J.W. Pepper Music Catalog
Issue link: http://read.jwpepper.com/i/858811
4Editors' Choice (Best of 2017 Publications) lNew for 2017 HPepper Basic Library Available via ePrint All Prices in U.S. Dollars & Subject To Publisher Revision 52 jazz ensemble Go to cart Jazz Ensemble with Vocal Solo Cry Me a RiverArthur Hamilton/arr. Victor Lopez. Featuring a vocalist with big band, this gorgeous ballad is played around 74 bpm. The vocal range is G below middle C to third space C, and the lead trumpet range is to F-sharp top line. Included are optional solo parts for B-flat, E-flat, and Bass Clef instruments to be used in place of the vocal feature. It's an accessible chart for the band and a great way to feature a vocalist or instrumentalist! 10452150 Jazz Ensemble & Vocalist (or Any Instrument) . . . ME 54.00 The Days of Wine and RosesHenry Mancini/ arr. Dave Wolpe. Dave Wolpe gives us a fine vocal feature chart on this wonderful Henry Mancini standard treated in a moderate swing style. Arranged in two keys for flexibility, the low female key is C and the vocal range is G below middle C to third line B. The high male key is F and the range is middle C to top space E treble clef. The lead trumpet range is to written B above the staff. An optional written tenor sax solo is included if you want to use this as a tenor sax feature instead of a vocal feature. 10452144 Jazz Ensemble & Vocalist (or Tenor Sax) . . . . . . . M 62.00 n Do Nothin' Till You Hear from MeDuke Ellington/arr. John Clayton. Adapted from the arrangement that John Clayton did for Dianne Reeves and the WDR radio big band in Cologne, Germany, here is a moderately slow and sultry swing version of the Duke Ellington favorite. According to John, "it's about grooving and having fun." Now includes complimentary Smack Dab in the Middle CD. Vocal Key: F 10186679 Jazz Ensemble & Vocalist . . . . . . . . . MA 60.00 Do Nothing Till You Hear from MeDuke Ellington/arr. Victor Lopez. Here's a wonderful vocal solo feature chart on a timeless Duke Ellington jazz standard! The feel is easy swing, the tempo is around 96 bpm, the vocal range is A-flat below middle C up to B-flat third line, and the lead trumpet range is to written F top line. An instrumental interlude showcases the band before the soloist returns with the great lyrics and swinging melody. If you don't have a vocalist to feature, there are optional solo parts included for any B-flat or E-flat instrument or trombone. Superb and swingin,' this one is highly recommended! 10593789 Jazz Ensemble & Vocalist (or Any Instrument) . . . . M 54.00 Don't Get Around Much AnymoreDuke Ellington/arr. Dave Wolpe. Duke Ellington's great chart really swings in this potent Dave Wolpe arrangement! The vocal solo is backed by all sorts of tasty little fills, and the full band gets to shout a bit, too. Ad lib fills can be handled by the vocalist or the pianist. Either way, this is sure to be a hit! Vocal in F. 2381952 Jazz Ensemble & Vocalist (or Tenor Sax) . . . . . . . M 54.00 H Don't Know WhyJesse Harris/arr. Paul Murtha. Award-winning pop singer Norah Jones made this tune climb the charts, and it's easy to see why so many people like it. The haunting, beautiful melody and smooth harmonies make it an incredibly appealing chart to use with either vocal, trumpet or tenor sax soloist. Vocal in Bb. 2473701 Jazz Ensemble & Vocalist (or Tenor Sax or Flugelhorn). . . . . . . ME 50.00 Embraceable YouGeorge Gershwin/arr. Dave Wolpe. Dave Wolpe has done a masterful job with Gershwin's romantic favorite, setting it in two keys for both male and female vocal solo, including a lyrical trombone feature, even building it up to a big band shout before the lovely closing. This will be a highlight in any performance! Male vocal in F, female vocal in C. 2468031 Jazz Ensemble & Vocalist (or Tenor Sax) . . . . . . . M 62.00 H Everybody's Waitin' for the Man with the Bagarr. Rick Stitzel. Composed in the '50s, this entertaining holiday tune has