On Tuesday, 20 September 2011, I had the great fortune of hearing my friends and colleagues in the world-class Grammy™ winning Chiara String Quartet perform my first String Quartet at the Kimball Recital Hall at the University of Nebraska. This piece was composed during the final phase of my doctoral work at the University of Maryland School of Music. I completed the work in 1994 and have waited eighteen years to hear it performed at such a high level...now that's Delayed Gratification (the composer's lot, I'm afraid.) I was amazed with the musicianship and clarity that they brought to this work...for a composer, it just doesn't get any better than this. Thank you, Chiara Quartet! Here are a few words about the piece:

String Quartet I is a three-movement work employing a synthesis of various compositional techniques on global and local levels. As a composer working in genres of jazz, vernacular, and concert music, my goal is to create music that draws effectively from diverse styles without diluting or caricaturing any of them.

The large-scale structural form of this work follows the traditional scheme of a first and third movement generally characterized by a high level of activity. These outer movements are separated and contrasted by a second movement that is generally characterized by a sense of repose. The first movement is a set of four themes, each of which is developed in its own context. The final movement of Bela Bartok’s Sixth Quartet (“Mesto”) inspired the second movement. It begins with a reverent prayer-like chant that is developed in a series of four variations. The final movement is a highly rhythmic exploration of contrasts: structural contrasts between the movement’s own themes and fragments from the first two movements.  The finale also explores textural contrasts between areas of highly active and relatively static harmonic rhythm.

Harmonically, the piece is organized via a series of symmetrical divisions of the octave and, while tonal, attempts to expand the sense of tonality by incorporating sections of bitonality and free atonality. The first movement can be heard as being centered on F, the second in “a minor”, and the third on Bb.

STRING QUARTET I (Eric Richards)

CONCERTO FOR TROMBONE QUARTET AND WIND ENSEMBLE 
Eric Richards (2010)

Many thanks to Dr. Bradley Genevro and the University of Texas at El Paso Wind Symphony for this excellent recording!
Solo Quartet:
Barry Hearn, National Symphony Orchestra
Richard Harris, New York City
Dr. Pete Madsen, Professor of Trombone and Director of Jazz Studies-University of Nebraska at Omaha
Dr. Steve Wilson, Chair of the Department of Music and Professor of Trombone at the University of Texas at El Paso. 

A Demo Folder of Score PDF, Part PDFs, and MP3s can be found here:
bit.ly/ConcertoTrb4tetWindEns-Richards

This work was commissioned for the Continental Trombone Quartet (Peter Madsen, Mark Sheridan-Rabideau, Doug Farwell, and Steve Wilson) by a consortium of four university band programs and one solo artist: the University of Nebraska-Lincoln, the University of Nebraska at Omaha, the University of Texas at El Paso, the University of Wyoming and Dr. Doug Farwell of Valdosta State University. The piece was premiered on April 6, 2010 by the University of Texas at El Paso Wind Symphony under the direction of Dr. Ron Hufstader.

In regard to movement structure and relationship, the concerto follows a typical three movement global design:

I. Molto ritmico
The compositional goal of the first movement is the exposition and interplay of two primary themes. The language of two of my heroes, Bartok and Stravinsky, influences the highly rhythmic and angular first theme. The second theme is presented in a favourite context of the composer, a legato, “cantabile” theme set over a pulsing, “percolating” rhythmic background. Influence of guitarist/composer Pat Metheny can clearly be heard in the second theme. The solo quartet presents the thematic material and then performs variations and commentary on the themes.



II. Molto expressivo
In much of the music of the Western Common Practice, the musical role of the trombone in ensemble music is closely aligned with the voice, either in terms of support (e.g. doubling) or in function as a representation of the human voice. The intent of the second movement is to explore the beautiful, singing possibilities of the bass trombone. This movement emerged as an aria for bass trombone, trombone quartet and wind ensemble. The movement is framed by opening and closing cadenzas for bass trombone and features the solo quartet performing a chorale that serves as the primary thematic material. Lush, shimmering chords reminiscent of Impressionist orchestral gestures as well as the writing of master jazz orchestrator Gil Evans are prevalent in the accompanying ensemble texture

III. Molto fuoco e l’anima
The trombone plays a major role in the various tributaries of Afro-Cuban, Puerto Rican, and Brazilian music (e.g. son, mambo, bomba, plena, samba, partido alto, et al), and trombone artists such as Juan Pablo Torres, Raul de Souza, Papo Vasquez, and Conrad Herwig are well known among aficionados of these genres. Since many Latin bands use four trombones as the horn section to compliment the singers and rhythm section, I decided to craft an energetic final movement using the solo quartet in a similar way. My goal was to create something sounding like “Bela Bartok meets Willie Colon.”

The movement begins with a set of solo cadenzas set over lush simmering chords in the ensemble. These chords and voicings serve to bridge timbral continuity from the second movement. The quartet then leads the ensemble into a strong mambo-based groove that underpins the most of the third movement. A second contrasting theme is introduced when instrumentalists of the wind ensemble are asked to sing a chant-like melody set over a samba groove in triple meter. A stronger theme and groove return in the ensemble giving the quartet an opportunity to heartily comment upon what has occurred. This texture intensifies to the final raucously improvised cadenza for all members of the quartet.

