Tadd Dameron

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  • Fred's Delight

    In 1949 Artie Shaw hired Tadd Dameron to write a few arrangements for his band. Dameron composed and arranged So Easy, Lyonia (unrecorded), and this arrangement of Fred's Delight. Shaw recorded this once in 1950. Set in a medium swing tempo, this chart features clarinet in a bop-style melody. There is also a guitar solo and short written trumpet solo. There are no saxophone doubles. Learn More
  • Good Bait

    Originally written for Count Basie, and was copyrighted in 1944. Dameron also arranged the tune for the Billy Eckstine Orchestra, and when that ensemble folded, Dizzy Gillespie added the setting to his book, playing it frequently. Basie began playing it in 1948 after Gillespie popularized it. It should sound relaxed, with careful attention to dynamics. There are several soft dissonances in the writing, and I assure the band director that the notes have been double-checked for accuracy. Learn More
  • Just Plain Talkin'

    Tadd Dameron wrote this arrangement for Benny Goodman in 1962 for his tour of Russia (it wasn't recorded). He based it on the arrangement that he had recently written for his Magic Touch record. This arrangement is very close to the one from the Magic Touch album. The main difference is that for this arrangement he added a clarinet part (a solo part for Goodman), left out the flute double on alto 1, and wrote a shout chorus. The clarinet part for Goodman was just a solo section. We have taken out this part and given the solo to tenor 1. So, this may be played by a standard big band of 5/4/3/4. We have also included an open solo section. The sound sample has been provided courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio. Learn More
  • Moon From The East

    In 1962 Tadd Dameron was commissioned by Benny Goodman to arrange a number of pieces for an upcoming tour of Russia and this was one of them. As far as we know this arrangement wasn't recorded and possibly never performed. The setting for the arrangement is a Middle Eastern feel with a fitting melody. In keeping with our other Tadd Dameron arrangements, we have scored the solo clarinet part into the band so that it is playable with a standard big band lineup. Reed 1 is on clarinet throughout. Reed 2 is on alto saxophone and flute, reed 3 is on flute and tenor saxophone, reed 4 is on clarinet and tenor saxophone, and reed 5 is on baritone throughout. There is no solo section on this. The sound sample has been provided courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio. Learn More
  • Our Delight

    Dameron arranged Our Delight for the Billy Eckstine Orchestra, and when that ensemble folded, Dizzy Gillespie added the setting to his book, playing it frequently. This version of Our Delight is the same as the arrangement Dameron wrote for The Magic Touch LP, only re-scored for traditional big band with some modifications. All of the BVC publications had numerous errors in pitch, rhythm and transposition. This publication has been newly edited and corrected. One such error occurs at Letter E; on the Riverside recording, French horn virtuoso Julius Watkins played the solo; in the original BVC publication, no solo was indicated. I have corrected this so that the solo is now played by Trombone 1. The sound sample has been provided courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio. Learn More
  • Swift As The Wind

    In 1962 Tadd Dameron was commissioned by Benny Goodman to write 5 arrangements for an upcoming tour to Russia. Around the same time he was also writing material for an upcoming record date that is now known as 'Magic Touch.' For Goodman he wrote Just Plain Talkin', Moon from the East, Fontainebleau, On a Misty Night, and an arrangement of Swift As the Wind. He wound up adapting for Benny Goodman's group arrangements that he was already working on for his own record date. This arrangement of Swift As the Wind was published in 1963 and was based on the music that he recorded in 1962 for 'Magic Touch' (the Goodman recording substituted a clarinet solo for the tenor solo but is otherwise the same). The sound sample has been provided courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio. Learn More

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