JAZZ
ENSEMBLE
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BALLADS medium to advanced
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
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
Carry Me Back to Old Virginia—James
A. Bland/arr. Chris Sharp. This antebellum
anthem is transformed into a chorale-style
piece perfect for a mid-program change
of pace. It features amazing scoring and
incredibly lush harmonies!
11515281 Jazz Ensemble . . . . . . .M 65.00
Chelsea Bridge—Billy Strayhorn/arr. Mark
Taylor. One of the masterpieces of jazz, this
beautifully crafted feature for alto sax uses a
variety of styles and settings. Mostly scored
as a ballad, there is a jazz waltz section
in the middle followed by a powerful, slow
swing ensemble shout. The soloist returns to
finish out the chart in the original ballad style.
Recorded by the Taylor/Fidyk Big Band on A
Perfect Match.
11401139 Jazz Ensemble . . . . . . .M 55.00
A Child Is Born—Thad Jones. Composed and
arranged by Thad Jones, this is an absolutely
gorgeous ballad in 3/4 that is a "must" for any
good jazz library! It's one of the most "tasteful"
jazz charts ever written!
543421 Jazz Ensemble . . . . . . .M 48.00
Come Sunday—Duke Ellington/arr. John
Fedchock. Now in print for the first time, this
was originally written in 1987 for the Richard
Stoltzman album titled Ebony, featuring the
Woody Herman Big Band. Duke Ellington's
Come Sunday featured Stoltsman as a clarinet
soloist. John Fedchock modified it sometime
later to make it a baritone saxophone solo
feature and added a trombone 4 part to cover
the original baritone sax part. Fedchock's
chart is absolutely gorgeous, featuring
lush harmonies, a few woodwind doubles,
beautiful ensemble sections, and a double-
time section for the ensemble. The baritone
sax solo is both written and improvised and
features a wonderful cadenza at the end.
Highly recommended!
10517469 Jazz Ensemble . . . . . . . A 65.00
Curveball—Paul Baker. Featuring a tenor
saxophone soloist, Curveball is in the style of
the Ray Charles big band. It opens with huge
ensemble brass and bluesy sax lines that
switch in and out of a double-time swing feel.
The navigation from swing ballad style, double-
time feel, and true medium swing and the return
to the original swing ballad style helps to define
the chart throughout. A soulful melody for the
soloist, which is written and improvised, is icing
on the cake, along with an improvised solo and
cadenzas at the end. Brass ranges: trumpet
to written high D and trombone to written G.
This is a real powerhouse chart for the entire
band and an important addition to the tenor sax
solo repertoire!
10999408 Jazz Ensemble . . . . . MA 55.00
Distant Ridges (Alto Saxophone Feature)—
Kris Berg. This wonderful alto saxophone solo
feature is powerful and moving with notes
of nostalgia and pain. This ballad is a great
selection for any concert program.
11403533 Jazz Ensemble . . . . . . .M 55.00
Dreamin' in Swingtime (Swing Can Really
Hang You Up the Most)—Paul Baker. This
chart is a tour de force perfect for any contest
program. Featuring slow swing, medium
swing, and a combination of both, where the
horns maintain the swing feel while the rhythm
section goes to a half-time feel. There are solo
opportunities for harmon mute trumpet (written
solo provided), tenor sax, and trombone. Each
section has multiple opportunities to shine.
Trumpet range to written A, trombone to G.
11515347 Jazz Ensemble . . . . . . .M 50.00
Europa (Earth's Cry Heaven's Smile)—
Santana & Coster/arr. Eric Richards. One
of Carlos Santana's more memorable
compositions is this instrumental hit from
1976. Along with Santana's own recording,
the version by saxophonist Gato Barbieri also
became a hit that same year. This solo feature
for tenor saxophone features a haunting
melody and the sensual style of the original
and is authentically recreated in this version
for full jazz ensemble. The tenor solo is a
combination of written melodies with options
for improvisation. Here's a great way to feature
your star tenor player!
10625167 Jazz Ensemble . . . . . . .M 55.00
Fond Memories (Tenor Saxophone
Feature)—Ed Gaston. A combination of
beautiful melody and contemporary harmonic
structure create a great ballad to feature your
Tenor Saxophone soloist. There are some
colorful double time feel countermelodies in
the brass and well written rhythm section parts.
The Tenor solo is completely written out, but
chord changes are included in the section that
could be improvised.
11393557 Jazz Ensemble . . . . . . .M 50.00
God Bless the Child—Herzog & Holiday/
arr. Sammy Nestico. Here's the trombone
solo/section feature you've been looking for!
This great jazz standard, first popularized by
co-writer and singer Billie Holiday, is an ideal
solo/soli vehicle for trombones. Sammy's chart
is not only lush and beautiful, but it makes
perfect sense!
2261535 Jazz Ensemble . . . . . . .M 55.00
Goodbye, Pork Pie Hat—Charles Mingus/arr.
