For Europeans Only

Don Redman's arrangements for the Fletcher Henderson Orchestra were among the most experimental of their day, serving as a key inspiration for even Duke Ellington. Therefore, it should be no surprise that Redman's own post-Henderson organization embraced the bebop sounds of the 1940s. "For Europeans Only" was written for Redman's band by Tadd Dameron in 1946, displaying all of the hallmarks of the burgeoning revolution in jazz at the time. The arrangement begins with a dissonant fanfare that sounds more like something that would have been associated with Dizzy Gillespie than one of the heroes of the swing era. This aggressive start gives way to a slightly more subtle melody that is pleasing while still experimenting with Charlie Parker-style chordal upper extensions at measure 9. All brass backgrounds behind the melody, however, should proceed with a similarly aggressive approach as the introduction. Two choruses of tenor saxophone solo begin at measure 34, handled on the original 1946 live recording by one of the great transitional figures of jazz, tenor saxophonist Don Byas. Each chorus has a different set of backgrounds, with the first set being a bit more aggressive and verbose than the second set. An eight bar interlude at measure 86 sets up a semi-shout chorus. Three of the four trumpets play a corkscrewing, Gillespie-esque line, only to give way to a four bar improvised solo, handled by Alan Jeffries on the original recording. The bridge features a piano solo from a young Billy Taylor, punctuated by a surprise brass-and-saxes hit in the middle that should stick out from the otherwise subdued volume level. The arrangement comes to a conclusion with a repeat of the final A section at measure 112. A brief rising brass figure sets up a Dameron staple, a final chord that manages to be modern yet warm and accessible at the same time. This arrangement is for jazz big band. It is not a transcription - it has been prepared from Dameron's original score. Two notes: 1) The 4th trombone part appears to have been added at a later date, and should be considered optional. 2) The trumpet backgrounds from measures 60-63 and 78-81 were not performed on the live original. These backgrounds have been marked as optional on the parts, and you may include them if you so wish.