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JAZZ
ENSEMBLE
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BALLADS medium-easy / medium to advanced
Morning Starlight—Larry Neeck. Here's a tasty
rock ballad that's a great way to feature aspiring
trumpet or alto saxophone soloists. The sensitive
ensemble writing provides plenty of support for
the soloist, while the fully-scored sections nicely
contrast with the lyrical solo theme. For additional
variety, the full band also has a featured section.
The solo section is completely notated and requires
no improvisation. Playable with optional reduced
instrumentation, Morning Starlight is just the right
change of mood for any performance!
11002307 Jazz Ensemble . . . . . . . . . . . .50.00
H
My Funny Valentine—Richard Rodgers/arr. Mike
Smukal. Richard Rodgers and Lorenz Hart gave the
jazz world this beautiful ballad, and arranger Mike
Smukal sets it as a lush trumpet or flugelhorn
solo feature. The entire solo is notated and can
effectively be performed with no improvisation.
It also features a wonderful double-time section
with everything written out, easy ranges, some
nice substitute chords and lush harmonies. This
arrangement includes optional parts for flute, horn
in F, baritone and tuba. This is an exceptional chart
at an accessible level! Highly recommended!
10049705 Jazz Ensemble . . . . . . . . . . . .48.00
My Funny Valentine—Richard Rodgers/arr.
Sammy Nestico. Feature either trumpet or flugel on
this creative arrangement of a timeless standard.
Written in ballad style, there's some nice ensemble
scoring and a brief, easy section in 3/4. Definitely a
top choice for younger bands!
2328144 Jazz Ensemble . . . . . . . . . . . .45.00
Picasso—Jon Anderson/arr. Ryan Fraley. This
straight-eighth chart in 3/4 is an accessible trumpet
or flugelhorn solo feature with an outstanding
jazz ensemble background. In a beautifully quiet
ballad style, your developing soloist will shine as
the melodic material unwinds and is supported
by the ensemble. A transcription of the recorded
improvised solo section is provided. A jazz waltz
swing section offsets the ballad style for contrast
before returning to the opening style. The top
trumpet note is G. Highly recommended!
10972708 Jazz Ensemble . . . . . . . . . . . .50.00
H Prayer Meetin'—Matt Harris. Feature a young
pianist with this gospel style ballad. The solo is
entirely notated except for a short section where
the pianist needs to improvise over an easy
4-bar sequence. The slow, infectious groove is
perpetuated by fully notated rhythm section parts,
trumpets in harmon mutes at times and full band
passages. There's an open solo section for soloists
of choice that is written or improvised. This chart
can be played with a few as 3 saxes, 2 trumpets, 1
trombone, piano, bass and drums, but is scored for
full jazz ensemble instrumentation.
10031755 Jazz Ensemble . . . . . . . . . . . .48.00
Round Midnight—Monk & Williams/arr. Mike
Smukal. It's always good programming to include a
ballad and here's a warm and tender ballad feature
for your tenor sax player. This timeless jazz tune,
recorded by countless jazz artists, is scored for
developing groups by arranger Mike Smukal. He
adds the lush harmony you would expect and then
moves into a double time section, returning to the
ballad tempo for the ending. Everything is notated
for the soloist and rhythm section. An excellent
ballad showcase! Highly recommended! Optional
expanded instrumentation.
10277614 Jazz Ensemble . . . . . . . . . . . .48.00
The Shadow of Your Smile—Johnny Mandel/
arr. Roy Phillippe. Every now and then it comes
along, a ballad so hauntingly beautiful that it may
just be the highlight of your concert! This is one
such gem. After a solo piano introduction, the
familiar minor melody is gently taken up by the
band. Alto sax and trumpet both get solo passages
but, for the most part, it is the ensemble effort that
makes this chart one of the best.
2467744 Jazz Ensemble . . . . . . . . . . . .48.00
That Warm Feeling—Sammy Nestico. This
Sammy Nestico composition was written in the
style of Neal Hefti's Li'l Darlin'. A ballad that's
appropriate for developing groups as well as more
capable bands, it was originally recorded on the
album "Basie-Straight Ahead."
924142 Jazz Ensemble . . . . . . . . . . . .48.00
Tomorrow Is Always a Good Day—Paul Clark.
Tomorrow Is Always a Good Day is a sensational
ballad feature for solo trombone or tenor
saxophone. This lovely composition begins in a
minor key, keeps building to a modulation to major,
then builds to a huge, powerful finish! The features
include an impressive and accessible solo part,
full and lush ensemble support, and an effective
ensemble-only interlude. Truly a memorable chart
at this or any grade level! Highly recommended!
