anyone tell you that maestro Evans did not make mistakes in<br />
his manuscripts; he most certainly did. So an editor must look carefully to make sure that what is finally published is in fact what the<br />
<strong>com</strong>poser wanted. This is made easier because Evans’ voicings are based on instrumental doublings, so checking say, the bass clarinet<br />
and bass trombone against each other usually solves any note questions, as well as listening to the recording. Obviously, consultation of<br />
the original parts would be helpful to aid in this pursuit. However, they are currently unavailable.<br />
Notes to the Conductor:<br />
Editing a Gil Evans score from the Miles Davis sessions is a challenging exercise. Despite his usage of large King Brand score paper,<br />
Evans’ handwriting is often not very clear, and flats and naturals sometimes look alike. Evans often uses unusual rhythmic notation as<br />
well, and despite mailing copies of the parts to the musicians be<strong>for</strong>e the sessions (and as can be seen on discographies, the musicians<br />
on these recording dates were the best in the New York music world), they had a tough time playing this music. The sessions <strong>for</strong> this<br />
album went overtime, and per<strong>for</strong>mances had to be spliced together.<br />
I once heard a conductor of this music insist that these pieces play themselves. This of course is absolute nonsense; if any music needs<br />
lots of tender loving care from the conductor to <strong>com</strong>e alive, it is this. The advantage of being able to purchase this music is the luxury<br />
of time <strong>for</strong> the conductor to study these scores carefully, and have adequate rehearsal time to fully explore the many layers of sound<br />
this music has deep within the notes. Listening to both the McKusick and Davis per<strong>for</strong>mances is a great help as well to hear how the<br />
music needs to breathe to sound right.<br />
A key issue is the treatment of the flutes in live per<strong>for</strong>mance; obviously an alto flute is easily buried by all of those brass instruments,<br />
and a bit of subtle amplification should be considered so the flutes sound as the coloristic enhancement to the ensemble that Evans<br />
clearly wanted. Please do not have them louder than the trumpets; they need to be equal in sound to the section.<br />
Jeffrey Sultanof<br />
-April 2010<br />
blues <strong>for</strong> pablo - notes<br />
Footnote: 1 In his liner notes <strong>for</strong> Miles Davis/Gil Evans – The Complete Columbia Recordings, Bill Kirchner cites an article by Max Harrison<br />
with this in<strong>for</strong>mation.
jLp-<strong>8109</strong><br />
<strong>Score</strong><br />
Solo Trumpet<br />
<br />
ad lib tempo (rubato)<br />
On Cue<br />
<br />
<br />
{S`o`l`o`}<br />
3<br />
<br />
the jeffrey sultanof master edition<br />
bLues <strong>for</strong> pabLo<br />
(recorded by miles davis)<br />
[A]<br />
3<br />
<br />
<br />
<br />
<br />
Jazz lines PubLications<br />
Music by Gil Evans<br />
Arranged By Gil Evans<br />
Edited by Jeffrey Sultanof<br />
<br />
<br />
<br />
3<br />
<br />
Alto Sax. 1<br />
<br />
<br />
f<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Flute 2<br />
Alto Flute 3<br />
Bass Clarinet 4<br />
Trumpet 1<br />
<br />
<br />
<br />
<br />
<br />
<br />
mp<br />
<br />
<br />
mp<br />
<br />
<br />
mp<br />
<br />
<br />
<br />
<br />
{O`p`e`n``}<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
‘<br />
‘<br />
<br />
<br />
(3)<br />
‘<br />
(3)<br />
‘<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Trumpet 2<br />
<br />
{O`p`e`n``}<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Trumpet 3<br />
<br />
{O`p`e`n``}<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Trumpet 4<br />
<br />
{O`p`e`n``}<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Trumpet 5<br />
<br />
{T`o` ``E``x`t`e`n`d`e`d` ``H`a`r`m`o`n` `M`u`t`e`}<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Horn in F 1<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Horn in F 2<br />
<br />
<br />
<br />
mp<br />
mp<br />
<br />
<br />
<br />
<br />
<br />
<br />
Trombone 1<br />
<br />
<br />
{In` ``H`a`t``}<br />
<br />
<br />
mp<br />
<br />
<br />
<br />
<br />
<br />
<br />
Trombone 2<br />
<br />
<br />
{In` ``H`a`t``}<br />
<br />
<br />
mp<br />
<br />
<br />
<br />
<br />
<br />
<br />
Trombone 3<br />
<br />
<br />
{In` ``H`a`t``}<br />
<br />
<br />
mp<br />
<br />
<br />
<br />
<br />
<br />
<br />
Bass Trombone 4<br />
Tuba<br />
<br />
<br />
<br />
<br />
mp<br />
{In` ``H`a`t``}<br />
<br />
<br />
mp<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Bass<br />
<br />
<br />
{A`r`c`o`}<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Drum Set<br />
ã<br />
{T`a```m``b`o`u`r```i``n`e`````}<br />
˙æ<br />
Very Soft Tremelo<br />
˙æ<br />
˙æ<br />
˙æ<br />
<br />
˙æ<br />
<br />
1<br />
2<br />
3<br />
4<br />
5<br />
Copyright © 1956 BOPPER SPOCK SUNS <strong>MUS</strong>IC<br />
All Rights Reserved Used By Permission<br />
Layout, Design, and Logos © 2010 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM<br />
This arrangement has been published with the authorization of The Estate of Gil Evans.
