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Top: David Baker conducts the SJMO on tour in Chicago.

Right: Greg Gisbert has performed with the bands of BuddyR i c h a n d M a r i a S c h n e i d e r .

Left: Keter Betts accompanied Ella Fitzgerald for many years.

BIGBAHDlRtAmUVt by John Edward Hasse

The Band

"Any music that is not performed live is doomed to extinction." These words, by Gunther Schuller, summarize the raisond ' e f r e o f t h e S m i t h s o n i a n J a z z M a s t e r w o r k s O r c h e s t r a ( S J M O ) .

Jazz and sound recordings have grown up together, and tech

nology allows us to hear 70 years of music by the masters ofbig band jazz — from Fletcher Henderson, Duke Ellington, andCount Basie, through Gil Evans, Maynard Ferguson, and SunRa. These recordings are indispensable.

Yet there is nothing like the thrill of an exciting live performance. There is no substitute for being able to see with one'sown eyes which instruments and which soloists are creatingthis sonority, or that tonal color, or a certain blend of sounds.There is nothing like the immediacy and directness of a live

performance, nothing like the magic of performers interactingwith a living, responding audience.

As every performer knows, the interchange between per-

J o h n E d w a r d H a s s e i s C u r a t o r o f A m e r i c a n M u s i c a t t h e N a t i o n a l M u s e u m

of American History, founder and Executive Director of the Smithsonian JazzMasterworks Orchestra, and Co-Director of America's Jazz Heritage. He iscurator of a series of Smithsonian traveling exhibitions on Duke Ellingtonand the author of Beyond Category: The Life and Genius of Duke Ellington.

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f o r m e r a n d a u d i e n c e c a n

b e u n p r e d i c t a b l e a n dsometimes magical. In alive performance the audience can a f fec t the course

o f e v e n t s . T h a t i n fl u e n c e

e m p o w e r s a n a u d i e n c eand creates a yin-yang rela t i onsh ip w i th the pe rformers. That's why live performance isso vital and why in our high-tech age, itremains irreplaceable.

T h e S m i t h s o n i a n J a z z M a s t e r w o r k s

Orchestra dedicates itself to the proposition that the great classics of big bandjazz deserve to live on through perform a n c e s b e f o r e l i v e a u d i e n c e s .

A f t e r t h e a r r i v a l i n 1 9 8 8 o f 2 0 0 , 0 0 0

pages of Duke Ell ington's music ando t h e r d o c u m e n t s , t h e S m i t h s o n i a n ' s N ational Museum of American History feltthere ought to be other means — besidesmuseum exhibitions — to get his musicout to the American public. Thus theidea of a Smithsonian jazz band occurredas a way to help the public better apprec i a t e a n d u n d e r s t a n d t h e c o n t r i b u t i o n s

At a concert in Washington, DC,D a v i d B a k e r c u e s t h e b a n d .

of Ellington, his colleagues,

competitors, and disciples.T h e t h e n - d i r e c t o r o f

t h e m u s e u m , R o g e r G .

K e n n e d y , t h o u g h t i t asplendid idea and lent it hisenthusiastic support. Jazzfans f r om a round t he coun

t ry warmly endorsed theidea of a new repertory group and wrotetheir Congressmen on its behalf.

Some key members of Congress decided to back the idea and the SJMO wasfounded in 1990 with a congressional

appropriation in recognition of the importance of jazz in American culture.When the legislat ion establishing theband passed Congress, it was hailed asan unprecedented action — possibly thefirst time that the U.S. government hadso directly supported the establishmento f a mus i ca l ensemb le .

The museum turned quite naturally toG u n t h e r S c h u l l e r a n d D a v i d B a k e r t o

s e r v e a s m u s i c a l d i r e c t o r s . B e t w e e n

them they brought invaluable experience and superb qualifications in con-

4

ducting, performing, research, and educ a t i o n . B o t h h a d t r a n s c r i b e d a n d c o n

ducted works for the historical repertoryof jazz and shared a commitment to ex

posing this music to new audiences.They in turn chose a band of gifted

players. Some who make up the company of players have close ties to theoriginal bands: trumpeter Joe Wilder, forinstance, played in the bands of JimmieLunceford and Count Basie, while BrittWoodman spent a decade playing trombone with Duke Ellington. Some, liketenor saxophonist Loren Schoenbergand pianists Sir Roland Hannaand Dick Hyman, have years ofexperience in playing jazz repertory. Others, like alto saxop h o n i s t S t e v e W i l s o n , a r eknown for their cutting edge

playing but have welcomed theopportunity to go back in timeand master earlier styles.

After nine months of planning and preparation, the bandmade its premiere at the Nat i o n a l M u s e u m o f A m e r i c a n

History on May 17,1991. "Culturally important ... spectacular musically," wasthe description in The New York Times."The music, after being embalmed on

recordings, suddenly came alive."In establishing the SJMO, the mu

seum wanted to bring the classics of bigband jazz not only to Washington, D.C.,but to the rest of the country as well.

Initially the band was supported exclusively by federal funds, so reaching thenation was part of the mandate from the

beginning. In 1992 the band began touring and broadcasting on radio.

The SJMO has performedthroughout the United States,in places ranging from Los

Angeles and New York , toM a n h a t t a n , K a n s a s , a n d I o w a

City. The band has performedin festivals, colleges, and concert halls, as well as at the his

tor ic Apol lo Theater, at theU.S. Capitol, and at the WhiteH o u s e . I n 1 9 9 6 , t h e C u l t u r a l

O lymp iad inv i ted on ly twojazz ensembles to play the

Joe Wilder played witht h e b a n d s o f J i m m i e

L u n c e f o r d a n d C o u n t

B a s i e .

5

prestigious Olympic Arts Festival; theSJMO was one o f t hose and rece i ved a

tumultuous response from the audienceat Atlanta's Symphony Hall.

I n 1 9 9 3 t h e b a n d a c h i e v e d i t s o w n

r a d i o s e r i e s . C a l l e d J a z z S m i t h s o n i a n ,

t h e s e r i e s h a s b e e n h o s t e d i n i t s fi r s t

years by the incomparab leL e n a H o m e , w h o w a s a c l o s e

friend of Billy Strayhorn andk n e w m a n y o f t h e o t h e rmus i c i ans f ea tu red by t heS m i t h s o n i a n b a n d . J a z z

S m i t h s o n i a n b e c a m e a" h i t " f o r i t s n e t w o r k , P u b l i c

Radio International, breakingrecords for the number o f s ta

tions to carry its jazz shows.Besides being carried in 45s t a t e s , t h e s e r i e s h a s a l s ob e e n b r o a d c a s t i n P a n a m a ,

A u s t r a l i a , N e w Z e a l a n d , a n d I n d i a , a n dcontinues to break new ground.

