JACK REILLY: COMPOSITIONS and LARGER WORKS


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2011 - 2012: Newer works by Jack Reilly:

1) TWENTY FOUR SONGS WITHOUT WORDS (dedicated to Dave Brubeck)

A Statement of Purpose


The titles of my 24 Songs Without Words came to me after the fact; that is as I played through them I sensed how a title would fit the music. That took some serious thinking and serious playing for a good 3 months.

Then I decided that I would divide them into Part one and Part two, listing them 12 per Part; 12+12 = 24. Sounds like a tongue twister huh? It wasn't meant to be, but what do I know? I'm only the composer!

The other musical factor that I decided upon was that I would begin each piece in a different key, beginning in C Major then to C Minor, progressing through all 24 keys , and ending in B Minor. This created in me the intense challenge of composing melodic/harmonic/rhythmic variants that gave a forward motion to the entire set.

These are in reality 24 miniature piano pieces, divided of course between the both hands, which created other challenges. The measure lengths also vary depending on the form as the piece evolved. That also took much thought and listening as I practiced them.

The melodies were created on the spur of the moment as were the harmonies and rhythmic thrusts. The "feel" of the piano keys under my fingers played a role in all of the above. Each tonality felt pianistically different. That gave me much satisfaction, with hope that the listener (audience) would find similar rewards as the set is played in public. It was also very satisfying to my ears, to practice them alone in my studio on a daily basis.

A recording will be announced in the Winter/Spring of 2017.

PART ONE

1) PRELUDE
2) JAZZ WALTZ
3) REMEMBRANCES
4) LAMENT
5) JOY
6) BLUE, BROWN AND BEIGE
7) INQUISITIVENESS
8) CHORALE LIKE
9) STRAUSIAN
10) DRAMATURGICAL
11) ELOQUENTIAL
12) UPWARD AND DOWNWARD


PART TWO


1) QUIETUDE
2) MOZARTIAN
3) AWAKENINGS
4) PUZZLING
5) WAGNERIAN
6) NEOPOLITAN
7) KNOWLEDGE
8) LOOKING BACK
9) HOPEFUL
10) FAITHFULLY
11) HEARTBEATS
12) TRANSITION

2) TWENTY FOUR SONGS OF LOVE

3) TWENTY FOUR NOCTURNES

4) TWENTY FOUR JAZZ SONGS

5) TWENTY FOUR BALLADES

6) TWENTY FOUR SONGS OF FAITH AND ATONEMENT

7) TWENTY FOUR SONGS OF JOY AND SADNESS (2012)

These compositions continue the format of composing a series of 24 songs in all keys. The above were composed between January through the beginning of 2012.

They are in lead sheet form and full piano arrangements and will be available for purchase in 2012.

Jack is also available for solo/trio concerts of the new works. Contact him directly.
For further information contact Jack Reilly at jackreillyjazz@comcast.net


SILENCE OF THE HEART

Composed January - March 2003 Scored for Jazz Trio Jan/Feb/Mar 2008

Dedicated to the memory Dr. Martin Abeloff

Jack Reilly Pianist and composer

 

Twenty Four pieces for Solo Piano Book One 1-12 Book Two 13- 24

These pieces are not unlike Chopin's 24 preludes in that they have a motific, (melodic) unity from one to the next and should be performed in toto , in solo format or jazz trio context. In either case, improvisation on the structure of each piece or a free form section in between is mandatory.

The work progresses through all the 12 Major and 12 Minor keys and, like the Well- Tempered Clavier of Bach, moves from C maj/C min through F major
/F minor. in BOOK ONE, and from F# major /F# minor to Bmarj/Bminor in BOOK TWO. This creates a unique challenge for the pianist when he/she improvises and a distinct aural pleasure for the audience.

The musical content is highly chromatic with regard to the chord progressions. The melodic line is lyrical to a fault, almost demanding that a vocal soloist be employed, but this must be resisted. The singing is done through the pianist’s fingertips. The work is for rental only. A tour in Maryland and Washington D.C.



LA-NO-TIB SUITE FOR PIANO (OPUS 2)
Composed by Jack Reilly 1957

This is a three movement suite for solo piano.

