Recorded by Helen Forrest with the Benny Goodman Orchestra
Arranged by Eddie Sauter, Prepared for Publication by Rob DuBoff and Jeffrey Sultanof
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Cat #: JLP-9986DL


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Edition: Jazz Big Band Arrangement with Vocal

Description: Swing - Medium

Publisher: Jazz Lines Publications

Helen Forrest joined Benny Goodman in 1939 and sang on many studio recordings and live dates including such noteworthy performances as The Man I Love, When the Sun Comes Out, and this arrangement of Oh! Look at Me Now. In the summer of 1940, Goodman took a leave of absence to undergo surgery to correct a back problem. When he returned in November of that year he began to re-form his ensemble, including brilliant trumpet player Cootie Williams. The following year Goodman embarked on an ambitious studio schedule, recording many songs over the first six months of the year. The arranging duties were largely shared by Jimmy Mundy and Eddie Sauter for these studio sessions.

Sauter, who also joined Goodman in 1939, studied composition and trumpet performance at Columbia University and Julliard before leaving to being his music career. His work for Goodman changed not only the direction of Goodman's ensemble, but popular music in general. His forward-thinking arrangements included sudden harmonic shifts, surprising rhythmic punctuations, and contrapuntal lines previously heard only in classical music. This arrangement of Oh! Look at Me Now, recorded on March 4, 1941, details Sauter's new conception and provides an early example of where his composing would venture in the years to come.

The ensemble introduction and the first A section of the melody feature star trumpet player Cootie Williams. Cootie uses both a pixie mute and a plunger to create a distinctive sound. It is encouraged that the trumpet soloist listen to the recording before attempting to re-create this sound as it is very unique. At the end of the A section a cut in the arrangement was created during the original studio session to shorten the recording (the cut removed the second A section and the bridge that was arranged to feature Benny Goodman playing the melody). We have opted to include the full arrangement with the cut indicated so that the conductor can play the full arrangement if desired. At the conclusion of the last A section there is a 4-bar solo for the clarinetist over a harmonic progression that leads to the key of Bb for the vocalist.

The vocal chorus features subtle but harmonically interesting backgrounds. The conclusion of the vocal section leads the arrangement to the key of Ab, but landing on the bridge. There is a brief 4-bar tenor sax cameo solo that leads to the ensemble stating the last A section of the melody. The clarinet soloist gets to have the last word over decending dominant chords. Sauter wrote something simple for Goodman to play, but we have included what he actually played in the event that your player wishes to re-create the interesting phrase that was played on the recording.

This publication was based on the original set of parts used during the 1941 recording session - this is not a transcription. There are no saxophone doubles.

Full Score
Solo Clarinet
2 Alto Saxophones
2 Tenor Saxophones
Baritone Saxophone
4 Trumpets
2 Trombones
Vocal Key: Bb
Trumpets 1 & 2: C6
Trombone 1: A4