been recorded notably by Kay Starr, and more recently by the Brian Setzer Orchestra. For vocalist and big band, this is a dynamic and swingin' addition to any holiday performance! Vocal in A-flat. 10283028 Jazz Ensemble & Vocalist (or Tenor Sax) . . . . . . . M 50.00 H EverythingBuble, Chang & Foster/arr. Scott Ragsdale. Michael Buble sang this hit song and now it's time for your vocal soloist and jazz ensemble. Arranger Scott Ragsdale captured the essence of the Buble arrangement with his terrific adaptation at an easier level of this great tune. The vocal range is from F below middle C up to third space C, treble clef, and the vocal part has some easy scat lines with vocal syllables. Lead trumpet range is to written A above the staff. A wonderful chart on a neat tune! 10071937 Jazz Ensemble & Vocalist . . . . . . . . . ME 54.00 Fascinating RhythmGeorge Gershwin/arr. Dave Wolpe. Here's a great Dave Wolpe vocal chart! It features a samba treatment of this iconic Gershwin classic, and the vocal range is G below the staff to middle line B. With great wind parts, a lead trumpet range to written A, and a tempo around 104 bpm in cut time, this is an excellent arrangement. Also included is an optional tenor sax solo part to be used in place of the vocal solo. 10452148 Jazz Ensemble & Vocalist (or Tenor Sax) . . . . . . . M 62.00 H Feeling GoodBricusse & Newley/arr. Roger Holmes. From the Broadway musical "The Roar of the Greasepaint - The Smell of the Crowd," this fabulous standard is popular again with a stunning rendition by Michael Buble. Capturing the bluesy flavor of this version, here is a vocal solo feature sure to bring down the house. It can also be used as a tenor sax feature. Highly recommended! Vocal in C minor. 10297513 Jazz Ensemble & Vocalist (or Tenor Sax) . . . . . . . M 50.00 4 Feverarr. John Clayton. Recorded by Barbara Morrison with the Clayton-Hamilton Jazz Orchestra for "The L.A. Treasures Project," this powerhouse arrangement is a study in contrasts. The sparse and quiet opening gradually builds to a feverish pitch with periodic wild intrusions from the full ensemble. Feel the burn! Vocal Key: G minor 10759366 Jazz Ensemble & Vocalist . . . . . . . . . . . A 60.00 H FeverCooley & Blackwell/arr. Roger Holmes. Peggy Lee made this sizzler famous. Make sure you have enough fire extinguishers on hand just in case. Vocal in A minor/C minor. 2212082 Jazz Ensemble & Vocalist (or Tenor Sax) . . . . . . ME 50.00 l Goody, Goody—arr. Frank DeVol. Frank DeVol's arrangement of Goody, Goody may not be as adventurous as some of the others that were recorded by Ella Fitzgerald throughout the 1950s and 1960s, but what it lacks in innovation it more than makes up for in hard-swinging fun. This was originally recorded by Ella in 1957, but released on her 1959 album Get Happy. The instrumentation is standard big band with no woodwind doubles. This publication is not a transcription and was prepared from the set of parts used in the recording session. Vocal Keys: E-flat and F 10757466 Jazz Ensemble & Vocalist . . . . . . . . . . . . . . . . . . . . . . . . . . A 65.00 l I Can't Get Started—Vernon Duke/arr. Nelson Riddle. Originally released in 1962 by Ella Fitzgerald for her album Ella Swings Gently with Nelson, this collaboration between Fitzgerald and Nelson Riddle provides a highly effective treatment of a standard that has been covered countless times over the years. It's scored for standard big band with no woodwind doubles, and is not a transcription. It was prepared from Riddle's original score and parts as used in the recording session. Vocal Key: A-flat 10689479 Jazz Ensemble & Vocalist . . . . . . . . . . . . . . . . . . . . . . . . . .M 65.00 l Just When We're Falling in Love—arr. Quincy Jones. Better known within the jazz community by its instrumental title Robbins' Nest, Quincy Jones' arrangement of Just When We're Falling In Love was written for Ella Fitzgerald and the Count Basie Orchestra and