Embedded Files
ACT ONE
ACT ONE
Scene 1
Scene 1
GROOVE
ACT ONE
SCENE 1
(A town square outside the Festival Inn, home of the famous Jazz Cats ensemble. All the club members are all excitedly preparing for the regular Jazz Fest in town. The JAZZ CATS are rehearsing on stage in the background. DUKE is bustling around helping everyone to prepare for the event.)
MUSIC: #1 FESTIVAL BOP ♭♯
ENSEMBLE
THE FESTIVAL IS ONLY DAYS AWAY.
WE’RE PRACTICING THE MUSIC THAT WE PLAY.
AT THE FESTIVAL INN, WHERE IT ALL WILL BEGIN,
THERE’S A MAGICAL DIN OF THE PLAYERS WITHIN.
AND THE TOWN’S ALL A-BUZZ EVERY DAY, JUST BECAUSE
THEY KNOW THE FESTIVAL WILL START RIGHT ON TIME!
THE LEADER AND THE CATS BEGIN TO PLAY.
AND THIS IS HOW WE START OUT EACH NEW DAY.
FOR, AS LONG AS WE KNOW, IF IT’S HIGH OR IT’S LOW,
IF IT’S FAST OR IT’S SLOW, FORTE/PIANISSIMO,
IF IT’S SHORT OR IT’S LONG IN THE MUSIC OR SONG,
STILL, THE FESTIVAL WILL START RIGHT ON TIME!
THE CATS ARE LED BY DUKE; HE KNOWS THE SCORE.
THEY LEAD THE OTHER BANDS, WHO ASK FOR MORE!
AS THE PLAYERS COMMENCE, IT BECOMES SO INTENSE,
WITH A GROWING SUSPENSE FOR THE COMING EVENTS.
THE MUSICIANS CONVERGE, AS THE JAZZ CATS EMERGE,
THEY COMMEND THEM AT THEIR VERY PRIME!
(Sax solo - one chorus. In a nearby location, CHARLIE and DIZZY enter, but not in the immediate scene yet. They can hear the jazz music and set about finding its source. They have escaped from work for a free day and are making the most of it.)
ENSEMBLE
THE FESTIVAL IS ONLY DAYS AWAY!
WE’RE PRACTICING THE MUSIC THAT WE’LL PLAY!
AT THE JAZZ CATS’ PLACE, IT’S A SWINGIN’ RACE
TO LAY DOWN THE BASS AND THEIR BIG SWING FACE!
IT’S A FURIOUS PACE, IT’S A MAGICAL CHASE,
‘CAUSE THE FESTIVAL MUST START RIGHT ON…
THE FESTIVAL MUST START RIGHT ON TIME.
(The musicians disperse to their separate rehearsals on stage, as Charlie and Dizzy enter the town square. Duke remains on stage, but is still occupied with preparations)
MUSIC: #2 THE GROOVE - UNDERSCORE ♭♯
CHARLIE
Did you hear that music? Amazing! What was that?
DIZZY
What does it say here? (reading a poster) ‘’Jazzz Fest’’.
CHARLIE
What’s ‘’Jazzz Fest’’?
DIZZY
Beats me!
I hear music again. It’s coming from inside there. It’s a bass line.
(They sing along and imitate the bass line in a clumsy way)
CHARLIE
BOMBA BOM BOM BOM BOM BOM BOMBA BOM
CHARLIE & DIZZY
BOMBA BOM BOM BOM BOM BOM BOMBA BOM
(Duke hears them and observes, then approaches)
DUKE
You guys like that sound? That there’s the blues, it's where jazz came from.
CHARLIE & DIZZY (to each other)
Jaaazz!
CHARLIE
DOM DOM DOM DOM DOM DOM DOM DOM!
DIZZY
DO BE DO BE DO BE DO BE DO BE DO DA!!
DUKE
You got it, cats! Hey, you two have got an ear for this music.
DIZZY
We make music… for M.A.M–
CHARLIE (interrupts)
Shh!
DUKE
Oh, right, the MUZAK and Automated Music Company. I know them. I used to know those cats. (looks around) Are you guys in trouble?
CHARLIE
No!... We just…er, took off a day to … explore the town.
DUKE
Ha ha! Good for you, then. Secret’s safe with me. Well, this is a bit different to your music, but you get it, in essence. Yeah, jazz, man! That’s a walking bass line. Then there’s the drum rhythm…. And the piano plays “comp” chords, and we always… start with The Blues.
MUSIC: #3 THE GROOVE ♭♯
DUKE
IF YOU’VE GOT A GROOVE, YOU’VE GOT IT!
PLAY IT ON THE ROOT, DON’T STOP IT!
PLAY IT ON THE FOURTH, THAT’S HIGHER.
THEN YOU GO BACK DOWN, THAT’S FIRE!
THEN WE HEAR THE FIFTH, BUT NOT FOR LONG,
‘CAUSE THEN WE HEAR THE FOURTH AGAIN IN A BLUES SONG.
AND NOW YOU’RE GROOVIN’ BACK TO WHERE YOU STARTED.
You try it, now, cats!
CHARLIE & DIZZY
IF YOU’VE GOT A GROOVE, YOU’VE GOT IT!
PLAY IT ON THE ROOT, DON’T STOP IT!
PLAY IT ON THE FOURTH, THAT’S HIGHER.
THEN YOU GO BACK DOWN, THAT’S FIRE!
THEN WE HEAR THE FIFTH, BUT NOT FOR LONG,
‘CAUSE THEN WE HEAR THE FOURTH AGAIN IN A BLUES SONG.