Jazz lines PubLications<br />
bLues <strong>for</strong> pabLo<br />
<strong>Score</strong> - Page 3<br />
jLp-<strong>8109</strong><br />
Solo Tpt.<br />
<br />
On Cue<br />
<br />
3<br />
<br />
<br />
<br />
On Cue<br />
<br />
<br />
a tempo = 60<br />
On Cue<br />
<br />
<br />
<br />
A. Sx. 1<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Fl. 2<br />
<br />
<br />
<br />
<br />
<br />
<br />
mp<br />
3 3 3 3<br />
<br />
<br />
<br />
Accel.<br />
3 3 3 3<br />
<br />
<br />
Rit.<br />
A. Fl. 3<br />
Bs. Cl. 4<br />
Tpt. 1<br />
Tpt. 2<br />
Tpt. 3<br />
Tpt. 4<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
p<br />
p<br />
p<br />
p<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
û<br />
<br />
mf<br />
<br />
<br />
û<br />
<br />
mf<br />
<br />
<br />
û<br />
mf<br />
<br />
<br />
<br />
û<br />
mf<br />
<br />
<br />
mp<br />
<br />
mp<br />
<br />
mp<br />
<br />
mp<br />
<br />
mp<br />
<br />
mp<br />
3 3 3 3<br />
<br />
<br />
<br />
Accel.<br />
<br />
<br />
<br />
<br />
<br />
3 3 3 3<br />
<br />
<br />
Rit.<br />
Tpt. 5<br />
Hn. 1<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
mp<br />
<br />
3 3 3 3<br />
<br />
<br />
<br />
Accel.<br />
<br />
3 3 3 3<br />
<br />
<br />
Rit.<br />
mf<br />
mp<br />
Hn. 2<br />
<br />
<br />
<br />
<br />
<br />
<br />
mf<br />
<br />
mp<br />
<br />
Tbn. 1<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
mf<br />
mp<br />
Tbn. 2<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Tbn. 3<br />
<br />
<br />
<br />
<br />
<br />
<br />
mf<br />
<br />
mp<br />
<br />
<br />
Bs. Tbn. 4<br />
Tuba<br />
Bass<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
mf<br />
<br />
mf<br />
<br />
mf<br />
<br />
mf<br />
mp<br />
<br />
mp<br />
<br />
mp<br />
{P`i`z`z`}<br />
<br />
mp<br />
3<br />
<br />
<br />
<br />
<br />
<br />
3<br />
<br />
<br />
D. S.<br />
6<br />
ã<br />
˙æ<br />
7<br />
<br />
˙æ<br />
``D``r`u`m` `S`e`t```}<br />
{T`o`<br />
˙æ<br />
mf<br />
<br />
œ<br />
mp<br />
8<br />
(Tom-Tom)<br />
œ œ<br />
<br />
<br />
œ<br />
<br />
9<br />
‘
jLp-<strong>8109</strong><br />
bLues <strong>for</strong> pabLo<br />
<strong>Score</strong> - Page 4<br />
Jazz lines PubLications<br />
Solo Tpt.<br />
[B]<br />
<br />
<br />
<br />
<br />
<br />
<br />
3<br />
<br />
<br />
<br />
A. Sx. 1<br />
<br />
<br />
Subtone<br />
<br />
<br />
<br />
<br />
mp<br />
Fl. 2<br />
A. Fl. 3<br />
<br />
<br />
mp<br />
<br />
<br />
mp<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Bs. Cl. 4<br />
Tpt. 1<br />
<br />
<br />
<br />
mp<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
{In` ``H`a`t``}<br />
<br />
No Vib<br />
mp<br />
Tpt. 2<br />
<br />
<br />
<br />
<br />
{In` ``H`a`t``}<br />
<br />
No Vib<br />
Tpt. 3<br />
<br />
<br />
<br />
<br />
mp<br />
No Vib<br />
{In` ``H`a`t``}<br />
<br />
Tpt. 4<br />
Tpt. 5<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
{In` ``H`a`t``}<br />
<br />
<br />
mp<br />
No Vib<br />
<br />
mp<br />
{In` ``H`a`t``}<br />
No Vib<br />
mp<br />
Hn. 1<br />
<br />
<br />
mp<br />
<br />
<br />
<br />
<br />
Hn. 2<br />
Tbn. 1<br />
Tbn. 2<br />
<br />
<br />
<br />
<br />
<br />
<br />
mp<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
{In` ``H`a`t``}<br />
<br />
{In` ``H`a`t``}<br />
<br />
mp<br />
<br />
No Vib<br />
<br />
No Vib<br />
<br />
Tbn. 3<br />
<br />
<br />
<br />
<br />
<br />
{In` ``H`a`t``}<br />
mp<br />
<br />
No Vib<br />
mp<br />
Bs. Tbn. 4<br />
<br />
<br />
<br />
<br />
<br />
<br />
{In` ``H`a`t``}<br />
<br />
mp<br />
No Vib<br />
<br />
Tuba<br />
Bass<br />
<br />
<br />
<br />
<br />
<br />
mp<br />
<br />
3<br />
<br />
<br />
<br />
‘<br />
<br />
‘<br />
<br />
(4)<br />
‘<br />
mp<br />
<br />
mp<br />
D. S.<br />
10<br />
ã<br />
<br />
œ<br />
mp<br />
œ<br />
<br />
œ<br />
<br />
œ<br />
<br />
11<br />
‘<br />
12<br />
‘<br />
13<br />
(4)<br />
‘
Jazz lines PubLications<br />
bLues <strong>for</strong> pabLo<br />
<strong>Score</strong> - Page 5<br />
jLp-<strong>8109</strong><br />
Solo Tpt.<br />
<br />
{T`o` `C`u`p` `M`u`t`e``}<br />
<br />
<br />
<br />
<br />
A. Sx. 1<br />
<br />