10518287 Jazz Ensemble . . . . . . . . . . . .48.00
Ballads
Medium to Advanced
Alone Together—arr. Bob Curnow. This lush
chart on Alone Together is a beautiful ensemble
jazz ballad with a haunting melody and lots of
interesting counterpoint and harmonies. Written with
comfortable ranges and played at around 60 bpm,
it has brief tenor sax and trombone solos. Great
change-of-pace programming for any occasion!
10999296 Jazz Ensemble . . . . . . . . .M 50.00
Always Simpatico—Mathew Montgomery.
Always Simpatico will take audiences through a
unique and satisfying musical journey. The humble
melody introduced at the beginning travels from
section to section, building in intensity each time
before reaching its climax, then resolves in a way
reminiscent to how it started, with an improvised
solo for tenor saxophone experienced along the way.
Similar in style to a rock ballad, but with much more
variety, this composition is sure to be a wonderful
change-of-pace for concert and festival programs!
11000509 Jazz Ensemble . . . . . . . . .M 60.00
And Yet So Far—Chris Sharp. Jazz groups with
a strong lead alto sax player will enjoy this ballad
in film noir style. Its smoky harmonies and wistful
melody are broken up with a double-time swing
section before a powerful reprise at the end. The
solo part is mostly written while chord changes are
provided for the soloist during the swing section
along with an optional suggested solo. A super solo
feature for your alto soloist!
10757177 Jazz Ensemble . . . . . . . . .M 50.00
H Angel Eyes—Matt Dennis/arr. Dave Wolpe.
Here is a natural pairing of ballad style with
an exceptional standard as a tenor saxophone
feature. Beautifully arranged, this chart features
lush harmonies, a double-time swing section, and
a nice sax section soli with tenor lead. The tenor
solo is completely notated and does not require
improvisation, although it could be added. The lead
trumpet range is to B above the staff, and optional
parts are included for expanded instrumentations.
Simply gorgeous!
10303786 Jazz Ensemble . . . . . . . . .M 52.00
As Light Through Leaves—Jeff Coffin/arr. Bob
Washut. Transparent and gentle textures permeate
this treatment of Jeff Coffin's lyrical South African-
inspired jazz waltz. Commissioned by Jeff for the
2011 Massachusetts All-State Jazz Band, Bob
Washut's brilliant arrangement provides an open
solo vamp section that will accommodate any
soloist in the band. Includes optional flute and
vibraphone parts, tenor sax 1 doubles on clarinet,
eight brass (optional ten), and flugelhorns substitute
for trumpets.
11164613 Jazz Ensemble . . . . . . . .MA 60.00
H Back in Time—Pat Metheny/arr. Bob Curnow. Pat
Metheny is known for his beautiful melodies, and
Back in Time is no exception. Featuring a flugelhorn
or trumpet soloist throughout on a written-out
solo with chords included for improvisation, this
arrangement is very playable by the ensemble
with its moderate ranges. Originally recorded on
the reissued Secret Story CD, this arrangement
is a great addition to Bob Curnow's continuing
reflection on Metheny's music. Beautiful melody,
beautiful chart!
10368493 Jazz Ensemble . . . . . . . . .M 55.00
Bayou Farewell—Graham Breedlove. Bayou
Farewell is an original, melancholy, Pat Metheny
style ballad with straight eighth notes and a
beautiful melody. Graham Breedlove's use of
color is superb in this solo feature for soprano
saxophone (an alternate alto saxophone solo
part is included). The use of flugelhorns will also
enhance the color characteristics. Solo space is
provided for soprano sax, trumpet 2, and guitar
followed by a soaring ensemble shout section.
The lead trumpet range is to a written high C.
Unique and memorable!
10310229 Jazz Ensemble . . . . . . . .MA 55.00
H
Body and Soul—Johnny Green/arr. Matt Harris.
You simply cannot go wrong with this Matt Harris
chart on this great jazz ballad ideally set as a tenor
sax solo feature! The tempo is about 98 bpm with
the tenor solo written and improvised. It's lush,
has a nice texture with flugelhorns, and the lead
trumpet range is to written G on top of the staff. It's
beautiful... enough said!
10513913 Jazz Ensemble . . . . . . . .MA 52.00
Body and Soul—arr. Marty Paich. As recorded
by the Kenton band on the 7.5 on the Richter
Scale album, this all-time great standard receives
a fresh sound with the impeccable scoring talent
of Marty Paich. This arrangement has it all: a solo
piano introduction, a variety of feels (ballad, rubato,
swing, 12/8), and stunning ensemble passages.