CONCERTO for TROMBONE QUARTET and WIND ENSEMBLE (Eric Richards)

THERE IS NO GREATER LOVE is a new straight-ahead setting of the great jazz standard by Marty Symes and Isham Jones and is newly published by Alfred/Belwin Jazz Publications in their Premier Jazz series. This arrangement pays tribute to the influence of master arrangers Thad Jones, Sammy Nestico, and John Clayton. 

This chart opens with one chorus of contrafact (a newly composed melody over an existing set of chord changes). I wanted to give the rhythm section players the opportunity to work on phrasing a melodic line together, so the actual opening melody of the tune is set in Guitar, Piano, and Acoustic Bass.

If you're interested in purchasing this chart, you can order it via J.W. Pepper with this link:

http://www.jwpepper.com/There-Is-No-Greater-Love/10452158.item#.U0Gc7pKQyVI

We hope you enjoy this new arrangement of THERE IS NO GREATER LOVE.


THERE IS NO GREATER LOVE (Comp Marty Symes & Isham Jones/arr. Eric Richards) BIG BAND

This concert arrangement of Billy Strayhorn's quintessential jazz ballad was written for the late, great Dana Rogers-vocal soloist with the US Army Jazz Ambassadors. The live recording is from a 1992 (?) concert at Maryland Hall in Annapolis, MD and features a beautiful tenor saxophone solo from Vince Norman.

The chart is available at SHEET MUSIC DIRECT here:
https://www.sheetmusicdirect.com/se/ID_No/1300539/Product.aspx

LUSH LIFE (Billy Strayhorn/arr. Eric Richards) VOCAL + BIG BAND

This is an energetic samba treatment of Michel Legrand's classic tune from the 1964 film The Umbrellas of Cherbourg. The live recording features Marva Lewis (vocal soloist), Pat Dillon (piccolo) and the US Army Jazz Ambassadors.

The chart is available at SHEET MUSIC DIRECT here:
https://www.sheetmusicdirect.com/se/ID_No/1300447/Product.aspx

WATCH WHAT HAPPENS (Michel Legrand/arr. Eric Richards) VOCAL + BIG BAND

This funk treatment of the Porgy and Bess standard was written for the late, great Dana Rogers-vocal soloist with the US Army Jazz Ambassadors. It has been performed with great response all over the world:
https://www.youtube.com/watch?v=F6aP4xr2tl0

The chart is available at SHEET MUSIC DIRECT here:
https://www.sheetmusicdirect.com/se/ID_No/1300531/Product.aspx

SUMMERTIME (George Gershwin & DuBose Heyward/arr. Eric Richards) VOCAL + BIG BAND

This new setting of Angel Eyes was written for the late, great Dana Rogers - vocal soloist with the US Army Jazz Ambassadors and was recorded in the late '90's. The track features a wonderful solo by Darryl Brenzel on alto saxophone.

The chart is available via UNC JAZZ PRESS here:
https://www.uncjazzpress.com/product-p/dl1114pdf.htm

ANGEL EYES (Matt Dennis & Earl Brent/arr. Eric Richards) VOCAL + BIG BAND

This arrangement was inspired by Toots Thielemans' recording The Brazil Project and was then written for a 1994 Concert Tour of Belgium by the US Army Jazz Ambassadors. A highlight of the tour was a finale concert in which Toots joined the band for this tune! 

This recording was done by the USAF Airmen of Note on their album ¡TIEMPO LATINO! and featured Paige Wrobel (vocal soloist), Andy Axelrad (flute), and Tim Leahey (flügelhorn).

The chart is available at SHEET MUSIC DIRECT here:
https://www.sheetmusicdirect.com/se/ID_No/1300692/Product.aspx

BLUESETTE (Jean Thielemans & Norman Gimbel/arr. Eric Richards) VOCAL + BIG BAND

This contemporary funk reworking of the Dusty Springfield classic was written for a Boomer Big Band Bash program in 2017 paying tribute to the great songrwriters of the '60's 7 '70's! The recording is by the Whitney Center Jazz Orchestra featuring Melissa Butcher (vocal soloist) and Willie Wright (saxophone).

The chart is available at SHEET MUSIC DIRECT and SHEET MUSIC PLUS here:
https://www.sheetmusicdirect.com/se/ID_No/1251575/Product.aspx

SON OF A PREACHER MAN (John Hurley & Ronnie Wilkins/arr. Eric Richards) VOCAL + BIG BAND

This uptempo "burner" was written as a concert opener for the US Army Jazz Ambassadors in the mid '90's. The recording features Pat Dillon (soprano saxophone) and Jim McFalls (trombone).

IT'S ALL RIGHT WITH ME (Cole Porter/arr. Eric Richards) BIG BAND

This straight-ahead treatment of the American Songbook tune was recorded by the late, great Dana Rogers and the US Army Jazz Ambassadors. Tenor saxophone solos are by Vince Norman and Pat Dillon.

The chart is available at UNC Jazz Press at this link:
https://www.uncjazzpress.com/product-p/dl1116pdf.htm

BLUE MOON (Richard Rodgers & Lorenz Hart/arr. Eric Richards) VOCAL + BIG BAND

This popular arrangement of Jobim's classic bossa was written in a "Brazilian Funk" style. This recording features Lisa Kelly with the University of North Florida Jazz Ensemble One under the direction of Bruce Silva.

