THE CRAIG SCOTT QUINTET 2010, LIVE AT THE JAZZ CAFÉ, SCM BACKGROUND TO THE RECORDING PROJECT: This project involved recording a series of new pieces to be performed by the Craig Scott Quintet. The CSQ is a working band and was formed 3 years ago specifically with a view to workshopping and subsequently performing music written by Australian jazz musicians and composers. To that end we have been performing music written by Cathy Harley, Jann Rutherford, Roger Frampton, Dave Van Kreidt, and members of the CSQ: Craig Scott, Warwick Alder, Tim Fisher and Paul Cutlan. The group comprises personnel who are synonymous with The SCM. Craig Scott and Warwick Alder teach for the jazz unit, Paul Cutlan is currently a Masters Composition student, Tim Fisher and Tim Firth are both graduates of the jazz programme. A biography of the musicians accompanies this document. It was proposed that the material would be developed at a series of regular rehearsals and that the process of composition and workshopping be documented in an accompanying booklet. One of the great advantages in writing for a working group is that the composer can write to the strengths of each member of the group; this ensures a musical cohesion that allows for an overarching theme for the project. The Pieces: Jump for Joel Waltz 4 You Stepped Under a Trane Ballade PABDL Fobourfobourthobing Jump for Joel This piece is actually not new, but it had never been recorded. Prior to the beginning of this project it had been reworked twice, including almost an entirely new A section melody, and some corresponding alterations to the accompanying counter lines. Rhythmically the piece had started out being a Latin/Swing tune, but became a Swing piece in the second version. Subsequently the second version became Latin/Swing again, involving re-interpretation of the rhythmic values of the melody. Both of the first two versions had been performed publically by the quintet but neither version was entirely successful. The original melody of the

piece presented difficulties in register for the trumpet (particularly) which involved the necessity to change registers in the middle of the second phrase of the A section melody. As this phrase is a response to the first phrase (antecedent and consequent phrases) the effect on the overall shape of the piece was an issue. The second version did not have this issue, but was rhythmically and melodically less interesting in my view. The piece was written for the classic jazz quintet instrumentation of Trumpet, Tenor sax, Piano, Bass, and Drums. The form of “Jump for Joel” is: A section (16 bars), A section (16 bars), B section (8 bars), A section (16 bars). (AABA) The use of the Major 7 #11 chord is a feature of this tune. The Lydian mode (built off the 4th degree of the Major scale) is the brightest sounding mode of the major scale and allows the use of any scale tone for colouration of a melodic line. The A section is largely composed using this sound, the exception being bars 11 and 12 which use a minor ii V7 cadence to set up the last 4 bars: | EbMaj7#11| EbMaj7#11 | BMaj7#11| BMaj7#11| | EbMaj7#11| EbMaj7#11 | BMaj7#11| BMaj7#11| |AbMaj7#11| AbMaj7#11| A-7b5| D7b9 | |GMaj7#11| GMaj7#11| GMaj7#11| GMaj7#11| During the rehearsal process saxophonist Paul Cutlan suggested the idea of using the original version of the tune but to swap the horn parts over and to change the instrumentation from Trumpet and Tenor Sax to Soprano Sax and Trumpet thus giving the melody to the Soprano and the counter line to the Trumpet. This has removed any issues of register and has transformed the piece in my view by restoring the shape of the A section melody to the preferred original version, which due to its Latin/Swing rhythmic framework is a better contrast with the all swung B section. Waltz 4 The overall repertoire of the Quintet is quite varied but one thing that was missing was a slow waltz. I particularly enjoy playing in this time signature as there are many subdivisions that can be employed that all bring about different degrees of forward motion without obfuscating the intention of the tune. Two dotted crotchets that subdivide the bar of 3 in half is one such example; superimposing a common time subdivision by halving the dotted crotchet again is a further example. Although a very common approach to jazz composition is to use the AABA form and make little if any change to the A sections (such as in Jump for Joel) in this waltz I wished to depart from that idea slightly and use the AABA form but to re-harmonise

and/or change key in each A section. Each A section and the B section are 8 bars in length. The waltz starts with a trumpet melody which is intentionally written quite low on the instrument. Trumpeter Warwick Alder has a beautiful warm sound in the lower registers and the gentle and simple nature of the melody is enhanced by this aspect of his playing. The counter line is in the form of a series of responses to the trumpet’s melodic phrases and is also written low on the saxophone - this time the tenor saxophone is used. During the course of the rehearsals of the quintet I decided to shorten some of the counter line phrases as they better framed the trumpet melody. We also tried putting the entire tune up a minor 3rd from the original Key of F Major into Ab Major, to put it slightly higher on the front line instruments – however the original key was preferred by the entire band. I believe that every key has a ‘colour’ that is unique to itself and the change to Ab was far too bright. The tune lost its identity as a result. It was hastily restored to F and was subsequently recorded in that key. The first and second A sections are melodically identical but the underlying harmonic framework is altered in the second A section in bars 15 and 16, so instead of the DbMaj7 to C7#5 as in the first A section at bars 7 and 8, it goes to Eb-7 and Ab7. In both A sections the trumpet melody note is Ab (concert). In the first A section it functions as the ‘hook’ between the chords in bars 7 and 8. The second A section’s cadence in bars 15 and 16 suggests the key of Db for the B section, but in fact does not go there. The B section consists of a series of ii minor 7 and I Major 7 chords for the first 6 bars in the keys of Gb, D and F but without the expected dominant 7 of each key centre. This promotes an openness of the harmony, and slows down the harmonic forward motion. The melody is an ascending sequential motive which moves against the descending key centres. The bridge unexpectedly finishes with a strong ii minor -V7 cadence which takes the last A section into the key of Ab. The brightness of the key of Ab referred to earlier is now framed by the preceding aural memory of the first 2 A sections and the strength of the final B section cadence. As a result it now sounds natural in that key and in fact serves as the dramatic high point in the structure of the piece. The final A section finishes on the same chord as the first A section, namely C7#5 which sets up a return to the F Major tonality at the top of the form for solos to begin. At the end of the piece, after the solos and the melody out there is a Coda which makes use of the melody of the last 4 bars, and repeats it while it is re- harmonised using a series of descending chords finishing on AMaj7 which, while unexpected, is an aurally pleasing point to conclude the piece. You Stepped Under a Trane The history of jazz has featured many new melodies written over pre-existing song forms. These are known as contrafacts. Possibly the most well known song form to receive that treatment is Gershwin’s “I Got Rhythm”, which has had literally dozens of contrafact melodies written over its harmonic structure. Many other jazz standards have also been used in this way, some of which are Gershwin’s “Embraceable You”,

