Please Don't Talk About Me (B.May)

"Please Don't Talk About Me When I'm Gone," composed by Sam H. Stept in 1915, emerged from the Tin Pan Alley era, quickly becoming a popular song and later a beloved jazz standard. Its enduring appeal lies in its straightforward, memorable melody and universally relatable lyrical theme of longing and remembrance. While initially a vaudeville and popular song hit, it found new life and iconic status within the jazz idiom through countless interpretations by vocalists and instrumentalists alike, solidifying its place in the Great American Songbook. Artists from Frank Sinatra to Dean Martin, and even rock and roll pioneers, have embraced its charm, showcasing its versatility across genres. This particular arrangement captures the essence of its jazz standard identity, presenting it through the sophisticated lens of the big band era. Billy May's arrangement of "Please Don't Talk About Me (B.May)" is a quintessential example of his distinctive orchestral jazz style, characterized by his signature "slurping" brass and lush, often close-voiced saxophone sections. This rendition presents the tune as a medium swing, maintaining a bright, engaging tempo that encourages a relaxed yet propulsive groove. The key of C major provides a comfortable and resonant foundation for the ensemble, contributing to the overall bright and optimistic mood, despite the song's melancholic title. May masterfully balances the lyrical quality of the melody with moments of vibrant big band power, creating an arrangement that is both emotionally evocative and dynamically exciting. The energy remains consistently high, driven by a swinging rhythm section and May's characteristic rhythmic interplay between sections. May's treatment of this standard is immediately recognizable for its sophisticated yet accessible approach. The melody is initially presented by the vocal soloist, allowing for personal interpretation, before being taken up by a beautifully voiced saxophone soli, showcasing May's harmonic ingenuity. Throughout the arrangement, May employs his characteristic brass voicings, often featuring tightly harmonized trumpets and trombones that create a powerful, unified sound, punctuated by his famous "slurs" and "shakes." A notable feature is the inclusion of a written-out tenor saxophone solo, offering a moment for individual expression within the ensemble framework. The arrangement builds to a classic shout chorus, where the full band erupts in a powerful, harmonically rich statement, driving towards a satisfying and energetic conclusion. This piece is rewarding to perform due to its clear structure, engaging melodic lines, and the sheer joy of executing May's iconic big band textures. This arrangement is ideally suited for college-level jazz ensembles, advanced community big bands, and professional groups. While the technical demands are within reach for experienced musicians, the true challenge and reward lie in capturing May's specific stylistic nuances—the precise articulation, dynamic contrasts, and the characteristic "feel" of his brass and reed writing. The rhythm section requires a solid understanding of medium swing, providing a steady yet flexible foundation. The vocal part is moderately challenging, requiring good breath control and stylistic awareness. Overall, it offers an excellent opportunity to delve into the artistry of one of jazz's most influential arrangers, providing a rich educational and performance experience. This arrangement of "Please Don't Talk About Me (B.May)" thrives on a consistent medium swing feel, approximately 130-140 BPM. The primary technical challenge lies in executing Billy May's signature brass articulations, particularly the controlled "slurs" and "shakes" in the trumpet and trombone sections; these should be approached with precision and unified ensemble sound rather than excessive force. The saxophone soli passages require tight rhythmic accuracy and blend, focusing on evenness of tone and articulation across the section. The rhythm section must maintain a relaxed yet driving swing, with the bass providing a solid walking line and the drums emphasizing the ride cymbal pattern. The written tenor saxophone solo should be performed with a strong sense of melodic phrasing and stylistic authenticity. Rehearsal time should be dedicated to balancing the vocal soloist with the ensemble, ensuring clarity of the melody, and perfecting the dynamic swells and releases, especially leading into and out of the shout chorus. Q: What instruments are included in this arrangement? A: This arrangement is scored for a standard big band instrumentation including Piano, Guitar, Bass, Drum Set, a Vocal part, and full brass and saxophone sections, totaling 18 instruments. Q: What is the difficulty level of this arrangement? A: This arrangement is considered to be of medium difficulty, suitable for college-level jazz ensembles, advanced community bands, and professional groups. It requires solid musicianship and an understanding of big band stylistic nuances. Q: What is the musical style and historical context of "Please Don't Talk About Me (B.May)"? A: This is a jazz standard arranged in the classic big band style of Billy May, originating from a popular song composed in 1915 during the Tin Pan Alley era. It embodies the medium swing feel characteristic of the mid-20th century big band sound. Q: What makes Billy May's arrangement of this piece unique? A: Billy May's distinctive "slurping" brass voicings, lush saxophone soli sections, and sophisticated harmonic treatments are hallmarks of this arrangement. It features a vocal soloist, a written tenor saxophone solo, and a powerful shout chorus, all contributing to his signature sound. Q: What is the typical performance duration or tempo for this piece? A: The arrangement is designed for a medium swing tempo, generally around 130-140 beats per minute. The exact performance duration will vary slightly depending on the chosen tempo and any improvisational elements.