"Jade Visions" serves as the final track on Bill Evans' 1961 live album "Sunday at the Village Vanguard", featuring bassist Scott LaFaro and drummer Paul Motian. Unlike the other tracks on the album, "Jade Visions" is stripped back to a piano-and-bass-only arrangement. In terms of tonality, "Jade Visions" alternates between C Major and A-Flat Lydian and also makes use of pentatonic scales. In this recording, Jamie Robertson plays both piano and bass recorded and mixed at a home studio. Recorded on a Yamaha U1 Upright Piano and a French c.1910 antique upright bass on 7th March 2026. The piano was recorded using Røde stereo microphones and the bass was recorded using a Realist Acoustic Transducer pickup.

The Classic Spaghetti Western music by Ennio Morricone. In this suite, the laments 'Story of a Soldier" and "Death of a Soldier" follow the famous main theme. Jamie's arrangement for organ uses the trumpet stop in place of the electric guitar. The xyz stop substitutes for the sung parts in the two laments. Performed by Jamie on the 1901 Binns organ at the Haverhill Old Independent URC near Cambridge, for which this arrangement was originally made.

"A Moment in Time" re-arranged by Jamie in less than an hour for a string trio. Beautiful performance by the world-class trio including Freya Goldmark and Val Wellbanks on a lovely summer's day at Churchill College Cambridge - their feedback was invaluable for Jamie who made improvements immediately. This version was created from Sibelius afterwards, showcasing Jamie's ability and speed as an arranger.

Songs Without Words (Lieder Ohne Worte), in A-Flat Major, Op 38 No 6 "Duetto" was originally written by Felix Mendelssohn-Bartholdy for piano, For the "Score and Screen" module at Kingston University, it has been arranged for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets, timpani, cymbals and full string section (6 violin 1, 6 violin 2, 4 viola, 4 cello, 2 bass). It is played here by the Kingston Chamber Orchestra at the Visconti Studio, Kingston University.

Composed by Jamie at Goldsmiths as a technical exercise, and recorded there with Jamie on bass, and fellow students on piano and violin. Details of composition ================= It is a straightforward 24-bar Blues tune, the latter having evolved from a combination of Spirituals and Early Southern Country Music. The term ’12 bar Blues ‘ refers to a flexible, cyclic 12-bar structure consisting of three four-bar phrases with the chord pattern as follows: I-IV-I-I-IV-IV-I-I-V-V-I-I. Frequently, IV is used in the place of I in bar 2, and this is the case in my composition. 12-bar blues progressions appeared in ragtime compositions as early as the turn of the 20th Century. They combined 12-bar Blues with 16-bar Ragtime themes and were popularised by ‘classic’ Blues singers Mamie Smith and Bessie Smith from the 1920s. Composed as a technical exercise at Goldsmiths for year 3 BMus. The title, “D(A) Bluez” is a play on words, the word “D(A)” inferring “The”, as in American Slang/street speech, but also referring to the key of D Major and its fifth degree of scale or Dominant, A. Form and Structure: “D(A) Bluez” is a large form 24-bar chorus structure plus a four-bar intro and a four-bar outro. The overall form is: Intro - Chorus - Solos - Chorus - Outro. Harmonic Derivation: The piece is written in the key of D Major and features minor 7th chords, half-diminished chords and a turnaround. Phrase Structure: A(5-8), A(9-12), A(13-16), A’(17-20), B(21-24), C(25-28). Melodic Style: The intro references the style of Casey Bill Weldon, particularly in tunes like “WPA Blues”. Blue notes (sharpened 4ths or flattened 5ths) are a recurring feature in the composition, as in Grant Green’s “Cantaloupe Woman”. The melody is in the middle register with a limited range of one octave (D4-D5). There is a repeated motif of descending scalic semiquavers on the Blues Scale on D throughout the Head.

Recorded at Goldsmiths with Jamie on double bass and fellow students on piano and violin. It was composed and performed for the final year jazz arranging module, the performance being necessary for the assessment, which in turn highlighted Jamie's technical ability on the double bass. Composition Details ================ 3/4 Minor Parkeriana was inspired by Charlie Parker, saxophonist of the Bebop era. He was one of the most revered and influential instrumentalists of jazz, highly creative in terms of melody, rhythm and harmony. He is famous for his rapid improvisations, playful rhythms and his alterations on selected dominant chords and his modified versions of the standard 12-bar Blues, which is I-I-ii-V-I-iv-vii-III-IV-IV-iv-iv-I-I-vi-vi-ii-ii-V-V-I-VI-ii-V. Pieces which particularly influenced this composition are “Chi-Chi” and “Blues For Alice”. Form and Structure “3/4 Minor Parkeriana” is a short-form 12-bar Chorus structure which features the Parker Blues chord progression, chromatically descending minor 7th chords which are modified by using a Circle of Fifths bars 6-8. Further influences from Charlie Parker include Half-Diminished Chords, which are featured in bars 2, 4, 6, 8, 10, 12-13 and 16 and which also reappear in the Solos and Coda. Improvised solos, which feature in bars 17-28, follow the same chord progression as in the Head. Structure: Intro - Chorus 1 - Chorus 2 - Solos - D.S. Chorus 1, D.S. Chorus 2, Coda. Phrase Structure A(5-8), B(9-12), C(13-16). Harmonic Derivation Written in the key of C Minor, The chord progression is the Parker Blues featuring descending ii-Vs, present from bars 5-25. Melodic Style “Parkeriana” is in the middle register with a range of an octave from F4 to F5. It is mainly scalic with a few occasional leaps. The repeated use of a motif of triplets in minor seconds and dotted rhythms augment the sense of swing. A mMaj7 chord is also a recurring feature of the piece in addition to descending sequences on seventh chords, highlighting the Circle of Fifths.

Recorded at Goldsmith, University of London as part of the final year jazz arranging module. Jamie is on double bass, with fellow students on violin and piano. It is a unison presentation of tune, free solos over form. Notes on Composition ================= This piece was influenced by Kenny Wheeler, in particular his composition ‘Mark Time’ alluded to in the title. It also features a 12/8 time signature reflecting that of “Mark Time”. It modulates every three bars in the Head, in reference to the ‘Modulating Modality’ in the title. The piece is in a Modal Free Jazz style. Influences include “Flamenco Sketches” by Miles Davis, and “Peace Piece” both of which have frequent modulation. Form and Structure The piece is a long form, through composed 21 bar form with an intro of two bars. It transitions through a variety of modes and has seven sections, each of three bars, which all make use of a different mode. Intro - Chorus - Solos - Chorus Out Harmonic Derivation The piece transitions through the modes from Phrygian in a random order. • Bars 1-3: G# Phrygian. • Bars 4-6: C# Phrygian. • Bars 7-9: A Aeolian. • Bars 10-12: G# Phrygian. • Bars 13-15: D Dorian • Bars 16-18: E-flat Aeolian. • Bars 19-21: C Lydian. Phrase Structure A(3-5), B(6-8), C(9-11), D(12-14), E(15-17), F(18-20), G(21-23). Melodic Style The melody is in the mid register and is characterised by step-wise motion with the odd intermittent leap. The Phrygian mode in G# from bars 3 - 5 and 12 - 14 and in the Intro allude to Flamenco music, a further reference to Miles Davis’ “Flamenco Sketches”. Scalic runs in the key of C Lydian are featured in the last three bars. Finally, there is rhythmic repetition, for example the rhythm of bar 19 replicates that of bar 5 and also bar 11 replicates that of bar 23.