This band is a repertory band in twosenses. First, it is a repertory companyof musicians. As in a theatrical repertorycompany, where not every performer is

T r o m b o n i s t B r e n t

Wailarab prepared themusic t ranscr ipt ionsfor five of the pieceso n t h i s d i s c .

needed in every production, there is acore of performers which is drawn uponfor each performance, depending on theneeds of the program. Second, the band

ranges through the classic, enduring repertory of big band jazz to select workso f s p e c i a l s i g n i fi c a n c e , a p p e a l , o r

t i m e l e s s n e s s .

Make no mis take about i t —

play ing th is music requ i resgreat ski l ls and exceptionalv e r s a t i l i t y. P l a y i n g " r e p e rtory" is extremely difficult: inthe course of one evening, oneplayer might have to switchfrom the musical equivalent oft h e c o m i c F a l s t a f f t o t h e

doomed Hamlet to the impishP u c k t o t h e s t a r - c r o s s e d

R o m e o . " T h e r e ' s a l o t m o r e

to i t t han jus t read ing thesays SJMO trombonist Brent

You have to unders tand wha tn o t e s , "Wa i l a r a b .

the musician was trying to get acrossemot iona l l y and sp i r i tua l l y. You pu tyourself in their heads, but then playyour interpretation."

6

Throughout the history of jazz, greatemphasis has been placed on achievingone's own sound. This artistic quest isso strongly ingrained among jazz music i a n s t h a t m o r e t h a n a f e w w i l l n o t s e t

aside their sonic trademarks to play themusic of a different figure or an earlier

style. It takes a special kind of playerwho doesn't mind subjugating his or herego and approach to the goal of playings o m e o n e e l s e ' s m u s i c i n t h e m a n n e r o f

the original. It takes a special kind ofplayer to relish the challenge of mastering, say, Johnny Hodges's sound, orM i l e s D a v i s ' s a t t a c k , o r J a m e s P .

Johnson's figurat ions. Only a specialkind of player can read the music flawlessly and also improvise, when calledupon, in the original style.

Through its hundred-some concertsto date, the SJMO has been groomingplayers, giving them more practice andexper ience in th is h ighly demandingpursuit. The expertise of the conductorsand the demands o f the mus ic a re t ra in

ing a generat ion o f p layers accomplished in playing repertory. "This is

great," says the thirty-something saxophonist Steve Wilson, an SJMO regular. "It's essential to the grandeur of thismusic to hear it live. Playing this is hum

bling. It's as difficult as anything I'veever had to do."

Besides the joy of playing and hear

ing this old music spring to life again,the SJMO can offer other pleasures. Insome cases, an original recording was

poorly performed. The band perhapsdidn't have enough rehearsal time, orwas forced to make the recording in justone take, or there was some other mus i c a l s h o r t c o m i n g . I n c o n t r a s t , t h eSJMO can rehearse such a piece and getit right.

Sometimes the original performancewas poorly recorded. Using modern 24-track recording technology for its radioand recording projects, the band canbring out (and the audience can hear) aspects of the music that were simply hidden before — intricacies of part writing,subtle shif ts in tonal colors, and the l ike.

S o m e t i m e s t h e S J M O , o r s o l o i s t s

within the band, can bring a new inter-

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pretation to an old work. Sometimes theSJMOwil l restore mater ia l that was in the

original composition, but was omitted inthe recording because of timeconstraints.And somet imes the SJMO wi l l find a v in

tage piece that was never recorded andwill give it its premiere public performance, broadcast, and recording.

During its first half decade, the SJMOhas gained a national reputation. Writing in The New Yorker, Whitney Balliettcalled the SJMO "the best jazz repertoryb a n d i n t h e n a t i o n . " A n d t h e c o l u m n i s t

David Broder wrote, "The impact o fthese live performances is . . . electrifying. ... As serious as their purpose is,the concerts themselves are sheer joy."

More than a few people who didn'tthink they like jazz have come to hearthis band and have gone away singingthe praises of it and its art. "This is robus t , l i v ing , v i vac ious mus ic , " saysDavid Baker. "It crosses all demographiclines. I watch little kids and their parents, old people, black people, whitepeople — they all get it."

T h a t ' s b e c a u s e t h e m u s i c t r a n s c e n d s

its original time and place. This musicis quintessential American orchestralmusic: it is played not by a symphonyorchestra (after all, a European invention) but rather by a jazz orchestra—acompletely American creation.

The RecordingBig Band Treasures, Live was recordeddur ing concer ts held in Washington,D.C., over a four-year period. The twingeniuses of Duke Ell ington and Bil lyStrayhorn mark this recording in a special way, the works of one or both gracingthe program seven times. The pieces onthe disc range from ballads, stomps, andb l u e s , t o j u m p n u m b e r s a n d " fl a g -wavers," and the moods vary from theeerie and haunting to the rhapsodic andsublime. This recording includes a sign i fi c a n t n u m b e r o f l e s s e r - k n o w n w o r k s

that deserve to be bet ter known for their

originality, freshness, or excellence in conception, orchestration, or solos. The bandtreasures them, and hopes you will, too.

1. Hairy Joe Jump (Harlan Leonard,

8

J a m e s R o s s , a n d F r e d G u l l i v e r ) .

Originally recorded by Harlan Leonardand His Rockets, January 11, 1940,for Victor. Transcription by RichardD o m e k . R e c o r d e d J u n e 1 9 , 1 9 9 4 ,with David Baker conducting.

Solos: Charles Ellison, Billy Pierce,Charles Ellison, Dick Hyman, MarkVan Cleave, Loren Schoenberg

In the 1930s, while big name bandsdominated music nationally, many finebands developed regional fol lowings.Kansas City's jazz hothouse producedmany such "territory" bands,among them Harlan Leonarda n d H i s R o c k e t s . T h e b a n d

would have a wider reputat ion today had they mademore recordings than theirm e r e d o z e n - a n d - a - h a l f , a l l i n1 9 4 0 .

