Julius Hemphill : Composer

Compositions A-E

Band Theme

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Holograph score in pencil for saxophone sextet (soprano, two altos, two tenors, and baritone saxophone) in AABA form, titled “Backgrounds Band Theme.” Folder also contains professionally copied parts in manuscript.

From Marty Ehrlich: “Band Theme” is based on the “I Got Rhythm” chord changes. For the improvisational section, the Sextet improvised parts behind the tenor solo, based on the chordal pattern known as the “C.T.A.” changes, from the composition of that name by Jimmy Heath.

Hemphill composed this work for Long Tongues: A Saxophone Opera. In performance, it always featured tenor saxophonist Andrew White.

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Blood/Zodia/Lines

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Three-section composition for alto saxophone, clarinet, flute, trumpet, trombone, baritone saxophone, and drums. Holograph score is in a music manuscript notebook donated by Oliver Jackson. The score is untitled, but corresponds to a titled part in the “Blood/Zodia/Lines.” The part, donated by Oliver Lake, is for one performer who doubles on alto, flute, and clarinet, with markings and cues for baritone sax, trumpet and trombone, drums. There are also annotations indicating improvised solos by drums, trumpet, trombone, and baritone saxophone.  

From Marty Ehrlich: After consulting in 2019 with Malinke Elliott, Baikida Carrol, and J.D. Parran, I believe this work was written for “The African Continuum,” Hemphill’s interdisciplinary work, performed at Powell Symphony Hall in St. Louis. Ben Looker’s book, Point from Which Creation Begins: The Black Artists’ Group of St. Louis (Missouri Historical Society Press, 2004) speaks to this performance in detail. The manuscript includes parts designated for “FB,” soul and gospel singer Fontella Bass.

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C.M.E.

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Composition for flute, soprano, and alto saxophone, recorded by Hemphill through overdubbing on the album Blue Boyé (1977). The score appears in Music Manuscript Notebook 1 (MMN1), where it is titled “Roots.” 

Found on: Blue Boyé.

From Marty Ehrlich: The eight pieces that became Blue Boyé all appear in this notebook, though in a slightly different order than on the album.

“C.M.E.” stands for the Christian Methodist Episcopal Church. Hemphill has a family lineage in this denomination. (See the Julius Hemphill interview conducted by Katea Stitt from the Smithsonian Oral History archive).

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Cosmic Country Boy

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A movement of the Drunk On God suite on Julius Hemphill Big Band (1988). Hemphill used two alternate titles for the piece, “The Thing (Temporarily),” and “Strickly Speaking,” which is the title of the score for this work in Music Manuscript Notebook 6 (MMN6)

From Marty Ehrlich: Hemphill performed this work as “The Thing (Temporarily)” with his JAH band, with voicings for two electric guitars and electric bass. He included horn backgrounds with the big band version.

See “Drunk on God” and “The Big Drum Speaks.”

Found on: Julius Hemphill Big Band.

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