AND NOW YOU’RE GROOVIN’ BACK TO WHERE YOU STARTED.
DUKE (underscore)
Yeah! You guys are naturals! We call this the Blues Cycle. It goes around again and again, then the musicians are free to improvise - make it up. Copy me this time…
DUKE
DO BE DO BE DO BE DO BE
CHARLIE & DIZZY
DO BE DO BE DO BE DO BE
DUKE
DO BE-A DO BE-A DO BE DO BE
CHARLIE & DIZZY
DO BE-A DO BE-A DO BE DO BE
DUKE
DO-BE DAT DO-BE DAT DO BE DO BE
CHARLIE & DIZZY
DO-BE DAT DO-BE DAT DO BE DO BE
DUKE
DO-BE-DA-BE-DO-BE-DA-BE DO BE DO BE
CHARLIE & DIZZY
DO-BE-DA-BE-DO-BE-DA-BE DO BE DO BE
DUKE, CHARLIE & DIZZY
DE BA DO BA DABITY DA
DO BA DE BA DO BA DE BA DO BA DABITY DA
DUKE
DO BE DO BE DO BE DO BE
CHARLIE & DIZZY
DO BE DO BE DO BE DO BE
(Jazz Organ solo to end)
DUKE (underscore)
Jazz, or jass, means “gossip”. The musicians are all gossiping. It’s all built on improvisation, extemporization and invention, the musicians are all the part-composers of a piece. They are free to improvise, but all the cats know where they are in the cycle. Bit different to your modern music, eh?
CHARLIE
Sure is! I’d love to play this music full time. (They join the ‘melody’ part.)
ENSEMBLE (A CAPELLA)
BASS MELODY CHORDS
DUN DA-BA BE DA DO BE DO BE DOW!
DUN DA DE BA DA DO BE DO BE DAT DOW!
DUN DA-BA BE DA DO BE DO BE DOW!
DUN DA DE BA DA DO BE DO BE DAT DOW!
DUN DA-BA BE DA DO BE-A DO BE-A DOW!
DUN DA DE BA DA DO BE-A DO BE-A DAT DOW!
DUN DA-BA BE DA DO BE-A DO BE-A DOW!
DUN DA DE BA DA DO BE-A DO BE-A DAT DOW!
DUN DA-BA BE DA DO-BE DAT DO-BE DAT DOW!
DUN DA DE BA DA DO BE DO BE DAT DOW!
DUN DA-BA BE DA DO-BE DAT DO-BE DAT DOW!
DUN DA DE BA DA DO BE DO BE DAT DOW!
DUN DA-BA BE DA DO-BE-DA-BE-DO-BE-DA-BE DOW!
DUN DA DE BA DA DO BE DO BE DAT DOW!
DUN DA-BA BE DA DO-BE-DA-BE-DO-BE-DA-BE DOW!
DUN DA DE BA DA DO BE DO BE DAT DOW!
DUN DA-BA BE DA DE BA DO BA DOW!
DUN DA DE BA DA DABITY DA DAT DOW!
DUN DA-BA BE DA DE BA DO BA DE BA DO BA DE BA DOW!
DUN DA DE BA DA DABITY DA DAT DOW!
DUN DA-BA BE DA DO BE DO BE DO DOW!
DUN DA DE BA DA BE DO BE DAT DOW!
DUN DA-BA BE DA DO BE DO BE DO DOW!
DUN DA DE BA DA BE DO BE DAT DOW!
(the band resumes the groove)
IF YOU’VE GOT A GROOVE, YOU’VE GOT IT!
PLAY IT ON THE ROOT, DON’T STOP IT!
PLAY IT ON THE FOURTH, THAT’S HIGHER
THEN YOU GO BACK DOWN, THAT’S FIRE!
THEN WE HEAR THE FIFTH, BUT NOT FOR LONG,
‘CAUSE THEN WE HEAR THE FOURTH AGAIN IN A BLUES SONG.
AND NOW YOU’RE GROOVIN’ BACK TO WHERE YOU STARTED.
DUKE (underscore)
Yeah, cats! You’re jazz musicians now!
CHARLIE
What’s Jazz Fest? Are you guys in that?
DUKE
Yeah, we organize it. All this music has one festival where we can perform freely. Thanks to M.A.M.Co.– (hesitates) Sorry, guys, there ain’t much demand for our kind of music anymore from the Dough Heads at M.A.M.Co., but at Jazz Fest, it’s cool again.
DIZZY
We think it’s still cool!
DUKE
Oh, yeah? Thanks!
CHARLIE
Who are the Dough Heads?
DUKE
(laughs) The Dough Heads? (gestures money) You know? Money, money, money. It’s taken the soul out of music. In fact, they keep buying up our work, our melodies and improvisations and locking it down for their music. No freedom for us anymore. Anyway, it’s still fun to make.
CHARLIE
Yeah, Duke, how do you make it?
DUKE
We rehearse in there (points), the Festival Inn. Come up with ideas, work on it and refine it until it’s ready. I can teach you how…
CHARLIE
That sounds pretty scary. I don't even play jazz.
DUKE
Yeah, you do. You just did! It’s all inside, come on!
(they all follow Duke into the Festival Inn)
END OF SCENE
SCENE 2
SCENE 2
SCENE 2
(Inside the Festival Inn, there is a stage and cabaret-style seating, as well as a bar, merch stand and other jazz memorabilia.)
DUKE
Welcome to the Festival Inn!
CHARLIE
So cool!
