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14
JAZZ
ENSEMBLE
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BLUES & SWING medium-easy / medium
So What—Miles Davis/arr. Michael Philip
Mossman. Here is the Miles Davis jazz standard
skillfully and uniquely arranged for six horns and
rhythm section. On the head, the saxes take the
signature melody line answered by the brass.
The open solo section features tasty background
figures, followed by a tutti ensemble section before
returning to the head. Instrumentation: six horns
(ATB saxes, two trumpets, one trombone) plus four
rhythm with optional additional parts for alto, tenor
and trombone. Don't miss this chart on the iconic
Miles Davis standard!
10556792 Jazz Ensemble
(Little Big Band). . . . . . . . . . . .45.00
Southern Express—Carl Strommen. This one
will grab your attention! It sounds great and lays
well for the ensemble. The trombones kick off the
chart with some solid section work, followed by the
saxophones, trumpets, and the full band. There are
opportunities for some piano soloing and a tenor
saxophone solo. This breezy swing will be a great
addition to your next concert.
11198770 Jazz Ensemble . . . . . . . . . . . .50.00
St. Thomas—Sonny Rollins/arr. Mark Taylor.
Plenty of solid tutti ensemble scoring is featured
in this arrangement for small group of Sonny
Rollins' familiar Latin standard. The solo section
can be opened up for any player and a tasty
unison ensemble chorus follows. Suggested
solos and scale/chord sheets are included.
Highly recommended! Instrumentation: 3 saxes,
2 trumpets, 1 trombone plus rhythm section.
Optional additional parts are included for alto, tenor
& trombone.
10098775 Jazz Ensemble
(Little Big Band). . . . . . . . . . . .45.00
H The Star Spangled Banner—arr. Paul Clark.
Although this piece is not usually associated with
jazz bands, this arrangement works so well it
can appropriately be included in any jazz concert.
It's also invaluable to have in the files for those
"emergency" situations where a jazz group is called
upon to perform our National Anthem. It includes
just the right elements to give it a jazz flavor, yet
maintains the dignity and reverence of the original.
While it is harmonically jazzy, it is rhythmically
traditional and can serve as accompaniment for
audience singing. It is also playable with reduced
instrumentation. If your jazz ensemble plays for
basketball games, this is perfect. A wise investment
for all jazz programs! Highly recommended!
10050282 Jazz Ensemble . . . . . . . . . . . .45.00
Step Lightly—Joe Henderson/arr. Mike Kamuf.
Don't miss this outstanding Joe Henderson swing
chart that is accessible in every way for developing
jazz ensembles. The melody is stated by a trio of
alto, tenor, and trumpet; the tempo is around 120
bpm, and the lead trumpet range is to written G
top staff. Written suggested solos are included for
tenor sax 1 and trumpet 2. Additionally, it has a
sweet shout chorus and lots of optional parts for
expanded instrumentations. Introduce your players
to Joe Henderson with this winner for concerts,
festivals, or teaching!
10997192 Jazz Ensemble . . . . . . . . . . . .48.00
4 Still Got the Blues—Dave Mills. This medium-fast
B-flat blues tune swings from top to bottom. The
solo section features space for solos from the tenor
sax or trombone. This tune is a great introduction
to playing the music of Count Basie and when you
hear it, you will recognize the style instantly. This
will get your developing group learning to swing
hard from beginning to end!
11202589 Jazz Ensemble . . . . . . . . . . . .50.00
4 Stolen Moments—Oliver Nelson/arr. Mike Kamuf.
Every developing jazz ensemble should play this
chart! Mike Kamuf's arrangement on this Oliver
Nelson classic falls right in the pocket at about
110 bpm. The iconic melody is unforgettable and
there are written or improvised solos for alto sax
and trumpet. The lead trumpet range goes to G
above the staff and there are options for reduced
instrumentation. This is a fine chart for almost any
band at any ability level.
11199002 Jazz Ensemble . . . . . . . . . . . .50.00
Stompin' at the Savoy—arr. Mike Lewis. Feature
your bass player! Arranger Mike Lewis has taken
this classic Benny Goodman swing tune and turned
it into an easy, melodic showcase for the bass.
Mike also provides solo space with written solos
for 1st tenor sax and piano. The brass ranges are
modest and the chart really swings from beginning
to end! Don't let the year go by without playing this
one that sounds great with electric or acoustic bass.
Superb chart!
2702807 Jazz Ensemble . . . . . . . . . . . .48.00
l Subee Scoot—Debbie Stempien & Greg Turner.
