Just Waiting – Melba Liston
If you're looking for a ballad that will allow you to really wail or to keep it subtle, this is your chart. There are three recordings, in two keys, to inspire.
- Recording: Al Grey - Snap Your Fingers
- Recorded on: February 19, 1962
- Label: Argo (LP 700)
- Concert Key: C
- Style: Ballad
- Trombone - Al Grey
- Tenor Sax - Billy Mitchell
- Trumpet - Dave Burns
- Vibes - Bobby Hutcherson
- Piano - Floyd Morris
- Bass - Herman Wright
- Drums - Eddie Williams
Video
- Kalia Mariev on trombone with pianist Ben Rosenblum perform Melba Liston's JUST WAITING at the jazzleadsheets.com studio.
Don Sickler writes: "As with most of the ballads on jazzleadsheets.com, there's no tempo indication. Ballads are personal, and great ones, like this one, will work at whatever tempo you hear it. There are audio excerpts from three recordings that not only show different tempo treatments, but also are in different keys. As a trumpet player, I like playing it in either concert C or concert E-flat. A different key definitely makes this ballad feel differently. I personally also like to play it much slower than on these recordings."
Available Editions: Ballads are often interpreted heavily by the artists that recorded them, so we're referring to Melba's own manuscript of this ballad in notating the melody. Just Waiting has been recorded in multiple keys, and since we think that more keys make for more options, we're releasing the lead sheets in both keys—C and E-flat.
Billy Mitchell (with Al Grey and on his own album) recorded it in C and stayed close to the melody, though E-flat was in fact the original key. Al Grey's arrangement features Mitchell playing the melody, with chorale-like harmonization for trumpet, trombone, vibraphone and bowed bass; these harmonies almost imply a larger ensemble than is actually heard.
Available Editions: Ballads are often interpreted heavily by the artists that recorded them, so we're referring to Melba's own manuscript of this ballad in notating the melody. Just Waiting has been recorded in multiple keys, and since we think that more keys make for more options, we're releasing the lead sheets in both keys—C and E-flat.
Billy Mitchell (with Al Grey and on his own album) recorded it in C and stayed close to the melody, though E-flat was in fact the original key. Al Grey's arrangement features Mitchell playing the melody, with chorale-like harmonization for trumpet, trombone, vibraphone and bowed bass; these harmonies almost imply a larger ensemble than is actually heard.
The Al Grey-Billy Mitchell Sextet performed Just Waiting at a concert at the Museum of Modern Art in New York City on July 6, 1961. Most of this concert was released on the album "Al Grey-Billy Mitchell Sextet" under the Argo label (Argo/Cadet (S)689), but not this track. Luckily, Argo recorded the sextet again in Chicago about a year later playing Just Waiting again, and this time the track was released.
This track was a feature for tenor saxophonist Billy Mitchell. Billy clearly felt a kinship with this ballad—he recorded it himself on his own date later that year (see the "This Is Billy Mitchell" record cover above). For contrast, we recommend also checking out Melba's larger horn ensemble arrangement for a Milt Jackson date. Milt recorded Just Waiting in Melba's original key (E flat).
Melba also wrote a big band arrangement of Just Waiting, after she had a very debilitating stroke. That's an amazing story in itself, and we look forward to telling it at another time. For her big band arrangement Melba declared a style and tempo (Walking Ballad ca. 76) and she initially presented the melody in yet another key (F concert), then modulating to B-flat for the solo section before returning to F concert. Melba's big band arrangement, from Second Floor Music, is available at halleonard.com.
This track was a feature for tenor saxophonist Billy Mitchell. Billy clearly felt a kinship with this ballad—he recorded it himself on his own date later that year (see the "This Is Billy Mitchell" record cover above). For contrast, we recommend also checking out Melba's larger horn ensemble arrangement for a Milt Jackson date. Milt recorded Just Waiting in Melba's original key (E flat).
Melba also wrote a big band arrangement of Just Waiting, after she had a very debilitating stroke. That's an amazing story in itself, and we look forward to telling it at another time. For her big band arrangement Melba declared a style and tempo (Walking Ballad ca. 76) and she initially presented the melody in yet another key (F concert), then modulating to B-flat for the solo section before returning to F concert. Melba's big band arrangement, from Second Floor Music, is available at halleonard.com.
- Recording: Billy Mitchell - This Is Billy Mitchell
- Recorded on: October 29, 1962
- Label: Smash (MGS 27927)
- Concert Key: C
- Style: Ballad
- Tenor Sax - Billy Mitchell
- Vibes - Bobby Hutcherson
- Organ - Clarence "Sleepy" Anderson
- Bass - Herman Wright
- Drums - Otis "Candy" Finch
Video
- Kalia Mariev on trombone with panist Ben Rosenblum perform Melba Liston's JUST WAITING at the jazzleadsheets.com studio.
Don Sickler writes: "As with most of the ballads on jazzleadsheets.com, there's no tempo indication. Ballads are personal, and great ones, like this one, will work at whatever tempo you hear it. There are audio excerpts from three recordings that not only show different different tempo treatments, but also are in different keys. As a trumpet player, I like playing it in either concert C or concert E-flat. A different key definitely makes this ballad feel differently. I personally also like to play it much slower than on these recordings."
Available Editions: Ballads are often interpreted heavily by the artists that recorded them, so we're referring to Melba's own manuscript of this ballad for how to notate the melody. Just Waiting has been recorded in multiple keys, and since we think that more keys make for more options, we're releasing the lead sheets in two keys—C and E-flat.