The chart is available via SHEET MUSIC DIRECT here:
https://www.sheetmusicdirect.com/en-US/se/ID_No/1301062/Product.aspx

HAVE YOU HEARD YET

THE GIRL FROM IPANEMA (Antonio Carlos Jobim & Norman Gimbel/arr. Eric Richards) VOCAL + BIG BAND

This rompin' shuffle was written for Marva Lewis and the US Army Jazz Ambassadors. The live recording also features a swingin' baritone saxophone solo by Gene Thorne.

The chart may be purchased via Sheet Music Direct here:
https://www.sheetmusicdirect.com/se/ID_No/1302457/Product.aspx

I LOVE BEING HERE WITH YOU (Peggy Lee & William Schleuter/arr. Eric Richards) VOCAL + BIG BAND

a firm grasp of the obvious
Composed and arranged by Eric Richards

Recorded by the US Army Jazz Ambassadors
Tim Young - piano, Vince Norman - tenor saxophone

This is one of my favorite works for big band!  It was commissioned by the University of Northern Colorado Jazz Studies Program for the 1999 UNC/Greeley Jazz Festival. It is a contemporary concert piece generally built over a "floating" 2 feel. The piece features tenor saxophone, piano and  a cappella (i.e. no rhythm section) solis for all winds and the saxophone sections.

ER Big Band DEMO CD-COMPS.

a firm grasp of the obvious (comp./arr. Eric Richards) BIG BAND

FUEGO AZUL
@ Eric Richards 1998 (BMI)
The University of Northern Colorado Jazz Lab Band I
Gene Aitken, director
Farrell Vernon, tenor saxophone
Ryan Frane, piano

This piece was commissioned for the 1997-98 UNC Jazz Lab Band I directed by the great Gene Aitken. He asked for a "high energy Latin piece" and...here you go. The band and soloists sound great and I'm always thankful for the support and encouragement of one of jazz education's leading figures, Gene Aitken. 

The piece is available by contacting me @:
eric@ericrichards.com

FUEGO AZUL (comp. Eric Richards) - BIG BAND

DUKE ELLINGTON'S SOUND OF LOVE
Charles Mingus
arranged by Eric Richards

The Reno Jazz Orchestra
Frank Perry, alto saxophone
Tony Savage, music director/drums

This arrangement was originally written for the US Army Jazz Ambassadors featuring Darryl Brenzel on alto saxophone. I was so pleased to have the chart featured on The Reno Jazz Orchestra's recording From Bach To Blues. The soloist on this track is the übersoulful Frank Perry.

DUKE ELLINGTON'S SOUND OF LOVE (Charles Mingus/arr. Eric Richards) - BIG BAND

Theme from BLACK ORPHEUS
(Manha De Carnival)
composed by Luís Bonfá
arranged by Eric Richards
The Belwin Jazz Orchestra
Pete BarenBregge, director/producer
++++++++++++++++++++++++++
This arrangement was commissioned for the 1996-97 University of Northern Colorado Jazz Lab Band I directed by the great Gene Aitken. It has since been recorded or performed by bands worldwide. This recording is the publication demo for Belwin Jazz and is directed and produced by Pete BarenBregge.

You can find this chart at your favourite print music dealer, e.g.
EJAZZLINES
https://www.ejazzlines.com/black-orpheus-jazz-big-band-arrangement-eric-richards
J.W. PEPPER
https://www.jwpepper.com/Black-Orpheus/10011985.item
STANTONS
https://www.stantons.com/sheet-music/title/black-orpheus/24859/

Belwin Music for Jazz Ensemble 2006 

Theme from BLACK ORPHEUS/Manha de Carnival - (Luís Bonfá/arr. Eric Richards)

THE POINT OF NO RETURN
composed & arranged by Eric Richards

THE POINT OF NO RETURN was commissioned by Gene Aitken for the 2005 University of Northern Colorado/Greeley Jazz Festival All Star Big Band. It alternates between a hard swing feel and an Afro Cuban “Abakuá” (128) feel.

It is available via Alfred Music here:
https://www.alfred.com/the-point-of-no-return/p/98-JE4130/

The FJH Music Company Inc.

THE POINT OF NO RETURN (comp./arr. Eric Richards) BIG BAND

ARRANCO ("Impulse")
composed & arranged by Eric Richards
Studio A Big Band

ARRANCO (eh-HUNK-oo) is the Portuguese word for "impulse". This rhythmic samba funk chart is influenced by a samba groove variant called Partido Alto. It has been very popular with audiences and musicians alike in festival performances and recordings.