Hairy Joe Jump reveals theH a r l a n L e o n a r d b a n d a s a

solid exponent of the Kansas

City style of jazz — with riffs,"jump" rhythm, solid swing,and an emphasis on saxo-

Loren Schoenberg

brings to the SJMOexperience as aper former, conductor,a n d a r c h i v i s t .

phones. The piece, in 32-bar popular-song form (AABA), goes through threechoruses, building in intensity, and thenm o d u l a t e s f o r t h e fi n a l c h o r u s . L e o n a r d ' s

recordings of Hairy Joe Jump madeenough of an impression that a fewmonths later the popular bandleaderC h a r l i e B a r n e t r e c o r d e d i t — u n d e r t h e

t i t l e Sou the rn F r i ed .

This unpretent ious, p leasing pieceserves as the fanfare to the rest of this disc.

2. Evenin' (Harry White and MitchellParish; arr. Harry White). Originally

recorded by Cab Callowayand His Orchestra, September 18, 1933, for Victor.

Transcription by BrentW a l l a r a b . R e c o r d e d

September 17, 1994, withGunther Schuller conducting.Solos: Loren Schoenberg,M a r k Va n C l e a v e , B r e n t

Wallarab, Loren SchoenbergThe jazz contributions of Cab

Calloway have been great lyu n d e r v a l u e d : h i s b a n d o f t h e

early 1930s was far more than

a mere veh ic le fo r h is voca l "h i -de-ho"s .

For those unfamiliar with the Callowayband 's exce l lence, t rombon is t Har ryWhite's composition and arrangement ofE v e n i n ' — r i c h w i t h l u s h h a r m o n i e s , m u

s ica l con t ras t , e f fec t i ve coun te rme lod ies ,

and warm feeling — stands as a revelation. This tune, in popular-song form,

begins poignantly in a minor key and thenmoves in the bridge to a contrastingmajor key. Tenor saxophonist LorenSchoenberg plays the melody originallysung by Calloway. The accompanimentby celesta contributes to the unusual anddel icate sound of this moody, atmospheric piece.

3 . Sepia Panorama (DukeEllington). Originally recorded byDuke Ellington and His Orchestra, July24, 1940, for Victor. Transcription byMark Lopeman. Recorded July 31,1993, with David Baker conducting.

Solos: John Goldsby, Sam Burtis/Joe Wilder, Gary Smulyan, MichaelWeiss/John Goldsby, RichardCentalonza, Gary Smulyan, SamB u r t i s / J o e W i l d e r

1 0

For Sepia Panorama, Ellington fashioned a three-minute piece from only 36bars of music. In the original recording,t h e 3 6 b a r s a r e d i v i d e d i n t o t h r e e s e c

tions: a 12-bar blues featuring JimmieBlanton, a 16-bar passage contrastingt h e s m o o t h v a l v e t r o m b o n e o f J u a n

Tizol and the plunger-muted trumpet ofCootie Williams, and an 8-bar phrasefeaturing Harry Carney's baritone sax setagainst brass. Then Ellington did a piano due t w i t h bass i s t B l an ton , had Ben

W e b s t e r t a k e a s a x s o l o , a n d r e t u r n e d

to the original material in reverse order.Sepia Panorama holds a place of es

teem in the Ellington canon. The workshows how Ellington could build an ent i re p iece around a re la t ive ly smal lamount o f new mater ia l . I t ' s a showcaseof musical contrasts and a showpiece fort h e v i r t u o s i c b a s s i s t J i m m i e B l a n t o n .

True to its title, it bespeaks the emotionalrange of African American life. And itserved for a brief time as the signaturetune o r " t heme song " o f t he Duke

Ellington Orchestra before Take the "A"Train took its place.

The Smithsonian has publ ished i tstranscription of this piece in its seriesJazz Masterworks Editions, so that highschool, college, and professional bandscan play the real thing.

4 . E c h o e s o f H a r l e m ( D u k e

Ellington). Originally recorded byDuke Ellington and His Orchestra,M a r c h 2 7 , 1 9 3 6 , f o r B r u n s w i c k .

Transcription by Brent Wallarab.Recorded July 31, 1993, with DavidBaker conducting.

S o l o : J o e W i l d e r

Originally recorded in 1936, Echoes ofHarlem was one of the first of a series of

showpieces Ellington wrote for his starsoloists. It begins sparely with a loping,exotic ostinato rendered by the piano andbass. In the original. Cootie Will iamsdominated the piece with his beautifullycons t ruc ted lead l i ne on bo th muted and

open trumpet and his emotionally pungent blues work — especially in the artful "blue" notes. Here Joe Wilder playsWi l l i ams 's pa r t . Decep t i ve l y s imp le .E c h o e s o f H a r l e m o f f e r s n u m e r o u s

contrasts — in Ellington's composition(minor versus major, loping versus gently swinging beat, spare versus full accompaniment) and in Williams's playing(muted versus open trumpet, held notesversus short notes, etc.) — and solidly in

tegrates the soloist within the composition. With its haunting mood. Echoes ofHarlem echoes persistently in one's head.

5. Raincheck (Bi l ly Strayhorn).Originally recorded by Duke Ellingtona n d H i s O r c h e s t r a , D e c e m b e r 2 , 1 9 4 1 ,

for Victor. Transcription by BrentWallarab. Recorded May 9, 1993, withDavid Baker conducting.

S o l o s : S a m B u r t i s , L o r e n

Schoenberg, Michael Weiss,J o e W i l d e r , M i c h a e l W e i s s

In 1939, Ellington hired a young music ian out of Pi t tsburgh named Bi l lyStrayhorn. He quick ly became indispensable to the Ellington band as arranger, co-composer, and composer inhis own right. One of the first dozenworks he wrote for the Ellington bandw a s R a i n c h e c k ' m 1 9 4 1 .

1 1

In this swinging, cheerful jump number, Strayhorn shows off a staccato styleof writing for the ensemble. The themewas originally played by valve trombonist Juan Tizol (here by Sam Burtis), followed by a tenor saxophone solo by BenWebster (here by Loren Schoenberg).SJMO trumpeter Joe Wilderthen makesa statement, followed by piano musingsby Michael Weiss. When Ellington puttogether a tribute album to Strayhorn aft e r h i s d e a t h i n 1 9 6 7 { A n d H i s M o t h e r

C a l l e d H i m B i l l ) , t h e m a e s t r o c h o s e t o

include a reworking of this charmingpiece.

6. Isfahan (Duke Ellington and BillyStrayhorn) from The Far East Suite.Originally recorded by Duke Ellingtona n d H i s O r c h e s t r a , D e c e m b e r 2 0 , 1 9 6 6 ,

for RCA. Transcription by David

Berger. Recorded July 31, 1994, withDavid Baker conducting.

