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Ballads
All Levels
Angel Eyes—Matt Dennis/arr. Carl Strommen.
Oh, yes! This is a superb setting of the iconic jazz
ballad that features the alto sax star in your band.
The alto solo is mostly written with opportunities to
improvise around the melody, and the ensemble
gets their chance in the spotlight with some fine
full-band passages. The trumpet 1 range is to
written E top space with some optional octave-up
sections if desired. At 76 bpm, this chart will allow
your alto soloist to shine!
10513881 Jazz Ensemble . . . . . . . . . ME 48.00
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 Always—Tom Molter. This nostalgic and
smooth, easy ballad provides an excellent
opportunity to showcase your alto sax soloist, and
the lush ensemble writing allows your winds to
shine. Whether you're gearing up for a concert,
festival, or just need a heartwarming warm-up, this
chart fits seamlessly into any setting. Its timeless
charm makes it a versatile choice for practically
any ensemble.
11582776 Jazz Ensemble . . . . . . . . . . E 52.25
A Child Is Born—Thad Jones. This absolutely
gorgeous ballad in 3/4 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. Rick Hirsch.
Oh yeah, a beautiful straight-eighth Ellington
ballad! Played around 84 bpm with gorgeous
voicings throughout – there are suggested or
improvised solos for tenor and trombone, very
easy brass ranges, and all the usual optional parts
to include vibes for expanded instrumentations.
Very playable and very satisfying!
10753974 Jazz Ensemble . . . . . . . . . ME 48.00
Currents—Vince Gassi. A gentle ballad is always
a welcome change of pace in a high-powered
concert, and this original is the perfect chart to fill
that slot. There is a lyrical solo line for the trombone,
with beautiful muted brass backgrounds. The piece
builds in intensity, moving through several keys,
and features some lush musical moments that are
the high points of the chart.
11615250 Jazz Ensemble . . . . . . . . . . M 55.00
The Dance That Never Was (from Four
Ethereal Planes)—Josh Trentadue. Featured
on many Spotify playlists, this beautifully moving
ballad is a perfectly sentimental tune for any jazz
combo program.
11614383 Combo Lead Sheet . . . . . . . MA 6.00
Early Morning (Solo Feature for Alto Sax, Tenor
Sax or Trumpet)—Doug Beach. Programming
the right ballad is always a challenge – this will
make that decision a little easier. Featuring your
choice of alto sax, trumpet, or tenor sax soloist,
this beautiful ballad will be a memorable choice
on any program. The pensive melody is supported
by warmly scored backgrounds that build as the
chart unfolds. The double-time ensemble section
provides a wonderful contrast to the ballad feel. A
must-have chart for any library.
11615266 Jazz Ensemble . . . . . . . . . . M 55.00
Jazz Ensemble Ballads | All Levels
LOOKING FOR
PROGRAMMING VARIETY?
Place your vocalist or a guest artist in the spotlight with these outstanding
vocal solo features!
Autumn Leaves—Johnny Mercer, Jacques Prevert & Joseph Kosma/arr. Mark Taylor.
This standard tune from 1945 has consistently remained a favorite with jazz musicians. Featuring
a timeless melody, beautifully scored background parts, and a medium swing style, this standout
chart for vocal soloist belongs in every library.
11571826 Jazz Ensemble & Vocalist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M 55.00
Route 66—
Bobby Troupe/arr. Rick Stitzel. Give your star female vocalist the opportunity to sing this
American classic made famous by the great Nat King Cole. Scored in B-flat for jazz combo.
11623390 Combo with Vocal Soloist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ME 50.00
Sweet Georgia Brown—Ben Bernie & Maceo Pinkard/arr. Mark Taylor.
There are some jazz standards that just never seem to go out of style. Here's an exceptional
arrangement for vocal soloist in a medium swing style. The chart features inventive
accompaniment figures from the band, a brief sax soli, and a shout chorus filled with dramatic
contrasts in dynamics. This one is fun for the band as well as the singer.
11571828 Jazz Ensemble & Vocalist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M 55.00
When You Wish Upon a Star Vocal Solo with Jazz C Major—
Ned Washington & Leigh Harline/arr. Chuck Israels. Using a comfortable moderate swing
style, this masterful setting opens with the full ensemble, then gives way to solo space for tenor
sax. A key change announces the entrance of the vocalist who takes us the rest of the way out.
Tender and very effective!
11571827 Jazz Ensemble & Vocalist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M 55.00
