To The Dr Fodor Analysis

TO THE DIRECTOR

This piece was commissioned several years ago by the Evanston Township High School Jazz Ensemble in Evanston, IL, in honor of one of its alums, bassist Bob Cranshaw, who recently passed away. Cranshaw came to prominence during the Hard Bop era and was involved in almost every aspect of jazz and commercial music performance in his lifetime. He also spent his later years involved with the Musicians Union, advocating for the rights of jazz musicians. Dr. Fodor suggested this title because of its double meaning; musicians who have played lots of less than desirable gigs are said to have “paid their dues” and the word “dues” also refers to the payment of union dues.

This composition is written in the hard style of the hard driving shuffles so prominent in the Hard Bop era. The tempo of a shuffle is incredibly important; please pay close attention to the indicated tempo and don’t be tempted to rush. Generally speaking, a shuffle is a heavier groove than swing; everyone should dig in and play the eighth notes with a harder feel.

The whole band joins in at measure 27 for the second “A” section. At measure 43, the groove changes to swing. Rhythm section should lighten the groove, but not the intensity; horns should do the same. Measure 59 returns to the shuffle groove and leads to the solo section starting at measure 67. This is open for anyone to solo; chord sheets have been provided. If multiple soloists are used, the director may choose to play backgrounds behind each soloist on their last chorus and use the first ending at measure 119 to return to measure 59 for the next soloist. Or, you might choose to wait to play backgrounds until the final soloist’s last chorus and take the second ending to move on in the