This chart is considered by many to be one of the
finest big-band arrangements ever written, and it's
now available. Beautiful and highly recommended!
10910576 Jazz Ensemble . . . . . . . . . A 60.00
Body and Soul—Johnny Green/arr. Dave Wolpe.
There's no better way to feature your alto soloist than
with this arrangement! It's one of the most important
ballads in the jazz repertoire, and Dave's chart
brings out all of its lush beauty. A big, expansive
double-time section gives your soloist a chance to
improvise before returning to ballad tempo for the
dramatic ending. Highly recommended!
2472239 Jazz Ensemble . . . . . . . . .M 60.00
Bridge Over Troubled Water—Paul Simon/
arr. Alan Baylock. Arranger Alan Baylock delivers
his distinctive, lush and in-demand ballad style
to this wonderful song in a more contemporary
setting. It's set at 92 bpm, there are no individual
solos, just delicious harmony throughout. The
trumpet section frequently carries the melody
and the lead trumpet range is to written high C.
There are optional parts included plus vibraphone
for expanded instrumentations. Sensational ballad!
Highly recommended!
10355580 Jazz Ensemble . . . . . . . . .M 52.00
l Bridging Point—Lachlan Davidson. This chart
starts as an intense ballad featuring an alto
saxophone solo that morphs into a medium swing
with muted brass. Then it amps up to a heavy
shuffle for a big trombone solo leading to a shout
chorus with drum fills to finish. This simple eight-
bar melody keeps developing, twisting and turning
on a journey across valleys and leaps of faith.
11347401 Jazz Ensemble . . . . . . . .MA 55.00
A real step forward in
teaching improvisation!
APPROACHING
the STANDARDS -
Volume 1
Willie Hill. Every jazz director
will want to have this innovative,
user-friendly approach to jazz
improvisation! Designed for
individual or group instruction, each
volume contains a play-along CD
with eight classic jazz tunes. Each
tune is played by a professional jazz
group and contains clearly written
musical examples, jazz vocabulary,
transcription opportunities,
informative composer insights
and a discography. It's a real
step forward in teaching jazz
improvisation! Volume one includes:
Billie's Bounce; On The Trail;
Cantaloupe Island; The Preacher;
Summertime; Satin Doll; C Jam
Blues and I Got Rhythm.
2434462 C Instruments
Book & CD . . . . . . . . . 16.95
2434488 Eb Instruments
Book & CD . . . . . . . . . 16.95
2434470 Bb Instruments
Book & CD . . . . . . . . . 19.95
2434496 Bass Clef
Book & CD . . . . . . . . . 16.95
2453892 Conductor Book & CD
Score &
Rhythm Section . . . . . 19.95
BEST
SELLERS
Ballads
Medium
Buy jazz charts that work! These selections,
listed in order of their popularity, are chosen
most often by directors.
What a Wonderful World—
Douglas & Weiss/arr. Alan Baylock.
10997206 Jazz Ensemble. . . . . . . . . . . . . . . . . 52.00
God Bless the Child—
Herzog & Holiday/arr. Sammy Nestico.
2261535 Jazz Ensemble. . . . . . . . . . . . . . . . . 50.00
Angel Eyes—Matt Dennis/arr. Dave Wolpe.
10303786 Jazz Ensemble. . . . . . . . . . . . . . . . . 52.00
Alone Together—arr. Bob Curnow.
10999296 Jazz Ensemble. . . . . . . . . . . . . . . . . 50.00
Over the Rainbow—Harold Arlen/arr. Alan
Baylock.
10093177 Jazz Ensemble. . . . . . . . . . . . . . . . . 52.00
Always Simpatico—Mathew Montgomery.
11000509 Jazz Ensemble. . . . . . . . . . . . . . . . . 60.00
Goodbye Pork Pie Hat—Charles Mingus/arr.
Alan Baylock.
10867433 Jazz Ensemble. . . . . . . . . . . . . . . . . 52.00
I Remember Clifford—
Benny Golson/arr. Sammy Nestico.
2249365 Jazz Ensemble. . . . . . . . . . . . . . . . . 50.00
Pure Imagination (from Wille Wonka and the
Chocolate Factory)—Bricusse & Newley/
arr. Craig Skeffington.
10068800 Jazz Ensemble. . . . . . . . . . . . . . . . . 52.00
When I Fall in Love—
Victor Young/arr. Craig Skeffington.
10049716 Jazz Ensemble. . . . . . . . . . . . . . . . . 52.00