Waller’s “Honeysuckle Rose”, Warren’s “There Will Never Be Another You”, and Kahn and Kaper’s “All God’s Chillen (Children) Got Rhythm”. The standard that forms the basis of this tune is “You Stepped Out of a Dream” by Nacio Herb Brown. Published in 1940, it was featured in the 1941 Hollywood musical Ziegfeld Girl, and became synonymous with Lana Turner who makes her entrance to the tune while walking down a grand staircase. It was also used in the 1971 film The Abominable Dr Phibes during a murder scene, and as a dance number in the 1964 film Viva Las Vegas. The reference to Trane in the title of this tune is in reference to John Coltrane, who was one of the most influential black American jazz musicians in history. Coltrane wrote several tunes which were, in themselves, harmonic contrafacts of existing harmonic progressions. One of the most famous of these pieces is “Countdown”, written for the 1960 album Giant Steps. It is in fact a re-harmonisation of the Miles Davis composition “Tune Up”, complete with a new melody. The defining feature of the chord changes in this Coltrane composition is that the key centres move in a sequence of Major 3rds. These movements are superimposed over the existing harmonic progression. This substitution has become a common harmonic device used by jazz musicians. Davis’s Tune Up – Original Chord Changes || E-7 | A7 | DMaj7 | DMaj7 | | D-7 | G7 | CMaj7 | CMaj7 | | C-7 | F7 | EbMaj7 | EbMaj7 | |E-7 | F7 | BbMaj7 | A7 | | E-7 | A7 | DMaj7 | DMaj7 | | D-7 | G7 | CMaj7 | CMaj7 | | C-7 | F7 | EbMaj7 | EbMaj7 | |E-7 | A7 | DMaj7 | DMaj7 || Coltrane’s Countdown || E-7 F7 | BbMaj7 Db7 | GbMaj7 A7 | DMaj7 | | D-7 Eb7 | AbMaj7 B7 | EMaj7 G7 | CMaj7 | | C-7 Db7 | GbMaj7 A7 | DMaj7 F7 | BbMaj7 | |E-7 | F7 | BbMaj7 | Eb7#11 || || E-7 F7 | BbMaj7 Db7 | GbMaj7 A7 | DMaj7 | | D-7 Eb7 | AbMaj7 B7 | EMaj7 G7 | CMaj7 | | C-7 Db7 | GbMaj7 A7 | DMaj7 F7 | BbMaj7 | |E-7 | F7 | BbMaj7 | Eb7#11 || The original sequence is mostly a series of what jazz musicians describe as 2-5-1 progressions. This terminology is derived from chord scale theory in which a 2-5-1

sequence such E-7, A7 and DMaj7 are all naturally occurring chords built from the 2nd, 5th and 1st degree of the parent major scale. Each original 4 bar sequence is replaced by a new 4 bar sequence, starting and finishing in the same place but taking quite a different harmonic pathway in order to arrive there. One added complexity to this new route is that the additional key changes take place halfway through the bar, rather than on beat 1 of the bar. This requires the player to realign their thinking as the vast majority of the jazz repertoire does not move harmonically in this fashion, or indeed in Major 3rd key centres. Interestingly, Coltrane’s idea was not totally new, and in fact the Rogers and Hart standard “Have You Met Miss Jones?” written in 1934 uses a series of Major 3rd key centres in its B section: ||BbMaj7 | Ab-7 Db7 | GbMaj7 | E-7 A7 | DMaj7 | Ab-7 Db7 | GbMaj7 | (G-7 C7)|| This was considered to be the most difficult standard to extemporise over for years, despite the fact that unlike Coltrane’s system the key changes happen on beat 1 of each cadence. “You Stepped Out of a Dream” is a 32 bar standard which is characterised by a relatively slow moving harmonic progression, which contains several 4 bar sections which are 2-5-1 progressions. You Stepped Out of a Dream- Original Changes: → 2 5 1 1 |CMaj7 |CMaj7 |DbMaj7 |DbMaj7 | Bb-7 | Eb7| AbMaj7 |AbMaj7| →2 5 1 |G-7 | C7 | FMaj7 |(Bb7)|A-7 | D7| Eb-7 |Ab7| D-7 | G7|| →2 5 (sub for)1 |CMaj7 |CMaj7 |DbMaj7 |DbMaj7 | Bb-7 | Eb7| C-7b5 | F7| → 2 5 1 1 |D-7b5 | G7 | CMaj7 F7 | E-7 | A7 | D-7 | G7 | CMaj7 | CMaj7|| You Stepped Under A Trane: (Coltrane substitutes in Bold type) |CMaj7 |CMaj7 |DbMaj7 |DbMaj7 | Bb-7 B7 | EMaj7 G7 | CMaj7 Eb7 |AbMaj7| |G-7 Ab7| DbMaj7 E7 | AMaj7 C7 | FMaj7 Bb7|A-7 | D7| Eb-7 |Ab7| D-7 | G7|| |CMaj7 |CMaj7 |DbMaj7 |DbMaj7 | Bb-7 B7 | EMaj7 G7 | CMaj7 Eb7 | C-7b5 F7 | |D-7b5 | G7 | CMaj7 F7 | E-7 | A7 | D-7 Eb7 | AbMaj7 B7 | EMaj7 G7| CMaj7|| The melody for “You Stepped Out of A Trane” comes out of a bebop approach and is complex, sequential and outlines the new harmonic structure. Once again this is written in the classic Trumpet, Tenor Sax, Bass, Piano, and Drums format. The performance of the opening and closing melodies is by the Trumpet,