DUKE
You guys put together music all the time at M.A.M.Co., right?
CHARLIE
Yeah every day.
DIZZY
Too much music!
DUKE
Right! I don’t much care for their style or, er … means of production, but it still has the basic materials: rhythm, melody, harmony and counterpoint. It’s just missing the soul, feel … and freedom.
MUSIC: #4 YOU’LL BE JUST FINE ♭♯
DUKE (underscore)
Let me show you two what jazz is all about. It ain’t that popular anymore, but it still grooves here as much as it ever did.
DUKE
BOY, OH BOY, THIS IS GONNA SWING:
RHYTHM, MELODY, GROOVE AND EVeRYTHING!
AND IT’S PICKED FROM SOME OF THE FINEST CROP.
IT’LL PROVE THAT YOU HAVE A PLACE AT THE TOP!
THE MUSIC’S GONNA RING SWEET AND CLEAR
AND THE LYRICS SHINE LIKE A CHANDELIER.
WHAT A PLEASURE IT’LL BE AND A JOYFUL TIME
FOR THE PEOPLE WHO BRING TO LIFE
AND YOU’LL BE JUST FINE!
YOU’VE GOT TO PICK SOMETHING SUITABLE,
SOMETHING SONOROUS, SOMETHING BEAUTIFUL.
AND IT’S UNIQUE - NOTHING LIKE IT BEFORE.
IT’LL LEAVE THE AUDIENCE ASKING FOR MORE!
IT HAS TO HAVE JUST THE RIGHT AMOUNT
OF MELODIC SHAPE, TO A STEADY COUNT,
AND THE HARMONY OF A CHOIR DEVINE
AND I’M SURE YOUR CREATION IS GOOD ENOUGH
FOR THE PEOPLE WHO BRING IT TO LIFE.
AND YOU’LL BE JUST FINE!
WITH A MELODY, YOU WILL NEVER LACK
SOMETHING TUNEFUL ALWAYS TO MAKE IT BACK
TO A SANCTUARY FROM THE DAILY GRIND
OF THE REAL WORLD THAT YOU LEFT BEHIND.
MUSIC MAKERS SHOULD MAKE A PACT
WITH THE DOUGH HEADS, THEN, IN THE FINAL ACT:
WE CAN PUT ALL THE PIECES BACK IN THEIR PLACE.
AND THE MUSIC CAN LIVE WHERE IT’S MEANT TO BE,
‘ROUND THE PEOPLE WHO CHERISH THIS MAGICAL WAY,
THEN MUSICIANS WON’T FEAR FROM BEING FREE,
THEY’LL BE ABLE TO PLAY AND WE’LL ALL SAVE THE DAY!
(instrumental/key change)
WHEN THE RIFF AND THE RHYTHM ROCKS,
IT’LL PROBABLY KNOCK ‘EM OFF THEIR SOCKS.
THEY WILL FEEL THE LOVE THAT YOU HAVE FOR IT,
AND MUSICIANS CAN KEEP MAKING MELODY,
THEN THE GROOVE, IT CAN KEEP US TOGETHER AGAIN,
ALL THE SONGS WILL BE SAVED FROM CATASTROPHE,
WHEN WE ALL REUNITE AT THE FESTIVAL INN,
AND THE DOUGH HEADS WILL HAVE TO RELEASE THE SOUNDS
THEY’VE IMPRISONED FOR ALL OF THIS TIME.
AND YOU’LL BE JUST FINE!
DUKE
You see, if you get the groove right, everything else sort of … falls into place.
DIZZY
I think I can write a groove, for sure.
DUKE
Yeah, that’s right, we all compose grooves, not just in jazz. Even Bach, Mozart and Beethoven were groove merchants!
CHARLIE
What else do we need?
DUKE
To get the groove right, four things are most important in any kind of music: tempo, pitch, duration, dynamics.
CHARLIE
We learned this at school!
DIZZY
Tempo:
CHARLIE
Faster or slower…
DIZZY
Pitch:
CHARLIE
Higher or lower…
DIZZY
Duration:
CHARLIE
Shorter or longer…
DIZZY
Dynamics:
CHARLIE
Louder or quieter!
DUKE
You got it! A.K.A.: the musical elements. Everything’s made of them. Then there are the musical materials, like melody, rhythm, harmony, counterpoint. Everything else is just style.
DIZZY
Like a jazz-style?
DUKE
Sure, Dizz. But jazz ain’t just a style. You’ve got style, I’ve got style, the Festival Inn’s got style. Jazz is also a genre, a function of music; also, jazz is a tradition or history. Jazz is everything, you see?
CHARLIE
Yeah.
MUSIC: #5 I DON’T WANT TO WAKE UP (UNDERSCORE) ♭♯
DUKE
Jazz can be a different combination of all three things.
DIZZY
Cool!
DUKE
That’s right. Even that word, ‘Cool’, comes from jazz music.
CHARLIE
There’s so much to learn.
DUKE
Glad to teach the two of you. Go on, have a look around the Inn.
(Charlie and Dizzy move away from DUKE and look around the Inn.)
CHARLIE
Dizzy, we gotta stay here and learn jazz.
DIZZY
We gotta go home, don't we? What about our jobs?
CHARLIE
What home? Back to working, back to reality? Churning out mindless music for M.A.M.Co. for the rest of our lives?
DUKE (joins them)
You cats can stay here, you know? There’s plenty to do. Ain’t no law against it - yet.
DIZZY
How do we make money?
DUKE
Don’t need money here, Dizzy.
