Roseville Big Band Concert in Central Park, August 1, 2000, 7:00 - 8:20 p.m.

[These are the television production notes that Roseville Big Band director Glen Newton provided for CTV15 producer John Rusterholz, so he could prepare the graphics and anticipate the camera shots for the live broadcast and taping of the concert.]

New York, New York by Fred Ebb and John Kander (1977), arr. by Bob Lowden
4 bars whole band, zooming in to 3 bars of saxes, then stay on me for the voiceover (3 bars), followed by trombone section through the AA section; saxes (B section) 8 bars; trpts (A section) 4, all brass 4; saxes 4; all 4; saxes 3; whole band at 50 (4 bars); saxes 10 bars; whole band plays to the end.

Makin' Whoopie by Gus Kahn and Walter Donaldson (1928), arr. by Dave Barduhn
(featuring vocalist Keith Miner)
2 bars (slow) of whole band; 2 bars drum solo; 2 bars whole band; 1.5 bars drums, then Keith starts singing. he does a 32-bar chorus, then whole band for 16 bars; back at 9, Keith sings 16 bars, with Fred on trombone and Glen on vibes filling in the background; if you can't get all three of us, leave me out and get Keith and Fred; then we jump to 59 ("He doesn't make much money, only 5000 per") and Keith sings 16 bars, followed by a 6-bar tag, where he alternates "Whoopie" 2-note phrases with the trumpets (too fast to cut from one to the other), and we hold the last chord while he sings a very short ending.

The Charleston by Cecil Mack and Jimmy Johnson (1923), arr. by Jerry Sears
(featuring the Rhythm & Swing Dancers, with vocalist Karen Dunn and trombone soloist Fred Christiansen)
4 bar intro, then Karen and the ladies of R&S sing a 32-bar chorus; Karen leaves and the others dance; after 34 bars, Fred plays a 16-bar solo (no need to get any more than a couple of bars of it); after 16 more bars, there's another key change, so you know the end is near; 16 more bars and the song ends.

Introduce the trombone and tuba section (left-to-right): Carin Bratlie (NOTE that this is the opposite end of the section from what I told you on the phone), Keith Miner, Greg Onstad, Fred Christiansen, Rich Eyman

New Orleans Jazz Portrait "When the Saints Go Marching In" and "Just a Closer Walk with Thee", arr. by Mike Vax and Bob Secor (1981)
(featuring a Dixieland trio of clarinetist Dan Desmonds, trombonist Rich Eyman, and trumpeter Harvey Skow; with additional soloists Glen Peterson on tenor sax, Ann Booth on piano, and Keith Miner on bass trombone)
Dixie group, L-R: Dan, Harvey, Rich; 4 bars of band (not soloists, not trumpets), then 4 bars of Dixie group standing in front, incl. tuba sitting in her usual place; then 3 bars of whole band & Dixie, followed by the first (fast) 16-bar chorus of "Saints" by Dixie group; second time on Saints Keith on bass trombone (standing in place); 3rd & 4th times on Saints are Dixie group with the whole band; this ends with two sustained chords that I conduct (bar 45); Harvey takes the slow pickups in bar 46; 1st time on the slow "Just a Closer Walk" is the Dixie group (16 bars); 2nd time (16 bars) is Ann on piano; 3rd time (16 bars) is Dixie group with whole band backgrounds; this part ends with a sustained chord, then a fast 3 bar drum solo (Jim; probably not time to ID him, but we should get the solo); then Harvey and Dan take the pickups to the first fast chorus of "Just a Closer Walk with Thee"; 1st 16 bars are the Dixie group; 2nd 16 bars are Glen Peterson on tenor; 3rd 16 bars are the Dixie group with the whole band; there are two tag bars on which the band sustains a chord --- on the first one, Rich (out in front) plays a cadenza; on the second one, Dan (out in front) plays a cadenza.