Tenor Sax and Double Bass tutti, while the Drums and Piano play rhythmic and harmonic supporting roles. Paul Cutlan has a particular interest in Coltrane’s work, and in fact maintains a performing organisation of his own – “The Coltrane Project.” Ballade This slow tune is once again an AABA form of 32 bars duration. Like “Waltz 4” each A section is slightly different, in this case both melodically and harmonically. All 3 of the A sections begin with an ascending 4 note Trumpet motif which is repeated in each case, followed by a different answering phrase in each that provides a platform for different harmonic progressions. In the last of the A sections the answering phrase resolves to a Major key centre rather than a minor one, a passing tierce de picardie, you might say. This is responsible for a sense of musical release from the mostly fairly sombre tone of the piece. The B section melody is played by Tenor Sax and consists of a 2 bar sequential phrase which is repeated and then answered by a 2 bar phrase which ascends then descends over descending Major 7 chords before concluding with a simple 3 note ascending motive which is once again repeated over different harmonic underpinnings. I am very pleased with the overall shape of this piece, and the chord progression is unusual to solo over, yet logical. PABDL The name “PABDL” is an acronym. It is derived from a phrase occasionally heard in reference to bluesy jazz soloing often associated with the guitar. The phrase is: “plunging, angular, blues-drenched lines.” Basically, I do not remember when I first heard it, but I do remember being amused at the time. I now use it frequently in its acronym form in the hope that it will one day pass into common usage. In fact the motives that make up both the A and B sections of this tune are not particularly bluesy, but they are plunging, and angular. The acronym PAL might be more applicable but it somewhat sounds more like a brand of canine fodder, hence PABDL is staying. The piece opens with a rhythm section ostinato (jazz jargon would describe it as a vamp) which is played in unison by the LH of the Piano and the Double Bass. It consists of a set of perfect 5ths based off the following root notes: Eb to E; Eb to B. On top of this sequence the piano RH is voiced in ascending 4ths: Ab, Db, Gb. Without going into great lengths of enharmonic correctness this gives a sequence of chords over the ostinato of Eb-11, EMaj 6/9, Eb-11, BMaj 6/9. The absence of a 3rd in this last chord gives it a very open tonal quality. The A sections are played as a swing feel but the drum style is a broken time approach and not performed as a traditional swing feel at this stage. The Trumpet and Sax play an angular melody which consists of two 2 bar phrases which are then

repeated, giving a sense of urgency to the overall impression of the piece, particularly in view of the ostinato they are played over. The B section is written in a call and response style. The call is from the rhythm section playing a 2 bar rhythmic phrase which is once again harmonically fairly open, consisting of DbMaj7 and EbMaj7 chords moving backwards and forwards. The response is a 2 bar horn phrase which is mostly built of a series of perfect 4ths and 5ths, played over a sustained chord from the rhythm section. This call and response happens 4 times concluding with a longer horn line which leads back to the final A section. The object of this composition was for the entire melody to be an exercise in tension and release, but in fact the release does not necessarily come at the end of the melody. The rhythm section is free to keep the ostinatos going behind the soloist until it seems appropriate to release by going into a straight ahead swing feel – in performance and rehearsal this changed quite a lot each time. This tune was the last one written for the recording. It was a substitute for another piece which I liked, but which I didn’t feel really suited the overall direction of the group. In fact in the true tradition of ‘nothing like being prepared’ I wrote a lot of it on the morning of the recording and we rehearsed it at the sound check. More about that later. Fobourfobourthobing The title of this piece is derived from its working title of “44 thing” with the application of the English language game ‘Ubbi Dubbi’, which adds extra syllables (normally ub or ob) before each pronounced vowel. As the ‘u’ in the word ‘four’ is ostensibly silent I decided that ‘foboburfoboburthobing’ was unnecessarily complicated, and heavily described an African 12/8 time signature when pronounced. (I first heard this ‘language’ being used by Don Burrows and George Golla when I joined the Don Burrows Quartet in the early 1980’s. They added a layer of complexity to its usage by first converting words to Cockney rhyming slang so that the word ‘prawn’ became ‘Lena Horne’, which was subsequently shortened to ‘Lena’ and then converted to ‘lobenoba’. They were absolutely fluent in it, I might add.) The piece is an AABA form tune again, with the A sections being written in the call and response style. In this case the call is by the Trumpet and Tenor Sax, and the response by the rhythm section, Bars 5-8 of each A section are differently harmonised for added harmonic interest. The B section keeps this call and response style going for the first 4 bars, before breaking into a swing feel over a series of 2-5-1 cadences that resolve back to the first chord of the final A section. The coda, played after the solos and concluding melody resolves to a tritonal dominant substitute that leaves the listener not quite resolved. The solos changes are played in the swing feel. The piece is written in Ab- but the tonic Ab- chord features a major 7th in it suggesting an ascending melodic minor (the jazz mode) as a possible choice. The Rehearsal and Workshopping Process

The CSQ is a working jazz quintet and this enabled not only a series of rehearsals to take place, but also a number of concert opportunities to workshop new music during performances at both the SIMA Sound Lounge at the Seymour Centre and at the 505 jazz club in Sydney’s Surry Hills. The first rehearsal was held at the Sydney Conservatorium of Music on Thursday 20th May and included the first reading of “Waltz 4”, and workshopping of both versions of Jump for Joel. “Waltz 4” was well received by the members of the group, and even though most of the reading was spent on refining the melodic content of the song, the rhythm section, particularly Tim Firth, the drummer, was already exploring some different approaches to their role as accompanists to the soloists. A framework of how the performance might flow was created, but stopped short of designating who might solo on the piece or the order in which solos might take place. Such performance issues are better left open until the actual performance takes place as the overall shape of what has preceded it will naturally have an effect on how the piece should be structured. “Jump for Joel” had been problematic in performance as outlined earlier, and it was at this rehearsal that Paul Cutlan suggested the return to the original form of the melody and associated rhythmic framework and the addition of the soprano sax instead of tenor. This facilitated the reversal of melodic parts between trumpet and sax and resulted in a piece that was considerably better. The following week on Friday 28th May CSQ performed at the 505 club in Sydney and both of these pieces were performed in their polished format for the first time. They were both well received by the audience, and the performers were pleased with the outcome. What was also very pleasing was that both of the pieces fitted in well with the established repertoire and the overall sound of the quintet. The second rehearsal was held Friday 23rd July at the Con. At this rehearsal the “Ballade” and “You Stepped Under a Trane” were introduced to the band. Most of the rehearsal was spent working on the latter piece as it is quite complex, and a couple of minor alterations to the melody were effected. The ballad was workshopped quickly and presented no particular challenges. One chord quality was slightly altered inadvertently but was actually more interesting as a result. The quintet performed at the Sound Lounge on the 30th July for SIMA and “You Stepped Under a Trane” received its first public performance. “Waltz 4” was also performed again and the saxophone counter line was amended slightly. In this performance the rhythm section made use of an implied double time feel and this added a dimension of additional forward motion to the piece. Once again these pieces were well received. The planned performance of the ballad did not take place as the charts mysteriously managed to stay on top of the piano in room 1091 of the jazz department of the Conservatorium. A third rehearsal was held on the 28th of October and “44thing” as it was then still called was workshopped. It was originally written in F minor but was really too low for both Trumpet and saxophone to play comfortably. It is quite fast and the melody sounded too dense in that key. The group decision was to put it up a minor third into Ab minor, and it was much better. It is also a considerably brighter sounding key and