DIZZY
I need money.
DUKE
You don’t need money … here, You just need Soul, feel, groove.
CHARLIE
It sounds perfect here!
DUKE
Yeah. It’s close.
(MUSIC: #6 I DON’T WANT TO WAKE UP) ♭♯
(DUKE and CHARLIE and DIZZY all separate, downstage, out-of-scene)
CHARLIE (to audience)
IN THIS WORLD OF COLORLESS ABSURDITY,
AM I JUST IMAGINING IN REVERIE?
I WANT TO STAY RIGHT HERE AND ESCAPE ALL OF THAT.
I DON’T WANT TO WAKE UP! I DON’T WANT TO WAKE UP!
DUKE (to audience)
IN THIS DARK AND DUSTY WORLD, I’VE PRAYED FOR THIS!
HEARING THEM SING MUSIC MAKES ME REMINISCE.
THEY NEED TO STAY RIGHT HERE, HOW HAS THIS COME TO BE?
I DON’T WANT TO WAKE UP! I DON’T WANT TO WAKE UP!
(They come together, in-scene again)
DUKE (to others)
THE FESTIVAL’S WHERE MUSIC FLOWS AND COLORS BLOOM.
EVERY MORNING SOUNDS FROM HEAVEN FILL THE ROOM.
I WANT TO HAVE YOU HERE TO EXPERIENCE THAT.
HOW DO YOU GET TO STAY? HOW DO YOU GET TO STAY?
DIZZY (to others)
THE FESTIVAL SOUNDS MAGICAL AND MARVELOUS!
EVEN IF OUR STAYING HERE IS ARDUOUS,
I’LL FOLLOW YOU WHEREVER YOU TELL ME TO GO.
HOW DO WE GET TO STAY? HOW DO WE GET TO STAY?
MUSIC: #7 THE CALL (UNDERSCORE) ♭♯
(MUZAK, A.I. and other DOUGH HEADS enter and spy on the action)
DUKE
I want you guys to stay, but go back to M.A.M.Co. if you like. Doesn’t look like much excitement for you out there. You have to answer The Call.
DIZZY
The Call?
DUKE
Yeah, answering the call is essential in order to make real music and trust in your ability. (sees the DOUGH HEADS) Oh, looks like your employers caught up with you. Shame! That’s a whole different kind of call.
(Duke leaves the other characters, but watches on from a distance. MUZAK, A.I. and the DOUGH HEADS surround CHARLIE and DIZZY.)
MUSIC: #8 THE CALL ♭♯
MUZAK & A.I
YOU WANT THIS BACK,
WE WANT YOU BACK.
MAKE THE RIGHT CALL
IT’S A FAIR TRADE.
YOU WANT MONEY
WE PROVIDE IT.
IT’S THE BARGAIN
THAT WE BOTH MADE.
MUSIC MAKERS, MUSIC MAKERS,
DO THE RIGHT THING!
MUSIC MAKERS, MUSIC MAKERS,
DO THE RIGHT THING!
YOU WANT THIS BACK,
WE WANT YOU BACK.
MAKE THE RIGHT CALL
IT’S A FAIR TRADE.
YOU WANT MONEY
WE PROVIDE IT.
IT’S THE BARGAIN
THAT WE BOTH MADE.
MUSIC MAKERS, MUSIC MAKERS,
DO THE RIGHT THING!
MUSIC MAKERS, MUSIC MAKERS,
DO THE RIGHT THING!
DIZZY
I CAN’T STAND IT,
NEED TO MAKE GOOD,
GET THE MONEY,
FOLLOW THEIR LAW.
CHARLIE & DUKE
YOU NEED MUSIC.
THEY DESPISE IT!
YOU’LL REGRET IT,
THAT’S FOR DAMN SURE!
MUSIC MAKER, MUSIC MAKER,
DO THE RIGHT THING!
MUSIC MAKER, MUSIC MAKER,
DO THE RIGHT THING!
(Sax solo continues to end.)
CHARLIE (underscore)
We’re staying here to play jazz. There’s no law against it!
MUZAK
No, no law against it - for you, Charlie. However, your friend signed a contract with M.A.M.Co. for ninety-nine years to make music solely for us.
CHARLIE
(To Dizzy) You did? Why did you do that?
DIZZY
The money, Charlie!
MUZAK
Well, you’ve had your fun with your jazz, I guess. I will see you at your desk on Monday morning, Dizzy.
DIZZY
(sarcastically) Sure thing, boss!
CHARLIE
Wait. What if you don’t see him on Monday? What if he quits?
A.I.
Fine, he can quit. But this will be the last Jazz Fest ever! We’ll buy it out and sink it (laughs with MUZAK). Good riddance to that nonsense!
CHARLIE
Leave them out of it, you grifter!
A.I. (squares up to CHARLIE)
Grifter?! Better to be a grifter, than a loser. How are you even gonna make money with jazz?
DIZZY
You don’t need money here. Just soul, feel, groove–
(MUZAK and A.I. guffaw loudly)
MUZAK
Ooh, groovy, baby!
A.I.
Yeah, feeeel the soul!
CHARLIE
(Pushes A.I. and grabs MUZAK) Ahh, get lost, will you?
MUZAK
(breaks free, aided by other DOUGH HEADS) You can’t touch us. We’re the business. Music is nothing without us.
CHARLIE
Music? You’re killing music! We can get out of this, Dizz, don’t worry.
MUSIC: #9 THE DEAL ♭♯
MUZAK & A.I.
HEY!