It is available from your favourite Barnhouse print music dealer or directly from C.L. BARNHOUSE here:
https://barnhouse.com/product/032-3302-00/

ARRANCO (comp./arr. Eric Richards) BIG BAND

THE CRESCENT CITY STOMP
composed & arranged by Eric Richards
The Studio A Big Band

This "Second Line" original for big band will keep your musicians and audiences in the groove! It has been performed in concerts, festivals, and on recordings. It is available from your favourite Barnhouse print music dealer or directly from C.L. BARNHOUSE here:

https://barnhouse.com/product/032-3239-00/

THE CRESCENT CITY STOMP (comp./arr. Eric Richards) BIG BAND

FRANKIE & JOHNNY
Traditional/arranged by Eric Richards
The Studio A Big Band

FRANKIE AND JOHNNY is a fresh setting of the old blues “story tune” set in a contemporary swing funk style. It has been popular in concerts and festival performances. It is available from your favourite Barnhouse print music dealer or directly from C.L. BARNHOUSE here:

https://barnhouse.com/product/032-3631-00/

FRANKIE & JOHNNY (Traditiona/arr. Eric Richards) BIG BAND

Shades ON, Roof DOWN!
composed and arranged by Eric Richards
The Studio A Big Band

This contemporary swing funk chart is inspired by one of the classic grooves made popular by the Yellowjackets. There is plenty of room for soloists over the user friendly changes. SHADES... is an excellent concert opener or finale.

It is available from your favourite Barnhouse dealer or directly from C.L. BARNHOUSE here:

https://barnhouse.com/product/032-3301-00/

SHADES ON, ROOF DOWN! (comp./arr. Eric Richards) BIG BAND

WHISPERING
Music by John Schonberger/Words by Malvin Schonberger
arranged by Eric Richards
The Studio A Big Band

WHISPERING is a laid back samba setting of the old chestnut that served as the point of departure for GROOVIN' HIGH. You will clearly hear the influence of the late, great Rob McConnell, one of my "heroes" in this chart!

This is available at your favourite Barnhouse print music dealer or directly from C.L. BARNHOUSE here:

https://barnhouse.com/product/032-3568-00/

WHISPERING (John Schonberger and Malvin Schonberger/arr. Eric Richards) BIG BAND

SYNERGY
Commissioned by the International Association of Jazz Educators, Pennsylvania Unit for the 2004 PA All State Jazz Ensemble
Jim McFalls, director
composed and arranged by Eric Richards

This festival-level work in a straight-ahead 6 feel features your drummer as well as a number of optional soloists. It is an excellent concert opener or finale.

It is available from your favourite Barnhouse print music dealer or directly from C.L. Barnhouse here:

https://barnhouse.com/product/032-3376-00/

SYNERGY (comp./arr. Eric Richards) BIG BAND

BOLIVIA
composed by Cedar Walton
arranged by Eric Richards
The Belwin Jazz Orchestra

BOLIVIA is a new setting of the popular jazz standard by the great pianist-composer Cedar Walton. It was recorded on the album EASTERN REBELLION in 1975 and has been performed and reinterpreted by many artists over the last several decades. The opening groove is one of the of the “signature” components of the piece (like the opening grooves of A NIGHT IN TUNISIA, KILLER JOE, et al.)

It is available from your favourite Belwin Jazz print music dealer or directly from Belwin/Alfred Music here:

https://www.alfred.com/bolivia/p/00-38698/

2012 Belwin Jazz New Releases

BOLIVIA (Cedar Walton/arr. Eric Richards) BIG BAND

RECORDA ME
composed by Joe Henderson
arranged by Eric Richards
The Belwin Jazz Orchestra

RECORDA ME is a new setting of the great Latin-Jazz standard composed by saxophone legend Joe Henderson.
The tune was released on Joe’s groundbreaking album PAGE ONE in 1963. This arrangement endeavours to capture
the flavour of the original recording and combine it with the arranger’s contemporary big band and Latin scoring gestures.

it is available from your favourite Belwin Jazz print music dealer or directly from Belwin/Alfred Music here:

https://www.alfred.com/bolivia/p/00-38698/

2010 Promo

RECORDA ME (Joe Henderson/arr. Eric Richards) BIG BAND

HOT HOUSE
composed by Tadd Dameron
arranged by Eric Richards
The Belwin Jazz Orchestra

A contemporary, swing-funk treatment of Tadd Dameron's classic contrafact on WHAT IS THIS THING CALLED LOVE. This is available at your favourite Belwin Jazz print music dealer or directly from Belwin Jazz Publications here:

https://www.alfred.com/hot-house/p/00-PK-0006893/

Untitled - 03-11-08 (3)

HOT HOUSE (Tadd Dameron/arr. Eric Richards) BIG BAND

INVITATION
composed by Branislau Kaper
arranged by Eric Richards
The Belwin Jazz Orchestra

This classic 1952 movie theme by Branislau Kaper was redone in a contemporary samba-funk (then swing) feel for advanced bands.
It is available from your favourite Belwin Jazz print music dealer or directly from Belwin/Alfred Music here:

https://www.alfred.com/invitation/p/00-PK-0006913/

My CD

INVITATION (Branislau Kaper/arr. Eric Richards) BIG BAND

This new setting of Michel Legrand's beautiful main theme from The Thomas Crown Affair is set in a contemporary "loose swing 3" feel and features Tenor Saxophone 3 and Trumpet 2. It is published by Belwin/Alfred in their Premier Jazz series and is written at the Grade 4-5 level. It is available at most print music dealers worldwide. 

http://www.jwpepper.com/The-Windmills-of-Your-Mind/10513944.item#.VV4Pqsawom0

WINDMILLS OF YOUR MIND (comp. Michel Legrand/arr. Eric Richards) BIG BAND

BLUE IN GREEN
 Solo Flügelhorn Feature with Big Band
 composed by Miles Davis (with Bill Evans) 
arranged by Eric Richards  