Students will enjoy playing this up-tempo swing
chart stylistically reminiscent of the Count Basie/
Sammy Nestico style. While the sax section lays
down the main melody, the brass drives the B section
in a shout-chorus style. Three solo sections include
both optional written solos and chord symbols for
students who are ready to improvise. A sax soli with
tight harmonies highlights the sax section.
11198296 Jazz Ensemble . . . . . . . . . . . .50.00
Sweet Home Chicago—Robert Johnson/arr. Roger
Holmes. Made famous by The Blues Brothers,
this hard-hitting blues classic is sure to become
an instant favorite with jazz bands and audiences.
A driving shuffle groove and solid scoring for the
entire ensemble are featured throughout in this
great chart that will become a staple of your library!
Highly recommended!
10343798 Jazz Ensemble . . . . . . . . . . . .45.00
H
Take Five—Paul Desmond/arr. Mike Lewis.
Take the most famous 5/4 jazz tune ever written
and combine it with a flawless and playable
arrangement for developing jazz band and you've
got a chart that should be in everybody's library!
Dave Brubeck managed to make the 5/4 meter
sound like the most natural thing in the world, and
that's the way it plays, too. Who would've thought
that young players could experience Brubeck's
"Third Stream" jazz?
2381705 Jazz Ensemble . . . . . . . . . . . .48.00
4 Take it in Stride—Erik Sherburne. This swing
chart features a stride piano section at the
beginning which sets this chart up nicely. Pretty
cool stuff!
11206078 Jazz Ensemble . . . . . . . . . . . .50.00
l That's the Idea!—Gregory Yasinitsky. This
exciting, up-tempo swing chart for advancing
groups features solos for first alto saxophone,
second trumpet, and piano (written or ad lib). Add
a saxophone soli and an ensemble chorus which
moves from a whisper to a roar and you've got a
great chart! Standard instrumentation, with optional
flute, fifth trumpet, and vibes parts. A guitar chord
chart is included.
11199478 Jazz Ensemble . . . . . . . . . . . .52.00
Things Ain't What They Used to Be—Mercer
Ellington/arr. Rich Sigler. This is a jazz classic that
every band should have in their library. The chart
is a swing shuffle played at around 116 bpm and
has a very familiar and catchy melody that flows
smoothly from section to section. Also featured
are written out solos for alto sax 1 and trumpet 2
and a lead trumpet range to written F-sharp top
line. Optional parts are included for expanded
instrumentation. A superb arrangement that is
clever and effective in every way!
10355626 Jazz Ensemble . . . . . . . . . . . .48.00
Touchin' All the Basses—Andy Clark. It's time to
let your bass player get some of the spotlight! This
cool chart is written in three parts, a funky rock,
a slow triple blues, and a hot shuffle. Designed
to showcase the bass player, the band parts
complement the soloist, but allow the bass to be
heard. Each of the sections can be opened for bass
or other solos as desired, or it can be performed
straight through, exactly as written. A very unique
and useful chart!
2468262 Jazz Ensemble . . . . . . . . . . . .45.00
5975274 CD-Jazz Ensemble . . . . . .MA 9.95
5975832 CD-Jazz Ensemble . . . . VE-M 9.95
Tour de Force—Dizzy Gillespie/arr. Michael Philip
Mossman. Composed by jazz master Dizzy Gillespie,
this appealing chart features a comfortable cha-cha
groove, a distinctive harmonic progression, and a
tuneful melody suitable for young players. Every
section has an interesting and important role to
play, and solos (written or ad lib) are featured for
trumpet and tenor sax.
11208477 Jazz Ensemble . . . . . . . . . . . .45.00
The View Looking Up—Craig Skeffington. If
you've been looking for something to showcase
your rhythm section, look no further! This excellent
new chart written in a medium swing style features
the rhythm section with improvisational space
for your bassist. Notated rhythm section parts,
moderate brass ranges, and a melodic line carried
by all sections of the band make this a favorite for
concert and festival performances! Top-notch!
11206982 Jazz Ensemble . . . . . . . . . . . .55.00
The Way You Look Tonight—Jerome Kern/
arr. Mark Taylor. From the film "Swing Time"
and originally performed by Fred Astaire, The
Way You Look Tonight won the Academy Award
for best original song in 1939. Since then it has
remained a popular jazz standard, and here is
a terrific moderately paced swing version for
developing players.
10759342 Jazz Ensemble . . . . . . . . . . . .45.00
What Is This Thing Called Love?—Cole Porter/
arr. Paul Baker. First of all, it's Cole Porter, and
secondly it's Paul Baker! This swinger on the
great Cole Porter standard features outstanding
sectional interplay. Every section has solis,
especially the saxes, and there are great tutti
passages for the entire ensemble. Add written
or ad lib solos for trumpet and tenor, a tempo
around 160 bpm, and you have an exceptional
chart. Our highest recommendation!