Introduce the vocalists (left-to-right): me (bass), Barb (alto), Karen (lead), Mark (tenor)

I Won't Last a Day without You by Paul Williams and Roger Nichols (1971), band arr. by Bob Lowden, vocal arr. by Glen Newton
(featuring vocalist Mark Scanlan, with vocalists Karen Dunn, Barb Harvey, and Glen Newton)
left-to-right: Glen, Barb, Karen, Mark; 2 bars, whole band, then 4 bars piano solo, then 2 more bars, and Mark starts singing the 8-bar verse; then the other vocalists and band sing/play the 7-bar chorus, followed by 4 bars of piano solo, leading into Mark singing the 2nd 8-bar verse; the band and vocalists do 8 bars, followed by Mark singing the 8-bar bridge, followed by a 1-bar vocal transition into the final 8-bar verse (Mark); we all do two 8-bar choruses, after which Mark sings "without" and the piano solo comes in on "you"; after 3 bars, the vocalists rejoin for the final 3 bars; at the end Mark sings "won't last a day", just like Sarah Morris did.

A Musical Countdown:

Introduce the rhythm section (front to back): Ann Booth (piano), Mike Wobig (electric bass), and Jim Foster (drums)

5: Mambo #5 by Damaso Perez Prado, Lou Bega, and Zippy (1999), arr. by Roger Holmes
(featuring guest percussionists from the audience, with solos by trumpeter Harvey Skow and alto saxophonist Kay Foster)
8 bars of rhythm section (with the rest doing finger snapping); then 4 bars of tenor saxes and the middle 2 trombones (maybe you can get them all in the same shot); then 4 bars of alto saxes and 2 trumpets (Harvey and Kim or Mark - not sure which); then 4 bars of all trombones and tenors and bari sax; then all saxes 3 bars, with trumpets taking the lead in the next bar, leading into the whole band playing a 16-bar chorus and a 16-bar transition; then Harvey plays an 8-bar solo followed by Kay playing an 8-bar solo; then the whole band goes back and plays the same 16-bar chorus and 15-bar ending; during that 16-bar chorus, I'll play some kind of trumpet solo over the top of the band, standing at the left end of the guest percussionists, then I'll retreat to get ready to stop the band, so don't follow me when I start to move back.

4: Four by Miles Davis (1954), arr. by Dave Barduhn
(with the dueling trumpets of Harvey Skow and Glen Newton)
6 bars of whole band, a 2-bar drum fill, and the first 8-bar phrase begins, played by Kay, Glen, Harvey, Greg, and the rhythm section; then the whole band comes in for 8 loud bars; then we repeat the small group-whole band thing for another 16 bars; at the end of this, I'll play a solo break, using a wireless mic in the audience, followed by 8 bars of solo; by then Harvey will be up in the audience, too, and he'll play 8 bars; then I'll do 4, Harvey 4, me 4, Harvey 4, and we're back at the top of the solo thing again: me 8, Harvey 8, me 4, Harvey 4, me 4, and both of us 2 bars together; then the band will have 4 bars of transition while we go back to our places in the band; then the whole band plays 3 bars, then a bar of drum fill, then 3 more, then a 1-bar drum fill; then about 7 bars of the whole band, and we suddenly change to a slower (a bit more than half-speed) tempo for about 7 more bars; after that we go back to 4 bars of the opening combo feel, 2 bars of band, 2 bars of drum fill, 2 bars of band, 2 bars of drum fill, ending on a full band chord.

3: Three Times a Lady by Lionel Ritchie (1978), arr. by Dave Wolpe
(featuring Mark Lee on flugelhorn)
4-bar intro, then Mark starts on flugelhorn, playing from out front (but check with me that night, in case he'd prefer to be back in the section), 17 bars of verse; then the ensemble plays 22 bars (Mark might also play along on parts of this, but don't emphasize him); then Mark plays another 17 bars, followed by the ensemble playing about 23 bars, with Mark ad libbing over the top; then we hold a chord and Mark plays the last two ad lib bars.

Here I'll show the audience the euphonium and talk a bit about it and the vibraphone.

2: Two O'Clock Jump by Harry James, Benny Goodman, and Count Basie (1942), arr. by Will Hudson
(with soloists Glen Newton on vibraphone and euphonium and Glen Peterson on tenor sax)
4 bars of whole band intro, then I take a solo on the vibes (12 bars); then the band does two 12-bar choruses, followed by me playing a 12-bar solo on euphonium (just standing in front of the band); then 12 bars of saxes, followed by 12 bars of Glen Peterson; then another 12 bars, during which I'll play euphonium again; then 12 more of the whole band; then the trumpets start their two 12-bar choruses of descending triplets; then two more 12-bar choruses by the whole band; I'll play vibe fills after I put down my trumpet, so try to keep me in the shots at the end.