THERE’S NO TURNING BACK,
THIS IS WHAT’S BEEN PLANNED,
THIS IS WHAT IS BEST!
HEY!
YOU CAN’T INTERFERE,
YOU CAN’T INTERVENE,
BETTER LET IT REST!
IF YOU DUCK OUT OF A DEAL, THERE’S NO COMING BACK.
ALL YOUR MONEY IS GONE WHEN YOU’RE CHOOSING THIS TRACK.
YOU CAN LIVE OUT YOUR DAYS PLAYIN’ JAZZ HERE,
IF THAT’S WHAT YOU WANT!
CHARLIE & DUKE
HEY!
YOU CAN’T GO WITH THIS,
GIVE UP ON THESE FOOLS,
STICK IT TO THE BIZ!
HEY!
DON’T YOU SEE IT'S WRONG,
DON’T YOU WANT TO FIGHT?
Think about it, Dizz!
IF YOU ABANDON US HERE, THERE’S NO GETTING BACK
FROM THAT COLORLESS VOID IN A PANIC ATTACK.
YOU’LL BE CHURNING OUT GARBAGE FOR M.A.M.Co.
FOR ALL OF YOUR DAYS!
MUSIC: #9 YOU’LL BE JUST FINE (REPRISE) ♭♯
(Dizzy hesitates, hangs his head in shame. MUZAK and A.I. exit, pleased with the success of their mission. DUKE also exits the scene.)
CHARLIE
Oh, I see.
DIZZY
I’m sorry! I can’t stay here.
CHARLIE
Well, I can’t go back.
DIZZY
‘Course not, Charlie.
CHARLIE
Wish you could stay.
CHARLIE
AND MUSICIANS CAN KEEP MAKING MELODY,
THEN THE GROOVE, IT CAN KEEP US TOGETHER AGAIN,
ALL THE SONGS WILL BE SAVED FROM CATASTROPHE,
WHEN WE ALL REUNITE AT THE FESTIVAL INN,
AND THE DOUGH HEADS WILL HAVE TO RELEASE THE SOUNDS
THEY’VE IMPRISONED FOR ALL OF THIS TIME!
AND YOU’LL BE JUST FINE!
Right?
DIZZY
Be seeing you.
CHARLIE
Yeah.
END OF SCENE
SCENE 3
SCENE 3
SCENE 3
MUSIC: #11 THE CALL (MONTAGE) ♭♯
(Back at the Festival Inn, the mood is sombre as the Jazz Cats show lacklustre enthusiasm towards the Jazz Fest preparations. Other musicians look bored and despondent as they prepare. As DIZZY leaves town for M.A.M.Co., he calls at the Festival Inn and talks to DUKE and the JAZZ CATS as he re-thinks his fate)
DUKE
Sorry you have to go, Dizz.
DIZZY
Yeah, Duke, me too. At least Charlie gets to stay. Sure will miss him, though. They were smart not to sign the M.A.M.Co. contract.
DUKE
Yeah. Well, you can just run. It’s only a contract.
DIZZY
Nah, just have to face the terms, take the money, pay the bills…
DUKE
Real shame. Well, talk to Roots. Used to play with me at The Festival Inn. I’m sure he still swings!
DIZZY
Swings?
DUKE
Yeah, swing. You don’t know about that? It’s a feel, weight, a way of playing phrases when you’re in the groove, the pocket. Like this: 1, 2, 3, 4, 1, 2, 3, 4
DIZZY
1, 2, 3, 4, 1, 2, 3, 4
DUKE
Yeah, that’s the quarters; now swing eighths: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
DIZZY
1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
DUKE
1, 2 & 3, 4 & 1, 2 & 3, 4 &
DIZZY
1, 2 & 3, 4 & 1, 2 & 3, 4 &
DUKE
If it isn’t swinging, we call it straight - or even, such as in Latin jazz or a ballad - that’s a slow song. Like this: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
DIZZY
1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
DUKE
Ha ha! Yeah, man! Sure would be great to get you and Charlie back together. Hey, Dizz…
DIZZY
Yeah, Duke.
DUKE
Don’t lose it, buddy! Keep swingin’! (he exits)
MUSIC: #12 WHEN THE MUSIC’S ALLOWED TO RETURN ♭♯
DIZZY
I CAN’T STAY HERE, ‘CAUSE I’M NOT FREE.
ALL THIS BOTHER WAS CAUSED BY ME.
IF I GO BACK AND LEAVE MY FRIEND, CHARLIE, HERE
I COULD PROBABLY SAVE HIM AND HIS CAREER!
IT MAY NOT BE ALL THAT HARD TO FACE,
I COULD STILL PLAY JAZZ IN A SECRET PLACE;
AND IF SOMEONE OPPOSES MY PLAYING, STILL,
I WILL TRY TO CONVINCE THEM TO LEARN.
I CAN’T STAND TO LEAVE MY FRIEND BACK HERE,
BUT IF THEY FOLLOW, THEY’LL TOO BE ENSLAVED.
I MUST GO AND SACRIFICE MYSELF,
TO ENSURE THAT THIS MUSIC IS SAVED!
NOW I’M REQUIRED TO TAKE A STANCE,
SO MELODIC MUSIC CAN STAND A CHANCE.
ALL THE PAIN AND THE STRIFE WILL BE IN THE PAST,
WHEN THE MUSIC’S ALLOWED TO RETURN!
(Instrumental, ½ chorus)
NOW I’M REQUIRED TO TAKE A STANCE,
SO MELODIC MUSIC CAN STAND A CHANCE.