although I was not immediately thrilled by its brightness, I have since changed my mind as the brightness of the key is offset by the minor tonality. I now prefer it. Another tune, which was a bossa nova, was also workshopped, but it was decided that it really did not suit the style of the group and was put aside. “Ballade” was also revisited and the ending harmony slightly altered. The final rehearsal, which took place on the day before the recording, was on Monday 8th November, once again at the Con. All the new compositions were rehearsed and no changes to them were effected. After the rehearsal I became concerned upon reflection that we needed another piece. I began to write PABDL in the evening at home, and wrote the A section, but had no idea about the B section. The day of the recording began ‘early’ and I had finished the tune by early afternoon. The only opportunity to rehearse it was at the Café in the evening at the sound check for the recording. The gentlemen of the orchestra were gracious about having to perform the new piece in the public eye and have their first real performance of it committed to a permanent record. They were probably not that thrilled at the prospect I imagine. However, they did their usual splendid job! The Recording: Jazz at the Café Tuesday 9th November 7 p.m. On Tuesday 19th October, I began my teaching commitments at 9 a.m. having left my Double Bass in my office overnight, a comparatively rare occurrence in fact. When I removed the cover I found a large area on the side of it had been smashed in and was now a series of cracks. I have been unable to ascertain who did it, but I am certain that it was not me. I hastily rescheduled my teaching to other days and took my bass to the wonderful luthier Neville Whitehead, who has always serviced her. The news was not good, and it was necessary to remove the top, which is not unlike a person having to have open-heart surgery, rebuild the side, and rebuild the instrument. The other part of the news was not great either. The fingerboard being over 100 year sold was too thin to be re-dressed, and needed to be replaced. This in turn necessitated a new bridge, and a new set up of the instrument. As the week unfolded Neville also discovered several other issues which all had to be addressed. These were due to wear and tear from touring over the years, but they all needed to be fixed. The whole thing was a huge job. I got the bass back from Neville on morning of the final rehearsal. He had done a great job and had worked as quickly as animal glue, and varnish and woodworking would allow. However, when work of that magnitude is performed the instrument needs to recover, settle, and be played in before any additional fine-tuning can take place. The new fingerboard was beautiful, she looked gorgeous- a typically great Whitehead job! Naturally she was a little different to play after such major work and I was a little disappointed in my playing, but people from the audience came up to me and made a point of saying how much they had enjoyed it, and other musicians praised the band and the compositions. I was very pleased with the feedback. A week or so later Hideki Isoda, who had recorded the evening, sent me unmixed rough versions of the tracks, so I put them on and sat through the whole lot. I would be bending the truth if I said that I loved every note of my playing on them, but I can

honestly say that I felt my colleagues had absolutely played up a storm. The horns were inventive, swinging, beautiful; Tim Fisher and Tim Firth on piano and drums respectively played with energy, clarity, fire and great intuition. Hideki and I had several sessions working on the finished product, polishing the sound, and carrying out some minor editing. It is my hope that the reader enjoys the CD that has resulted from this project. I want to do another one, now. Craig Scott 10/02/11

The Craig Scott Quintet is: Warwick Alder (Tpt) Paul Cutlan (Sax), Tim Fisher (Piano), Tim Firth (Drums), and Craig Scott (Double Bass). Warwick Alder graduated with honours in Jazz Studies from Sydney Conservatorium in 1981 and since then has regularly performed with most major Australian jazz artists and many leading international artists. !! In 1983 Warwick became a founding member of James Morrison's first band, Morrison Bros. Big Bad Band and together they recorded two CDs and an ABC TV special. Also at this time he began playing with some leading avant-garde ensembles, developing his sense of freer improvisation and composition style. In 1986 he was chosen as a founding member of Ten Part Invention, still widely regarded as Australia's leading modern jazz ensemble. He also continued to play with Australia’s leading jazz traditionalists and in 1988 was chosen to represent Australia in the Bicentennial Australian Jazz Orchestra which toured Australia and the USA for six months. In 2005 he performed at the Chicago Jazz Festival and toured Europe with the legendary Bernie McGann and he has played with such international stars as Cleo Laine, Joe Williams, Branford Marsalis, Eartha Kitt and many others.!! Alder's compositions are featured on CD’s by Andrew Speight (Now's The Time) Bob Bertles (Cool Beans) and Bernie McGann (Blues For Pablo Too). As a versatile multi-instrumentalist, Paul Cutlan has performed with groups as diverse as the Tasmanian and Sydney Symphony Orchestras, Australian Opera and Ballet Orchestra, Ten Part Invention, James Morrison Quintet, Craig Scott Quintet, Judy Bailey, Steve Hunters’ Nine Lives, Clarion Fracture Zone, Wanderlust and GEST8. International acts with whom he has performed include Lou Reed for the 2007 Sydney Festival, American drummer Bobby Previte's Bitches Brew Project and New York pianist and composer Jim McNeely. As a member of world/jazz group MARA!, he has been on five European/ North American and numerous Asian tours, recorded two CDs including the ARIA winning Live in Europe, and performed hundreds of school shows for Musica Viva, touring all Australian states and Singapore. With the Australian Art Orchestra, Paul has recorded three albums, collaborated with Danish Trumpeter/ Composer Palle Mickkelborg, a quartet of Indian musicians, played in Sandy Evans’ TESTIMONY, in Ruby’s Story featuring Archie Roach and Ruby Hunter, and Meet me in the Middle of the air featuring Paul Kelly. With this orchestra he has travelled to Mexico, New Zealand and Malaysia. Cutlan has led the group Coltrane Project, which has been recorded frequently by the ABC, composed and performed in the acclaimed theatre production Birth of the Cool celebrating the lives and poetry of the “Beat Generation” for the Sydney Festival, subsequently touring to Edinburgh and Germany. Tim Firth is at the vanguard of the new generation of jazz drummers in Australia. He performs with some of this country’s finest musicians including The Don Rader Quintet, James Muller Trio, Judy Bailey Trio, Theak-tet, Dave Panichi Septet, Kristin Beradi Band, Mark Isaacs Resurgence Band, Errol Buddle, Craig Scott Quintet, John Harkins Trio, Hugh Barrett Trio, Jackson Harrison Trio, Aunty Richard, Chuck Yates Trio, Virna Sanzone, The Hipstones, Nathan Tasker Band, Dan Barnett Big Band, Asli, Carrie Lakin, Daniel Mifsud and many others. He has a Bachelor of Music from

