by Editor
Composition for alto saxophone, guitar, bass, and drums. The professionally copied parts in the Julius Hemphill Papers indicate that it was originally written as a trio for saxophone, cello, and drums, the configuration in which it was recorded on Live from the New Music Cafe (1992). A guitar is included in the arrangement recorded by the JAH band on Georgia Blue (1984).
Found on: Georgia Blue, Live from the New Music Cafe.
by Editor
Composition for alto saxophone, cello, and drums. It is a 12-measure melody in cut time with chord changes given on the cello part. The score in Hemphill’s hand appears on the same manuscript pages as “Fifteen.”
Found on: Live from the New Music Cafe.
by Editor
This composition was performed and recorded with several different ensembles, including the World Saxophone Quartet, the Julius Hemphill Sextet, the Julius Hemphill Trio (alto saxophone, cello, and drums), and the JAH Band (alto saxophone, bass, guitar, drums, and percussion). The earliest commercial recording of the song comes from the JAH Band’s album Georgia Blue (1984). The Julius Hemphill Papers includes various parts, as well as scores for saxophone quartet (solo alto, alto, tenor, and baritone) and saxophone sextet (solo alto, soprano, alto, two tenor, and baritone). This composition was incorporated into the large-scale work “Long Tongues: A Saxophone Opera,” from which the sextet version was made. It is also included in the Julius Hemphill Saxophone Sextet Collection published by Subito Music.
Found on: Georgia Blue, Live at the Brooklyn Academy of Music, Live from the New Music Cafe, Five Chord Stud, Live at Kassiopeia.
From Marty Ehrlich: Hemphill wrote this piece in honor of dancer Joanne Robinson. He performed it extensively with his JAH band and other small groups.
Near the end of his life, Hemphill could no longer perform on saxophone for a whole concert. The Julius Hemphill Saxophone Sextet became a Septet, with Julius playing some solos from his wheel chair. Tim Berne and Andy Laster joined the ensemble to round out the alto section with Sam Furnace and myself. On our last sextet recording under Julius’ leadership, Five Chord Stud, Julius was in the studio directing us. I was to play his two solo features, “Spiritual Chairs,” and “Georgia Blue,” and the solo alto part for “Georgia Blue” did not have chord changes written in. Knowing I would be playing this work and taking an improvised chorus over the ensemble arrangement, I had asked Julius prior to the session if he had a lead sheet for the chords. We were in his apartment, where he was mostly bedridden. He gave me the changes right then, from his memory, according to measure numbers and lengths. His great mental acuity and full command of his musical language was always there and always inspiring.
by Editor
Composition for saxophone sextet (three alto, two tenor, and baritone), consisting of two linked pieces in 12-bar blues form, “Floppy” and “Blued Up.” On commercial recordings the pieces are generally referred to as “Floppy.” This composition was published in the Sextet Collection by Subito Music.
Found on: Fat Man and the Hard Blues; Live from the New Music Cafe.
by Editor
Composition for saxophone, cello, and drums, recorded by the Julius Hemphill Trio on Live from the New Music Cafe (1992). The score, in Hemphill’s hand, also includes the title “One Groove.”
Found on: Live from the New Music Cafe.
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.