Solo: Jerry Dodgion

During the last fifteen years of his lifeEllington and his orchestra performedabroad frequently. (They played in a to

t a l o f 6 5 n a t i o n s . ) I n s o m e n a t i o n s , h e

absorbed musical impressions that foundtheir way into his compositions. Inspired

by travels to the Near and Middle East in1963, Ellington and Strayhorn composeda musical travelogue they called The FarEast Suite. This piece ranks among themost carefully ordered, singular suites inthe Ellington canon. One of the final

Ellington-Strayhorn collaborations, it isregarded by some as one of their bestw o r k s .

Ellington described Isfahan, in northwest Iran, as a place "where everythingis poetry. They meet you at the airportwith poetry and you go away with poe t r y. " Fo r t he measu red movemen tcalled Isfahan, Johnny Hodges gave oneof his most lyrical and sensual balladperformances. Here, alto saxophonistJerry Dodgion achieves something difficult: he personalizes Hodges's vehicle

yet remains faithful to the original. Evenas we recognize the original solo, weh e a r t h e u n m i s t a k a b l e s t a m p o f

D o d g i o n ' s m u s i c a l p e r s o n a l i t y. H emakes Hodges's solo his own through

1 2

nuances of glissandi, phrasing, and dynamics, and through some short improvised passages that fit the mood andstyle perfectly.

7. Boplicity (Gil Evans and Cleo

Henry [pseudonym of Miles Davis],arr. Gil Evans). Originally recorded byMiles Davis and His Orchestra, April22, 1949, for Capitol. Transcriptionby Gunther Schuller. Recorded June2 4 , 1 9 9 5 , w i t h G u n t h e r S c h u l l e r

conduct ing.Solos: Gary Smulyan, Virgil Jones,R u s s e l l W i l s o n

In 1948, Gil Evans, the arranger-com

poser who had wr i t ten many classicpieces for Claude Thornhill's big band,teamed up with Miles Davis, who had

p l a y e d w i t h b e b o p p i o n e e r C h a r l i eParker and was always looking for a newsound. They organ ized a n ine-p ieceb a n d w i t h a n u n u s u a l f r o n t l i n e : t r u m

pet, trombone, tuba, French horn, altosaxophone, and baritone saxophone. In1949 and 1950 they recorded 12 piecesw h i c h b e c a m e k n o w n , w h e n i s s u e d o n

LP, as the Birth of the Cool, now considered one of the milestones of jazz. Thismusic, wi th i ts sof ter sounds, lack of v i

brato, greater emphasis on arrangements, and broader brass palette (including the darker colors provided bytuba and French horn), provided a stylistic alternative to bebop, which wasthen the cutting-edge music.

Evans's Boplicity offers parallel harmonies under a wistful trumpet lead,good balance between ensemble andsoloist, and an easy grace. Drum accompaniment on brushes adds to therestrained feel. The original recordingfeatured bar i tone saxophonis t GerryMulligan, Miles Davis on trumpet, andpianist John Lewis. Here those parts areplayed by Gary Smulyan, Virgil Jones,a n d R u s s e l l W i l s o n .

The or ig inal recording of Bopl ic i tywas rather murky; the SJMO's record

ing provides an opportunity to hear thearrangement clearly. And after nearly50 years, Sop//c/fy still sounds fresh —a tribute to the composers, the originalperformers, and the present band.

1 3

8 . C a s h m e r e C u t i e

(Billy Strayhorn). Composed by Billy Strayhorn,1957. Edited for performance by Walter van deLeur. Recorded July 28,1 9 9 6 , w i t h D a v i d B a k e r

conduct ing .S o l o : S i r R o l a n d H a n n a

As Ellington's star has continued to rise in recent years, inevitably

greater attention has been paid to hislongtime collaborator, Bil ly Strayhorn.He is moving out of Ellington's shadowand into his own light with discoveriesof unheard music, new recordings of hiscompositions, and more writings abouthim. While conducting research in theStrayhorn family papers in Pittsburghand the Duke Ellington Collection at theS m i t h s o n i a n I n s t i t u t i o n , t h e D u t c h m u

sicologist Walter van de Leur discovereda n u m b e r o f p r e v i o u s l y u n k n o w n

Strayhorn pieces. Van de Leur collatedand edited Cashmere Cuf/efrom papersf o u n d i n b o t h a r c h i v e s .

S i r R o l a n d H a n n a

b o a s t s a w e a l t h o f

exper ience per fo rm ingrepertory jazz.

I n t h e s u m m e r o f 1 9 9 6 , t h e

S J M O b e c a m e t h e fi r s t U . S .

band to perform a half dozeno f t h e s e n e w l y d i s c o v e r e dworks, at concerts in Washington, D.C. , and in At lanta at the

Olympic Arts Festival. Amongthese ha l f dozen, a s tandout is

Cashmere Cutie for its complexh a r m o n i e s , r i c h i n s t r u m e n t a l

voicings, and yearning melody.This performance is dominated by pian i s t S i r R o l a n d H a n n a , w h o d e l i v e r s a

s o l o t h a t i s fl u i d , w a r m , a n d r o m a n t i c .

As interpreted here, this piece becomesa virtual concerto for piano and jazzb a n d .

9. Blue Blazes (Sy Oliver). Origi

nally recorded by Jimmie Luncefordand His Orchestra, January 31, 1939,for Vocalion. Transcription by BrentWallarab. Recorded August 13, 1995,with David Baker conducting.

Solos: Sir Roland Hanna, Loren

Schoenberg, Britt Woodman, JimCarroll, Greg Gisbert

1 4

Like Ellington and Calloway beforehim, Jimmie Lunceford's performancesat the Cotton Club helped bring him national recognition. Lunceford led one ofthe great , though underapprec ia ted,

swing bands. Renowned for its polish,p r e s e n t a t i o n , a n d p r e c i s i o n , t h eLuncefo rd band boas ted impress iveshowmanship, tight ensemble work, anda n u m b e r o f fi n e s o l o i s t s . O n e o f t h e

legacies of the SJMO is to have trumpeter Joe Wilder, who played in theLunceford band in the 1940s, play withthe present band. (He plays in the trum

pet section on this track.)During the heyday of the Lunceford

band, trumpeter and arranger Sy Olivercreated the style and substance of theL u n c e f o r d s o u n d . O l i v e r r a n k s a s o n e

of the most influential arrangers of the1930s . So admi red was he tha t i n 1939bandleader Tommy Dorsey hired him

a w a y .