the University of New South Wales, and a Bachelor of Music (Jazz Major) with First Class Honours from the Sydney Conservatorium of Music. He was a finalist in the 2004 National Jazz Awards Drum Competition at the Wangaratta Jazz Festival, and has toured extensively throughout Australia and Asia. Recently he won the same competition in 2011. Tim Fisher is a graduate of the Sydney Conservatorium of Music Jazz Programme, and is already in high demand in the jazz scene in Sydney. While at the Con he studied with Judy Bailey, Mike Nock and Matt McMahon. He has performed with Don Rader, Andrew Speight, John Morrison, James Muller, Phil Stack, Cameron Undy, Craig Scott, Dave Panichi, Gordon Rhytmeister, Ralph Pyl, Mark Taylor, Jackie Cooper, Gregg Arthur and Darren Percival just to name a few. He has featured on several national tours and engagements with James Morrison and Deni Hines. He was also a featured artist with the Shanghai Symphony Orchestra Big Band in 2007. Craig Scott has been one of Australia's leading bassists for nearly 30 years. He began his career in jazz in 1979 with the Keith Stirling Quartet. Since that time he has been a member of many other jazz groups led by such well-known jazz identities as: Don Burrows, James Morrison, Julian Lee, Kerrie Biddell, Paul MacNamara, Steve McKenna, Steve Brien, Judy Bailey, Roger Frampton, Gordon Brisker, Cathy Harley, Trevor Griffin, Serge Ermoll, Jim Pennell, and many others. He led his own quintet "Improviso" featuring Graeme Lyall and Warwick Alder, which performed at many of Australia’s major jazz festivals including Manly, Bellingen, Melbourne International, and Wangaratta. As well as performing with many groups, Craig has been invited to perform as bassist for the Wangaratta Festival Jazz Piano competition on three occasions since it’s inception in 1989. In 2008 he was invited to be on the adjudication panel for the National Jazz Awards - Bass. Craig has also accompanied a plethora of visiting international jazz artists including: Joe Henderson, Red Rodney, Urbie Green, Eddie Daniels, Bobby Shew, Joachim Kuhn, Clifford Jordan, Nat Adderley, Branford Marsalis, Lee Konitz, Mickey Tucker, James Williams, Ronnie Scott, Frank Morgan, George Cables, Jim McNeely and U.K. jazz vocalist Claire Martin. Most recently he accompanied American jazz pianist and educator Mark Levine for several concerts on his Australian tour. Craig is also deeply involved in jazz education. He is Chair of the Jazz Studies Unit at the Sydney Conservatorium of Music. He frequently gives master classes at other tertiary institutions around Australia and New Zealand and has also taught for the Jazz Action Society jazz workshop programme and for ‘Jazzworx!’ jazz clinics in Sydney, Melbourne, Brisbane, and Townsville. In July 2002 he was invited to be a guest lecturer at Berklee Music School in Boston, U.S.A for the IASJ (International Association of Schools of Jazz.) Press: “The jazz studies boss, the bassist Craig Scott, led a cross-generational band, including long-time colleague Warwick Alder on trumpet, and budding stars Tim Fisher (piano) and Tim Firth (drums). Amid the sizzling hard-bop Alder showed how good he is at soft contours and gentle lines (Soul Eyes), as well as his trademark scything, hurtling solos.” SMH June 11 2007 J Shand.

Jump for Joel 3© Craig Scott 2010

Soprano Saxophone

Trumpet in Bb

Piano

String Bass

Drums

FMaj 7

3

C#Maj7

FMaj 7

3 C#Maj7

BMaj7

EbMaj7

BMaj7

EbMaj 7

BMaj7

LATIN

5

Sop. Sax.

Tpt.

Pno.

S. Bass

Dr.

FMaj7 3

C#Maj7

FMaj7

3 C#Maj7

BMaj7

BMaj7

EbMaj7

BMaj7

9

Sop. Sax.

Tpt.

Pno.

S. Bass

Dr.

BbMaj7 B-7b5 E7 AMaj7#11

BbMaj7

B-7b5 E7

AMaj7#11

AbMaj7

A-7b5

D7

GMaj7#11

AbMaj7

A-7b5

D7

GMaj7#11

Swing LAtin

14

Sop. Sax.

Tpt.

Pno.

S. Bass

Dr.

FMaj 7

3

FMaj 7

3

EbMaj7

EbMaj 7

LATIN

2

19

Sop. Sax.

Tpt.

Pno.

S. Bass

Dr.

C#Maj7

FMaj 7 3

C#Maj7

FMaj 7 3

BMaj7

BMaj7

EbMaj7

BMaj7

EbMaj 7

23

Sop. Sax.

Tpt.

Pno.

S. Bass

Dr.

