Psalm.78

Watkins' classy SATB saxophone arrangement takes inspiration from Miles Davis. Between quartet solos, choruses of Miles' solo from Kind of Blue are harmonized in a tasteful soli interlude.

Starting with a classic tenor saxophone ballad sound, the melody then moves among the quartet. The writing is somewhat contrapuntal moving to a double-time soli with the theme lilting over the top. Next, we

Cogworks is written in the big band style and incorporates a lesser used jazz instrument… Bassoon!

I have talked to a great deal of bassoonists that always seem interested in jazz but have

In this AATB quartet arrangement the Tadd Dameron Hot House melody is mixed with Cole Porter's What is This Thing Called Love. It opens with the first two bars used as a fugal theme. After

For flute trio or quartet - 2 bass flutes (or optional flutes), flute 1 & flute 2 / This has a Brasilian feel to it and allows for some improvisation during one section of the piece. Recorded by Jeff

In this SATB quartet arrangement Charlie Brown's theme delights audiences. Linus and Lucy can be performed at most concerts to mix familiar with unfamiliar and keep listeners' ears ready

Audiences are engaged with this SATB quartet arrangement, livening any concert. The treatment is over the "Sound of Music" changes as opposed to the modal John Coltrane version. After an energetic intro,

Inspiration for this SATB quartet arrangement comes from Miles Davis' rendition following his changes and bridge. The melody is in the tenor, as is often befitting a jazz ballad. Alto improvises over the

The opening melody is in alto 1 with the other saxes providing a punchy, sometimes dissonant accompaniment. Tenor takes the solo with original, non-intrusive, but interesting support from soprano, alto, and

Royal Garden Blues, arranged here for various Quartets and Quintets is a well known and readily recognizable Dixieland classic. This arrangement is suitable for professional musicians and more experienced

Watkins holds true to the David Sanborn version of this tune covering the roles of the melody and rhythm section masterfully. Audiences always thrill to this arrangement, which includes a Supersax

Layered and varied rhythms set an ostinato foundation for the opening melody in the tenor. All saxophones have solo spots with each accompaniment different. At the end of the alto solo, the other saxes join