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Wigged Out (Waldman)

crafty arrangements of classical favorites adapted for percussion ensemble and rhythm section
Level: Advanced
Duration: 7:15
Personnel: 10
Release Date: 2014
Product ID : TSPCE14-003
Price: $48.00
Item #: TSPCE14-003



Description

In 1998, a somewhat underground jazz record called Wigged Out was released by Los Angeles-based pianist and composer Randy Waldman. The album featured a trio consisting of Waldman and monster musicians John Patitucci and Vinnie Colaiuta playing unique jazz arrangements of classical greats like Prokofiev’s Peter and the Wolf, Tchaikovsky’s Waltz of the Flowers, and Rimsky-Korsakov’s Flight of the Bumblebee. Waldman’s arrangements are full of life and love for the original classics, and his playing is just flat-out insanely good. Matched by Patitucci and Colaiuta, this little underground record soon became a hot topic in musician circles.

 

In this collection, Murray Gusseck has taken four of Waldman’s inventive arrangements and masterfully adapted them for percussion ensemble, piano, and rhythm section. Additionally, for groups that have a capable flautist and/or brass quintet with some time on their hands, optional wind parts have been included in the first three of these four pieces.

These four arrangements are designed to work well together but may also be performed individually if it pleases the concert programming gods.

I. Dance of the Sugar Plum Fairies (1:30)

After Tchaikovsky’s familiar melody is stated delicately at the beginning, this arrangement takes a left turn into big swing country. This serves well as an introduction to the rest of the collection where many more left turns will soon be taken. An optional flute part is included.

II. Ride of the Valkyries (2:00)

In this adaptation, Wagner’s classic turns seven—7/8 swing, that is. The pianist is featured in this production with a short, swung solo. An optional flute part is included. 

III. Beethoven’s 5th Symphony (2:15)

This may not been what Ludwig originally had in mind, but it’s hard to argue that Waldman’s salsa treatment of the first movement of Symphony No. 5 isn’t a complete blast! Optional brass quintet parts are included (2 trumpets, french horn, trombone, tuba).

IV. Jesu, Joy of Man’s Desiring (1:30)

The final piece in this collection is essentially J.S. Bach’s classic 3/4 melody on steroids. The melody is presented as a nonuplet (“nine-let”) over a pedestrian “two” feel.  

Wigged Out comes in a fancy, bound folio along with a CD-ROM containing printable individual parts and reference audio recordings.

Instrumentation

  • Glockenspiel
  • Chimes
  • Xylophone
  • 2 vibraphones
  • 2 marimbas—low A
  • Drumset (snare, kick, rack tom, floor tom, hi-hat, ride cymbal, 2 crash cymbals)
  • Drums (congas, timbales*)
  • Cymbals (splash cymbal, dark suspended cymbal, China cymbal, sizzle cymbal)
  • Accessories (wind chimes)
  • Piano
  • Upright bass (or electric)
  • Optional wind parts**


*2 drums with cha bell, mambo bell, small crash/ride cymbal
**1 
Flute, 2 trumpets, 1 French horn, 1 trombone, 1 tuba

Reviews

Wigged Out is the name of a jazz record released in 1998 by Los Angeles-based pianist and composer Randy Waldman. The album, which featured Waldman’s trio consisting of bassist John Patitucci and drummer Vinnie Colaiuta, contains unique jazz arrangements of classical greats such as Prokofiev’s “Peter and the Wolf,” Tchaikovsky’s “Waltz of the Flowers,” and Rimsky-Korsakov’s “Flight of the Bum- blee.” Gusseck’s adaptation for percussion ensemble, rhythm section, and optional winds is faithful to the original album and retains Waldman’s flair for unusual and sometimes zany treatments of some of the most revered and well-known repertoire in all of classical music.

“Dance of the Sugar Plum Fairies” begins ordinarily enough, but switches quickly into a hard swing feel, replete with the drumset part suggesting a “loose, open style (a la Elvin Jones).” Given that the original album was centered around the piano, virtually nothing has been held back, requiring the pianist to have a great deal of skill as well as prior jazz experience. Gusseck manages to create a vast palette of color with the keyboard percussion parts and optional flute that adds to the sonority of the original, while not needlessly doubling existing lines.

The next two movements, Wagner’s “Ride of the Valkyries” and Beethoven’s “Symphony No. 5,” share some similarities in style and approach. They are both highly syncopated and utilize Latin grooves. Both also require a skillful navigation of multiple time signatures, which help to give the arrangements an intentionally unsteady and offbeat feel. The addition of optional brass players on these two movements helps to create a quasi big band sound. This could make for an interesting collaboration within a school or university program that possesses strengths in both percussion and jazz studies.

J.S. Bach’s “Jesu, Joy of Man’s Desiring” rounds out the collection. Its treatment is perhaps the least adventurous, but still requires a great deal of capable playing and is no less unique than the other move- ments. The original 9/8 meter is expanded to 12/8, and the iconic melody has been compressed into a duple feel. This gives the chart a long and sustained freeness and a quick, almost nervous quality. The drumset part is heavily improvised and doesn’t feature any sort of backbeat. In that way, the arrangement lives between several styles, including fusion and jazz waltz, but purposely commits to neither. Again, the keyboard and piano parts effortlessly marry together in one blended and seamless voice.

“Wigged Out” is a breath of fresh air in two ways: Waldman’s original arrangements of each piece are brilliant in themselves while Gusseck’s adaption for percussion is clearly thoughtful and significant. This is sure to challenge students in ways beyond mere idiomatic considerations and will certainly delight audiences from all walks of life.