C#Maj7

BbMaj7 C#Maj7 BbMaj7

BMaj7

BMaj7

AbMaj7

BMaj7

AbMaj7

Swing

3

27

Sop. Sax.

Tpt.

Pno.

S. Bass

Dr.

B-7b5 E7 AMaj7#11

B-7b5 E7

AMaj7#11

A-7b5

D7

GMaj7#11

A-7b5

D7

GMaj7#11

LAtin

32

Sop. Sax.

Tpt.

Pno.

S. Bass

Dr.

G#-7 G-7 C7 3

FMaj#11 FMaj7#11

G#-7

G-7

C7 FMaj#11

FMaj7#11

F#-7

F-7

Bb7 EbMaj#11

EbMaj7#11

F#-7

F-7

Bb7 EbMaj#11

EbMaj7#11

Swing

4

37

Sop. Sax.

Tpt.

Pno.

S. Bass

Dr.

F#-7

B7

3

EMaj

7

3

G-7

C7

FMaj

7

F#-7

B7

3

EMaj

7

3 G-7

C7

FMaj 7

E-7

A7

DMaj

7 F-7

Bb7

EbMaj7

E-7

A7

DMaj

7 F-7

Bb7 EbMaj 7

LATIN

42

Sop. Sax.

Tpt.

Pno.

S. Bass

Dr.

3

C#Maj7 FMaj 7

3 C#Maj7

FMaj 7

BMaj7

BMaj7

EbMaj7

BMaj7

EbMaj

7

5

46

Sop. Sax.

Tpt.

Pno.

S. Bass

Dr.

3

C#Maj7 BbMaj7

3 C#Maj7 BbMaj7

BMaj7

BMaj7

AbMaj7

BMaj7

AbMaj7

Swing

50

Sop. Sax.

Tpt.

Pno.

S. Bass

Dr.

B-7b5 E7 AMaj7#11

B-7b5 E7

AMaj7#11

A-7b5

D7

GMaj7#11

A-7b5

D7

GMaj7#11

LAtin

6

55

Sop. Sax.

Tpt.

Pno.

S. Bass

Dr.

for solos

LAST TIME : Repeat and Solo over vamp till Fine

AMaj7#11

AMaj7#11

GMaj7#11

GMaj7#11

for solos

7

©Craig Scott 2010WALTZ 4

I(Trumpet)

II(Tenor Sax)

Keyboard

Bass Guitar

Drums

GMAJ7

GMAJ7

BbMAJ7

BbMAJ7

AbMAJ7#11

GMAJ7

GMAJ7 BbMAJ7

BbMAJ

7

AbMAJ7#11

FMAJ7

FMAJ7

AbMAJ7

AbMAJ7

GbMAJ7#11

FMAJ7

FMAJ7 AbMAJ7

AbMAJ7 GbMAJ7#11

7

I

II

Keys

Bass

Dr.

F#MAJ7#11

EbMAJ7

D7#5

GMAJ7

GMAJ7

BbMAJ7

BbMAJ 7

F#MAJ7#11

EbMAJ7

D7#5

GMAJ7 GMAJ7

BbMAJ7 BbMAJ

7

EMAJ7#11

DbMAJ7

C7#5

FMAJ7

FMAJ7

AbMAJ7

AbMAJ 7

EMAJ7#11 DbMAJ7 C7#5 FMAJ7

FMAJ7 AbMAJ7

AbMAJ 7

14

I

II

Keys

Bass

Dr.

AbMAJ7#11

F#MAJ7#11

F-7

Bb7

Bb-7

AbMAJ7

F#-7

EMAJ7

AbMAJ7#11

F#MAJ7#11

F-7

Bb7

Bb-7

AbMAJ7 F#-7 EMAJ7

GbMAJ7#11

EMAJ7#11 Eb-7

Ab7

Ab-7

GbMAJ7

E-7

DMAJ7

GbMAJ7#11 EMAJ7#11 Eb-7 Ab7 Ab-7

GbMAJ7

E-7 DMAJ7

22

I

II

Keys

Bass

Dr.

A-7 GMAJ7

FMAJ7 C-7

F7

BbMAJ7

BbMAJ7

C#MAJ7

A-7 GMAJ7 FMAJ7 C-7 F7

G-7 FMAJ7

EbMAJ7 Bb-7

Eb7

AbMAJ7

AbMAJ7

BMAJ7

G-7 FMAJ7 EbMAJ7 Bb-7 Eb7 AbMAJ7 AbMAJ7

BMAJ7

2

29

for solos

for solos

I

II

Keys

Bass

Dr.

C#MAJ7 Bb-7

AbMaj7

F#MAJ7

D7

C#MAJ7

Bb-7 AbMaj7 F#MAJ7 D7

BMAJ7

Ab-7

GbMaj7

EMAJ7

C7

BMAJ7

Ab-7

GbMaj7

EMAJ7

C7

35 rall.

rall.

I

II

Keys

Bass

Dr.

Ab-7 GbMAj7

EMAJ7

Ebsus

Db-7

BMAJ7

Bb7

AMAJ7

Ab-7 GbMAJ7 EMAJ7 Ebsus Db-7 BMAJ7 Bb7 Amaj7

3

Fobourfobourthobing Craig Scott © 2010

Copyright ©CBS

I(Trumpet)

II(Tenor Sax)

Keyboard

Acoustic Bass

Drums

4

I

II

Keys

A. Bass

Dr.

8

I

II

Keys

A. Bass

Dr.

12

I

II

Keys

A. Bass

Dr.

2

16

I

II

Keys

A. Bass

Dr.

20

I

II

Keys

A. Bass

Dr.

3

25

I

II

Keys

A. Bass

Dr.

29

I

II

Keys

A. Bass

Dr.

4

33

I

II

Keys

A. Bass

Dr.

37

I

II

Keys

A. Bass

Dr.

Last TimeSolos

Ab-MAj7

Ab-Maj7

Ab-MAj7

Ab-Maj7

Ab-MAj7

Ab-Maj7

Ab-MAj7

Ab-Maj7

Last time

5

43

I

II

Keys

A. Bass

Dr.