Sheet Music Direct: 
https://www.sheetmusicdirect.com/en-US/se/ID_No/1677802/Product.aspx  

Sheet Music Plus:
 https://www.sheetmusicplus.com/en/product/blue-in-green-22938315.html  

Solo Flügelhorn Review Part LINK:
https://www.dropbox.com/scl/fi/jo9x84rnk1i6zufhoaqxt/BlueInGreen-arrER-_SoloFl-gelREVIEW.pdf?rlkey=mzv28o2h7r7uwba301oh3dyj6&dl=0

I am very happy to announce the new availability of this arrangement through the good folks at Hal Leonard’s Arrange Me service! In 2000, I wrote this extended concert treatment of the classic composition from Kind of Blue for flügelhorn soloist Mike Johnston and the US Army Jazz Ambassadors. Mike and the band played so beautifully on this, with special kudos to Tim Young on piano and Todd Harrison for his creative colours on drums and percussion.  Blue In Green is one of my favourite arrangements and it would be ideal for mature bands and festival performances.

In addition to performances by Mike and the Jazz Ambassadors, the chart has been played in concert and on recordings by other fine soloists, to include: 
• Tim Leahey with the USAF Airmen of Note 
• Rob Parton on his big band’s recording We’ll Be Together Again  

This music reminds me that I’m especially grateful to Kevin Laird, retired leader of the Army Jazz Ambassadors, for his encouragement and support of my music. Thanks, Chief!

BANDLEADERS 
• A full set of optional saxophone section parts *without* woodwind doubles are included.

 ER Music via ARRANGE ME
 I’ve begun to publish a number of “Limited Edition” charts (e.g., Vocal Features with Big Band) through ArrangeMe…what a great resource! If you would like to explore my ArrangeMe catalog further, here’s a link: 

tinyurl.com/ERMusicSMD  

Peace, 
E

BLUE IN GREEN (comp. Miles Davis/arr. Eric Richards) BIG BAND

Recorded by the Belwin Jazz Orchestra

This is one of my newest contributions to the Belwin Premiere Jazz series of publications. It's a new setting of Freddie Hubbard's great straight ahead tune from his landmark album of 1970, Red Clay. It features Trumpet 2, Drums, and a small horn soli which leads into a powerful shout chorus.

THE INTREPID FOX (Freddie Hubbard/arr. Eric Richards) BIG BAND

ELEANOR RIGBY - John Lennon and Paul McCartney
Arranged by Eric Richards
In October 2007, I was commissioned by my old comrades, the US Army Jazz Ambassadors of the US Army Field Band, to create a new jazz-flavoured arrangement of the Beatles classic ELEANOR RIGBY. I’ve always loved this wonderful song by Paul McCartney and, as a young whippersnapper, was inspired by the soulful treatment done in the late ‘60s by the Jazz Crusaders. This arrangement takes that setting as a point of departure and develops it with my own predilections for “orchestral” big band scoring (muted brass, soprano saxophone, etc.) and Brazilian grooves. I tried to incorporate the “classical” flavour of the original Beatles track with a contrapuntal passage after the improvisation.

ELEANOR RIGBY has been a very well-received chart on a number of festival concerts I’ve conducted, to include:
• The Taipei Jazz Orchestra
• The Yellowstone Big Band
• The University of Nebraska-Lincoln Jazz Orchestra “2.0”
• The Kansas All-State Jazz Ensemble
• The Wyoming All-State Jazz Ensemble

The chart is published by Hal Leonard and is available at your favourite print music dealer. Here are two of my recommendations:

J.W. Pepper
http://www.jwpepper.com/Eleanor-Rigby/10343782.item - .VwMxhD83v9I

eJazzLines
http://www.ejazzlines.com/eleanor-rigby-arranged-by-eric-richards


ELEANOR RIGBY (comp. Lennon & McCartney/arr. Eric Richards) BIG BAND

YOU DON’T KNOW WHAT LOVE IS (comp. Gene DePaul & Don Raye/arr. ER)
Call me “Old School”, but I’ve always dug a good “Vegas burner” to open a big band concert. As an arranger, it’s especially fun to take a tune that is normally done in a different context (e.g., a ballad) and rework it into a new uptempo setting. This was written in 1999 for the Army Jazz Ambassadors and the recording is from their appearance at the 2000 Midwest Clinic in Chicago. I love the solos from Darryl Brenzel on alto, Kevin Watt on trumpet, and Tim Young on piano. Urban legend has it that the drummer (who had to be engaged locally at the last minute due to a family emergency with the regular guy) was sight-reading the chart on the gig! I don’t know who it was, but he/she nailed it.


JAs @2000 MIDWEST

YOU DON'T KNOW WHAT LOVE IS (comp. Gene DePaul & Don Raye/arr. Eric Richards) BIG BAND

THE JITTERBUG WALTZ
Composed by Thomas "Fats" Waller      Arranged by Eric Richards
Published by Belwin Jazz Publications (Alfred)
Recorded by the Belwin Jazz Orchestra
This contemporary setting of Fats Waller’s’ unique jazz waltz is ideal for concerts and festivals. Jitterbug... features piano and can optionally feature trumpet and/or tenor saxophone. The entire band is featured in an a cappella soli (no rhythm section) that builds into an exciting and swinging shout chorus.

