4Editors' Choice (Best of 2015 Publications) lNew for 2015 HPepper Basic Library Available via ePrint All Prices in U.S. Dollars & Subject To Publisher Revision
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Jazz Ensemble with Vocal Solo
H Christmas Time Is HereVince Guaraldi/arr.
Roger Holmes. Vince Guaraldi's touching ballad
from "A Charlie Brown Christmas" will feel as
familiar as an old friend. This feature for vocal
soloist makes a simply wonderful addition to your
holiday concert! Vocal in C.
2470804 Jazz Ensemble
& Vocalist . . . . . . . . . . M 50.00
H Come Fly with MeJimmy Van Heusen/arr.
Quincy Jones/ed. Tomaro. The swingin' Quincy
Jones arrangement of this standard was a Frank
Sinatra signature tune. Here's the authentic version
edited and adapted for today's bands by Mike
Tomaro. Key: B-Flat.
10072767 Jazz Ensemble
& Vocalist . . . . . . . . . MA 60.00
Cry Me a RiverArthur Hamilton/arr. Victor Lopez.
Featuring a vocalist with big band, this gorgeous
ballad is played around 74 bpm. The vocal range
is G below middle C to third space C, and the lead
trumpet range is to F-sharp top line. Included are
optional solo parts for B-flat, E-flat, and Bass Clef
instruments to be used in place of the vocal feature.
It's an accessible chart for the band and a great way
to feature a vocalist or instrumentalist!
10452150 Jazz Ensemble
& Vocalist . . . . . . . . . ME 54.00
The Days of Wine and RosesHenry Mancini/
arr. Dave Wolpe. Dave Wolpe gives us a fine vocal
feature chart on this wonderful Henry Mancini
standard treated in a moderate swing style.
Arranged in two keys for flexibility, the low female
key is C and the vocal range is G below middle
C to third line B. The high male key is F and the
range is middle C to top space E treble clef. The
lead trumpet range is to written B above the staff.
An optional written tenor sax solo is included if you
want to use this as a tenor sax feature instead of a
vocal feature.
10452144 Jazz Ensemble
& Vocalist . . . . . . . . . . M 60.00
Don't Get Around Much AnymoreDuke
Ellington/arr. Dave Wolpe. Duke Ellington's great
chart really swings in this potent Dave Wolpe
arrangement! The vocal solo is backed by all sorts
of tasty little fills, and the full band gets to shout a
bit, too. Ad lib fills can be handled by the vocalist
or the pianist. Either way, this is sure to be a hit!
Vocal in F.
2381952 Jazz Ensemble
& Vocalist . . . . . . . . . . M 54.00
H Don't Know WhyJesse Harris/arr. Paul Murtha.
Award-winning pop singer Norah Jones made this
tune climb the charts, and it's easy to see why so
many people like it. The haunting, beautiful melody
and smooth harmonies make it an incredibly
appealing chart to use with either vocal, trumpet or
tenor sax soloist. Vocals in Bb.
2473701 Jazz Ensemble
& Vocalist . . . . . . . . . ME 50.00
Embraceable YouGeorge Gershwin/arr. Dave
Wolpe. Dave Wolpe has done a masterful job with
Gershwin's romantic favorite, setting it in two keys
for both male and female vocal solo, including a
lyrical trombone feature, even building it up to a
big band shout before the lovely closing. This will
be a highlight in any performance! Male vocal in F,
female vocal in C.
2468031 Jazz Ensemble
& Vocalist . . . . . . . . . . M 58.00
Everybody's Waitin' for the Man with the Bag
arr. Rick Stitzel. Composed in the '50s, this
entertaining holiday tune has been recorded
notably by Kay Starr, and more recently by the Brian
Setzer Orchestra. For vocalist and big band, this is
a dynamic and swingin' addition to any holiday
performance! Vocal in A-flat.
