Jazz Lines Publications
Presents
the jeffrey sultanof master edition

ezz-thetic
As written for charlie parker with strings

Arranged by george russell
edited by jeffrey sultanof

full scorefrom the original manuscript
jlp-8020

Music by George Russell© 1949 (Renewed) RUSS-HIX MUSICThis Arrangement © 2010 RUSS-HIX MUSICAll Rights Reserved
Layout, Design, and Logos © 2010 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM
This Arrangement Has Been Published with the Authorization of Alice Russell and Concept Publishing.

Jazz Lines Publications
PO Box 1236
Saratoga Springs NY 12866 USAcharlie parker with strings seriesezz-thetic (1950)
Background:
When Billie Holiday signed a new recording contract with Decca Records in 1944, she told producer Milt Gabler she
wanted to record with strings. Anxious to establish Holiday as a pop singer, Gabler hired six string players for her firstsession, and the first song recorded was Lover Man, one of her biggest hits. Several years later, when Charlie Parker signedwith impresario/manager Norman Granz' label Clef, Parker asked for strings as well.
Granz was obviously keeping costs down, as only five string players
were hired for the first session (1949), but these were the very top
New York session players; some were members of the NBC symphony conducted by Arturo Toscanini. As much as he'd dreamed ofplaying with strings, reportedly Parker walked out of a few sessions
without playing a note (the number has never been authenticated). Helater explained that the sound of the strings and the thought of working with such distinguished musicians scared him; he thought they weregreater artists than he was. What finally took place was sheer magic.
The parts for the string players were relatively easy, so they listened
to and enjoyed Parker's improvisations. The arrangements for the firststudio session were done by Jimmy Carroll and recorded on November 30, 1949. On July 5, 1950 there was another studio recording
session, this time with arrangements by Joe Lippman. This second datefeatured a larger ensemble including oboe, French horn, 4 violins, 2 violas, cello, harp, guitar, piano, bass, and drums. Parker
also appeared with his string group on at least 6 live occassions: Birdland (August, 1950 and March and April, 1951), Apollo
Theater (August 1950), Carnegie Hall (September, 1950), Rockland Palace Dance Hall (September, 1952). In 1952 Parker
recorded an additional 4 arrangements by Lippman featuring a full big band with a string section.
Parker would later say that the studio recordings with his string ensemble were his favorites of his own work, despite jazzcritics' condescending reactions and their claims that he was 'selling out.' As it turns out, he was selling 'in.' The albums soldwell, and brought Parker to a whole new audience. As far as his own playing, many of his solos on this first album were lovely
and inspired. Just Friends is one of Parker's finest records and his solo is remarkable; I can't be the only one who can sing itby heart at a moment's notice. It is a pity that none of the alternate takes seem to have survived.
The Bird with Strings album arranged by Jimmy Carroll was so successful that a touring ensemble was put together forconcerts. Examination of the arrangements in the Charlie Parker with Strings book revealed that Parker not only had
settings of classic songs that were never recorded for Norman Granz, but also he had asked Gerry Mulligan and George
Russell to arrange their recent (ca. 1950) compositions for him. Mulligan’s version of Rocker is well known as a live
recording has long been available. A private recording from 1952 has Bird roaring on another Mulligan composition thatwas previously unknown as a Bird with Strings arrangement, Gold Rush.1 Even more interesting is that George Russellarranged Ezz-Thetic for the group. There are no live performances documented, and until the discovery of the string book,it was not known that Russell even wrote this version for Bird. Any previously unknown piece of music by this composer,especially from this era, is a major discovery.

Photo of George Russell © Concept PublishingA biography of George Russell is outside the scope of this publication. However, several essential pieces of biographicalinformation must be conveyed here. George Russell was one of the most influential theorist/composers of the twentiethcentury. This statement is not made lightly. His Lydian Chromatic Concept isa major contribution to music theory, influencing not only players andcomposers of jazz and fusion, but composers of concert music as well. It
became the blueprint for modal jazz, and it is safe to say that Miles Davis’s
Kind of Blue would not have been recorded were it not for Russell’s treatise.2
At the time of the composition of Ezz-Thetic (written to honor theheavyweight boxing champ and bass player Ezzard Charles), Russell was
only a few years from completing the theory for initial publication; EzzThetic itself is an early example of a modal jazz composition. He madeseveral albums of his own music from 1956 until the 1990s, led ensembles
all over the world, and was a recipient of numerous awards, fellowshipsand grants.
It is a great honor to have been granted permission to publish this importantarrangement from Alice Russell. Very little of Russell’s music has circulated
over the years, and it is hoped that more of it will be available for study andperformance in the years to come. Additionally, this is one of the few known works Russell composed for strings. As can beseen, that is our loss.
One further note: it seems that Charlie Parker never paid Russell for this arrangement. At the time of his passing in 2009,
Russell was still owed $25.00 for the score and extracted parts.

