Recorded by Benny Goodman
Arranged by Horace Henderson, Prepared by Rob DuBoff, Jeffrey Sultanof, and Dylan Canterbury
star star star star star Be the first to write a review!

Cat #: JLP-7801


This item usually ships within 1 business day.



Please call +1-518-587-1102 or email us.

View Sample Page:

View Sample

Edition: Jazz Big Band Arrangement

Description: Swing - Medium Difficult

Publisher: Jazz Lines Publications

The link between the orchestra of Benny Goodman and the arrangements of Fletcher Henderson is well documented, but Fletcher's brother Horace was also responsible for contributing to the Goodman band's library during the 1930s. This brisk, perky arrangement of Dear Old Southland is one of the best examples of the lesser known Henderson brother's creative abilities. First recorded in 1935, it's a classic Goodman performance that checks off all the boxes of the band's distinct sound.

A bright trumpet fanfare announces the band's starting point, with a brief full band riff ushering in Goodman's clarinet with the melody at measure 9. The backgrounds are simple and serve as a gentle backdrop for Goodman before shoving him out of the way for the melody's second statement by the ensemble at measure 25. This version of the melody sees some clever rhythmic variations to give the proceedings a little shakeup. The tune shifts from major to minor at measure 41, with the melody being handled by the trombone and the groove shifting to a quasi-tango. Once again, the backgrounds largely stay out of the melody's way at this juncture.

The return to a major key at measure 57 also sees a change to a more solo-oriented approach. First up is a tenor sax solo, then a piano solo at measure 73. The tenor solo features some catchy, highly rhythmic backgrounds from the muted brass, while the piano solo finds itself backed up by some non-intrusive sax chords. A four measure fanfare at the end of the piano solo launches the band into the shout chorus at measure 93. The ensemble figures are not overly complicated here, but should be played with a delightful bounciness to keep the atmosphere light and bright. Goodman feels the need to have one more say at measure 109, reminding everyone of the melody before the ensemble roars back in for one final salvo eight bars later before the arrangement winds down in a most amenable fashion.

This publication was prepared from a set of parts found in Benny Goodman's library - this is not a transcription.

Full Score
Clarinet Soloist
2 Alto Saxophones
2 Tenor Saxophones
Baritone Saxophone (Optional)
3 Trumpets
2 Trombones
Trumpet 1: D6
Trombone 1: C5