Julius Hemphill : Composer

World Saxophone Quartet

New Prayers

by

Composition for saxophone quartet using woodwind doubling (flute, clarinet, and two soprano saxophones). The archive includes holograph parts with annotations from the members of the World Saxophone Quartet. No known recording.

From Marty Ehrlich: This work is in three sections: a chorale in the A and B sections; a harmonized eighth note line in the C section; and a coda of three sustained chords. Hemphill often used this combination of elements, and in the late 70’s–early 80’s he wrote a number of pieces for the World Saxophone Quartet using woodwind doubles. I would date this work in the early 80’s.

Return to Annotated Composition List. 

Wind/Rhythms

by

Multi-movement work for saxophone quartet with percussion. This suite was written for a concert featuring the World Saxophone Quartet and Max Roach & M’Boom, called “The Grand Collaboration,” at the Cathedral Church of St. John the Divine in New York City, on June 26, 1981, although it was evidently not performed at that concert. The individual movements of “Wind/Rhythms” are “Fixation“; “Flair“; “Ji-Ji Tune“; “Another Feeling“; and “Stick.” Several of these movements were later performed or recorded as separate pieces.

From Marty Ehrlich: In addition to the full score in Hemphill’s hand, there are two pages on which Hemphill outlines an intricate structure for performing these works with percussion ensemble.

Touchic

by

Composition for saxophone quartet (soprano, alto, tenor, and baritone), recorded by the World Saxophone Quartet on Live in Zurich (1984). The archive includes a score in holograph and professionally copied parts. It was published in the Julius Hemphill Saxophone Quartet Collection by Subito Music.

Found on: Live in Zurich, The Hard Blues: Live in Lisbon.

From Marty Ehrlich: The alto saxophone part in the Julius Hemphill Papers includes Hemphill’s notes on this piece’s “roadmap” in performance.

Return to Annotated Composition List.

Take the “A” Train

by

Billy Strayhorn composition, arranged by Hemphill for saxophone quartet (two alto, tenor, and baritone). It was recorded by the World Saxophone Quartet on the album Plays Duke Ellington (1986). Hemphill also arranged this piece for saxophone sextet and included it in the dance performance “Last Supper at Uncle Tom’s Cabin / The Promised Land.” The archive includes a holograph score and professionally copied parts in manuscript.

Found on: Plays Duke Ellington.

From Marty Ehrlich: Hemphill’s 44-measure arrangement is in AABBAA form. 

Return to Annotated Composition List.

Sweet D

by

This composition exists in several forms in the Julius Hemphill Papers, with various scores and parts. Its earliest appearance on a recording is on the unreleased “Janus Sessions” from 1977. The only commercially released recording is for saxophone quartet (soprano, alto, tenor, and baritone) on the World Saxophone Quartet album Dances and Ballads (1987).

An early version for trumpet, alto saxophone, bass, and drums, which appears in Music Manuscript Notebook 3 (MMN3), was apparently the basis for the saxophone quartet arrangement. “Sweet D” was also arranged for saxophone sextet and was included in the performance “Last Supper at Uncle Tom’s Cabin / The Promised Land.” It was published in the Julius Hemphill Saxophone Sextet Collection by Subito Music.

Found on: Dances and Ballads.

From Marty Ehrlich: “Sweet D” shares the same instrumentation as “Sanctified Dreams,” which is the adjacent score in the compositional notebook. There are professionally copied parts for alto saxophone and trumpet, by the same copyist who did parts for Hemphill in the early 70s, which may help date this work. 

The archive includes a recording of this piece performed at Weill Recital Hall in Carnegie Hall in 1987. In one of the rare examples in which Hemphill introduces his compositions from the stage in a live performance, he tells the audience: “A colleague and friend of mine is quite popular and deservedly so. Initially upon his coming to New York, him being a young fellow and all that, he acquired the nickname, briefly, of ‘Sweet D.’ This piece is dedicated to David Murray.”

Return to Annotated Composition List.