10283028 Jazz Ensemble
& Vocalist . . . . . . . . . . M 50.00
AUTHENTIC
FRANK
SINATRA
VOCAL CHARTS
December 12, 2015 is the 100th anniversary
of Frank Sinatra's birth. For the first time
in print, here are the original, newly edited
versions of the charts used in recording sessions
and with the legendary Count Basie Orchestra
collaborations. Performing one or more of these
exceptional arrangements is a great way to
celebrate this momentous occasion.
The Best Is Yet to Come—Cy Coleman/
arr. Quincy Jones.
This classic Frank Sinatra
arrangement from the pen of Quincy Jones comes from the
It Mi ght As Well Be Swing album, recorded in 1964 with
the Count Basie Orchestra. This song, along with Luck Be
a Lady; My Kind of Town; New York, New York and a few
others helped cement Sinatra's unique, memorable, and
often imitated style. This is a very laid back, swinging chart
that allows the singer to shine. Brass ranges: Trumpet 1 to
high E, trumpet 2 to high C, and trombone 1 to C-flat. Vocal
keys: A-flat to C, to D-flat, to A.
10062040 Jazz Ensemble & Vocalist . . . . . . .MA 65.00
4
Fly Me to the Moon—arr. Quincy Jones.
For the first time, here is Quincy Jones' arrangement
originally written for the 1964 Sinatra/Basie studio
collaboration It Might As Well Be Swing. This chart was also
used a few times during the 1965 Sinatra/Basie summer
tour and then at the famous 1966 "Live at the Sands"
concert. This publication comes from the original parts.
Alto 1 and Tenor 1 double on flute. As was customary for
these recordings, Harry "Sweets" Edison would play fills
throughout the arrangement and typically didn't have a part.
The fill spots are in the trumpet 4 part, although they are not
written out. Vocal Key: C. Highly recommended!
10493006 Jazz Ensemble & Vocalist . . . . . . .MA 65.00
I Get a Kick Out of You—Cole Porter/
arr. Neal Hefti.
The big band arrangement of one of the
most famous Sinatra recordings I Get a Kick Out of You,
arranged by Neal Hefti! This arrangement was featured
on the 1962 album "Sinatra and Swingin Brass." It's
not a particularly difficult arrangement though trumpet
1 goes to E6 and trombone 1 goes to B4. The real trick
to this arrangement is getting the band to be as tight as
possible, especially where there are accented band hits.
The fourth trombone is written for bass trombone. The
arrangement features an 16-measure alto saxophone solo.
Chord changes have been included for your alto player to
improvise. There are no saxophone doubles.
10273619 Jazz Ensemble & Vocalist . . . . . . .MA 65.00
I Won't Dance—Jerome Kern/arr. Neal Hefti. Here's
the classic Neal Hefti big band arrangement from the 1962
Frank Sinatra and Count Basie collaboration Sinatra-Basie.
This is vintage Neal Hefti: mellow, but swinging lines
and enough space to afford the vocalist some freedom
of interpretation. This chart really "breathes" well. The
arrangement calls for alto 1 to double flute (Frank Wess was
the flutist on the record). An alternate alto 1 part is included
avoiding the flute double. Also featured are a couple of
short tenor sax solos which have been written out. Vocal
key: C modulating to D-flat.
10062050 Jazz Ensemble & Vocalist . . . . . . .MA 65.00
4
I've Got You Under My Skin (from Live at the
Sands)—Cole Porter/arr. Quincy Jones.
Now for
the first time in print, this publication is based on Nelson
Riddle's original set of parts used by Frank Sinatra for the
1956 session with Quincy Jones' modifications for the Live
at the the Sands album. This arrangement follows Riddle's
very closely, but there are no saxophone doubles, and
Jones' adaptation places the original string parts in the
saxophone section. Also included is the big full ensemble
section with the famous trombone solo before returning
to the chorus. No chart says "Sinatra" like this one! Highly
recommended!
10517479 Jazz Ensemble & Vocalist . . . . . . .MA 65.00
Night and Day—Cole Porter/arr. Nelson Riddle.