Introduce the trumpet section (left-to-right): Harvey Skow, Kim Kermes, Mark Lee, and Bob Nielsen

1: Opus One by Sy Oliver and Sid Garris (1943), arr. by Steve Wright
(featuring the Rhythm & Swing Dancers, with tenor sax soloist Glen Peterson, trombone soloist Rich Eyman, and electric bass soloist Mike Wobig)
4 bars intro; 32 bar chorus; Glen Peterson solo 16 bars; Rich Eyman solo 16 bars (both just stand up where they are); 16 bars of band; Mike Wobig solo 8 bars; 12 more band bars and it's over.

Ain't Misbehavin' by Andy Razaf, Fats Waller, and Harry Brooks (1929), band arr. by Art Dedrick, vocal arr. by Glen Newton
(featuring vocalists Karen Dunn, Barb Harvey, Mark Scanlan, and Glen Newton)
8-bar intro, then Mark: "No one to talk with, all by myself"; Karen: "No one to walk with, but I'm happy on the shelf"; All (unison): "Ain't misbehaving, I'm savin' my love for you"; Glen: "I don't stay out late, noplace to go"; Barb: "I'm home about eight, just me and my radio." All: "Ain't misbehavin', I'm savin' my love for you."; Bridge in 4-part harmony: "Like Jack Horner in a corner, don't go nowhere, what do I care? Your kisses are worth waiting for, believe me."; Mark and Glen: "I know for certain the one I love"; Karen and Barb: "I'm through with flirtin', it's just you I'm dreamin' of"; All: "Ain't misbehavin', I'm savin' my love for you."; 16-bar flugelhorn solo by Glen, followed by 8 bars of Karen on the bridge and then 8 bars as above, "I know for certain ..."; 4-bar tag.

Copacabana by Bruce Sussman, Jack Feldman, and Barry Manilow (1978), arr. by John Berry
(featuring guest percussionists from the audience, with trumpet soloist Bob Nielsen and alto sax soloist Kay Foster)
4-bar percussion intro, then 4 bars of trombones and saxes; 8 bars of trpts; 2 bars of saxes; 2 bars of trpts; chorus: "At the Copa ..." is 10 bars of trpts with everybody else playing, too; 4-bar brass transition; 8 bars of saxes; 2 bars of brass; 2 bars of saxes; 10 bars of brass with everybody else playing, too; 2 bars of transition; 8-bar solo by Bob, then 8-bar solo by Kay; 12-bar full band transition; last chorus - 15 bars of whole band.

Every Day I Have the Blues by Peter Chatman (1952), arr. by Roger Holmes
(featuring vocalist Keith Miner, with tenor sax soloist Glen Peterson)
4-bar intro, then Keith sings 24 bars; then Glen Peterson 12 bars, Keith three 12-bar choruses, 6 bars of saxes, 2 bars of brass, 3 of saxes, and Keith's back in again for 12 more bars with a 2-bar tag.

Introduce the saxophone section (left to right): Dan Desmonds, Glen Peterson, Kay Foster, Bill Frank, Bill Pearson

Woodchopper's Ball by Joey Bishop and Woody Herman (1939), arr. by Glenn Osser
(featuring solos by Glen Newton, Bob Nielsen, and Harvey Skow on trumpets; Bill Frank on alto sax; Glen Peterson and Dan Desmonds on tenor sax; Rich Eyman on trombone; Keith Miner on bass trombone; and Mike Wobig on electric bass)
This selection is available on the Roseville Big Band Concert in the Park CD and cassette tape.
12 bars of band; 12 bars with me playing trpt ride over the band; 12 bars of saxes with horn moves in the brass; 12 more sax bars with less interesting horn moves in the brass; 12 bars of Bob; 12 bars of Glen P.; 12 bars of Keith; 12 bars of Harvey; 12 bars of Bill; 12 bars of Rich; 12 bars of Dan; 24 bars of Mike W.; 24 bars of band with me playing a trpt ride over the top --- be sure to get the whole band at least the last four bars.

In addition to the soloists listed above, the Roseville Big Band performers for this concert include Bill Pearson, baritone sax; Greg Onstad, trombone; Carin Bratlie, tuba; Kim Kermes, trumpet; and Jim Foster, drums.

Concerts in Central Park are broadcast live on Channel 15, CTV North Suburbs!