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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
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
2335461 Additional Score. . . . . . 7.50
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 55.00
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
5713805 Additional Score. . . . . . 5.00
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
La Luz En Ti (The Light Within You)—
Michele Fernandez. Here is a mysterious,
richly scored ballad composed in the Cuban
bolero style and featuring a solo flugelhorn.
This piece is great to slow things down and
show the more expressive side of your
ensemble at your next concert!
11378558 Jazz Ensemble Flugelhorn
Feature . . . . . . . . . . .M 55.00
Lifelong Friends—Kris Berg. Kris Berg has
composed a beautiful, sensitive and mature
solo feature for B-flat, E-flat instruments
or trombone. The ensemble is equally
important in this setting at around 74 bpm
that transitions from the ballad style to a
double-time section with the soloist and then
back to the ballad style. While the solo part
is written, there are ample opportunities for
improvisation. The lead trumpet range is to
written high C. This is an outstanding chart
and ideal vehicle for your advanced soloist.
10513940 Jazz Ensemble. . . MA 60.00
Lush Life—Billy Strayhorn/arr. Mike Kamuf.
Lush Life is one of the finest ballads ever
by a brilliant composer and gifted arranger.
As played at around 88 bpm and moving
into a double-time bossa section leading
into the finale, you'll enjoy every measure
of this excellent chart. The solos are only
on the written melody for alto saxophone
and trumpet with no improvisation. Included
is an optional vibes part and optional wind
parts for expanded instrumentations. You'll
love this chart!
10756394 Jazz Ensemble. . . . .M 52.00
Lush Life—Billy Strayhorn/arr. Mike
Tomaro. Here is a beloved ballad skillfully
arranged with subtle reharmonizations
and reworkings of the melody, all the while
remaining faithful to the original intent.
Featured solos for piano and trombone, and
a gorgeous setting for the entire ensemble.
11401140 Jazz Ensemble. . . . .M 55.00
Missoula Nights—Jacob Ratledge.
Opportunities abound for solos, melodies,
and more in a fantastic ballad that your
band and audiences will love!
11614391 Jazz Ensemble. . . MA 65.00
My Foolish Heart—Victor Young/arr. Dave
Rivello. My Foolish Heart is a gorgeous
ballad feature for alto saxophone. This
chart is lush with beautiful textures but
very accessible to the medium grade level.
Lead trumpet range is to written A above
the staff, and everything is written out for
the alto sax soloist with changes provided
for some improvisation or ornamentation.
A nice modulation leads to a more improv-
like section for the soloist and a piano solo
break leads to a full band feature section.
Highly recommended!
10011959 Jazz Ensemble. . . . .M 52.00
No More, No Less—Len Pierro. This
beautiful ballad featuring the alto sax is
an homage to the inimitable Phil Woods.
There is an option flute section written into
the second alto part for more advanced
ensembles. Enticing and full harmonies are
throughout the whole chart.
11572371 Jazz Ensemble. . . MA 50.00
Over the Rainbow—Harold Arlen/arr. Alan
Baylock. Do you have two trumpet players
to showcase? Here is a ballad everybody
knows, scored as a trumpet duet feature.
Everything is written, no improvised solos,
the lead trumpet range is to C above the
staff and the second part is to written A.
Lyrical and melodic, this chart is a sure-
fire crowd pleaser impeccably arranged
by Alan Baylock! Optional expanded
instrumentation.
10093177 Jazz Ensemble. . . . .M 54.00
The Path Left Behind—David Samuel.
Smooth and flowing melodies blend
wonderfully together to create a lush ballad
that will show the more sensitive side of
your ensemble. Featuring a singular tenor
sax solo that shines above the brass
orchestration, this ballad is a must-have
in your library to showcase the dynamic
abilities of your band.
11393014 Jazz Ensemble. . . . .M 50.00
Pure Imagination (from "Wille Wonka
and the Chocolate Factory")—Bricusse
& Newley/arr. Craig Skeffington. If you
haven't heard this gorgeous ballad
from "Willie Wonka and the Chocolate
Factory," now is the time. A sensational
and easy-to-play alto sax solo feature,
this arrangement is scored with lush
harmonies and backgrounds. The lead
trumpet range is to written A above the
staff, the alto sax solo is entirely written
out and optional parts are included for
expanded instrumentation. Newsflash:
this will be your new favorite tune!
10068800 Jazz Ensemble. . . . .M 52.00
Round Midnight—Monk & Williams/arr.
Mike Tomaro. Few jazz ballads have been
performed as often as this one. It makes a
wonderful solo vehicle for alto sax in this
sensitive arrangement, which includes a
double-time feel that alternates with the
traditional ballad tempo. With beautiful lines
and striking harmonies, this arrangement is
a real standout, and a great way to feature
your alto soloist!
2701399 Jazz Ensemble. . . . .M 55.00
Round Midnight—Monk & Williams/arr.
Dave Wolpe. The timeless and beautiful
Cootie Williams and Thelonious Monk
classic is set here as a flugelhorn feature.
The band and soloist get to stretch out
some in a double-time interlude before
returning to the lyrical ballad style. Great
tune, great chart! It's everything you would
want it to be. Highly recommended!
10049734 Jazz Ensemble. . . MA 60.00
Samantha—Sammy Nestico. Originally
written for and played by Bud Shank, this
showpiece for alto sax features a wide
dynamic range and calls for a soft, smooth
approach to background figures. Although
written solo lines are provided throughout,
the main solo chorus includes chord
changes for players with improvisation
chops. The chart closes out with a solo
cadenza over a sustained ensemble chord.
10283500 Jazz Ensemble. . . MA 55.00
Skylark—Hoagy Carmichael/arr. Dave
Wolpe. You won't find a better ballad
feature for your tenor sax soloist! The
ensemble writing is wonderful, too. Dave
Wolpe has created an arrangement that
truly does justice to this extraordinarily
beautiful Hoagy Carmichael tune. Highly
recommended!
2701970 Jazz Ensemble. . . . .M 60.00
Ballads | Medium to Advanced