This chart by Nelson Riddle comes from Frank Sinatra's
A Swingin' Affair album released in 1957. An absolute
standout arrangement, it's forceful, brassy and joyous as
Sinatra leads an exceptional orchestra playing another of
Riddle's masterpieces. The chart begins with a punchy,
brass-led sequence that will immediately grab the listeners.
The vocalist enters with just baritone sax and rhythm section
featuring a riff borrowed from the earlier recording of I've Got
You Under My Skin. All saxes then go to clarinets (alternate
parts are included avoiding the doubles) while trumpets go
to harmon mutes. The string parts have been scored into the
clarinets and saxes, and there is a cameo trombone solo in
the middle of the arrangement that has been fully written out.
The vocal key begins in D and modulates to E-flat.
10062055 Jazz Ensemble & Vocalist . . . . . . .MA 65.00
Our Love Is Here to Stay—George Gershwin/
arr. Nelson Riddle. From the Frank Sinatra 1956 record
Songs for Swingin' Lovers, this Nelson Riddle arrangement
is a masterpiece in big band writing. It begins with a short
piano intro (written, or the pianist can improvise something
comparable). The vocalist enters at measure 5 with the brass
in cup mutes. The string parts have been scored into the
band, mostly in the sax section. The ranges are modest and
the chart features some nice harmon muted trumpet solos as
backing for the vocal. These solos have been fully written out
for trumpet 2, or can be improvised using the included chord
changes. The vocal key is D.
10062056 Jazz Ensemble & Vocalist . . . . . . .MA 65.00
Summer Wind—arr. Nelson Riddle. This chart,
arranged for Frank Sinatra, comes from the 1966 Strangers
in the Night record, which, despite the success of the
recording, proved to be the last collaboration between
Sinatra and Nelson Riddle. An organ is featured on the
recording, but a piano will work just fine. The ending is
scored for alto 1 and tenor 1 to double flutes, but alternate
parts are included avoiding the doubles. The brass ranges
are comfortable, but the vocal part goes through some
modulations: D-flat to E-flat to F. This is just a great, "must-
have" Sinatra chart!
10062058 Jazz Ensemble & Vocalist . . . . . . . . M 65.00
They Can't Take that Away from Me—
Geroge Gershwin/arr. Neal Hefti. This is Neal Hefti's
brilliant arrangement from the Frank Sinatra recording
Sinatra and Swingin' Brass. This medium swing chart is
in the Basie style and has that unmistakable Hefti sound.
Featured is a short, muted trumpet solo that has been
transcribed and included. There are no saxophone doubles
and the vocal key is E-flat.
10062059 Jazz Ensemble & Vocalist . . . . . . .MA 65.00
Too Marvelous for Words—arr. Nelson Riddle.
From the Frank Sinatra and Nelson Riddle Collaboration,
Songs for Swingin' Lovers, comes this wonderful chart on
Too Marvelous for Words. Altos 1 and 2 double on flutes
and tenors 1 and 2 double on clarinets; however alternate
parts are included avoiding these doubles. This definitive
arrangement is instantly recognizable from the first few
notes and has been adapted to conform to standard big
band instrumentation. The vocal key is F throughout.
10062060 Jazz Ensemble & Vocalist . . . . . . .MA 65.00
You Make Me Feel So Young—arr. Quincy Jones.
Here is You Make Me Feel So Young as arranged by
Quincy Jones for the performance and recording of Frank
Sinatra with the Count Basie Orchestra on the Sinatra Live
at the Sands album of 1966. The original Quincy Jones
manuscript was used to publish this arrangement, and it is
not a transcription. The original arrangement called for a 5th
trumpet that was played by Harry "Sweets" Edison. This
part primarily contains the chord changes for the fills that he
played, but there was also a brief part that was written for
him to play at the last 7 bars of the arrangement. The chord
changes have been written into the 1st trumpet part in the
event you don't have a 5th trumpet player. Those last 7 bars
of the 5th trumpet part may be left out
as they are not integral. The vocal key is G modulating to
A flat. There are no sax doubles.
10273643 Jazz Ensemble & Vocalist . . . . . . .MA 65.00
FRANK!