Ol iver based his composit ion BlueBlazes — little heard today — on thechords of the standard tune Nobody'sSweetheart. This up-tempo swing dance

numberfeatured a three-trumpet break,notable solos by trombonist Trummy

Yo u n g a n d a l t o s a x o p h o n i s t W i l l i eSmith (here played, respectively, by BrittWoodman and Jim Carroll), and a high-note ending by Eddie Tomkins (hereGreg Gisbert does the honors).

A b o u t t w o h u n d r e d o f L u n c e f o r d ' s

band arrangements are preserved at theS m i t h s o n i a n .

1 0 . C a r o l i n a S h o u t ( J a m e s P.

Johnson, arr. Dick Hyman). Firstpiano roll recording, February 1918,for Artempo Piano Roll. RecordedJune 19 , 1994.

Solo: Dick Hyman

This, the earliest piece on the disc, isan example of the piano as jazz orchestra. There is so much going on — melody,harmonies, rhythm, call and response —that the piano seems complete in itselfand other instruments are hardly needed.A brilliant, virtuosic piece of eastern-styleragtime, Carolina Shout became a testpiece among professional pianists, especially those in the East. This piece influ-

1 5

enced Duke Ellington as a young man,and he learned it by mimicking the keysdepressed by a player piano roll. (Heeven tried to "best" the composer, whenhe came to town to perform, at playingthis piece. Ellington lost the brief battle,but the magnanimous Johnson gavehim encouragement anyway.)

This percussive early jazz work ranksas one of the most celebrated piano solos in jazz, though few pianists can re

ally bring off the piece — with its largeleft-hand leaps, tricky rhythms, and interplay between the hands — successfully. Accompanied only by drums, hereDick Hyman not only does Johnson'soriginal justice, but proyides his own" take" on th i s c lass i c .

11 . Gypsy w i thou t a Song (DukeEllington, Juan Tizol, Irving Gordon,and Lou Singer; arr. Duke Ellington).

Originally recorded by Duke Ellingtonand His Orchestra, June 20, 1938, forBrunswick. Transcription by MarkLopeman. Recorded July 4, 1993, withGunther Schuller conducting.

S o l o s : S a m B u r t i s , B r e n t W a l l a r a b /

Sam Burtis, Virgil Jones, SamBurtis, Steye Wilson, Virgil Jones,B r e n t W a l l a r a b

Gypsy wi thout a Song exempl ifiesEllington as a master of tonal color andform. El l ington ingeniously l inked uptwo o f h i s y i r t uoso t rombon is t s — va l ve

t r o m b o n i s t J u a n T i z o l a n d s l i d e t r o m

bonist Lawrence Brown — by givingTizol the first eight bars of the melodyand Brown the second, prov id ing asubtle contrast. And through his mas

tery of color, Ellington evokes a feelingof melancholy in his treatment of thisr o m a n t i c b a l l a d .

The piece consists of a 32-bar popular song fo rm taken tw ice th rough.Within those 64 bars, however, Ellingtona n d h i s s o l o i s t s b u i l d a n d r e l e a s e t h e

tension several times, with the piece

coming to a climax in the trumpet soloin the second chorus — originally taken

by Cootie Williams and here played byVirgil Jones.

12. Myst ic Moan (Claude Hopkins,

1 6

arr. Fred Norman). Originallyrecorded by Claude Hopkins and HisO r c h e s t r a , D e c e m b e r 11 , 1 9 3 3 , f o rBrunswick. Transcription by MarkLopeman. Recorded June 19, 1994,with David Baker conducting.

Solos: Charles Ellison, Dick Hyman

Pianist and composer Claude Hopkinsgrew up in the Washington, D.C., area,and fraternized with Duke Ellington, anative Washingtonian. After moving toNew York, Hopkins led a popular blackswing band of the 1930s.

Trombon is t F red Norman 's Mys t i cM o a n i s s o m e w h a t r e m i n i s c e n t o f D o nRedman's ce lebrated composi t ion of1931, Chant o f the Weed ' , bo th share atone o f subdued agg ress ion and a

mysterioso mood. Mystic Moan openswith a melody, stated by the trumpet,mixing the eerie with the wistful, andthen features a crystalline piano solo byDick Hyman. The sax section continuesin a minor key, and then the mood shiftsas the piece offers a surprise: the saxand trumpet sections clash, seeming toplay in two different keys. This feeling

of bitonality introduces a slightly un

nerving, modernistic sharpness. With itsmoodiness, deliberate tempo, and harmonic surprises. Mystic Moan ranks asa n o t h e r m e m o r a b l e a n d l i t t l e - k n o w n

t r e a s u r e , r e s u r r e c t e d f r o m t h e d u s t b i nof history by the SJMO.

13. The Mole (Harry James andLeroy Holmes, arr. Leroy Holmes).Originally recorded by Harry Jamesa n d H i s O r c h e s t r a , D e c e m b e r 3 0 ,

1941, for Columbia. Transcriptionby David Berger. Recorded August2 9 , 1 9 9 3 , w i t h G u n t h e r S c h u l l e r

conduct ing .Solo: Loren Schoenberg

Af ter leaving the Benny Goodmanband in 1939, s tar t rumpeter HarryJ a m e s e s t a b l i s h e d h i s o w n b a n d , w h i c h

b e c a m e i m m e n s e l y p o p u l a r i n t h e1940s. (James's trumpet is now pres e r v e d a t t h e S m i t h s o n i a n . )

A r r a n g e d b y c o - c o m p o s e r L e r o yH o l m e s , T h e M o i e a c h i e v e d a r a r e m i x— a successful fusion of strings (violins,

viola, and cello) with jazz band. Instead

1 7

of making the string section subservient to the jazz band, Holmes made it anequal partner. This piece assigns thes t r i ngs t he me lody wh i l e t he bandswings with a counter melody. Then,after an effective muted-trumpet quartet and a tenor sax solo, the arrangement has the violins playing high harmonics over the saxophones, creatinga s o m e w h a t e x o t i c s o u n d .

14. Oh, Lady, Be Good! (Georgeand Ira Gershwin; arr. Quincy Jones).Originally recorded by Lionel

Hampton andH i s O r c h e s t r a ,

O c t o b e r 1 7 ,

1 9 5 1 , f o r M G M .

