Memories of You (Trumpet Feature): Jazz Ensemble Conductor Score & Parts
As performed by Andy Razaf / As performed by Eubie Blake and Andy Razaf / Arranged by Terry White
Grade: 4
Item: 35-PK00407859
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Description
Based on the version recorded by Clifford Brown accompanied by strings, this marvelous ballad from 1930 provides your trumpet soloist the perfect opportunity for lyric stylings. The written solo part features a modest range and sample phrases adapted from Clifford Brown's recording.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00407859
More about this title
About the Artist: Andy Razaf
Andy Razaf was a lyricist and composer whose career spanned the Harlem Renaissance and beyond, collaborating with some of jazz's most influential musicians. His gift for crafting memorable melodies and emotionally resonant lyrics made him a vital figure in American popular song, and his compositions remain standards in the jazz repertoire.
Why we love this
Terry White's arrangement preserves the intimate beauty of this 1930 ballad while giving your trumpet section a genuine solo feature that sits comfortably under a competent soloist's fingers. The written solo draws directly from Clifford Brown's recorded phrasing, so students hear how a jazz master actually voiced the melody and can internalize that approach without having to transcribe it themselves.
What to expect
Wistful and intimate, like a late-night remembrance. The melody carries that sophisticated simplicity of 1930s song craft, where a few well-placed notes convey deep feeling without melodrama.
Who it's for
Jazz ensemble directors who want a legitimate ballad feature that doesn't demand a virtuoso but rewards mature musicianship and emotional commitment. Your trumpet section gets a moment to shine while the rest of the ensemble learns the art of accompaniment in a jazz context.
How to get the most out of it
- Shape the opening ballad section with rubato; let the trumpet soloist breathe naturally between phrases rather than locking to a metronomic pulse. This gives the lyric quality room to breathe.
- Balance the accompaniment carefully behind the soloist. The written parts should sit back dynamically, especially strings or sustained chords, so the trumpet's voice becomes the focal point.
- Work the blues language embedded in the solo; Razaf's melody already contains gentle bent notes and scooped attacks that signal jazz phrasing. Have your soloist listen to Brown's recording before first rehearsal.
- Find the sweet spot between notation and interpretation. The sample phrases are a springboard, not a cage. Encourage your trumpet player to add their own vibrato and dynamic shaping once they've mastered the basic line.
How to use it
Nest this between more uptempo numbers to give your ensemble and audience a chance to settle into the room together. It works especially well as a second or third tune in a set, after you've established the ensemble's sound but before you build back to energy.
Skills your students will build
- Listening and internalizing jazz phrasing from a historical recording
- Playing lyric ballad features with rubato and musical independence
- Supporting a soloist sensitively without over-playing the accompanying parts
- Understanding call-and-response and solo-accompaniment relationships in jazz