Db-MAj7

Db-Maj7

Bb-7b5

Eb7

Ab-Maj7

Bb-7 Eb7

Ab-Maj7

Ab-Maj7

Db-Maj7

Db-MAj7

Db-Maj7

Bb-7b5

Eb7

Ab-Maj7

Bb-7 Eb7

Ab-Maj7

Ab-Maj7

Db-Maj7

Db-MAj7

Db-Maj7

Bb-7b5

Eb7

Ab-Maj7

Bb-7 Eb7

Ab-Maj7

Ab-Maj7

Db-Maj7

Db-MAj7

Db-Maj7

Bb-7b5

Eb7

Ab-Maj7

Bb-7 Eb7

Ab-Maj7

Ab-Maj7

Db-Maj7

52

I

II

Keys

A. Bass

Dr.

Db-Maj7

Bb-7b5

Eb7

D7#11

D7#11

Db-7

Gb7

CbMaj

CbMaj

Db-Maj7

Bb-7b5

Eb7

D7#11

D7#11

Db-7

Gb7

CbMaj

CbMaj

Db-Maj7

Bb-7b5

Eb7

D7#11

D7#11

Db-7

Gb7

CbMaj

CbMaj

Db-Maj7

Bb-7b5

Eb7

D7#11

D7#11

Db-7

Gb7

CbMaj

CbMaj

6

61

I

II

Keys

A. Bass

Dr.

C-7

F7

Bb-Maj7

Bb-Maj7

A-7

D7

GMaj7

GMaj7

Db-7

C-7

F7

Bb-Maj7

Bb-Maj7

A-7

D7

GMaj7

GMaj7

Db-7

C-7 F7

Bb-Maj7

Bb-Maj7

A-7

D7

GMaj7

GMaj7

Db-7

C-7 F7

Bb-Maj7

Bb-Maj7

A-7

D7

GMaj7

GMaj7

Db-7

70

I

II

Keys

A. Bass

Dr.

Gb7

Bb-7

Eb7

Ab-MAj7

Ab-Maj7

Db-Maj7

Db-Maj7

Bb-7b5

Eb7

Gb7

Bb-7

Eb7

Ab-MAj7

Ab-Maj7

Db-Maj7

Db-Maj7

Bb-7b5

Eb7

Gb7 Bb-7

Eb7

Ab-MAj7

Ab-Maj7

Db-Maj7

Db-Maj7

Bb-7b5

Eb7

Gb7 Bb-7

Eb7

Ab-MAj7

Ab-Maj7

Db-Maj7

Db-Maj7

Bb-7b5

Eb7

7

79

I

II

Keys

A. Bass

Dr.

Ab-Maj7

Play after solos only

Ab-Maj7

Play after solos only

Ab-Maj7 Bb-7 Eb7

Ab-Maj7 Bb-7 Eb7

83

I

II

Keys

A. Bass

Dr.

8

86

I

II

Keys

A. Bass

Dr.

FINE

9

BALLADE © CRaig Scott 2010

Copyright © CS

Trumpet in Bb

Tenor Saxophone

Piano

Bass

Drums

Interpret Freely

Interpret Freely

Interpret Freely

FREELY BALLAD STYLE (Fill)

BALLAD STYLE (Start with Brushes)

6

Tpt.

Ten. Sax.

Pno.

Bs.

Dr.

12

Tpt.

Ten. Sax.

Pno.

Bs.

Dr.

3

17

Tpt.

Ten. Sax.

Pno.

Bs.

Dr.

3

2

22

Tpt.

Ten. Sax.

Pno.

Bs.

Dr.

27

Tpt.

Ten. Sax.

Pno.

Bs.

Dr.

3

33

Tpt.

Ten. Sax.

Pno.

Bs.

Dr.

G#-9

A#-7

BMaj7

C-7

F7 Bb-9

Eb7

G#-9

A#-7

BMaj7

C-7

F7 Bb-9

Eb7

F#-9 G#-7

AMaj7

Bb-7

Eb7 Ab-9

Db7

F#-9 G#-7 AMaj7 Bb-7 Eb7 Ab-9 Db7

39

Tpt.

Ten. Sax.

Pno.

Bs.

Dr.

Ab13

G7#5

G#-9

A#-7

BMaj7

C#7

Ab13

G7#5

G#-9

A#-7

BMaj7

C#7

Gb13 F7#5

F#-9

G#-7

AMaj7

B7

Gb13 F7#5 F#-9 G#-7 AMaj7 B7

4

45

Tpt.

Ten. Sax.

Pno.

Bs.

Dr.

F#-7

G3-7

C#7 F#maj#5

F#Maj#

AMaj7

G#-9

C#7

F#-7

G3-7

C#7 F#maj#5

F#Maj#

AMaj7

G#-9

C#7

E-7 F3-7

B7 Emaj#5

EMaj#

GMaj7

F#-9

B7

E-7 F3-7 B7 Emaj#5 EMaj# GMaj7 F#-9 B7

51

Tpt.

Ten. Sax.

Pno.

Bs.

Dr.

F#-9

D#-7b5

G37 C#Maj7BMaj7 F#-9

DMaj7#11

C#7

F#-9

D#-7b5

G37 C#Maj7

BMaj7 F#-9

DMaj7#11

C#7

E-9 C#-7b5

F37 BMaj7

AMaj7 E-9

CMaj7#11 B7

E-9 C#-7b5 F37 BMaj7 AMaj7 E-9 CMaj7#11 B7

5

57

Tpt.

Ten. Sax.

Pno.

Bs.

Dr.

G#-9

A#-7

BMaj7

C-7

F7

G#-9

A#-7

BMaj7

C-7

F7

F#-9 G#-7

AMaj7

Bb-7

Eb7

F#-9 G#-7 AMaj7 Bb-7 Eb7

61

Tpt.

Ten. Sax.

Pno.

Bs.

Dr.

BbMaj7

Eb7#11

AbMaj7

F#Maj7

after solos

BbMaj7

Eb7#11

AbMaj7

F#Maj7

AbMaj7

Db7#11 GbMaj7

EMaj7

AbMaj7 Db7#11 GbMaj7 EMaj7

6

You Stepped Under a Trane Craig Scott

Copyright © Craig Scott 2010

I(Trumpet)

II(Tenor Sax)

Piano

String Bass

Drums

3

3

Comp.