1) Moderaro

2) Lento (with improvisation)

3) Presto Agitato (with improvisation)

It was composed in 1957 while I was a student of Hall Overton. The musical content is bi-tonal with a strong melodic line in all three movements. The length is six minutes; but adding time for improvisation it could be as long as 10-15 minutes. I rate it intermediate to advanced pianistically. Aurally it streches the “ear” of the listener and the performer. For the strictly classically conservatory trained pianist this work is a great introduction to try your hand(s) at improvisation. I arranged it for my jazz trio in 1968; an LP recording was released on the Carousel label in 1974, later released on Unichrom #1010 in 1994, titled “BLUE SEAN GREEN” (hear an excerpt here) . Jack six is the bassist and Joe Cocuzzo, the drummer. Pianist Carol Lian recorded it in its original solo version on a Carousal LP in the 70’s and later released it in 1994 on Unichrom #1012, along with Ravel, Schumann, Scarlatti, Briggs and her own improvisations. Both recordings are available at www.cdbaby.com. The trio and solo scores sell for $17.99 and $13.99 respectively.

For further information contact Jack Reilly at jackreillyjazz@comcast.net


A JAZZ REQUIEM
Composed by Jack Reilly 1967

Length: 60 + minutes.

A Jazz Requiem is composed for mixed chorus, jazz quintet (two tenor saxes, piano, bass and drums), vocal soloists, ( jazz, baritone, and soprano soloists are required).

The work was premiered at the famed Saint Peter’s Lutheran Church, NYC in 1968 by the Contemporary Chorale, with Carol Lian, conductor, with the Jack Reilly Quintette; Norman Marnell, Lew DelGatto tenor saxes, Jack Six double bass, Joe Cocuzzo drums and the composer at the piano. Sheila Jordan was the Jazz soloist with Pastor John Garcia Gensel officiating. A second performance of the Requiem was given in 1985 , at Saint Peter’s but this time with vocal soloists from the 60-voice Jersey City State College Concert Choir, George Hansle again conducting, and the Jack Reilly Quintet.

One section, the Recordare, for solo soprano, requires a Sitar soloist, tambura and tabla as the accompaniment. The text is sung in English.

This is my first major work for chorus and jazz ensemble. The musical material draws on my intense, recent studies of East Indian classical music in 1966 with Ali Akbar Khan, my studies of western traditional theory, counterpoint and compositional forms, and American Jazz. Therefore, each section is radically different from one another, reflecting my myriad influences, studies and experiences as a classical and jazz pianist in the professional world.

The most recent performance took place at the College of DuPage, outside Chicago, on March 13, 2005. Dr. Lee R. Kesselman
For further information contact Jack Reilly at jackreillyjazz@comcast.net



THE MASS OF INVOLVEMENT
Composed by Jack Reilly 1969

Length: One hour.

This is a Catholic Mass intended for congregational singing. It was commissioned by the 1969 National Liturgical Conference and premiered in Milwaukee, Wisconsin during the conference. Eight hundred nuns, priests and laity were present. My “Liturgy in Jazz” quintet performed the Mass at the conference and even taught the audience some of the themes; the featured musicians were, Sheila Jordan voice, Norman Marnell tenor sax, Joe Cocuzzo drums, and Jack Six, bass with the composer at the piano.

The Mass is a highly melodic and lyrical work and very easy for the congregation to learn. It is in twelve sections corresponding to the parts of the High Mass. Improvisational sections in some of the sections add excitement to a performance in church. The Mass is also suitable for presentations in a concert setting.

The unusual challenge and feature of the work is in the use of odd meters; 3/4, 5/4, 7/4, 9/4, 11/4 and a melodic line that is based on 16th century modality with harmonic progressions based on 20th century tonality. Rhythmically it has a jazz “feel”.

The Mass of Involvement has been performed several times at Saint Peter’s Lutheran Church, NYC in a concert presentation during Sunday Jazz Vespers. A full compliment of musicians required by the score is: trombone, two tenor saxes, lead Jazz voice, piano, bass and drums. No conductor is necessary.

