“Dallas Blues was the first true Blues number ever published. It’s true to it’s blues heritage — a sad sack trying to get on with his life in that “”Texas town that’s neither seen ice or snow””. Being such an old classic there have been many renditions over the years, including an iconic one by Louis Armstrong (with lots of adlib – go figure).
We’re bringing it back to basics, but its a fun one to dig your teeth into. A Piano intro and Clarinet feature start us off into the Vocalist’s heart-wrenching tale. Then we’ve got an Open Solo Section leading into a really fun ensemble blowing ending. Check this one out — you won’t be sorry!”
Archives: Arrangements
Arrangement set encompassing one or more Engravings
A favorite of Trad. Jazz bands everywhere — Chinatown, My Chinatown is a 1910 swing number from William Jerome (w.) and Jean Schwartz (m.). Its medium-up tempo is balanced by the relaxed, easy flow of the lyrics: “Dreamy, dreamy Chinatown, Almond eyes of brown, Hearts seem light and life seem bright, In China, Chinatown”. PHDS sticks to a classic treatment on this one (well, almost): A hint of ”Chopstix” off the top for a smile then into the Trumpet on the head. We let the Vocalist take it from there into the Open Solos. It all comes to an explosive end with the whole band giving it what they’ve got!
Over The Waves or “Sobre las Olas” was the big hit for Mexican composer Juventino Rosas. It’s regularly found in both its traditional Waltz feel and Swingin’ Four to the Floor. The melody is unmistakable — you and the audience will recognize it from beat one. We give it the Trad. Jazz nod in this instrumental version with a Clarinet feature on the Waltz up top. The Trumpet takes over following a fun little solo break and we’re swingin’ from there on. Open Solos with backgrounds give everyone a chance to blow. This is just a fun tune all round!
St. Louis Blues is a true jazz classic. Bessie Smith’s version (with Louis Armstrong on coronet) has been inducted into the Grammy Hall-Of-Fame. We’ve set it from the man’s perspective — his high maintenance gal has left him hangin’. With a fun bounce back and forth between Swing and Rhumba this tune is a crowd pleaser. The usual head treatment leads to the Vocal section. The alternating Swing and Rhumba has a nice background treatment and we cap it off with some open solos. A must have for your playlist!
Shake It And Break It, also known as the Weary Blues is a 1915 tune from Artie Matthews. In the traditional style is a fun, bluesy swinger with lots of room for blowing and we aim to do it justice! Its a sure fire one to get dancers moving or a crowd stompin’ along. In this instrumental arrangement the head is harmonized with some solo breaks leading into an open solo section for everyone to party. Take it out with a great ensemble section and you’ve got the total package!
St. James Infirmary is a classic Orleans number of unknown origin — although some attribute it to Irving Mills through his alias Joe Primrose. It was made a hit by Louis Armstrong, but has been loved long before that. Based on ”The Unfortunate Rake” it tells the tale of a woman who met an unfortunate end: “I went down to St. James Infirmary, Saw my baby there, Set down on a long white table, So sweet, so cold, so fair.” We deck it out in typical Orleans style with a short intro, Trumpet on the melody then the story unfolds with the Vocalist. Solos are open and the Trumpet leads us home.
“Li’l Liza Jane is a perennial favorite of all kinds of bands and is certainly a staple in the New Orleans Brass Band repertoire. The song has unknown origins, but was first published in 1916 purportedly by the ”Countess Ada de Lachau”. It’s found a home on numerous recordings from Dr. John and Huey Smith to Bluegrass and Rock ‘N Roll bands.
The PHDS version leans more to a 20s style dance feel with the horns off the top on a big, raucous melody with harmonies and the hits. Then the vocals take over with a call and response. We’ve even included a classic interlude in this version that has been forgotten by many bands — not to be missed!”
The Old Rugged Cross was written in 1912 by George Bennard after his conversion to the Salvation Army Church. It has been a popular hymn over the last 100 years and has been covered by a number of artsits (oh yes, even the King!). In the Trad. Jazz idiom it works great as an easy ballad or in a Spiritual service. Its a haunting, yet warming story throughout: “In that Old Rugged Cross, stained with blood so divine, a wondrous beauty I see, for ’twas on the old cross Jesus suffered and died, to pardon and sanctify me.” We like to see it with the band harmonized on the melody off the top and then let the vocalist tell the tale.
“What A Friend We Have In Jesus is a beautiful spiritual number that is right at home in the Trad. or Function band’s repertoire. Originally written in 1855 as a poem and put to music in 1868 it talks of comfort in faith: “”Are we weak and heavy laden, cumbered with a load of care? Precious Savior, still our refuge; Take it to the Lord in prayer.””
Our arrangement features the band on the melody before the vocalist takes over for their choice of verses (with the band lightly in the background). Open solos allow you to keep it short or enjoy the easy ramble of this classic tune.”
Panama is a classic instrumental number that is in every Trad. Jazz musician’s play book. There’s heaps of argument over whether it should be called ”Panama” or the ”Panama Rag”, but the original title in 1919 was ”Panama: A Charateristic Novelty”. When it was originally published by William H. Tyers it had a Tango beat, but is now much more commonly found swingin’ it”s way home. In this chart you”ll find the standard tops and tails, open solos and a great shout section at the end (that is too much fun to miss!).