Untitled - 03-07-07 (2)

THE JITTERBUG WALTZ (comp. Fats Waller/arr. Eric Richards) BIG BAND

I have a new arrangement of Brazilian composer Edu Lobo’s PONTEIO published by Hal Leonard. I’ve loved this tune since I first heard it as a teenager and am grateful to have the opportunity to make this new chart available to big bands worldwide. It was named as an Editors Choice selection by J.W. Pepper.
Here is a link:

http://bit.ly/PONTEIOarrER-JWPepper

Jazz Ensemble Library - Grade 4

PONTEIO (comp. Edu Lobo/arr. Eric Richards) BIG BAND

STRING QUARTET I - I. (Eric Richards)

STRING QUARTET I - II. (Eric Richards)

STRING QUARTET I - III. (Eric Richards)

CONCERTO FOR TROMBONE QUARTET AND WIND ENSEMBLE 
(2010) 

A Demo Folder of Score PDF, Part PDFs, and Audio can be found here:
bit.ly/ConcertoTrb4tetWindEns-Richards

Many thanks to Dr. Bradley Genevro and the University of Texas at El Paso Wind Symphony for this excellent recording!
Solo Quartet:
Barry Hearn, National Symphony Orchestra
Richard Harris, New York City
Dr. Pete Madsen, Professor of Trombone and Director of Jazz Studies-University of Nebraska at Omaha
Dr. Steve Wilson, Chair of the Department of Music and Professor of Trombone at the University of Texas at El Paso. 

This work was commissioned for the Continental Trombone Quartet (Peter Madsen, Mark Sheridan-Rabideau, Doug Farwell, and Steve Wilson) by a consortium of four university band programs and one solo artist: the University of Nebraska-Lincoln, the University of Nebraska at Omaha, the University of Texas at El Paso, the University of Wyoming and Dr. Doug Farwell of Valdosta State University. The piece was premiered on April 6, 2010 by the University of Texas at El Paso Wind Symphony under the direction of Dr. Ron Hufstader.

III. Molto fuoco e l’anima
The trombone plays a major role in the various tributaries of Afro-Cuban, Puerto Rican, and Brazilian music (e.g. son, mambo, bomba, plena, samba, partido alto, et al), and trombone artists such as Juan Pablo Torres, Raul de Souza, Papo Vasquez, and Conrad Herwig are well known among aficionados of these genres. Since many Latin bands use four trombones as the horn section to compliment the singers and rhythm section, I decided to craft an energetic final movement using the solo quartet in a similar way. My goal was to create something sounding like “Bela Bartok meets Willie Colon.”

The movement begins with a set of solo cadenzas set over lush simmering chords in the ensemble. These chords and voicings serve to bridge timbral continuity from the second movement. The quartet then leads the ensemble into a strong mambo-based groove that underpins the most of the third movement. A second contrasting theme is introduced when instrumentalists of the wind ensemble are asked to sing a chant-like melody set over a samba groove in triple meter. A stronger theme and groove return in the ensemble giving the quartet an opportunity to heartily comment upon what has occurred. This texture intensifies to the final raucously improvised cadenza for all members of the quartet.

III. CONCERTO for TROMBONE QUARTET and WIND ENSEMBLE (Eric Richards)- Molto fuoco e l’anima

CONCERTO FOR TROMBONE QUARTET AND WIND ENSEMBLE 
(2010) 

A Demo Folder of Score PDF, Part PDFs, and Audio can be found here:
bit.ly/ConcertoTrb4tetWindEns-Richards

Many thanks to Dr. Bradley Genevro and the University of Texas at El Paso Wind Symphony for this excellent recording!
Solo Quartet:
Barry Hearn, National Symphony Orchestra
Richard Harris, New York City
Dr. Pete Madsen, Professor of Trombone and Director of Jazz Studies-University of Nebraska at Omaha
Dr. Steve Wilson, Chair of the Department of Music and Professor of Trombone at the University of Texas at El Paso. 

This work was commissioned for the Continental Trombone Quartet (Peter Madsen, Mark Sheridan-Rabideau, Doug Farwell, and Steve Wilson) by a consortium of four university band programs and one solo artist: the University of Nebraska-Lincoln, the University of Nebraska at Omaha, the University of Texas at El Paso, the University of Wyoming and Dr. Doug Farwell of Valdosta State University. The piece was premiered on April 6, 2010 by the University of Texas at El Paso Wind Symphony under the direction of Dr. Ron Hufstader.