The Mass of Involvement is available by rental.
For further information contact Jack Reilly at jackreillyjazz@comcast.net

A personal thank you to the late Pastor John Garcia Gensel for his support and enthusiasm of my music, but especially for his efforts in securing me the 1969 commission to compose this work.



THE LIGHT OF THE SOUL
Composed by Jack Reilly 1974

Length 1 hour and 10 minutes

An Oratorio based on the Yoga Sutras of Patanjali

For Mixed Chorus, vocal soloists, narrator and 10- piece Chamber Ensemble

Dedicated to The One Humanity
Commissioned by the National Endowment for the Arts 1972

Instrumentation: Flute, Oboe, Tenor Sax, Flugel Horn, French Horn, Trombone, Guitar, Piano, Bass and Drums. Vocal soloists required; Soprano, Tenor, Baritone. The work is divided into five sections:

Introduction

Book one: The Problem of Union

Book Two: The Steps To Union

Book Three: Union Achieved and its Result

Book Four: Beginning

The Yoga Sutras is a series of disciplines that guides the human soul to arrive at oneness with God, the Creator of all that is. The Ego material mind is eliminated in the process and union with the Soul is achieved.

It is difficult to describe the musical vocabulary that went into the composition of this work, suffice it to say that it is a synthesis of the European classical music tradition, with American jazz. The Light Of The Soul, is my most successful marriage of classical composition and jazz improvisation to date, and on a more intense and higher level than the Jazz Requiem.

The Light of the Soul was completed in 1974 and premiered in 1976 at the Fifth Avenue Presbyterian Church, New York City with the 60- voice Jersey City State College Concert Choir, George Hansler, conductor and the Jack Reilly Quartet. (It has yet to be performed with the ten -piece chamber ensemble). The quartet for this performance included Jimmy Giuffre, alto flute and tenor sax, Jack Six, double bass, Joe Cocuzzo drums with the composer at the piano. The work received a second performance at the Wethersfield Church, CT in 1986. Ellen Hunt was the conductor with her professional 20- voice church choir and my quartet. Musicians this time were Bob Hanlon, flute and tenor sax, Joe Hunt drums, Jim Stinnett on double bass and the composer at the piano. The narrator was the Reverend in residence at the church. I gave a pre-concert 20- minute talk on the genesis of the work and its meaning for me.

This performance was video taped and a DVD is now available with score, on loan, for conductors who are interested in a performance. The Fifth Avenue Presbyterian performance was audio taped and a CD-R of that is also available.

The score and parts are available for rental. Meet The Composer Inc. grants are available to assist in the performance and production costs.

For further information contact Jack Reilly at jackreillyjazz@comcast.net



CONCERTINO for JAZZ PIANO TRIO and STRINGS
Dedicated to BILL EVANS
Composed by Jack Reilly 1974
Orchestrated by Jack Six 1980

Length 35 minutes: In Three Movements:

1) Suffering----Andante/Allegro

2) Death----Adagio (for the Left hand alone)

3) Resurrection---Allegro

Each movement makes different demands on the soloist. He/she must be well versed in the styles of Teddy Wilson, Oscar Peterson, Art Tatum and Bill Evans. The middle movement is especially demanding; it’s for the L.H. alone. The left hand repertoire is large and bountiful and its study is a pre-requisite for a proper rendering of this movement. There are solo improvised cadenzas in each movement.

The piano part is 25% written out and 75% improvised.

The work was premiered in December, 1980, (three months after Bill Evans died), at a memorial concert for Mr. Evans in Plainfield, New Jersey, his home for most of his childhood and teenage years. For this performance Jack Reilly performed the solo piano version, (optional), with 13 strings under the direction of Lou Hooker.

The Concertino is for rental only.

A trio version of the work, under the title “SUFFERING /DEATH/RESURRECTION can be heard on the 2007 CD
“JACK REILLY TRIO LIVE AT DEAN CLOUGH” CD



ORBITALS
composed by Jack Reilly 2000

A piano concerto for jazz piano trio and symphony orchestra.

