Jazz Lines Publications
Presents
the jeffrey sultanof master edition

what is this thing called love
As recorded by charlie parker

Arranged by jimmy carroll
edited by jeffrey sultanof

full scorefrom the original manuscript
jlp-8045

Words and Music by Cole Porter© 1929 (Renewed) WB MUSIC CORP.
This Arrangement © 2010 WB MUSIC CORP.
All 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

what is this thing called love (1949)
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. Theparts 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.
What is This Thing Called Love remains one of Cole Porter’s most frequently performed and recorded songs. Porter was a
graduate of Yale University and first wrote a score for Broadway in 1914; the show was called See America First. This was ahuge flop, and since Porter had inherited a lot of money from his grandfather, he went to live in France to deal with the hurtof failure. He remained there after World War I, studied composition and even wrote a ballet. It was Irving Berlin whoencouraged him to try Broadway again, and he finally returned in 1928. What is This Thing Called Love was first heard inEngland, and soon became a standard when heard in the Untied States. Another example of a song that flirts between major
and minor, the chord sequence has been the basis of a number of jazz standards, including Tadd Dameron’s Hot House.

The Music:
Arranged by Jimmy Carroll, What is This Thing Called Love is known by most Parker fans via the live recording from a midnight
concert at Carnegie Hall on September 16, 1950. By that time, the book included music by Carroll, Jimmy Mundy, NealHefti, George Russell and Gerry Mulligan. Other live recordings of this setting exist and are available.
In general, Parker did not care for Carroll’s arrangements, preferring Joe Lippman for future recordings with this ensemble.
Examination of the original manuscripts revealed that Lippman was not the only arranger for these dates; some arrangements
were ghosted.
Despite the modulation to the key of D Major halfway through thearrangement, Carroll wrote the entire score in the key of C, adding
accidentals where necessary. This has been corrected for the presentedition.
Bowings have been added from indications on the parts themselves andharp pedal markings have been included.
The only ensemble cut was at measures 69-70 (string part, beginning ofpiano solo). These two bars were omitted for each of the live recordings.
In addition, Charlie Parker’s part had him double the harp at measures
113-114 and play with the ensemble at measures 115-116. All four ofthese measures were cut from all recordings.

Notes to the Conductor:
Up-tempo arrangements with strings are a real challenge, as string players may not be used to playing with a rhythm section,and tend to play behind the beat. You may wish to rehearse this piece with your soloist and rhythm alone so that everyone
can hear and absorb the tempo and feel. Many sections will need to be rehearsed slowly so that the musical figures can beheard clearly; when played fast without study, many of them can sound muddy.

Jeffrey Sultanof- November 2010the jeffrey sultanof master edition

jazz lines publications

JLP-8045

what is this thing called love
as recorded by Charlie Parker

Score

Words and Music by Cole Porter
Arranged By Jimmy Carroll
Edited by Jeffrey Sultanof

fast Swing  = 240(Strings)[1]
    

Alto Sax.

6  1.

  

 

{O`b`o`e`}
Oboe/English Horn2.



{S`o`l`o`}f{T`o` `E`n`g`li`s`h` `H`o`r`n`}mf
Violin A



 


6
    

mf

Violin B 

6
   

Violin C 
6    



mf





Viola
7
    

 



Cello 



 


 


 

mf


mf



       

Bass      mfPiano 

GlissGuitar 

[Df,Af,Bf]HarpGlissmfmf mf        œœmfDrum Set1 

2


3


4

© 1929 (Renewed) WB MUSIC CORP.
This Arrangement © 2010 WB MUSIC CORP.
All 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

5mf

what is this thing called love

JLP-8045

jazz lines publications

Score - Page 2A 7(b9)   A7
[A]
A. Sx.

E. Hn.

A7          F>(,7)’F >6’






gg
 gg


Gtr.

gg gg C 7(b9) ’’

C 7(b9) C 7’’ 

C 7(b9)

C7

Pno.

Bass’C7’  p

[Dn,En,Bn]pgg gg p

Hp.



C 7(b9) pg   ggg     
pVc.

pVla.

pVln. CD>(,7) D >6
pVln. B

D >6D>(,7)
Vln. AA 7(b9)’’ 

C 7(b9) C 7

C7




C7(b9) C7œœœœ

’F>(,7) F >6
’’’’’







F>(,7) F >6
   F>(,7)

F>(,7) F >6



F >6


F>(,7)


F >6


[Ef]

  pD. S.

6{P`la`y` `T`im`e`}œœpœœ

’
7’’’’
8’’’’
9’

(4)

’’