The Old Fashioned Way (J.Farley)

Charles Aznavour’s timeless classic "The Old Fashioned Way" (*Les Plaisirs Démodés*), originally introduced to international audiences in the early 1970s, bridges the gap between sophisticated French chanson and swinging American jazz vocal tradition. While Aznavour’s definitive rendition carried a lush, dramatic orchestral weight, the composition possesses an inherent harmonic sophistication and lyrical contour that translates brilliantly to the jazz idiom. This mid-century European aesthetic shares much of its DNA with the sophisticated balladry popularized by Frank Sinatra and Tony Bennett, making it a natural vehicle for a full big band interpretation that prioritizes rubato storytelling, rich chordal textures, and an eventual, deeply satisfying swing groove. Arranger John Farley harnesses this dual identity by crafting a chart that opens with a sweeping, cinematic ballad feel before opening up into a steady, sophisticated medium swing (around quarter note = 116 BPM). The mood shifts gracefully from nostalgic and reflective to buoyant and driving, evoking the sophisticated atmosphere of a smoky supper club. Farley utilizes lush, extended voicings in the brass—employing major sevenths, ninths, and altered dominants—to capture the bittersweet romanticism of the original melody while giving the horns a rich, contemporary harmonic palette to lean into. The arrangement opens with a rubato melody statement carried by the first alto saxophone and flugelhorn or solo trumpet, supported by warm, harmonized sax pads. As the rhythm section locks into a relaxed walking bassline and light ride-cymbal swing, the chart builds organically. A standout feature is the tightly knit, four-part sax soli that reinterprets the secondary theme with classic Bebop-inflected voice-leading reminiscent of the Thad Jones or Bill Holman schools of writing. There is a tasteful, structured solo space allocated for tenor saxophone or piano, designed to highlight lyrical phrasing over complex chord changes, leading smoothly into a dynamic, brass-heavy shout chorus that reincorporates the primary motif at a fuller dynamic peak. Advanced high school ensembles with strong section players, as well as collegiate and professional community big bands, will find this arrangement an ideal vehicle for developing stylistic maturity and dynamic control. While the technical demands on individual players are moderate—avoiding extreme altissimo ranges or breakneck tempos—the true challenge and reward lie in ensemble blend, intonation on altered chords, and maintaining a consistent, relaxed swing feel behind the changing harmonic landscapes. Success with John Farley’s arrangement of "The Old Fashioned Way" hinges on mastering the transition between the rubato opening and the strict medium-swing tempo. Conductors should ensure the rhythm section establishes a deep, driving pocket without rushing the quarter-note pulse once the swing section kicks in. Horn players must pay careful attention to dynamic shading; the chart relies heavily on subtle subitò pianos and carefully managed crescendos leading into the shout chorus to achieve its dramatic arc. In the saxophone soli, blend and intonation are paramount—encourage players to match the vibrato and tonal weight of the lead alto. Brass players should utilize warm, rounded tones rather than aggressive, biting staccatos during the melodic statements, saving brighter timbres for the climax. The rhythm section pianist should voice chords sparingly, leaning into rootless voicings that complement the arranger's written upper structures without cluttering the harmonic texture. Q: What instruments and parts are included in this big band arrangement? A: This 23-page chart is scored for a standard 17-instrument big band lineup, consisting of 5 saxophones (Alto 1, Alto 2, Tenor 1, Tenor 2, Baritone), 4 trumpets, 4 trombones, and a full four-piece rhythm section (piano, bass, drums, and guitar). Q: What is the difficulty level of this arrangement? A: It is graded as medium-advanced, making it well-suited for proficient high school jazz ensembles, collegiate bands, and professional community big bands looking for a sophisticated, crowd-pleasing chart. Q: What is the musical style and historical background of the piece? A: The arrangement transforms Charles Aznavour’s classic 1970s European vocal standard into a sophisticated jazz vehicle, blending a rubato ballad introduction with a driving, medium-tempo swing feel. Q: What makes John Farley’s arrangement unique? A: Farley’s chart stands out for its cinematic harmonic palette, a meticulously crafted saxophone soli, and a dynamic formal structure that transitions seamlessly from intimate romanticism to a robust brass shout chorus. Q: What is the approximate performance duration and tempo? A: The arrangement plays out at a comfortable medium-swing tempo of approximately 116 BPM, resulting in a total performance duration of roughly 4 to 5 minutes depending on the length of the improvised solos.