Transcription byJeff Lindberg.Recorded July4 , 1993 , w i thG u n t h e r S c h u l l e r

conduct ing.S o l o s : L o r e n

Schoenberg,S t e v e W i l s o n ,

Chuck Redd, Greg Gisbert/SamB u r t i s , M a r k Va n C l e a v e

L i o n e l H a m p t o n e a r n e d a w i d er e p u t a t i o n a s a v i b r a p h o n e p l a y e r,b a n d l e a d e r , a n d s h o w m a n . L i k e s o

many of his fellow jazzmen, Hamptonh a s b e e n a n u r t u r e r o f t a l e n t — C a t

A n d e r s o n , I l l i n o i s J a c q u e t , C l i f f o r dBrown, and Ouincy Jones all worked forh i m , a s d i d m a e s t r o D a v i d B a k e r .

Hampton's bands also provided a bridgebetween the various styles and schoolsof jazz. Along with Artie Shaw, LionelHampton is, at this writing, the last surviving bandleader whose music is featured on th is d isc .

When he arranged the Gershwin standard Oh, Lady, Be Good!, Quincy Joneswas only e ighteen. His v i r tuosic ar

rangement bui lds excitement throughits seven choruses by the use of a blistering tempo, fresh variations on the familiar melody, tight ensemble writing,punchy brass riffs, trading off of four-bar passages between tenor saxophone(Loren Schoenberg) and alto saxophone(Steve Wilson), trading of "eights" and

S t e v e W i l s o n l e a d s a

busy life as a NewYork -based pe r fo rmera n d t e a c h e r .

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t h e n " f o u r s " b e t w e e n t r o m b o n e ( S a m

Burtis) and trumpet (Greg Gisbert), arhythmic solo on vibes (Chuck Redd),two key modulations, and a high-notetrumpet display (Mark Van Cleave).

15. Evensong (Paul Jordan).

Originally recorded by Artie Shaw andH i s O r c h e s t r a , D e c e m b e r 2 3 , 1 9 4 1 , f o r

Victor. Transcription by GuntherS c h u l l e r . R e c o r d e d J u n e 2 4 - 2 6 , 1 9 9 4 ,

with Gunther Schuller conducting.S o l o : C h a r l e s R u s s o

The br i l l i an t c la r ine t i s t Ar t ie Shaw led

one of the most popular swing bands ofthe 1930s and 1940s, which he put to

gether and disbanded several times before quitting active performing in 1954.Always marching to his own drummer,Shaw fought against the commercial imperatives of the bandleading business,pioneered in the integration of stringsinto the jazz band, and tried to tear downthe wa l l s be tween " c l ass i ca l " mus i c and

jazz.Shaw sponsored the young composer

P a u l J o r d a n , w h o c o n t r i b u t e d s e v e r a l

gems to Shaw's repertory and Evensongis one of them. Evensong, in the wordsof Gunther Schul ler, ranks as one of " the

very early examples of Third Streammusic" — a mixture of jazz and classical music forming a new, third genre.After the affecting string introduction.Evensong becomes a feature for clarinet and orchestra. The interesting harmonies, well-integrated strings, delicateclarinet playing (here by Charles Russo),a n d t h e w a r m m o o d o f w i s t f u l n e s s

and serenity mark this as another little-k n o w n c l a s s i c .

16. Tons i lec tomy (George Handyand Hal McKusick; arr. George Handy).Originally recorded by Boyd Raeburna n d H i s O r c h e s t r a , O c t o b e r 1 5 , 1 9 4 5 ,

for Jewell. Original orchestration.Recorded May 21, 1995, with DavidBaker conducting.

Solos: Steve Wilson, Chris Royal,Billy Pierce

In the 1940s, Boyd Raeburn led a bigb a n d k n o w n f o r i t s a d v e n t u r o u s m u s i c

and challenged the conventional wis-

1 9

dom that big bands were meant fordancing. Its innovations were the product of teamwork involving young bebop-oriented players such as Dizzy Gillespie,O s c a r P e t t i f o r d , D o d o M a r m a r o s a , a n d

Buddy DeFranco, and of arrangers —Ed F incke l , George Handy, JohnnyRichards, and George Williams — whodid a lot of unapologetic experimenting.

Alto saxophonist Hal McKusick remembers the genesis of Tonsilectomy(the spelling was Handy's) this way: "Ipracticed daily when George and I hadan apar tment in Hol lywood, and hepicked that little riff from something Ihad played. That's why my name is onthe thing."

Written in a minor key, Tonsilectomyis built on a 32-bar popular song structure. The opening chorus features altosaxophonis t Steve Wi lson p lay ing afour bar motif, then four bars of stop-t ime as harmon-muted t rumpets answer. On the bridge the trombones andband engage in call and response. After solos by trumpeter Chris Royal andtenor saxophonist Billy Pierce, the piece

r e t u r n s t o a n a b b r e v i a t e d o p e n i n gtheme, fo l lowed, af ter another s top-time, by a surprise ending that is purebebop. This swinging number creativelyintegrates the swing and bebop stylesof jazz.

17. The Mooche (Duke Ellington).

Originally recorded by Duke Ellingtonand His Orchestra, July 17, 1946, for

Capitol. Transcription by BrentWallarab. Recorded May 9, 1993, withDavid Baker conducting.

Solos: Virgil Jones, Art Dawkins/R i c k C e n t a l o n z a , S a m B u r t i s , S t e v e

Wilson, Virgil Jones

The mooche was a slow, shufflingdance, similar to the grind, that AfricanAmericans from the South brought toNew York. In 1928, Ellington and his orchestra made several recordings of theirm e m o r a b l e T h e M o o c h e . I t b o a s t e d o n e

of the most haunting melodies of itstime, arranged for wailing clarinets. In1946, Ellington revived The Mooche ina new arrangement. On one of his last— and best — recordings, trombonist

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"Tr icky Sam" Nanton p layed an anguished solo on a dark and mournfulreading of this unforgettable piece.

With its exotic-sounding chord pro

gression, The Mooche is the quintessential "jungle-music" piece — the kind oftune Ellington wrote for pseudo-Africandances at the Cotton Club. This piece isa brilliant integration of musical oppo-si tes into a sat isfy ing and aesthet icwhole. The Mooche brilliantly balancescontrasts in high and low registers, ma

jor and minor keys, solo is t and ensemble, and interplay between players.There is nothing like The Mooche.

1 8 . S w e d i s h S u i t e ( W a l t e r " G i l "

Fuller). Originally recorded by DizzyGillespie and His Orchestra, April 14,1949, for Victor. Transcription byRichard Domek. Recorded July 31,1993, with David Baker conducting.