II. Molto expressivo
In much of the music of the Western Common Practice, the musical role of the trombone in ensemble music is closely aligned with the voice, either in terms of support (e.g. doubling) or in function as a representation of the human voice. The intent of the second movement is to explore the beautiful, singing possibilities of the bass trombone. This movement emerged as an aria for bass trombone, trombone quartet and wind ensemble. The movement is framed by opening and closing cadenzas for bass trombone and features the solo quartet performing a chorale that serves as the primary thematic material. Lush, shimmering chords reminiscent of Impressionist orchestral gestures as well as the writing of master jazz orchestrator Gil Evans are prevalent in the accompanying ensemble texture

II. CONCERTO for TROMBONE QUARTET and WIND ENSEMBLE (Eric Richards)- Molto expressivo

CONCERTO FOR TROMBONE QUARTET AND WIND ENSEMBLE 
(2010) 

A Demo Folder of Score PDF, Part PDFs, and Audio can be found here:
bit.ly/ConcertoTrb4tetWindEns-Richards


This work was commissioned for the Continental Trombone Quartet (Peter Madsen, Mark Sheridan-Rabideau, Doug Farwell, and Steve Wilson) by a consortium of four university band programs and one solo artist: the University of Nebraska-Lincoln, the University of Nebraska at Omaha, the University of Texas at El Paso, the University of Wyoming and Dr. Doug Farwell of Valdosta State University. The piece was premiered on April 6, 2010 by the University of Texas at El Paso Wind Symphony under the direction of Dr. Ron Hufstader.

As a composer who is also a trombonist, I was most enthusiastic with the prospect of working with my friends and colleagues in the Continental Trombone Quartet on this new piece. The intent was to create a tuneful, substantive work that showcases the artistry of the soloists as individual players and as an ensemble. A secondary goal was to craft an accompaniment that was engaging, yet playable by a wide array of ensembles, to include high school, university, community and professional groups.

In regard to movement structure and relationship, the concerto follows a typical three movement global design:

I. Molto ritmico
The compositional goal of the first movement is the exposition and interplay of two primary themes. The language of two of my heroes, Bartok and Stravinsky, influences the highly rhythmic and angular first theme. The second theme is presented in a favourite context of the composer, a legato, “cantabile” theme set over a pulsing, “percolating” rhythmic background. Influence of guitarist/composer Pat Metheny can clearly be heard in the second theme. The solo quartet presents the thematic material and then performs variations and commentary on the themes.



II. Molto expressivo
In much of the music of the Western Common Practice, the musical role of the trombone in ensemble music is closely aligned with the voice, either in terms of support (e.g. doubling) or in function as a representation of the human voice. The intent of the second movement is to explore the beautiful, singing possibilities of the bass trombone. This movement emerged as an aria for bass trombone, trombone quartet and wind ensemble. The movement is framed by opening and closing cadenzas for bass trombone and features the solo quartet performing a chorale that serves as the primary thematic material. Lush, shimmering chords reminiscent of Impressionist orchestral gestures as well as the writing of master jazz orchestrator Gil Evans are prevalent in the accompanying ensemble texture

III. Molto fuoco e l’anima
The trombone plays a major role in the various tributaries of Afro-Cuban, Puerto Rican, and Brazilian music (e.g. son, mambo, bomba, plena, samba, partido alto, et al), and trombone artists such as Juan Pablo Torres, Raul de Souza, Papo Vasquez, and Conrad Herwig are well known among aficionados of these genres. Since many Latin bands use four trombones as the horn section to compliment the singers and rhythm section, I decided to craft an energetic final movement using the solo quartet in a similar way. My goal was to create something sounding like “Bela Bartok meets Willie Colon.”

The movement begins with a set of solo cadenzas set over lush simmering chords in the ensemble. These chords and voicings serve to bridge timbral continuity from the second movement. The quartet then leads the ensemble into a strong mambo-based groove that underpins the most of the third movement. A second contrasting theme is introduced when instrumentalists of the wind ensemble are asked to sing a chant-like melody set over a samba groove in triple meter. A stronger theme and groove return in the ensemble giving the quartet an opportunity to heartily comment upon what has occurred. This texture intensifies to the final raucously improvised cadenza for all members of the quartet.

I. CONCERTO for TROMBONE QUARTET and WIND ENSEMBLE (Eric Richards) - Molto ritmico

ABIDE (Live)
Eric Richards © 2013 (BMI)
Original hymn by Henry Lyte

The University of Nebraska-Lincoln Jazz Orchestra
"New Music for Big Band from UNL" - February 5, 2013
Masa Ishikawa, piano
Aaron Stroessner, guitar
Chris Varga, drums

This piece was commissioned for the 2013 Mid-Atlantic Collegiate Jazz Orchestra by the Cumberland Jazz Society-David Kaufmann, coordinator. It was premiered at the Jazz Vespers Service of Saint Peter’s Church in New York City on Sunday, 13 January 2013. This recording is a live mix by the UNL Jazz Orchestra taken from our “NEW MUSIC for BIG BAND from UNL” concert on 5 February 13.

ABIDE uses thematic material from the well-known traditional hymn ABIDE WITH ME as an extended re-composition for the contemporary jazz orchestra. The hymn’s author, Henry F. Lyte, wrote from the perspective of one who faces a profound trial and asks for God to “abide” (generally defined as “to persevere” or “to dwell”) with him during a most difficult time. Mr. Lyte was indeed dying from tuberculosis as he composed the text and passed away a mere three weeks after completing the hymn. Also, ABIDE WITH ME is reported to be one of several hymns that were played by the Ship’s Band on the deck of the Titanic while the crew struggled to save as many passengers as possible as the ship met its demise.

My tack on the meaning of the word abides calls on man to be the active, rather than passive, participant. In Scripture, Christ implores his followers to “abide with me” and likens this process to branches abiding in the vine. This gives two different perspectives of abiding, both of them compelling and inspirational. As a Christian composer/arranger, my goal was to then create a work that is respectful to the original material and is life- affirming to the listener’s concept of abiding and perseverance.