<br />
<br />
<br />
<br />
<br />
3<br />
<br />
<br />
Fl. 2<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
f<br />
A. Fl. 3<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Bs. Cl. 4<br />
<br />
<br />
f<br />
<br />
<br />
f<br />
3<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Tpt. 1<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
{T`o` `C`u`p` `M``u`t`e````}<br />
<br />
f<br />
Tpt. 2<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
{T`o` `C`u`p` `M``u`t`e````}<br />
<br />
Tpt. 3<br />
<br />
<br />
<br />
f<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
{T`o` `C`u`p` `M``u`t`e````}<br />
<br />
f<br />
Tpt. 4<br />
<br />
<br />
<br />
f<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
{T`o` `C`u`p` `M``u`t`e````}<br />
<br />
Tpt. 5<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
{T`o` `C`u`p` `M``u`t`e````}<br />
f<br />
Hn. 1<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
3<br />
<br />
<br />
<br />
f<br />
Hn. 2<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
f<br />
Tbn. 1<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
3<br />
<br />
<br />
f<br />
Tbn. 2<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
f<br />
Tbn. 3<br />
Bs. Tbn. 4<br />
Tuba<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
f<br />
f<br />
f<br />
<br />
<br />
<br />
3<br />
<br />
3<br />
<br />
3<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Bass<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
3<br />
<br />
<br />
<br />
<br />
<br />
<br />
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f<br />
D. S.<br />
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(6)<br />
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Straight Rhythm<br />
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14<br />
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jLp-<strong>8109</strong><br />
bLues <strong>for</strong> pabLo<br />
<strong>Score</strong> - Page 6<br />
Jazz lines PubLications<br />
Solo Tpt.<br />
A. Sx. 1<br />
[C]<br />
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{C`u`p` `M``u`t`e````}<br />
3<br />
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Fl. 2<br />
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mf<br />
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A. Fl. 3<br />
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Bs. Cl. 4<br />
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mf<br />
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Tpt. 1<br />
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mf<br />
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Tpt. 2<br />
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mf<br />
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Tpt. 3<br />
Tpt. 4<br />
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mf<br />
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Tpt. 5<br />
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mf<br />
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Hn. 1<br />
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mp<br />
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Tbn. 1<br />
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{T`o` `C`u`p` `M``u`t`e````}<br />
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mp<br />
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Tbn. 2<br />
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{T`o` `C`u`p` `M``u`t`e````}<br />
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Tbn. 3<br />
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{T`o` `C`u`p` `M``u`t`e````}<br />
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Bs. Tbn. 4<br />
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p<br />
Tuba<br />
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Bass<br />
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D. S.<br />
ã<br />
œ œ œ œ<br />
œ œ <br />
‘<br />
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œ<br />
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œ œ<br />
18<br />
19<br />
20<br />
21
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