Solos: Shannon Hudgins, GregG i s b e r t

T r u m p e t e r a n d c o m p o s e r D i z z yGi l lesp ie ranks as one o f the 20thcentury 's major mus ica l innovators .

While he is best known for his work in a

small-group context, he led a big bandin the late 1940s that pioneered in in

corporating bebop and Latin Americanrhythms. In 1985, he presented h isi c o n i c a n g l e d - b e l l t r u m p e t t o t h eS m i t h s o n i a n ' s N a t i o n a l M u s e u m o f

American History.W a l t e r " G i l " F u l l e r w r o t e S w e d i s h

Suite to commemorate Gillespie's firstoverseas tour in early 1948. After a dramatic introduction, muted trumpets andLatin percussion mark the opening chorus. The arrangement builds and sustains interest by including interludes andc o n t r a s t s i n t e x t u r e , t i m b r e , b e a t , a n d

rhythmic pulse. The trumpet solo (hereGreg Gisbert makes up his own) takesplace over an underlying blues progression. The ending is just as dramatic asthe introduction, with staccato, syncopated blasts from the trumpets and anu n r e s o l v e d fi n a l c h o r d .

19. Jay Bird (J. J. Johnson, arr.unknown). Originally recorded byLionel Hampton and His Orchestra,live broadcast, 1948. Transcription by

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Brent Wallarab. Recorded May 21,1995, with David Baker conducting.

S o l o s : S i r R o l a n d H a n n a , J a m e s

Chirillo, Sam Burtis, Gary Smulyan,Lenny Foy, Sam Burtis

M a e s t r o D a v i d B a k e r, w h o e a r l i e r i n

his career achieved a reputat ion asa leading up-and-coming jazz trombonist, was a disciple of J.J. Johnson. TheIndianapolis-born Johnson was one ofthe most influential trombone players ofthe century and also made a mark as abebop composer. (Johnson 's ins t rument is preserved at the Smithsonian.)

His Jay Bi rd is bu i l t on modifiedchord changes to the ever-popular I GotRhythm. Johnson recorded Jay 6/rd initially in 1946 with his small group. In this1948 arrangement for the Lionel Hampton band, the band takes the tune throughs e v e n c h o r u s e s . I n t h e t h i r d c h o r u s ,

Johnson's original solo has been trans c r i b e d f o r t r o m b o n e a n d h a r m o n i z e d

fo r ensemb le — two decades be fo re the

band Supersax popularized this kind ofthing. The piece also sustains interestthrough i ts virtuosic, angular melody2 2

and the ensemble's counterpunches to it;a success ion o f so los that inc ludes e lec

tric guitar (making its only solo appearance on this disc); and a fast, swingingt e m p o .

2 0 . M i l l i o n D o l l a r S m i l e ( P o r t e r

Roberts, arr. Milt Buckner). Originallyrecorded by Lionel Hampton and HisOrchestra, October 16, 1944, forDecca. Transcription by Jeff Lindberg.Recorded July 4, 1993, with GuntherSchuller conducting.

S o l o s : C h u c k R e d d , M i c h a e l W e i s s ,C h u c k R e d d

Lionel Hampton's pianist and frequentcollaborator. Milt Buckner, arranged thefi n a l s e l e c t i o n o n t h i s d i s c . M i l l i o n D o l

lar Smile startds as a kind of model of a

slow, gently rocking, open-spaced jazztune. (Frank Foster's Shiny Stockings,popularized by the Basie band in 1956,remains the most celebrated of this typeof piece.)

Although Hampton reveled in high-energy showmanship, as a vibraphones o l o i s t h e r e c o r d e d s o m e o f h i s m o s t

Collective Personnelcreative work on slow pieces. Besidestwo vibraphone solos (played here byChuck Redd), this piece also features a

piano solo in block-chordal style, handsomely voiced brass and reeds, and ac l a r i n e t - t o p p e d r e e d s o u n d . G l e n nMi l ler 's band was a lso known for such a

c l a r i n e t - l e d c o m b i n a t i o n , b u t B u c k n e r

makes this amalgam sound his own.

The following individuals were engagedto perform on the concerts from whicht h e t r a c k s o n t h i s C D a r e d r a w n . B e

cause of the varying instrumental re

quirements of each piece, every musician listed is not necessarily heard one a c h i d e n t i fi e d t r a c k .

