Printed set (Score & Parts)
Piccolo
4 Flutes
2 Oboes
2 Bassoons
Contrabassoon
Clarinet in Eb
4 Clarinets in Bb
2 Bass Clarinets in Bb
Contrabass Clarinet in Bb
Soprano Sax
Alto Sax
Tenor Sax
Baritone Sax
4 Trumpets in Bb
4 French Horns
4 Trombones (minimum of 3 Tenor, 1 Bass; additional players may be added)
Euphonium (2 preferred)
Tuba (2 or more preferred)
Piano
Harp
Percussion (7 players)
Player 1: Timpani (4 drums, 5 if desired)
Player 2: Xylophone, Marimba, Whip
Player 3: Tambourine; metal cocktail shaker with nuts, etc. inside; small metal trash can filled with metal, taped shut
(will be slammed to floor, sounding like a controlled crash of chains)
Player 4: Hi-hat; China cymbal; upside-down 14" mini-China with 13" Trash Splash cymbal stacked inside
Player 5: 4 Tom-Toms; field drum with Kevlar head; whip; metal cocktail shaker with nuts, etc. inside
Player 6: 4 Cymbals: crash, Zildjian 16" ZHT EFX (or comparable), China, Splash
Player 7: Bass Drum
Commissioned by Howard J. Gourwitz as a gift to Dr. Kevin L. Sedatole and the Michigan State University Wind Symphony.
World premiere on March 28, 2009, at the CBDNA National Convention.
Bates Recital Hall at the University of Texas at Austin, conducted by Kevin Sedatole.
Several years ago, when I was living in Manhattan, I was walking down Columbus Avenue with my good friend (and fellow composer) Jonathan Newman. Somehow, the topic of titles for pieces came up, and Newman said a title that stopped me in my tracks there on the sidewalk: "Asphalt Cocktail."
I begged him to let me use the title. "That title screams Napoleonic Testosterone Music. I was born to write that!" I pleaded. "No," was his initial response. I asked regularly over the next few years, and the answer was always the same: "No. It's mine." In May 2008, I asked him once again, begging more pathetically than I had before, and his answer this time surprised me: "Fine," he said, "but I'll be needing your first-born child." This was easily agreeable to me, as I don't like kids.
Around this same time, my wife and I were talking to Kevin Sedatole about his upcoming performance at the CBDNA National Convention. It was my wife who suggested to Kevin, after coaxing him with cocktails ourselves, that I write a piece to open his CBDNA concert, and that piece should be "Asphalt Cocktail." Kevin told his friend Howard J. Gourwitz about the idea for the piece, and Howard generously agreed to personally fund the commission as a gift to Kevin Sedatole and the Michigan State University Wind Symphony. The piece is dedicated to Jonathan Newman, because without his title I'd have written a completely different piece, like "Bandtastic! : A Concert Prelude."
"Asphalt Cocktail" is a five-minute opener, designed to shout, from the opening measure, "We're here." With biting trombones, blaring trumpets, and percussion dominated by cross-rhythms and back beats, it aims to capture the grit and aggression that I associate with the time I lived in New York. Picture the scariest NYC taxi ride you can imagine, with the cab skidding around turns as trucks bear down from all sides. Serve on the rocks.
(John Mackey)