Length: 35 + minutes

Orbitals was commissioned in 2000 by the Keweenaw Symphony, (Jeffrey Bell-Hanson Musical Director and conductor) and Michigan Technological University.The premiere took place at the new performance hall on campus on October 13-14, 2001. Trio members were Richard Simon double bass, Paul Kriebich drums and the composer at the piano. This is a one movement work but feels like a four- movement standard concerto form. There are fast/slow sections, a baroque scherzo-like section, four cadenzas, a fugue finale and improvisation sections for the trio that are woven into the fabric of the entire composition. The opening theme is Lisztian in its grandiosity, akin to his Eb major piano concerto. Slow sections draw on the bitonal harmonies of Bartok and Shostakovich, coupled with Bill Evans-like jazz progressions. The slow theme owes its debt to Chopin and Gershwin. The fugue section is in strict fugal form but peppered with Bartokian chromaticism and a hint of Paul Hindemith’s free tonality.

The work is available by rental only. A grant from MEET THE COMPOSER INC. is possible and will help defray the performance/rehearsal costs.

The piano part requires a pianist who is completely at home in the classical piano tradition and who has a thorough knowledge and experience with jazz improvisational forms.

For further information contact Jack Reilly at jackreillyjazz@comcast.net



CHUANG-TZU

Composed by Jack Reilly 1988

Theme and Eight Variations for Orchestra

Chaung-Tzu was commissioned by the Keweenaw Symphony and the Michigan Technological University Arts department, in 1988 with grants from Meet The Composer, inc. and a Mary Flagler copying grant.

Length: 24 minutes.

CHUANG-TZU is scored for standard symphony orchestra with a Theme and 8 variations. There are no sections for improvisation.

The premiere took place on the Michigan Tech Campus in 1993. Jeffrey Bell-Hanson was the conductor.

The Movements are as follows:

Theme
Var. 1 Upstart
Var. 2 Giacomo Giacomo
Var. 3 Waltz
Var. 4 Folkish

Var. 5 Hymn
Var. 6 Blues
Var. 7 Gospel
Var. 8 Fugue and Finale

The work has a lot of humor and irony attached to the musical motifs and is playful in character. Each variation makes use of different combinations of instruments, for example:

Variation 2, Giacomo Giacomo, is comedic, and humorous, and is scored mainly for woodwinds.

Variation 6, Blues, suggests a jazz group, complete with walking bass lines , jazz rhythmic figures for percussion and a contagious unison melodic line for flute and cup mute trumpet, ala Miles Davis.

Variation 8, Fugue and finale enlists the full orchestra, ending the work in a blaze of glory.

Score and parts are on a rental basis only. The audio cassette copy of the premiere is fair quality, but will give conductors a good idea of the humorousness of the writing.

It is not a difficult or complex work and is highly recommended for community youth symphonies and high school orchestras. The musical material flows from my classical and jazz studies and professional experience.

For further information contact Jack Reilly at jackreillyjazz@comcast.net



SONATA IN D MINOR FOR JAZZ PIANO
Composed by Jack Reilly (OPUS 1 ) 1957

This is a 4-movement standard sonata form:

1. Andante/allegro
2. Allegretto
3. Andante
4. Presto/ Rondo

The sonata was composed as an assignment for my graduation thesis at Manhattan School of Music. It was so successful it has remained in my solo repertoire to this day. I enjoy playing and still find it challenging.

In 2006 I scored it for optional jazz trio and added sections for improvisation within each movement.

The Allegretto already had a jazz feel so I recorded this movement in 1968 with my trio ( Jack Six, bass and Joe Cocuzzo, drums), for the Carousel label. In 1982 Bill Hardy purchased the tapes and released it on his Revelation label in 1982 under the title “Together Again For The First Time”. Finally it found its way to the CD format in 1990. The title is “BLUE SEAN GREEN” and is now available on Unichrom.

The inspiration for the sonata is obvious to the astute classical listener. One can hear the influences of Schumann, Chopin, Shostakovich, Hindemith et al, but filtered through my own original voice. It is very lyrical, rhythmic and virtuosic; not an easy piece to learn.

It is now available for sale in the original score including the improvisation additions for $19.95 through my website.
Contact Jack Reilly at jackreillyjazz@comcast.net


 
 

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Photo montages: Keffier Adkins
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