ALL THE PAIN AND THE STRIFE WILL BE IN THE PAST
WHEN THE MUSIC’S ALLOWED TO RETURN.
END OF ACT ONE
ACT two
ACT two
SCENE 4
SCENE 4
GROOVE
ACT TWO
SCENE 4
(The JAZZ CATS gather at the Festival Inn. Charlie enters without Dizzy and recounts the last scene to them. DUKE knows and already has a plan)
MUSIC: #13 THE DEAL (REPRISE) ♭♯
CHARLIE
DUKE!
WE MESSED UP, I’M SURE.
DIZZY’S GONE FOR GOOD.
I COULDN’T KEEP HIM THERE.
DUKE!
M.A.M.Co. HAS HIM TRAPPED.
CONTRACTUALLY OBLIGED
AND GAVE US QUITE A SCARE.
THEY SAID IF HE DOESN’T THEY’LL COME AFTER YOU
AND JAZZ A GONER WHEN THEY ARE ALL THROUGH.
I WISH WE’D HID OUT UNTIL THE SEARCH PARTY GAVE UP THE CHASE.
DUKE
HUSH!
I’VE SEEN THIS ALL BEFORE.
IT AIN’T AGAINST THE LAW
TO PLAY IN ANY STYLE.
HUSH!
YOU DIDN’T CAUSE THIS FIGHT.
BUT YOU CAN’T BE SO CONTRITE.
You have to use some guile!
NOBODY OWNS MUSIC, THEY NEED TO LEARN THIS:
WHAT THEY MAKE THERE IS TRASH THAT NOBODY WOULD MISS.
MAYBE THIS OUR CHANCE TO AVENGE THEM AND GET IN THE RACE!
ENSEMBLE
IT’S ATONALITY THAT WE’VE ALL CREATED:
NO MUSICAL KEY, WHEN THEY’RE ALL RELATED.
WE’VE GOT TO GET BACK HOME TO MELODY, RHYTHM
AND HARMONY LEADING THE WAY!
IT’S A CAUTIONaRY TALE THAT WE’VE TOLD HERE:
A TIME TO PREVAIL OVER ALL WE FEAR.
WE CAN’T GIVE UP TRYING TO BRING BACK THE ART
AND LEAVE JAZZ IN COMPLETE DISARRAY!
MUSIC: #14 THE DEAL (UNDERSCORE) ♭♯
DUKE
Dizzy wants to come back, we talked as they left town. Can’t get out on their own, needs help.
CHARLIE
Who can help us?
DUKE
Cat who set up the company was an old friend of mine. Hey, like you and Dizzy. We played together in the original Festival Inn Jam Band. They wanted to make real money, so he set up a recording company.
CHARLIE
I’ve seen Roots at M.A.M.Co.
DUKE
Roots, yeah. Wasn’t called M.A.M.Co. then, it recorded all music types. Their kid took over, dumped anything except automatic music that the youngsters prefer.
CHARLIE
I had no idea.
DUKE
Let’s hope Roots sees sense. Sure they haven't forgotten about the good old times.
CHARLIE
At the Festival Inn?
DUKE
Yeah, we used to rock it every night until the early hours. We used to play all styles from all over the world. Jazz is like that, you see. One big melting pot of music. People would come from all over to hear the latest music, not everyone had ways of playing it at home. The whole world was jazz crazy!
CHARLIE
We learned about that at school. Music History.
DUKE
No such thing, kid. Music is a living thing. OK, Charlie, let’s continue our lessons. Do you know about swing?
CHARLIE
Swing?
DUKE
Yeah, sw– (looks at audience) Oh, they’ve all heard this already!
END OF SCENE
SCENE 5
SCENE 5
SCENE 5
(At M.A.M.Co. Headquarters, DIZZY is reinstated at his desk, dejected from the whole ordeal and nervous. The production line of music is evident (and audible) manned by the faithful DOUGH HEADS and surveyed closely by A.I.)
MUZAK
We found this traitor blending in at the festival, Roots.
ROOTS
Traitor! It’s all music, you know?
MUZAK
Not any more, Pops, those were the old days. Now it’s all about sales! Get with the times, won’t you?
ROOTS
Whatever you say… (to DIZZY) Hey kid, is Duke still running things down there?
DIZZY
You know Duke? Yeah, I met him, he was telling me about jazz.
ROOTS
Old friend of mine, we came up together, learned jazz. Duke stayed there and I signed my life away. For this!
DIZZY
We were enjoying it, it’s still going, Jazz Fest–
A.I. (interrupts)
Aww, shut up about jazz and get to work. Make that music, make that money!
ROOTS
I was talking to him. There’s more to life than making money, you know?
A.I.
Easy for you to say, Roots, with your company shares and pension.
ROOTS
Company sh– I started this company.
A.I
Great, well I– We’re running it now. Why don’t you go listen to jazz in your office?
ROOTS
I think I will.
(DIZZY returns to his work. Roots follows and speaks softly)
ROOTS
You don’t have to stay here, Kid. We can get you back to Jazz Fest.
DIZZY
Wha… What about the contract?
ROOTS
Ha! Contract! We didn’t have contracts in my day, just work, every night at the Festival Inn. Is the inn still there too?
DIZZY
Sure is.
ROOTS
I still have some sway around here, our secret, though…. er?
DIZZY
Dizzy, Sir.
ROOTS
Dizzy! (to audience) Already sounds like a jazz musician. (to DIZZY) Come and see my jazz collection. (DIZZY follows ROOTS into his office, unnoticed by others. Roots’ office is stacked with records, instruments and pictures.)
