by Editor
Fragmentary composition for saxophone and guitar, found in Music Manuscript Notebook 6 (MMN6).
From Marty Ehrlich: This piece looks like a work in progress. It appears in the notebook in a sequence with “Blues Country” and “Strickly Speaking.” It bears one of Hemphill’s many witty titles, referencing Miles Davis’s middle name.
by Editor
Composition for two alto saxophones, baritone saxophone, cello, drums, and percussion, appearing as the second track on ’Coon Bid’ness (1975). No known score.
Found on: ’Coon Bid’ness.
From Marty Ehrlich: This is the second of four pieces that make up the first side of the original LP. I have always heard it as one continuous composition, for the ways in which these four works connect and resonate with each other.
by Editor
Song by Billy Strayhorn, arranged by Hemphill for saxophone quartet (two alto, tenor, and baritone). Recorded by the World Saxophone Quartet on Plays Duke Ellington (1986). The archive includes a score in holograph with numerous annotations and professionally copied parts in manuscript.
Found on: Plays Duke Ellington.
From Marty Ehrlich: There are no words for how beautiful, heartfelt and creative this arrangement is, and so beautifully played by the World Saxophone Quartet. A tribute from one musical master to another.
by Editor
Composition for saxophone quartet (soprano, alto, tenor, and baritone). Recorded by the World Saxophone Quartet on Rhythm and Blues (1989). The archive includes a part in holograph for baritone saxophone.
Found on: Rhythm and Blues.
by Editor
Large-scale theatrical work by Hemphill which went through many different versions, with work-in-progress presentations beginning in 1987. The piece was written for saxophone sextet with strings (two violin, two viola, two cello, double bass), winds/brass (piccolo, two trumpet, two trombone, French horn), and rhythm section (piano, bass, drums, percussion). The world premiere was in Washington, D.C. in 1989, with performances at the Apollo Theater in New York City and the Strand Theatre in Boston in 1990. (See Timeline for more details). The archive contains extensive material related to this piece, particularly scores and parts related to the full performances in Washington and New York. Long Tongues incorporated several pre-existing compositions by Hemphill.
The individual sections of “Long Tongues” have been reconstructed by Marty Ehrlich as follows:
New York City (Apollo Theater) and Boston version
Sketch I
Sketch II
Sketch III
Mask Dance
Ballad #1-Blues
Band Theme
Georgia Blues plus Sketch IV
Sketch IV
R&B
Dogon A.D.
For Andrew
Otis Groove
Soulo
Overture
Washington, D.C. and New York City (Lincoln Center) version
Lento (Prayer Like) / Tribute
Sketch I
Sketch II
Sketch III
Sketch IV
Overture: Riot Scene
Band Theme
Bop Scene-K.C. Line
Soulo
Dogon A.D.
The Julius Hemphill Papers is an archival collection at New York University. The collection contains scores, audiovisual documentation, and other material related to the life and career of composer and saxophonist Julius Hemphill. Materials are accessible by appointment. Click here to learn more.