Digging In

"Dig In Buddy" is one of two tunes by Tyler Hornby, which I will be arranging for 17-piece big band over the next couple of weeks.  The music and a recording from his "Shadows of A Brighter Day" compact disc appear below.  Listen along as you scroll down to read my commentary.

In the early stages of planning an arrangement, I often find it helpful to list ideas which could be further developed.  Here are my thoughts and observations when listening to the quintet version of this piece:

• It has a real Art Blakey "vibe", in the hard bop vein (explosive at times, dynamic contrasts, blues-y yet sophisticated)
• Maybe I will expand upon this, making it even more Blakey-esque, using idiomatic 3 horn voicings.  Perhaps I could go so far as to add a "Blues March" section.
• Strong features:  
• the rhythmic element in the last 3 bars.  This could be expanded (intro, "sound-offs", etc.).  I like how the last measure functions as a "sound off" into the solos.
• The quiet first half of the head builds anticipation.  It foreshadows something big about to happen in the 2nd half.
• The second half of the tune could easily be orchestrated to bounce around between sections or groups of instruments, like a group conversation (1 or 2 measure fragments).  If I go that route, this conversational idea could be continued and expanded.
• Measures 4 and 8, when played up the octave (as written), act as a strong punctuation.  To further enhance this effect, these measures could be orchestrated for full big band.  I also like these measures played down the octave, as the horn players elected to do on the first repeat of the "in head".  In some ways I actually prefer everything played down.
• The tempo would lend itself well to an Afro-Cuban 12/8 feel.  Tyler almost goes there a few times.
• There are lots of chords.  When developing the piece, some form of modal release might be welcome.
• C blues scale ideas are an easy, yet effective way to skate over the expanded C minor progression in the first 8 measures.  Knowing this might come in handy when writing a soulful sounding soli.
• The piano player, Chip Stephens, plays some hip, lower register 5ths, alternating with chords at about 5:15 on the recording.  Something like this could be expanded into a solo vamp, to create an alternate improvisational environment for one of the horn soloists.
• The last measure of the tune is incredibly strong, going into the solos.  Coming out of this, I found myself wishing that the intensity would continue at the top of the form, into the solos.  As the arranger, maybe I can play a hand in dictating how the soloists and rhythm section respond, so that the formal lines are blurred, thereby creating a more cohesive overall shape.  Perhaps I will have the ensemble continue playing (well) into the solo form, extending the intensity created by the figure in measure 16.

Musicians, if you see/hear elements within this tune which I didn't list, but that really captured your interest and sparked your imagination, please let me know.  It would be nice to have some interactive input from folks --- as opposed to just working alone in the black holed vacuum of my studio.

My plan for tomorrow is to come up with a formal outline/plan for the arrangement.  It may change as I "dig in" (pardon the pun), but it should serve as a good entry point.