recorded in 1963. This chart did not initially make the cut for the original issue of Ella and Basie! and was eventually released as an out take on the 1997 CD reissue of the classic album. This is not a transcription and has been prepared from Quincy Jones' original set of parts. Vocal Key: A-flat 10689493 Jazz Ensemble & Vocalist . . . . . . . . . . . . . . . . . . . . . . . . MA 65.00 Let's Call the Whole Thing Off—George Gershwin/arr. Nelson Riddle. This is one of a series of arrangements written by Nelson Riddle for Ella Fitzgerald focusing on the Gershwin songbook. This arrangement of the classic Let's Call the Whole Thing Off features a rubato introduction with vocalist and guitar before breaking into the melody in a medium swing setting. This chart includes only one trumpet with the part being just a soloist behind the vocals, though the part is largely written out. The melody, clever lyrics, and outstanding arrangement make this a chart you must have! Vocal Key: B-flat. 10458208 Jazz Ensemble & Vocalist . . . . . . . . . . . . . . . . . . . . . . . . . .M 65.00 l Let's Do It—Cole Porter/arr. Marty Paich. Performed and recorded live on multiple occasions in 1966 by Ella Fitzgerald with the Duke Ellington Orchestra, this arrangement of Cole Porter's Let's Do It has a couple unique features going for it. First, it was a rare example of the Ellington band recording an arrangement written by someone other than Ellington or Billy Strayhorn. In this case, the chart was arranged by the veteran Marty Paich. Second, it is almost as much a trumpet feature as it is a vocal feature, in that Cootie Williams' signature plunger muted trumpet sound provides fills behind Fitzgerald's vocals throughout. This chart is scored for standard big band with no woodwind doubles. Not a transcription, it was prepared from Paich's original score. Vocal Keys: F and B-flat 10757472 Jazz Ensemble & Vocalist . . . . . . . . . . . . . . . . . . . . . . . . . . A 65.00 Things Are Looking Up—George Gershwin/arr. Nelson Riddle. Ah...Gershwin, Ella, and Riddle! What more could anyone want? This is one of a series of arrangements written by Nelson Riddle for Ella Fitzgerald focusing on the Gershwin songbook. It's a straight-ahead big band arrangement with optional xylophone, without strings, and there are no saxophone doubles. The chart begins with the vocalist and guitar for the first half of the verse. The piano takes over for the guitar for the second half of the verse. At the conclusion of the verse the ensemble enters with a four bar introduction before the vocal comes in for the remainder of the arrangement. There are no instrumental solos. Vocal Keys: F and B-flat. 10458219 Jazz Ensemble & Vocalist . . . . . . . . . . . . . . . . . . . . . . . . . .M 65.00 l Too Darn Hot—Cole Porter/arr. Buddy Bregman. Ella Fitzgerald Sings the Cole Porter Song Book was quite possibly the most important recording of Fitzgerald's career. Although they all excite in their own way, arranger Buddy Bregman's appropriately heated arrangement of Porter's Too Darn Hot stands out as a particularly strong performance from Fitzgerald. This publication was mostly prepared from the original Bregman score and parts. The shout chorus was transcribed due to the loss of the original parts which were most likely an insert during the recording session. Vocal Key: E-flat 10757478 Jazz Ensemble & Vocalist . . . . . . . . . . . . . . . . . . . . . . . . . . A 65.00 Ella Fitzgerald... A Centennial Tribute April 25, 2017 marked the 100th anniversary of The First Lady of Song's birthday. There's no better way to celebrate this momentous event and pay tribute to this jazz icon's musical legacy than to perform her signature works. Here are but a few authentic arrangements from her recording sessions that are now available for the first time. See more Ella Fitzgerald charts at jwpepper.com! F O U N D A T I O N E L L A F I T Z G E R A L D C H A R I T A B L E F O U N D A T I O N