DIZZY
Oh wow! You still play jazz, then?
ROOTS
Play? No, not these days. I listen to it, sing and reminisce. (pauses) Used to play sax with Duke and the Cats.
DIZZY
That’s what Charlie plays, sax.
ROOTS
Yeah, Charlie, I remember. You too are good friends.
DIZZY
They stayed with Duke; Didn't sign the contract.
ROOTS
The Inn was jumpin’ back then. We played all styles–
DIZZY
Oh, yeah. Duke taught us about styles, genres, traditions.
ROOTS
Yeah, jazz was new and exciting. From New Orleans, then New York and Chicago. People would come to hear new music every night: Latin dances, European songs, African beats, Opera arias, Tango, Samba, East Coast, West Coast… We played it all.
DIZZY
I’d like to carry on learning jazz. When I’m not working, of course
ROOTS
You can, or better still, we blow this joint! I’ve got a plan, kid.
MUSIC: #15 I’LL HELP YOU ESCAPE FROM HERE ♭♯
ROOTS
I’LL HELP YOU ESCAPE FROM HERE,
BUT SOON ENOUGH, THEY’LL BE COMING AFTER YOU.
DESTINY AWAITS, MY DEAR,
AND YOU SHOULD KNOW, I DON’T MEAN TO MISCONSTRUE!
I WISH THAT MY CHILDREN WERE REAL MUSIC FANS,
BUT I’M AFRAID THEY HAVE TERRIBLE TASTE.
I TRIED TO EDUCATE THEM IN MUSICAL ART,
BUT THAT KNOWLEDGE HAS ALL GONE TO WASTE.
HURRY, DON’T DELAY, MY DEAR,
AND JAZZ WILL STOP YOU FROM EVER COMING BACK,
THEY’LL WANT YOU TO STAY, MY DEAR.
AND I’LL HELP YOU ESCAPE FROM HERE!
DIZZY
ROOTS, I CAN’T THANK YOU ENOUGH,
THE MUSIC WORLD’S WHERE YOU KNOW THAT I BELONG.
JAZZ IS IN THE SOUL OF ME,
AND I CAN’T LIVE WITHOUT RHYTHM OR SONG.
THE JAZZ CATS HAVE SAVED ME FROM WASTING AWAY
IN THIS NOISY AND MISERABLE LAND.
BUT I’M SURE IT WOULD BE SUCH A NICE PLACE TO LIVE,
IF THE THING THAT WE LOVE WASN’T DAMNED.
DON’T YOU WORRY, I’LL BE FINE
AND SOMEDAY SOON WE’LL BE SINGING LOUD AND CLEAR!
IF YOU NEED TO FOLLOW ME,
THEN I’LL HELP YOU ESCAPE FROM HERE!
ROOTS
I’ll play this record, loudly, while I get you to the secret passageway. Sometimes I play them here, for nostalgia, so they won’t suspect anything.
DIZZY
Won’t you get in trouble, Roots?
ROOTS
Maybe, but they can’t do anything. I founded this company - I can bring it down if I want to! Anyway, I’m coming with you to see Duke and the Cats. They don’t own you, Dizz, so they sure don’t own me. (selects a record and plays it.)
END OF SCENE
SCENE 6
SCENE 6
SCENE 6
MUSIC: #16 I’LL HELP YOU ESCAPE FROM HERE (MONTAGE)♭♯
(Dance band-style music plays as ROOTS carefully gets DIZZY out of the M.A.M.Co. building to find CHARLIE and the JAZZ CATS waiting in the street shadows. They exit the scene as MUZAK and A.I., noticing DIZZY’s desk is unmanned, break into ROOTS’ room to find them gone, rips record of the player and sets off the alarm.)
A.I.
They’ve both gone. Even Roots is betraying the company now, Muzak!
MUZAK
We’ll find ‘em. Bring the company shares and contracts from the safe.
A.I.
Right! Good thinking!
(They pursue the escapees, off stage.)
MUSIC: #17 THE CALL (MONTAGE) ♭♯
(The group quietly slips out of town, eventually evading MUZAK, A.I., who have raised the alarm to the DOUGH HEADS, who make chase. CHARLIE leads the escape. Roots stays with the the group, bringing up the rear.)
(Towards the end of the Montage, MUZAK and A.I. catch up with them. Roots hangs back when he spots MUZAK and A.I.)
MUZAK
They can’t run forever, Roots.
ROOTS
They can, you fool! Of course they can!
MUZAK
They have a contract. You have a contract to fulfil.
ROOTS
A contr–... who cares about that?
MUZAK
We do, Roots. They have a contract for work and you have a contract for your company shares. Let’s rip them both up, shall we?
ROOTS
Really? It’s come to that? Cutting off your own family?
A.I.
Yes, Roots. This is business.
ROOTS
OK, do it! See if I care. (to MUZAK) You’re a disgrace!
(MUZAK dramatically tears up the shares and DIZZY’s contract. MUSAK and A.I. exit furiously. ROOTS follows the others in the opposite direction.)
END OF SCENE
SCENE 7
SCENE 7
SCENE 7
MUSIC: #18 THE RETURN ♭♯
(DIZZY triumphantly returns to the Festival Inn, with CHARLIE and the JAZZ CATS.)
DIZZY
I’D GIVEN UP ON GETTING OUT OF THERE.
I’D SEALED MY FATE, I DIDN’T HAVE A PRAYER.