—Eric Rath
Percussive Notes
Vol. 53, No. 2, March 2015

Description

In 1998, a somewhat underground jazz record called Wigged Out was released by Los Angeles-based pianist and composer Randy Waldman. The album featured a trio consisting of Waldman and monster musicians John Patitucci and Vinnie Colaiuta playing unique jazz arrangements of classical greats like Prokofiev’s Peter and the Wolf, Tchaikovsky’s Waltz of the Flowers, and Rimsky-Korsakov’s Flight of the Bumblebee. Waldman’s arrangements are full of life and love for the original classics, and his playing is just flat-out insanely good. Matched by Patitucci and Colaiuta, this little underground record soon became a hot topic in musician circles.

 

In this collection, Murray Gusseck has taken four of Waldman’s inventive arrangements and masterfully adapted them for percussion ensemble, piano, and rhythm section. Additionally, for groups that have a capable flautist and/or brass quintet with some time on their hands, optional wind parts have been included in the first three of these four pieces.

These four arrangements are designed to work well together but may also be performed individually if it pleases the concert programming gods.

I. Dance of the Sugar Plum Fairies (1:30)

After Tchaikovsky’s familiar melody is stated delicately at the beginning, this arrangement takes a left turn into big swing country. This serves well as an introduction to the rest of the collection where many more left turns will soon be taken. An optional flute part is included.

II. Ride of the Valkyries (2:00)

In this adaptation, Wagner’s classic turns seven—7/8 swing, that is. The pianist is featured in this production with a short, swung solo. An optional flute part is included. 

III. Beethoven’s 5th Symphony (2:15)

This may not been what Ludwig originally had in mind, but it’s hard to argue that Waldman’s salsa treatment of the first movement of Symphony No. 5 isn’t a complete blast! Optional brass quintet parts are included (2 trumpets, french horn, trombone, tuba).

IV. Jesu, Joy of Man’s Desiring (1:30)

The final piece in this collection is essentially J.S. Bach’s classic 3/4 melody on steroids. The melody is presented as a nonuplet (“nine-let”) over a pedestrian “two” feel.  

Wigged Out comes in a fancy, bound folio along with a CD-ROM containing printable individual parts and reference audio recordings.

Instrumentation

  • Glockenspiel
  • Chimes
  • Xylophone
  • 2 vibraphones
  • 2 marimbas—low A
  • Drumset (snare, kick, rack tom, floor tom, hi-hat, ride cymbal, 2 crash cymbals)
  • Drums (congas, timbales*)
  • Cymbals (splash cymbal, dark suspended cymbal, China cymbal, sizzle cymbal)
  • Accessories (wind chimes)
  • Piano
  • Upright bass (or electric)
  • Optional wind parts**


*2 drums with cha bell, mambo bell, small crash/ride cymbal
**1 
Flute, 2 trumpets, 1 French horn, 1 trombone, 1 tuba

Reviews

Wigged Out is the name of a jazz record released in 1998 by Los Angeles-based pianist and composer Randy Waldman. The album, which featured Waldman’s trio consisting of bassist John Patitucci and drummer Vinnie Colaiuta, contains unique jazz arrangements of classical greats such as Prokofiev’s “Peter and the Wolf,” Tchaikovsky’s “Waltz of the Flowers,” and Rimsky-Korsakov’s “Flight of the Bum- blee.” Gusseck’s adaptation for percussion ensemble, rhythm section, and optional winds is faithful to the original album and retains Waldman’s flair for unusual and sometimes zany treatments of some of the most revered and well-known repertoire in all of classical music.

“Dance of the Sugar Plum Fairies” begins ordinarily enough, but switches quickly into a hard swing feel, replete with the drumset part suggesting a “loose, open style (a la Elvin Jones).” Given that the original album was centered around the piano, virtually nothing has been held back, requiring the pianist to have a great deal of skill as well as prior jazz experience. Gusseck manages to create a vast palette of color with the keyboard percussion parts and optional flute that adds to the sonority of the original, while not needlessly doubling existing lines.

The next two movements, Wagner’s “Ride of the Valkyries” and Beethoven’s “Symphony No. 5,” share some similarities in style and approach. They are both highly syncopated and utilize Latin grooves. Both also require a skillful navigation of multiple time signatures, which help to give the arrangements an intentionally unsteady and offbeat feel. The addition of optional brass players on these two movements helps to create a quasi big band sound. This could make for an interesting collaboration within a school or university program that possesses strengths in both percussion and jazz studies.

J.S. Bach’s “Jesu, Joy of Man’s Desiring” rounds out the collection. Its treatment is perhaps the least adventurous, but still requires a great deal of capable playing and is no less unique than the other move- ments. The original 9/8 meter is expanded to 12/8, and the iconic melody has been compressed into a duple feel. This gives the chart a long and sustained freeness and a quick, almost nervous quality. The drumset part is heavily improvised and doesn’t feature any sort of backbeat. In that way, the arrangement lives between several styles, including fusion and jazz waltz, but purposely commits to neither. Again, the keyboard and piano parts effortlessly marry together in one blended and seamless voice.

“Wigged Out” is a breath of fresh air in two ways: Waldman’s original arrangements of each piece are brilliant in themselves while Gusseck’s adaption for percussion is clearly thoughtful and significant. This is sure to challenge students in ways beyond mere idiomatic considerations and will certainly delight audiences from all walks of life.

—Eric Rath
Percussive Notes
Vol. 53, No. 2, March 2015



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