Andrew Homzy. This beautiful arrangement of
Charles Mingus' signature ballad features altos
and trumpets playing the melody off the top,
then later adds the entire ensemble. Sample
written solos are provided for the short solo or
soli spots for trumpet and trombone and there
are also notated piano voicings and bass lines.
Here is a more accessible version of this lovely
tune that will be a great introduction to the music
of Mingus for developing players. Optional parts
are also included for flute, clarinet and F horn.
A jazz classic that is highly recommended!
10005177 Jazz Ensemble . . . . . . .M 55.00
Goodbye Pork Pie Hat—Charles Mingus/arr.
Alan Baylock. Alan Baylock has created a sonic
landscape for the full ensemble and a tenor
saxophone soloist from one of Charles Mingus'
most lovely and soulful ballads. The tenor gets
the spotlight with an elongated introduction
and cadenzas at the end while the full band is
highlighted with beautifully scored ensemble
passages in between. The lead trumpet range is
to written B-flat, and optional parts are included
for flute and vibes. Ideal as a festival change-of-
pace selection, it's also perfect for almost any
program. A truly superb setting!
10867433 Jazz Ensemble . . . . . . .M 52.00
Harlem Nocturne—Earle Hagen/arr. Mike
Tomaro. This standard from the 1940s has
been recorded countless times and remains
a staple in the jazz literature. Mike Tomaro's
creative treatment shines new and invigorating
light on the tune, with a contemporary shuffle
groove and fresh harmonies. Solos for alto sax
and piano will round out your performance with
class and style!
2472884 Jazz Ensemble . . . . . . .M 55.00
Here's That Rainy Day—Jimmy Van Heusen/
arr. Dee Barton. The famous version as
performed by the Stan Kenton Band!
2364370 Jazz Ensemble . . . . . MA 55.00
Here's That Rainy Day—Jimmy Van Heusen
& Johnny Burke/arr. John Wasson. Arranged
in a slow swing ballad style, this well-crafted
arrangement of this time-tested standard
is skillfully scored to take full advantage of
the Little Big Band format. Includes solos for
trumpet and tenor sax.
11401170 Jazz Ensemble . . . . . . .M 50.00
I Remember Clifford—Benny Golson/arr.
Sammy Nestico. Benny Golson's tribute to
Clifford Brown has been a jazz favorite for
years, and in the hands of Sammy Nestico
you won't find a better flugelhorn feature.
Absolutely gorgeous!
2249365 Jazz Ensemble . . . . . . .M 55.00
I Remember Clifford—Benny Golson/arr. Erik
Morales. This Benny Golson ballad has become
a standard trumpet or flugelhorn solo feature
over the years. This chart is a gorgeous straight-
eighth ballad at around 70 bpm that features a
flugel soloist while the entire ensemble shines.
The flugelhorn solo is entirely written, with some
suggested improvisation also included. A brief
double-time section lets the ensemble and
soloist stretch out for variety. The lead trumpet
range is to written G on top of the staff, and
optional flute and vibraphone parts come with
the set. Highly recommended!
11198980 Jazz Ensemble . . . . . . .M 54.00
I'm Getting Sentimental Over You—George
Bassman/arr. Rick Hirsch. Here's a wonderful
update of Tommy Dorsey's classic theme
song. It's totally playable by high school jazz
bands, yet it also sounds great with college and
professional groups. It's written as a trombone
feature throughout (with optional solo parts
included for B-flat and E-flat instruments),
although super-high Dorsey-esque chops are
not required. The solo is mostly written with a
section of improvising around the melody and
ad lib fills at the end. Alternate solo parts for
trumpet and saxophone are included, as well
as optional parts for Clarinet, Flute, Vibes, and
French Horn (doubling the Trombone 1 part).
The bass and piano parts are fully notated. An
outstanding ballad feature for any program!
10371015 Jazz Ensemble . . . . . . .M 58.00
In a Sentimental Mood—Duke Ellington/arr.
Mike Tomaro. Here's a chart that everyone
should get to know! Duke Ellington's classic
ballad is the perfect opportunity to feature your
star tenor sax player. With flowing melodies
and a lush orchestration, this is the perfect
ballad for contests or festivals.
2406312 Jazz Ensemble . . . . . . .M 55.00
Isfahan—Ellington & Strayhorn/arr. Alan
Baylock. This is the alto sax ballad feature you
have been looking for! Put together the brilliant
composers Billy Strayhorn and Duke Ellington
with superb arranger Alan Baylock, and you
will have an outstanding musical experience.
This chart is not technically difficult, but it's lush
and full of moving lines and nuances. The lead
trumpet range is to written A above the staff,
there is no improvisation for the alto soloist,
just the beautiful Strayhorn melody! Optional
expanded instrumentation.
10071902 Jazz Ensemble . . . . . . .M 58.00
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