THEN YOU AND ALL THE CATS CAME TO MY RESCUE
AND ROOTS, HE DIDN’T WANT TO STRESS YOU.
YOU’RE MY BEST FRIEND, I COULDN’T LEAVE YOU HERE.
I’VE ALWAYS WRITTEN MUSIC WITH YOU NEAR.
IT WOULDN'T WORK IF WE WEREN’T SIDE BY SIDE:
LIKE ONE AND TWO AND THREE AND MINOR FOUR
AND FIVE!
CHARLIE
I COULDN'T THINK OF YOU STUCK THERE ALONE.
WE MADE IT HERE INTO THE GREAT UNKNOWN.
AND ALL THE CATS ARE HERE TO WELCOME YOU.
CHARLIE & DIZZY
THEY SAW SOMETHING IN US THEY SELDOM DO!
YOU’RE MY BEST FRIEND, I COULDN’T LEAVE YOU HERE.
I’VE ALWAYS WRITTEN MUSIC WITH YOU NEAR.
IT WOULDN'T WORK IF WE WEREN’T SIDE BY SIDE:
LIKE ONE AND TWO AND THREE AND MINOR FOUR
AND FIVE!
YOU’RE MY BEST FRIEND, I COULDN’T LEAVE YOU HERE.
I’VE ALWAYS WRITTEN MUSIC WITH YOU NEAR.
IT WOULDN'T WORK IF WE WEREN’T SIDE BY SIDE:
LIKE ONE AND TWO AND THREE AND MINOR FOUR
AND FIVE!
MUSIC: #19 RESOLUTION ♭♯
(DUKE joins the cast. ROOTS enters to meet DUKE.)
DUKE
ROOTS! HERE’S THE DEAL: THIS IS REAL,
THIS IS KILLING OUR PASSION FOR LIFE!
THIS IS WRONG, WHAT’S A SONG
WHEN THE SOUND OF IT CUTS LIKE A KNIFE?
CAN’T YOU BEND, CAN’T YOU MEND,
WHAT YOU CAST
WHEN YOU SPLIT AND SOLD OUT?
DID YOU EVER BELIEVE YOU WOULD FORGET SO FAST?
GIVE UP THE FIGHT, MAKE IT RIGHT,
FREE THE MUSIC FOR ALL,
AND COME BACK TO THE PACK.
THERE IS STILL TIME TO ANSWER THE CALL.
(They embrace)
ROOTS
DUKE, MY OLD FRIEND: CAN’T DEFEND
WHY I DID WHAT I DID IN THE PAST.
OUT OF HAND, FAKE AND CANNED
IS THIS MUSIC, THAT AIN’T BUILT TO LAST.
CAN’T EXPLAIN ALL THE PAIN
IN MY HEART.
AND IT’S ALL ‘CAUSE OF ME
THAT OUR MUSIC IS NO LONGER CONSIDERED ART.
HAVE TO AMEND SUCH A TREND
THAT IS PULLING US DOWN.
SO WE ALL CAN RECALL
WHAT IT IS THAT GIVES MUSIC RENOWN.
CHARLIE & DIZZY
ALL OF THE CATS, EVEN BRATS,
ARE AGREED ON THE MUSICAL PLAN.
WE CAN’T FIGHT, THAT AIN’T RIGHT.
WE’RE ALL PART OF THE FESTIVAL FAM!
AND NO MORE LIKE BEFORE.
WE’RE ALRIGHT
WITH THE WAY THAT WE PLAY
AND OUR MUTUAL DELIGHT.
BRAND NEW DAY, BRAND NEW WAY
OF EXISTING WITHOUT ALL THE HATE.
SO WE FLY AND GET BY,
IF THE MUSIC’S GREAT!!!
MUSIC: #20 YOU’LL BE JUST FINE (REPRISE) ♭♯
ENSEMBLE
WITH A MELODY, YOU WILL NEVER LACK
SOMETHING TUNEFUL ALWAYS TO MAKE IT BACK
TO A SANCTUARY FROM THE DAILY GRIND
OF THE REAL WORLD THAT YOU LEFT BEHIND.
MUSIC MAKERS HAVE MADE A PACT
WITH THE DOUGH HEADS, THEN, IN THE FINAL ACT:
WE CAN PUT ALL THE PIECES BACK IN THEIR PLACE,
AND THE MUSIC CAN LIVE WHERE IT’S MEANT TO BE,
‘ROUND THE PEOPLE WHO CHERISH THIS MAGICAL WAY,
THEN MUSICIANS WON’T FEAR FROM BEING FREE,
THEY’LL BE ABLE TO PLAY AND WE’LL ALL SAVE THE DAY!
(instrumental/key change)
WHEN THE RIFF AND THE RHYTHM ROCKS,
IT’LL PROBABLY KNOCK ‘EM OFF THEIR SOCKS.
THEY WILL FEEL THE LOVE THAT YOU HAVE FOR IT
AND MUSICIANS CAN KEEP MAKING MELODY,
THEN THE GROOVE, IT CAN KEEP US TOGETHER AGAIN,
ALL THE SONGS WILL BE SAVED FROM CATASTROPHE
WHEN WE ALL REUNITE AT THE FESTIVAL INN,
AND THE DOUGH HEADS WILL HAVE TO RELEASE THE SOUNDS
THEY’VE IMPRISONED FOR ALL OF THIS TIME.
AND YOU’LL BE JUST FINE!
BA DA BA DA BA DO BA DE DA BA
DA BA DO BA DE BA DO BA DAT!
END OF MUSICAL
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