Second Floor Music is also proud to offer Melba's big band arrangement, which is available at halleonard.com.
Mitchell's own version proves how well this song works in a one-horn setting, though Bobby Hutcherson plays fills around his melody. The vibes/organ/bass/drums rhythm section combination is relatively rare but effective.
Available Editions: Ballads are often interpreted heavily by the artists that recorded them, so we're referring to Melba's own manuscript of this ballad for how to notate the melody. Just Waiting has been recorded in multiple keys, and since we think that more keys make for more options, we're releasing the lead sheets in two keys—C and E-flat.
Second Floor Music is also proud to offer Melba's big band arrangement, which is available at halleonard.com.
Mitchell's own version proves how well this song works in a one-horn setting, though Bobby Hutcherson plays fills around his melody. The vibes/organ/bass/drums rhythm section combination is relatively rare but effective.
This track was a feature for tenor saxophonist Billy Mitchell. Billy clearly felt a kinship with this ballad. He recorded it several times with Al Grey, then he recorded it himself on his own date. Both Al Grey and Billy used the key of C concert. For contrast, we recommend also checking out Melba's larger horn ensemble arrangement for a Milt Jackson date. Milt recorded Just Waiting in Melba's original key (E flat).
- Recording: Milt Jackson - For Someone I Love
- Recorded on: August 5, 1963
- Label: Riverside (RLP 478)
- Concert Key: E-flat
- Style: Ballad
- Vibes - Milt Jackson
- Trumpets - Clark Terry, Dave Burns, Snooky Young, Bill Berry, Elmon Wright
- Trombones - Quentin Jackson, Jimmy Cleveland, Tom McIntosh
- French Horns - Julius Watkins, Willie Ruff, Ray Alonge, Paul Ingraham
- Piano - Jimmy Jones
- Bass - Richard Davis
- Drums - Connie Kay
- Arranger/Conductor - Melba Liston
Video
- Melba Liston's JUST WAITING, performed by Kalia Mariev on trombone with pianist Ben Rosenblum at the jazzleadsheets.com studio.
Don Sickler writes: "As with most of the ballads on jazzleadsheets.com, there's no tempo indication. Ballads are personal, and great ones, like this one, will work at whatever tempo you hear it. There are audio excerpts from three recordings that not only show different different tempo treatments, but also are in different keys. As a trumpet player, I like playing it in either concert C or concert E-flat. A different key definitely makes this ballad feel differently. I personally also like to play it much slower than on these recordings."
Available Editions: Ballads are often interpreted heavily by the artists that recorded them, so we're referring to Melba's own manuscript of this ballad for how to notate the melody. Just Waiting has been recorded in multiple keys, and since we think that more keys make for more options, we're releasing the lead sheets in two keys—C and E-flat.
Second Floor Music is also proud to offer Melba's big-band arrangement, which is available at halleonard.com.
Milt Jackson recorded Just Waiting in E-flat on his date, but his arrangement (written by Melba herself) is less faithful to the original melody. We recommend checking all of these versions out, but play what you feel is right for you. A ballad like this should come from the heart, but these options should help get you started.
Available Editions: Ballads are often interpreted heavily by the artists that recorded them, so we're referring to Melba's own manuscript of this ballad for how to notate the melody. Just Waiting has been recorded in multiple keys, and since we think that more keys make for more options, we're releasing the lead sheets in two keys—C and E-flat.
Second Floor Music is also proud to offer Melba's big-band arrangement, which is available at halleonard.com.
Milt Jackson recorded Just Waiting in E-flat on his date, but his arrangement (written by Melba herself) is less faithful to the original melody. We recommend checking all of these versions out, but play what you feel is right for you. A ballad like this should come from the heart, but these options should help get you started.
Check out Melba's larger horn ensemble arrangement for a Milt Jackson date. Milt recorded Just Waiting in Melba's original key (E flat).
Melba also wrote a big band arrangement of Just Waiting, after she had a very debilitating stroke. That's an amazing story in itself, and we look forward to telling it at another time. For her big band arrangement Melba declared a style and tempo (Walking Ballad ca. 76) and she initially presents the melody in yet another key (F concert), then modulates to B-flat for the solo section before returning to F concert. Melba's big band arrangement, from Second Floor Music, is available at halleonard.com.
Melba also wrote a big band arrangement of Just Waiting, after she had a very debilitating stroke. That's an amazing story in itself, and we look forward to telling it at another time. For her big band arrangement Melba declared a style and tempo (Walking Ballad ca. 76) and she initially presents the melody in yet another key (F concert), then modulates to B-flat for the solo section before returning to F concert. Melba's big band arrangement, from Second Floor Music, is available at halleonard.com.
Melba Liston
January 13, 1926 – April 23, 1999
A prodigious musical talent, Melba Liston learned piano at age six in her hometown of Kansas City, Missouri. By eight, she had already taken up trombone and was talented enough at it to play solos on the local radio. When her family moved cross-country to Los Angeles, she began studying with Alma Hightower and playing in local youth bands. Melba soon outgrew children's music programs; at the age of 16, she parted ways with her musical mentor and joined the musicians' union to become a professional. Though she was young, she quickly secured a regular gig at the Los Angeles Lincoln Theater, an opportunity that allowed her to begin composing and arranging for some of the local talent. Read more...