Can't Stop The Crying (G.Brisker)

Gordon Brisker's "Can't Stop The Crying" emerges from a rich vein of modern jazz composition, embodying the sophisticated harmonic and melodic sensibilities that characterized much of the post-bop era. While not a household name in the same vein as some jazz giants, Brisker was a respected tenor saxophonist, composer, and arranger whose work often showcased a thoughtful, lyrical approach to jazz. This particular piece, though perhaps not as widely recorded as some other "standards," possesses the depth and melodic integrity that allows it to stand as a compelling jazz standard in its own right, offering a canvas for expressive interpretation. Its original conception likely dates to the latter half of the 20th century, drawing upon the expanded harmonic palettes and rhythmic flexibility that evolved from the bebop revolution, presenting a mature and introspective musical statement. Bobby Shew's arrangement of "Can't Stop The Crying" transforms Brisker's original into a compelling medium-swing big band chart, typically set in a comfortable, accessible key that allows for rich voicings and expressive soloing. The mood is one of sophisticated melancholy, imbued with a subtle energy that builds throughout the piece. Shew masterfully crafts an arrangement that is both challenging and deeply rewarding, showcasing his signature blend of tight ensemble writing and thoughtful solo features. Expect lush, often close-voiced harmonies in the saxophone section, providing a warm and inviting foundation. The brass writing is articulate and powerful, frequently employing precise articulations and dynamic contrasts to shape the melodic lines and provide impactful punctuations. The piece maintains a consistent 4/4 medium swing feel, allowing the rhythm section to establish a grooving, supportive pulse that drives the ensemble forward without ever feeling rushed. Shew's distinctive arranging style is immediately evident in his treatment of "Can't Stop The Crying." He frequently utilizes a layered approach, introducing melodic fragments and counter-melodies that weave together to create a dense, yet transparent, texture. The initial melody is often carried by the lead alto or trumpet, gradually expanding to involve the full saxophone section in a beautifully voiced soli. A prominent feature will undoubtedly be a well-crafted shout chorus, where the full power of the big band is unleashed in a harmonically rich and dynamically exciting passage, culminating in a powerful climax before returning to a more introspective feel. Solo features are strategically placed, likely for tenor saxophone or trumpet, providing ample space for improvisation over the piece's compelling harmonic progression. Technical challenges include precise ensemble articulation, dynamic control across the full range of the band, and navigating some extended harmonies. The reward lies in performing a truly musical and emotionally resonant piece that showcases both individual and collective musicianship. This arrangement is ideally suited for advanced high school, collegiate, community, and professional jazz ensembles looking for a challenging yet highly gratifying addition to their repertoire, offering significant educational value in ensemble blend, balance, and expressive interpretation. Conductors should emphasize a consistent, relaxed medium-swing feel from the rhythm section, ensuring a solid foundation for the ensemble. Pay close attention to the dynamic markings, as Shew uses them extensively to shape the emotional arc of the piece; crescendos and decrescendos are crucial for impact. Articulation must be precise, particularly in the brass sections, to maintain clarity and drive. Rehearsal time should be dedicated to balancing the often-dense saxophone voicings, ensuring that the lead voice is prominent without overpowering the inner parts. Soloists should be encouraged to explore the harmonic landscape with lyrical phrasing, supported by a sensitive rhythm section. The shout chorus requires careful attention to blend and intonation, building to a powerful but controlled climax. While no unusual special techniques like plunger mutes are explicitly required, a strong sense of swing, dynamic contrast, and ensemble precision are paramount for a successful performance. Q: What instruments and parts are included in this arrangement? A: This big band arrangement includes parts for 18 instruments: Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone 1, Tenor Saxophone 2, Baritone Saxophone, Trumpet 1, Trumpet 2, Trumpet 3, Trumpet 4, Trombone 1, Trombone 2, Trombone 3, Bass Trombone, Guitar, Piano, Bass, Drums, and a conductor score. Q: What is the difficulty level of "Can't Stop The Crying (G.Brisker)" arranged by Bobby Shew? A: This arrangement is considered advanced, suitable for collegiate, advanced high school, community, and professional jazz ensembles. It demands strong technical proficiency, advanced sight-reading skills, and a mature understanding of jazz ensemble dynamics and interpretation. Q: What is the musical style and historical context of this piece? A: "Can't Stop The Crying" is a jazz standard originating from the post-bop era, composed by Gordon Brisker. Bobby Shew's arrangement presents it as a sophisticated medium-swing big band chart, reflecting the harmonic and melodic complexities characteristic of modern jazz. Q: What makes Bobby Shew's arrangement of this piece unique? A: Shew's arrangement is distinguished by his signature blend of lush, often close-voiced saxophone soli, articulate and powerful brass writing, and strategically placed solo features. He masterfully crafts a piece with a sophisticated emotional arc, culminating in a well-developed shout chorus. Q: What is the typical performance duration and tempo of this arrangement? A: The performance duration typically ranges from 5 to 7 minutes, depending on the length of improvised solos. It is designed to be performed at a consistent medium-swing tempo, usually around 120-140 beats per minute, allowing for a relaxed yet grooving feel.