CMaj CMaj7 DbMaj7 DbMaj7 3

Brushes

5

I

II

Pno.

S. Bass

Dr.

Bb-7 B7 EMaj7 G7 CMaj7 Eb7 AbMaj7

9

I

II

Pno.

S. Bass

Dr.

3

3

3

3

3

3

G-7 Ab7 DbMaj7 E7 AMaj7 C7 FMaj7 Bb7 A-7

3 3 3

14

I

II

Pno.

S. Bass

Dr.

3

3

D7 Eb-7 Ab7 D-7 G7 CMaj7 CMaj7

3

2

19

I

II

Pno.

S. Bass

Dr.

DbMaj7 DbMaj7 Bb-7 B7 EMaj7 G7 CMaj7 Eb7

24

I

II

Pno.

S. Bass

Dr.

C-7b5 F7 D-7 G7 CMaj7 F7

3

28

I

II

Pno.

S. Bass

Dr.

FINE Last Time

E-7 A7 D-7 Eb7 AbMaj7 B7 EMaj7 G7 CMaj7

33

I

II

Pno.

S. Bass

Dr.

DMaj DMaj7 EbMaj7 EbMaj7 C-7 C#7 F#Maj7 A7 DMaj7 F7

DMaj DMaj7 EbMaj7 EbMaj7 C-7 C#7 F#Maj7 A7 DMaj7 F7

CMaj CMaj7 DbMaj7 DbMaj7 Bb-7 B7 EMaj7 G7 CMaj7 Eb7 CMaj CMaj7 DbMaj7 DbMaj7 Bb-7 B7 EMaj7 G7 CMaj7 Eb7

4

40

I

II

Pno.

S. Bass

Dr.

BbMaj7 A-7 Bb7 EbMaj7 F#7 BMaj7 D7 GMaj7 C7 B-7

E7

BbMaj7 A-7 Bb7 EbMaj7 F#7 BMaj7 D7 GMaj7 C7 B-7 E7

AbMaj7 G-7 Ab7 DbMaj7 E7 AMaj7 C7 FMaj7 Bb7 A-7 D7 AbMaj7 G-7 Ab7 DbMaj7 E7 AMaj7 C7 FMaj7 Bb7 A-7 D7

47

I

II

Pno.

S. Bass

Dr.

F-7 Bb7 E-7 A7 DMaj7 DMaj7 EbMaj7 EbMaj7 C-7 C#7

F-7 Bb7 E-7 A7 DMaj7 DMaj7 EbMaj7 EbMaj7 C-7 C#7

Eb-7 Ab7 D-7 G7 CMaj7 CMaj7 DbMaj7 DbMaj7 Bb-7 B7 Eb-7 Ab7 D-7 G7 CMaj7 CMaj7 DbMaj7 DbMaj7 Bb-7 B7

5

54

I

II

Pno.

S. Bass

Dr.

F#Maj7 A7 DMaj7 F7 D-7b5 G7 E-7 A7 DMaj7 G7

F#Maj7 A7 DMaj7 F7 D-7b5 G7 E-7 A7 DMaj7 G7

EMaj7 G7 CMaj7 Eb7 C-7b5 F7 D-7 G7 CMaj7 F7 EMaj7 G7 CMaj7 Eb7 C-7b5 F7 D-7 G7 CMaj7 F7

60

I

II

Pno.

S. Bass

Dr.

F#-7 B7E-7 F7 BbMaj7 C#7 F#Maj7 A7 DMaj7

after solos

F#-7 B7

E-7 F7 BbMaj7 C#7 F#Maj7 A7 DMaj7

E-7 A7 D-7 Eb7 AbMaj7 B7 EMaj7 G7 CMaj7 E-7

A7 D-7 Eb7 AbMaj7 B7 EMaj7 G7 CMaj7after solos

after solos

6

Craig Scott ©2010PABDL

I(Trumpet)

II(Tenor Sax)

Piano

Bass

Drums

Till Ready

Till Ready

Till Ready

Till Ready

Till Ready - play broken time through head and first chorus of each solo (vamp is a guide only)

7

A

A

I

II

Keys

Bass

Dr.

continue as in intro.

12

I

II

Keys

Bass

Dr.

17

I

II

Keys

Bass

Dr.

2

22

I

II

Keys

Bass

Dr.

27

I

II

Keys

Bass

Dr.

3

32

I

II

Keys

Bass

Dr.

Broken time as before

37

I

II

Keys

Bass

Dr.

FINE F-11

FINE F-11

FINE Eb-11

FINE Eb-11

4

42

I

II

Keys

Bass

Dr.

F#maj6/9

F-11

C#Maj6/9

F-11

F#maj6/9

F-11

C#Maj6/9

EbMaj7 FMaj7

F#maj6/9

F-11

C#Maj6/9

F-11

F#maj6/9

F-11

C#Maj6/9

EbMaj7 FMaj7

Emaj6/9

Eb-11

BMaj6/9

Eb-11

Emaj6/9

Eb-11

BMaj6/9

DbMaj7 EbMaj7

Emaj6/9

Eb-11

BMaj6/9

Eb-11

Emaj6/9

Eb-11

BMaj6/9

DbMaj7 EbMaj7

51

I

II

Keys

Bass

Dr.

EbMaj7

FMaj7

EbMaj7 FMaj7

EbMaj7

FMaj7

F-11

EbMaj7

FMaj7

EbMaj7 FMaj7

EbMaj7

FMaj7

F-11

DbMaj7

EbMaj7

DbMaj7 EbMaj7

DbMaj7

EbMaj7

Eb-11

DbMaj7

EbMaj7

DbMaj7 EbMaj7

DbMaj7

EbMaj7

Eb-11

5

58

I

II

Keys

Bass

Dr.

F#maj6/9

F-11

C#Maj6/9

F-11

F#maj6/9

F-11

C#Maj6/9

after solos

F#maj6/9

F-11

C#Maj6/9

F-11

F#maj6/9

F-11

C#Maj6/9

Emaj6/9

Eb-11

BMaj6/9

Eb-11

Emaj6/9

Eb-11

BMaj6/9

Emaj6/9

Eb-11

BMaj6/9

Eb-11

Emaj6/9

Eb-11

BMaj6/9

6