by Editor
This composition is part of the suite “Drunk on God,” recorded on the album Julius Hemphill Big Band (1988), where it is titled “Cosmic Country Boy.” The archival folder includes parts in holograph for two guitars and bass, with chord symbols in a different hand. See also the folder for “Drunk on God.”
Found on: Julius Hemphill Big Band.
by Editor
32-measure score for big band found in Music Manuscript Notebook 4 (MMN4). The orchestration, which indicates doubling on many woodwind parts, is for flute, alto saxophone (+clarinet), alto (+tenor) saxophone, tenor saxophone (+soprano and flute), baritone saxophone (+ clarinet), bass clarinet (+tenor saxophone and piccolo or three trumpets), French horn, trombone, tuba, cello, bass, and two percussion parts.
From Marty Ehrlich: I have not encountered any record of a performance of this work. It may have been read or performed by the Black Artists’ Group Big Band in St. Louis. Julius also titled this work “B2,” as in “‘B’ used twice,” yet another of his wordplays.
by Editor
Parts in holograph for saxophone quartet (soprano, alto, tenor, and baritone), written for the World Saxophone Quartet.
by Editor
The archive contains a holograph score and professionally copied parts in manuscript for flute, bass, and drums, with additional instructions to the copyist to make a guitar part, which is not included here. This eighteen-measure piece is in 2/2, with an intro in 7/4.
From Marty Ehrlich: Hemphill later used material from this score for the third movement of the “Drunk on God” suite on Julius Hemphill Big Band (1988). The score includes a note to the copyist, James “Jabbo” Ware, to include the harmonic material of “Basso / Pro Bird” where marked. Hemphill also performed this piece in a trio context at the Public Theatre in the early 1980s.
by Editor
Composition recorded on the Lester Bowie album Fast Last! (1974), with trumpet, alto saxophone, tenor saxophone, trombone, tuba, piano, bass, and drums. No known score or parts.
Found on: Fast Last!
From Marty Ehrlich: Tim Berne recently told me that he remembers Hemphill describing Banana Whistle as one of his earliest compositions; perhaps he wrote it in the army. J.D. Parran told me about a piece from the B.A.G. or St. Louis period, which Hemphill called “Banana Britches.” Bob Stewart confirmed that Bowie brought him in after the recording session to overdub his tuba part; he told me he remembers having been given verbal directions, and perhaps some graphic notations, rather than a written part.
This is the only studio recording Hemphill and Bowie made together, and it is striking in its ideas, its emotional resonance, and the compositional logic that unifies its diverse parts. To me, the opening, high energy collective improvisation, so voice-like and inflected, represents something unique about the Midwest/Southern players. The piece then connects a number of compositional ideas in a logical and powerful way, moving to longer, measured phrases, breaking the time down to half time and a backbeat, and layering one of Hemphill’s catchy melodies with the opening sound collage.
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.