10867424 Jazz Ensemble . . . . . . . . . . . .48.00
l What'll I Do?—Irving Berlin/arr. Charles Booker.
What'll I Do? was originally performed in 1923 as
part of Irving Berlin's stage production "Music Box
Revue." The most popular recording of the song was
created by Frank Sinatra in 1962. It's regarded as
one of the great songs from The Great American
Songbook and has been recorded by the world's
leading artists. This fresh new arrangement captures
all the nuances of one of Berlin's greatest hits.
11171766 Jazz Ensemble . . . . . . . . . . . .55.00
H Whirly Bird—Neal Hefti/arr. Peter Blair. You may
have heard Basie's band play this great Neal Hefti
swinger, but this version is very accessible for
younger players at around 166 bpm. The features
include a written alto sax solo, a great sax soli, and
well-notated rhythm section parts. Includes optional
wind and vibes part, too!
10452088 Jazz Ensemble . . . . . . . . . . . .48.00
4 Wombat Combat—Craig Skeffington. Written in a
hard-driving shuffle style, it features all sections of
the band with improvisational space for your tenor
player. There is also a feature for the winds that will
keep everyone on their toes. If you've been looking
for something to showcase your entire band, look
no further. Fully-notated rhythm section parts,
moderate brass ranges, and a melodic line carried
by all sections of the band will make this a favorite
for concert and festival performances!
11199482 Jazz Ensemble . . . . . . . . . . . .52.00
Won't You Be My Neighbor? (It's a Beautiful
Day in the Neighborhood)—Fred Rogers/arr. Paul
Murtha. One of the truly iconic songs for television,
the opening to Mister Rogers' Neighborhood
resonates with all generations. This is a terrific setting
for aspiring jazz players in a moderate tempo swing
style. This one works in any neighborhood!
10908992 Jazz Ensemble . . . . . . . . . . . .45.00
You'd Be So Nice to Come Home To—Cole
Porter/arr. Paul Baker. Ah, yes, Cole Porter! Paul
Baker has created a quality chart on this wonderful
jazz standard from the Great American Songbook.
It's a crafty swinger at around 168 bpm featuring
appealing sections for the full ensemble, written
or improvised solos for alto and trumpet, a great
saxophone soli, and a very hip interlude that builds
right to the end. The lead trumpet range is to
written F-sharp and additional parts are included for
optional expanded instrumentations. Quality writing
in a fine chart that's highly recommended!
10756378 Jazz Ensemble . . . . . . . . . . . .48.00
Blues & Swing
Medium
17 Mile Drive—Matt Harris. This medium
difficulty chart refers to the scenic road through
Pebble Beach and Pacific Grove on the Monterey
Peninsula in California, much of which hugs
the coastline and passes famous golf courses,
mansions, and cypress forests. The composer's
frequent use of suspended chords suggests the
grandeur of the region. Set in a catchy rock shuffle
and using contemporary harmonic techniques,
this one grooves from start to finish. Sophisticated
rhythmic content enhances the memorable melody
and tenor sax has solo changes. A fairly accessible
chart, it will definitely sustain the interest of medium
to advanced players and soloists!
10455654 Jazz Ensemble . . . . . . . . . . . .52.00
125th Street Blues—Dave Mills. You, your band
and your audiences will really enjoy this bright
swing chart in a Basie jump-swing style. With a
chance to feature your favorite soloists over F blues
changes and some great ensemble choruses, this
chart swings hard from start to finish. The intro is
rhythm section with Basie-style piano fills and the
melody is a catchy blues line. Nice chart!
10280567 Jazz Ensemble . . . . . . . . . . . .50.00
After You've Gone—Turner Layton/arr. Mark
Taylor. Arranged here in a slow Basie style swing
setting, this well-crafted chart is loaded with style!
The band can really cut loose on the shout chorus!
A solid choice for festival or concert.
2470793 Jazz Ensemble . . . . . . . . . . . .50.00
H
Along Came Betty—Benny Golson/arr. Alan
Baylock. A real jazz classic, this chart kicks! The
features include a medium swing style, a written or
improvised solo for tenor sax, meaningful ensemble
passages, exceptional soli lines, superb phrases,
and a lead trumpet range to written B-flat. An
outstanding Benny Golson jazz standard arranged
to perfection! Highly recommended!
10513907 Jazz Ensemble . . . . . . . . . . . .52.00
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