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4e Hep Cat Blues (Flexible Instrumentation)—
Bob Turner. This original up-tempo blues chart
is a great opener for any concert. This chart
includes an alto solo which can be played
ad lib or as written. The flexible nature of this
arrangement will make it accessible to bands of
many different sizes and abilities - it includes 15
individual horn parts to make this possible. Get
your students playing the blues!
11206066 Combo Flexible
Instrumentation . . . . . . . . . . . . 50.00
4e High Flyer—Carl Strommen. Here is a bright
swing chart for young groups based on the chord
changes to George Shearing's Lullaby of Birdland.
The open solo section is written or improvised to
feature any soloist, with solo sheets provided in
all keys, along with scales to assist young players
with improvisation. Featuring flexible scoring, the
set includes a guitar chord chart and optional
expanded instrumentation. An excellent vehicle
for teaching the swing style.
11191617 Jazz Ensemble . . . . . . . . . . . . . 42.00
4e In Other Words—Chris Sharp. This tribute to
one of Frank Sinatra's biggest hits contains many
references to the original tune. This is a great way
to introduce that Basie swing feel that we all love
to moderate-level groups. You'll find some great
writing for section playing and a trumpet solo
with Harmon mute that can be played as written
or improvised. This one sounds like the classics!
11202335 Jazz Ensemble . . . . . . . . . . . . . 65.00
4e It Had to Be You—Isham Jones/arr. Mark
Taylor. In classic Count Basie style, Mark
Taylor's well-crafted arrangement of this familiar
standard is set in a medium-slow swing style
and features the full ensemble perfectly scored
to sound rich and full. In contrast, a short piano
solo is interspersed that can be played as written
or ad lib. A great change of pace for contest or
festival!
11171986 Jazz Ensemble . . . . . . . . . . . . . 45.00
4 Jumpin' Jack Jive—Carl Strommen. This chart
opens in a bright, brisk four and soon switches to
a trademark two feel reminiscent of the great big
bands of yesteryear. The solo section features
tenor and alto, and it can be opened up for a
variety of soloists of the director's choosing. The
charts builds and builds to a big finish! A great
one for festival and concert use. Swing on with
this winner!
11206966 Jazz Ensemble . . . . . . . . . . . . . 50.00
4e Mind the Gap—George Shutack. This straight-
ahead swing chart will be a winner with groups
at many levels. This is an accessible chart
based on rhythm changes that will give your
group a moderate challenge. There is a wealth
of ensemble work and an opportunity for a piano
solo. Bring this to your next festival or concert!
11199502 Jazz Ensemble . . . . . . . . . . . . . 52.00
4 One Cool Cat!—Rob Vuono, Jr. A playful melody
sauntering along a beguiling chord progression is
featured in this enjoyable chart. The intro leads
way to the cool sounds of trumpet and alto sax
on melody, with tenor saxes and trombones
later joining in on a countermelody. There is an
open solo section with ad lib or written solos,
with swinging backgrounds adding some punch.
Great ensemble writing ensues after the solo
section leading to a brilliant shout chorus. This is
one cool chart you just can't miss!
11206974 Jazz Ensemble . . . . . . . . . . . . . 50.00
4e Say What?—Paul Baker. In the relaxed swinging
tradition of Sammy Nestico and Count Basie, the
title refers to the conversation that begins in the
melody as two groups call and respond to each
other. Trumpet range is to written G; trombone
range is to F. After the melody is thoroughly
discussed, the chart moves on to a 16-bar written
piano solo which is followed by a 16-bar written
tenor sax solo. Chord changes are provided
for both. A powerful shout chorus is followed
by a return to the bridge and then a final hard-
swinging hurrah before the classic Count Basie
piano ending.
11207708 Jazz Ensemble . . . . . . . . . . . . . 45.00
25
BLUES & SWING
LOOKING FOR
PROGRAMMING
VARIETY?
Place your vocalist or a guest artist in the spotlight with these
outstanding new vocal solo features!
4e It Had to Be You—Isham Jones/arr. Rick Stitzel.
Few standards have maintained the staying power of this popular ballad, having been
recorded by such luminaries as Frank Sinatra and Bing Crosby to more recent versions by
Harry Connick Jr., Barbra Streisand, and Michael Buble. This silky-smooth chart is a perfect
choice for your vocal or tenor sax soloists. Vocal key: E-flat
11172103 Jazz Ensemble & Vocalist (or Tenor Sax) . . . . . . . . . . . . . . . . . . . . ME 55.00
4 Night and Day—Cole Porter/arr. Scott Ragsdale.
Here's a great standard for your vocalist with a bossa groove and tempo around 160
bpm. An accessible vocal part, solid ensemble support, a written tenor sax solo spot, and
a featured section for the ensemble all add up to a wonderful addition to any program.
Optional C, B-flat, E-flat, and trombone solo parts are included as substitutions for the vocal
solo part. Cole Porter - it just doesn't get any better! Vocal key: B-flat to D-flat; vocal range:
low F below middle C to B third line treble clef.
11198986 Jazz Ensemble & Vocalist (Or Any Instrument) . . . . . . . . . . . . . . . . . M 55.00
4e Uptown Funk—arr. Paul Murtha.
Recorded by Mark Ronson and featuring Bruno Mars, this sassy funk tune is on its way to
becoming a modern-day pop standard. Here's a hot version for vocal solo, or optional tenor
sax, that captures all the excitement of the original. Vocal key: D minor
11172100 Jazz Ensemble & Vocalist (or Tenor Sax) . . . . . . . . . . . . . . . . . . . . . M 55.00
4 Witchcraft—Cy Coleman/arr. Roger Holmes.
Recorded by countless jazz artists through the years, including three times by Frank Sinatra,
this song features a classic melody and an easygoing medium swing style. Nicely scored
here for big band and vocal or tenor sax soloists. Vocal key: E-flat
11172107 Jazz Ensemble & Vocalist (or Tenor Sax) . . . . . . . . . . . . . . . . . . . . ME 55.00
4 You Don't Know Me—Eddy Arnold & Cindy Walker/arr. Allen Gray.
This song was a country hit for Eddy Arnold, Jerry Vale, Ray Charles, and Elvis Presley
in the '50s and '60s and has since become a jazz standard performed by Michael Buble,
Harry Connick Jr., and Norah Jones. This swinging big band version of the tune is a feature
for your vocalist but can also be used to feature other players in your group. Along with
the vocal solo, there are alternate parts included for solo alto sax, tenor sax, trumpet or
trombone, and an improvised alto sax solo. With stirring lyrics and some exciting big blow
moments from the band, this tune will bring the house down!
11202593 Jazz Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ME 65.00