ConductorD a v i d B a k e r

G u n t h e r S c h u l l e r

TrumpetJ o h n E c k e r t

C h a r l e s E l l i s o n

Lenny Foy

Greg Gisbert

Virgi l Jones

Tony KadleckChris Royal

Tracks 1, 3, 4, 5, 6, 8,

9, 12, 16, 17, 18, 19

Tracks 2, 7, 11, 13, 14,

15, 20

T r a c k 1 5

Tr a c k s 1 , 3 , 5 , 6 , 1 2 ,

13, 17

Tr a c k s 8 , 1 6 , 1 9

All tracks except

1, 10, 12, 13, 15

All tracks except

8 a n d 1 0

Tr a c k s 11 , 1 4 , 2 0

Tracks 11, 13, 14, 15,

16, 19, 20

2 3

M a r k Va n C l e a v e

J o e W i l d e r

Larry Wiseman

TromboneA r t B a r o n

S a m B u r t i s

R o b i n E u b a n k s

P a u l F a u l i s e

Wycl i f fe GordonB i l l H o l m e s

Benny Powel l

Bobby PringDave Steinmeyer

B r e n t W a l l a r a b

B r i t t W o o d m a n

frencbHomDonna Rae Blanger

J o h n P e l f f e r

Ted Thayer

2 4

All tracks except

7, 8, 10

Tracks 1, 2, 3, 4, 5, 8,

8, 9, 12, 13, 15, 17, 18

T r a c k 8

Roger Whi twor th

Tuba

Joseph P. Daley

Marty Erickson

SaxophoneC h r i s B a c a s

J i m C a r r o l l

R i c h a r d C e n t a l o n z a

A r t D a w k i n s

Jerry DodglonBill Easley

L o u i s F. J . F o r d

V i c t o r G o i n e s

Shannon Hudglns

Billy PierceC h a r l i e R u s s o

Loren Schoenberg

G e n e M . S m i t h

Gary Smulyan

Joe Temperley

Bobby Watson

Tr a c k 1 6

Tracks 7, 8

T r a c k 1 5

Tracks 2, 4, 6, 15, 18

Tracks 3, 5, 9, 11, 13,

14, 17, 20

Tracks 3, 5, 6, 13, 17

Tracks 3, 5, 17

T r a c k 6

Tracks 11, 14, 20

Tracks 8, 9

T r a c k 7

Tracks 1, 2, 4, 6, 7, 12,

15, 18

Tracks 1, 12, 16, 19

Tracks 6, 13, 15

All tracks except

6 a n d 1 0

Tracks 16, 19

All tracks except

5, 10, 17

Tracks 5, 17

T r a c k 8

Tracks 3, 4

All tracks except

8 and 10

Tracks 3, 4, 5,6,17

Tr a c k 1 5

Tracks 16 , 19

Tracks 8 , 9

Track 6,9, 15, 16, 19

Track 6

Tracks 2, 5, 6, 8, 11,

13, 14, 15, 17, 18, 20

All tracks except

7 and 10

Tracks 1, 2, 9, 11, 12,

13, 14, 18, 20

Tr a c k 1 6

Tracks 7 , 15

Tr a c k 1 5

S t e v e W i l s o n

Charlie Young

Violin

Lily KramerKaren Lowry

Viola

Shelly Coss

CelloK e n n e t h S l o w i k

PianoS i r R o l a n d H a n n a

Dick Hyman

M i c h a e l W e i s s

R u s s e l l W i l s o n

GuitarJ a m e s C h i r i l l o

Bass

K e t e r B e t t s

M i c h a e l B o w i e

All tracks except

6, 7, 10

T r a c k 9

Tr a c k s 1 3 , 1 5

Tr a c k s 1 3 , 1 5

Tr a c k s 1 3 , 1 5

Tracks 13, 15

Tracks 8, 9, 16, 19

Tracks 1, 10, 12

T r a c k s 2 , 3 , 4 , 5 , 6 , 11 ,

13, 14, 15, 17, 18, 20

T r a c k 7

All tracks except 10

Tracks 1,8, 12

Tracks 7, 16, 19

John Goldsby

R u f u s R e i d

E d S c h u l l e r

Drums

E d C r o w

C h u c k R e d d

Tony Reedus

Tracks 3, 5, 6, 17

T r a c k 9

Tracks 2, 4, 11, 13, 14,

15, 18, 20

T r a c k 1 4

Tracks 1 ,2 , 4 , 8 , 9 ,

11, 12, 13, 15, 16, 18,

1 9 , 2 0

Tracks 3, 5, 6, 17

Harold E. Summey, Jr. Track 7

VlwaphoneC h u c k R e d d T r a c k 1 4

2 5

The BandS m i t h s o n i a n J a z z M a s t e r w o r k s

O r c h e s t r a

J a m e s W e a v e r ,

D i r e c t o r o f P e r f o r m a n c e s

J o h n E d w a r d H a s s e ,

E x e c u t i v e D i r e c t o r

J a m e s K . Z i m m e r m a n , P r o d u c e r

Kennith R. Kimery,A s s i s t a n t P r o d u c e r

For fu r ther in fo rmat ion on the orches

t r a , w r i t e t h e S m i t h s o n i a n J a z z M a s t e r -works Orches t ra , MRC 616 , Smi thson ian

Institution, Washington, D.C. 20560, orca l l (202) 633-9163.

The ConductorsFrom 1991 to the spring of 1996, DavidB a k e r a n d G u n t h e r S c h u l l e r s e r v e d

a s M u s i c a l C o - D i r e c t o r s o f t h e

S m i t h s o n i a n J a z z M a s t e r w o r k s O r c h e s

t ra . S ince then, Dav id Baker has served

a s M u s i c a l D i r e c t o r.

DavidN. Baker, Jr., is internationally recognized as a composer, conductor, author, performer, and educator. He is a

dist inguished professor of music andchairman of the Jazz Department at theIndiana University School of Music, aprogram he has headed since 1966. Aveteran of the bands of Quincy Jones,

George Russell, Stan Kenton, MaynardFerguson, and Lionel Hampton, Baker isthe author of more than 50 books on jazz,

including the classic Jazz Improvisation.Gunther Schuller is respected aroundthe world as a composer, conductor, author, ed i to r, and educator. He is the author of Early Jazz, The Swing Era, and

M u s i n g s : T h e M u s i c a l W o r l d s o fGunther Schuller, and has composed

major chamber and orchestral works aswell as opera. He reconstructed Charles

Mingus's epic Ep/fap/i for jazz orchestra.Schul ler serves as the ar t is t ic d i rector o f

the Festival at Sandpoint.

The RecordingA produc t ion o f Smi thson ian Press /S m i t h s o n i a n P r o d u c t i o n s

B r u c e Ta l b o t , P r o d u c e r

J o h n E d w a r d H a s s e ,

A s s i s t a n t P r o d u c e r

2 6

John Tyler, Technical Director and

Recording Engineer

To purchase additional copies of this

recording, visit your local CD shop orcall Smithsonian Recordings at (800)8 6 3 - 9 9 4 3 .

CD fundingThe production of Big Band Treasures,Live has been made possible throughthe generous support of Infiniti, a division of Nissan Motor Corporation U.S.A.

Orchestra FundingT h e S m i t h s o n i a n J a z z M a s t e r w o r k s O r

chestra is supported by a federal appropr ia t i on . Ma jo r suppor t a l so comesfrom the Recording Industr ies MusicP e r f o r m a n c e Tr u s t F u n d ; I n fi n i t i , a d i v i

sion of Nissan Motor Corporation U.S.A.;and America's Jazz Heritage, A Partner

ship of the Lila Wallace-Reader's DigestF u n d a n d t h e S m i t h s o n i a n I n s t i t u t i o n .

Radio SeriesJazz Smithsonian, an 8-program seriesof concerts by the Smithsonian Jazz

Masterworks Orchestra, is broadcast byP u b l i c R a d i o I n t e r n a t i o n a l . C h e c k w i t h

your local public radio affiliate for times.

AcknowledgmentsFortheir kind help in preparing the booklet notes, the author thanks David Baker,

Elizabeth Kennedy Gische, Beth Kelley,Loren Schoenberg, Bruce Talbot, BrentWallarab, and James Weaver. And fortheir sustained and sustaining support,

deep thanks to Nancy Fischer, BettyTe l l e r , a n d J o h l e e n C a n n o n .

PhotographyP o r t r a i t s o f D a v i d B a k e r a n d G u n t h e r

Schuller by Bachrach. Photo of DavidBaker conduc t ing the band by Er i cWerner. All other photographs by FlughT a l m a n .

© 1 9 9 6 S m i t h s o n i a n I n s t i t u t i o n .

2 7

I tl \ I y

I I N A I ,