Julius Hemphill (1938-1995)held a life-long fascination with the expressive possibilities of the saxophone and the saxophone choir. As the writer Francis Davis has noted, “Hemphill...went on to find even greater orchestral possibilities in the free-standing saxophone ensemble. In the bargain, he created as rich and varied a body of work as any in jazz since Duke Ellington and Charles Mingus.”
As a composer/performer, Hemphill wrote these works for his participation and direction. He did not write out all articulations, phrasings, or dynamics. I have put in some phrasing marks and dynamics based on the recordings of the works and Hemphill’s ongoing performance practice. Julius liked melodic lines to be connected but not necessarily all slurred. He welcomed some indi-viduality of phrasing within the group.
In my experience performing with Julius Hemphill, he would try different improvisational strategies at different times. He would add solo introductions or use different parts of the composed material as backgrounds or ostinatos. He was concerned to present the individual members of the ensemble in challenging contexts. You can make these pieces work for your particular ensemble.
What if you are a saxophone quartet that does not improvise? You can present these works in a Suite format, perhaps four to six compositions, looking for contrast and resonance. Try taking a melody of a piece or one of the great bass lines in the baritone part and use it as a solo introduction. All of this will be in the spirit of Hemphill’s working methods. Choosing the order of pieces in this suite, and perhaps having one of the works return later in the suite, is a form of creative involvement with this music. —Marth Ehrlich
Instrumentation: Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone (Flute, Alto Flute, Alto Clarinet, Bass Clarinet)
Published by: Subito Music Publishing
