Jazz Lines Publications
Presents
the jeffrey sultanof master edition

they can’t take thataway from me
As recorded by charlie parker

Arranged by joe lippman
edited by jeffrey sultanof

full scorefrom the original manuscript
jlp-8043
Music and Lyrics by George Gershwin and Ira Gershwin© 1936, 1937 (Copyrights Renewed) GEORGE GERSHWIN MUSIC and IRA GERSHWIN MUSICAll Rights Administered by WB MUSIC CORP.
This Arrangement © 2010 GEORGE GERSHWIN MUSIC, IRA GERHWIN MUSICAll Rights Reserved
Used by Permission of ALFRED MUSIC PUBLISHING CO., INC
Layout, Design, and Logos © 2010 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM

Jazz Lines Publications
PO Box 1236
Saratoga Springs NY 12866 USAcharlie parker with strings series

they can’t take that away from me (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. What finally took place was sheer magic. The
parts for the string players were relatively easy, so they listened andenjoyed Parker's improvisations. The arrangements for the first studiosession were done by Jimmy Carroll and recorded on November 30,1949. On July 5, 1950 there was another studio recording session, thistime with arrangements by Joe Lippman. This second date featured alarger ensemble including oboe, French horn, 4 violins, 2 violas, cello, harp, guitar, piano, bass, and drums. Parker also appearedwith his string group on at least 4 live occassions: Birdland (August, 1950 and March and April, 1951), Apollo Theater (August1950), 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 lovelyand 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.

They Can’t Take That Away From Me comes from the second Charlie Parker with strings album, recorded on July 5, 1950,
arranged and conducted by Joe Lippman. This was one of George Gershwin’s last songs, written for the motion picture Shall
We Dance and introduced by Fred Astaire. George Gershwin had great affection for this song; when Astaire recorded it for
Brunswick Records with John Green’s orchestra, Gershwin was noticeably moved when he heard a test pressing of therecording. After having had many negative experiences in Hollywood where his songs were either poorly presented or cut
altogether from films, this song served as a re-affirmation that his talent could not be denied. George Gershwould died twomonths after Shall We Dance was released.

The Music:
Interestingly, some arrangements written for the Charlie Parker with Strings
sessions featured other musicians as well, showing how Parker wasgenerous with the spotlight and appreciative of his fellow musicians. Thisparticular arrangement was written specifically to feature pianist Bernie
Leighton. Leighton may not be a household name as a jazz soloist, but hewas one of the best and busiest pianists in the New York recording andbroadcast studios. He recorded with Tony Bennett, Billie Holiday, Artie
Shaw, Bud Freeman, Benny Goodman, James Moody, Bob Wilbur, as well as
under his own name.
The score directs him to play the opening solo chorded, although it does
not specify notes; these have been added for this publication. It is probablethat Granz and/or Parker wanted to capture listeners’ attention by copying
the George Shearing sound, very popular at the time.
This is a fairly straightforward job, with the strings playing sustained notes
against Parker’s improvisations. If your ensemble is playing a concert of these arrangements, this might be a good piece torehearse first so that everyone gets comfortable, and the ability for everyone to hear the rhythm section is addressed.

Jeffrey Sultanof- November 2010

jazz Lines pubLications

JlP-8043

the jeffrey sultanof master edition

they can't take that away from me(as recorded by Charlie Parker)

Music and Lyrics byGeorge Gershwin and Ira Gershwin
Arranged By Joe Lippman
Edited by Jeffrey Sultanof

Score
medium swing = 120{S`o`l`o`}[1]
Alto Sax.






E7(b5)’ ’

f{E`n`g`li`s`h` `H`o`r`n`}’’’

Oboe/English Horn 

Horn in F Violin A  mfViolin B            
 Guitar

 

f



f

[Cf,Df,En,Fs,Gn,An,Bf]

  
 

  

 

[Dn]



G7(b5)’ ’                                  Db7 (b5)B b7(b5)       f                 

3f

Piano3     
 
  
 



mf

Drum Set3    

Bassf

Harpmf  f





mf

Cello
fmfViola Bfmf

Viola AfmfViolin DfmfViolin C’ãœœ
1 mf’’’’’’’2’’’’’’G7(b5) œœœœ33© 1936, 1937 (Copyrights Renewed) GEORGE GERSHWIN MUSIC and IRA GERSHWIN MUSICAll Rights Administered by WB MUSIC CORP.
This Arrangement © 2010 GEORGE GERSHWIN MUSIC, IRA GERHWIN MUSICAll Rights Reserved
Used by Permission of ALFRED MUSIC PUBLISHING CO., INC
Layout, Design, and Logos © 2010 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM4

they can't take that away from me jazz Lines pubLications

JlP-8043

Score - Page 2
D b7(b5)
A. Sx.

E. Hn.

Hn.

Vln. A












































































f


   

mfVln. C


 f



mf

Vln. D fmfVla. A  

f


mfVc.

 

fmf

Vla. B’       

’

mf

Vln. B’mfff

   

E7(b5)
’

Hp.

fGtr.

        

 

 



 

 

 



 

 

     

Pno.

  BassD. S.

ã5

B b7(b5)œœ’’’’’’

G7(b5)
’6’’’’’’

E7(b5)
 
œœ78

 