Duke Ellington

Snibor

Recorded in several different versions and contexts over the years, this version of Billy Strayhorn's 'Snibor' is taken from the Ellington band's 1967 posthumous tribute album '...And His Mother Called Him Bill.' After a four bar piano introduction, the warm melody is stated by the full ensemble minus one tenor saxophone. Although there is a written out part during the first two A sections, Ellington's long time alto saxophone star Johnny Hodges opts for some loose improvisations over the rest of the band on this particular recording. As Hodges' part is unison with the 2nd trumpet, we have included chord changes in the 1st alto part as an optional solo. The saxophones play the melody by themselves for the bridge at measure 15 before the full ensemble returns for the final A section at measure 23 before handing the spotlight back over to Hodges for an improvised solo beginning at measure 31. The backgrounds in the trombones should be forceful, but not overwhelming. Solo duties are handed over to Cootie Williams' plunger muted trumpet at measure 41 before Hodges re-enters for an eight measure alto-trumpet dual solo at measure 49. The arrangement reaches its highest level of complexity at measure 57. At this point, the saxophones play the melody in unison with punchy backgrounds provided by the brass, all while Jimmy Hamilton's clarinet soars over the top of the entire ensemble. Hodges takes over the melody by himself once again at measure 67. The ensemble figure at 57 returns once more, this time with no clarinet solo and a harmonized saxophone section. The melody is stated as it was at the beginning of the arrangement one final time, leading to a gradual fade out surrounding a simplistic Ellington piano riff. This arrangement is written for jazz big band. This is not a transcription - it has been prepared from the original parts and sketch score used by the Ellington band. We hope you enjoy playing this arrangement as much as we enjoyed preparing it for you!