The Music:
The score and alto sax part to Ezz-Thetic seem to be missing. Russell
may or may not have written a harp part as there is none extant.
But on the evidence that every other arranger supplied parts forharp for this ensemble, I have taken the liberty of compiling one
that is based on the extant parts - no new music has been written
for the creation of this part.The melody played by the alto saxophone
is taken from a lead sheet supplied and authorized by Russell’spublishing company, Russ-Hix Music.
The composition itself is based on Cole Porter’s Love for Sale but
Russell is very specific about what he wants in his music, so pleaseuse his chord changes. Please note that Russell wrote this settingwith a key signature of four flats in concert, with the majority of the Ds written with naturals. Since this is clearly in C minor
tonality, I have changed this to three flats. It is probable that Russell considered this piece to be in the Lydian mode, hence
it should have the key signature for that mode.

Notes to the Conductor:
No tempo marking was present on the parts. However, when this was written the maximum time an arrangement could
run was 3 minutes (that’s how long each side of a 78 rpm record would play). To get this arrangement in at 3 minutes or lessit has to be played at 280 beats per quarter note. Additional evidence was supplied by listening to Russell’s later recordingof this same composition, which was played at approximately 300 bpm. We recognize that 280 bpm is rather fast for thestring players as well as the alto saxophonist. This piece may be played a bit slower if necessary. In addition, it may be opened
up for more solos. The 6/4 bars should not be played slower; the quarter note speed remains the same. Note that thefigures are written 3+3 for these four bars.

Jeffrey Sultanof- December 2010

Notes:
1
Gold Rush and Rocker have also been published by Jazz Lines Publications.
2
George Russell’s Lydian Chromatic Concept of Tonal Organization is available through ejazzlines.com

the jeffrey sultanof master edition

jazz Lines pubLications

JlP-8037

ezz-thetic(as written for Charlie Parker with strings)

Score
[1]
Alto Sax.

Music by George Russell
Arranged By George Russell
Edited by Jeffrey Sultanof

bright Swing  = 280ä  f   

OboeViolin Aä      ä  ä       äääääää  fä        ä     ä      

f[Cn,Dn,Ef,Fn,Gn,An,Bf]

fBassä        ãDrum Set1 œœ ffä    PianofHarpä    

Cello

äfViola 
 

fViolin C ä     f

Violin BGliss
GlissLet Ringœœ œœœœœœœœfœœœœ234© 1949 (Renewed) RUSS-HIX MUSICThis Arrangement © 2010 RUSS-HIX MUSICAll Rights Reserved
Layout, Design, and Logos © 2010 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM
This Arrangement Has Been Published with the Authorization of Alice Russell and Concept Publishing.

ezz-thetic

JlP-8037

jazz Lines pubLications

Score - Page 2{S`o`l`o`}

A >9A. Sx.

Ob.

   Vln. A   Vln. B’
’’’’’’’’’’’’’’   

Vln. C   Vla.

      





Vc.


 



 

’



Hp.




   













Pno.

 



Bass

 



D. S.

ã
5

*œœœœœœœœ6’œœœœœœ{P`la`y` `T`im`e`}7’ ’ ’’’’’’’’’’’’

8’

9’
10

ezz-thetic

jazz Lines pubLications

JlP-8037

Score - Page 3[A]A. Sx.

    

fOb.

3

    













     











    





     













mf

Vln. A     mf

Vln. Bmf

Vln. C

mfVla.

33



mf

Vc.

    mf   





[Af,Dn]Hp.

   3       

mfPno.

    Bass      


























’(4)’

mf

D. S.

ã11{P`la`y` `T`im`e`}

 œœ
mf

’’’’
12’

’’’
13’’’’
14’ezz-thetic

JlP-8037

jazz Lines pubLications

Score - Page 4A. Sx.

  Vln. A    Vln. B    Vln. C Vla.

 Vc.

  
3

Ob.


















3 



 







Hp.

          

3Pno.

BassD. S.

  ã
15’

’

’’’
16’’’’17’
’


’
’
18

’(8)’

’