The opening setting of the hymn is my own take on a basic harmonization taken from a standard hymnal. The winds of the jazz orchestra then play a contemporary reharmonization of the chorale melody that then transforms into a setting that is rhythmic and energetic featuring flugelhorn and tenor saxophone. The piece proceeds into an open solo section to incorporate improvisation into the structure and this leads into a contrapuntal passage featuring the trombones and then the trumpets.

There is a final statement of the hymn theme in the full ensemble, which should be exuberant and joyful. The piece ends as it began, with a brief, introspective statement of the original hymn material.

ABIDE Live (Eric Richards) BIG BAND

This new setting of the great Eddie Harris standard is my latest contribution to Belwin Jazz Publications PREMIER JAZZ series. It will be available for purchase worldwide in Spring 2013. Enjoy the great Belwin Jazz Orchestra under the direction of Pete BarenBregge!

FREEDOM JAZZ DANCE (comp. Eddie Harris/arr. Eric Richards) BIG BAND

I’M BEGINNING TO SEE THE LIGHT
Duke Ellington
arranged by Eric Richards
+++++++++++++++++++++++++
The US Army Jazz Ambassadors
Dolores King Williams, vocal soloist
Jim McFalls, trombone
Chuck Booker, conducting

I wrote this sitting on the beautiful stern lounge deck of the S.S. Norway for the Chip Hoehler Orchestra in the summer of 1983, checking voicings with a little battery powered Casio keyboard. Chip was looking for some new vocal charts for our singer and we came up with this idea as a short (hopefully) engaging opener of her set. 

DOLORES
I brought this chart to the library of the Army Jazz Ambassadors when word got out that we had just hired a killing new jazz vocal soloist. The late, great Dolores King Williams always delivered this chart with her excellent energy and top-notch professional musicianship. It was always such a pleasure to work with her and just hang with her in the Unit Coffee Shop. May God bless and comfort all who miss her.

I'M BEGINNING TO SEE THE LIGHT (Duke Ellington/arr. Eric Richards) VOCAL + BIG BAND

A native of Pittsburgh and currently residing in the great state of Wyoming, Eric Richards is a versatile and widely performed composer/arranger, conductor, trombonist and educator active in a broad range of musical media and genres. As a composer who defines himself as a “contemporary American eclectic”, he has written music for groups ranging from rural high school marching bands to chamber music ensembles to nationally recognized wind ensembles, big bands, and symphony orchestras. Eric’s work as a composer/arranger and trombonist has been heard worldwide in performances recordings by professional and academic ensembles in major concert venues across the United States, Europe, Asia and India to include: 
• The US Army Field Band and Jazz Ambassadors 
• The USAF Band and the Airmen of Note
 • The US Army Band (Pershing's Own) and the Army Blues 
• The US Marine Band (The President's Own) 
• The US Navy Band and the Navy Commodores 
• The USAF Brass in Blue (Offutt AFB) with guest soloist Joseph Alessi (NY Philharmonic) 
• The National Symphony Orchestra
 • The Baltimore Symphony Orchestra
 • The Boston Pops  Orchestra
• The New World Symphony Brass Ensemble with guest soloist Ian Bousfield
• The University of North Texas Wind Ensemble
 • The University of Nebraska-Lincoln Jazz Orchestra “2.0” and Wind Ensemble 
• The California State University-Long Beach Concert Jazz Orchestra
• The University of Northern Colorado Jazz Lab Band I
• The Hall High School Concert Jazz Band (West Hartford, CT) 

Concert venues include: Carnegie Hall (New York), the Midwest Clinic (Chicago) and the Montreux, Nice, and North Sea Jazz Festivals. Recent engagements as a guest composer, conductor and teacher include residencies or commissions at: 
• Washington State University
• Shanghai Conservatory of Music
• Taipei Jazz Orchestra
• Winona State University
• Wyoming Jazz Educators Big Band
• Yellowstone Jazz Camp 
• Lamont School of Music (University of Denver)
• Metropolitan Jazz Orchestra (Denver, CO)
• The Omaha Youth Symphony 
• The Metropolitan Area Youth Jazz Orchestra (Omaha, NE)
• Colorado Christian University

From 1984 – 2004, Eric served as Composer/Arranger with The United States Army Field Band, the Army’s premiere touring musical organization based near Washington DC. His works for jazz orchestra, wind ensemble, symphony orchestra, and voices were heard by audiences worldwide. He honorably retired at the decorated rank of Master Sergeant (E-8). Eric earned the Doctor of Musical Arts (Composition) degree from the University of Maryland at College Park where he studied with Mark Wilson and Robert Gibson. He holds the Master of Music (Composition) and Bachelor of Science (Music Education) degrees from Duquesne University in Pittsburgh where he studied with John “Doc” Wilson, Joseph Willcox Jenkins, and Matty Shiner. 

A regularly commissioned composer-arranger, Eric is available to answer inquiries regarding commissions. Please note that his production schedule develops as much as two years in advance. To inquire about commissions and explore his music further, please contact him at:
eric@ericrichards.com

Eric Richards Music

Pinned to spotlight

Popular tracks