This exciting, authentically written work is a tribute to cultural unity using four contrasting Afro-Cuban styles seamlessly connected: guaguanco, son montuno, bolero, and Afro-Cuban 6/8. It was adapted for
As performed by Kris Berg & The Metroplexity Big Band from This Time/Last Year featuring Wayne Bergeron on an aggressive, high-energy Afro-Cuban romp! This chart grabs your attention from the very
Recorded on The New Sounds of Maynard Ferguson and his Orchestra in 1963, this is the original version of the chart (instrumentation: four saxophones, four trumpets, two trombones, piano, bass, and drums)
Here's an up-tempo and intense Latin/swing chart to challenge your ensemble. Includes a tenor sax feature and an open solo section, a rhythm section interlude, a slower swing section near the end, and a
As the title implies, this Michael Mossman original captures a Bolivian style utilizing various layers of sound and shifting moods. Trombones are featured at first, but every section of the ensemble gets a
Recorded by the Stan Kenton Orchestra on Live at Brigham Young University, this is the thrilling Stan Kenton Latin sound like that of Malaga and Malaguena that is sure to dazzle any crowd.
This powerful and exciting Latin chart takes you on a sensational journey through 6/4 and 12/8 time. If you are a fan of The First Circle or Minuano and looking for something similar, this
This fiery arrangement of Caribbean Fire Dance maintains a smoldering intensity during even its more subdued moments. There's ample solo space for tenor sax, trumpet, trombone, and drums. The
A minimum quantity of 2 is required on this title.
Take a classic Paul Simon melody, add an energetic samba style, an opening alto sax melody solo, then gradually layer in more voices, and you have a chart that is well on the way to be thrilling! All
Nobody does cha-cha like Michael Mossman. This inventive original features a smooth harmonic structure and a nice blend of innovative melodies with carefully crafted accompaniment figures. The solo
A tour-de-force for advanced groups, this 2015 Grammy-nominated arrangement is the original Stephen Foster waltz refitted as a medium-bright samba in 4/4 time. Featuring a smooth and lyrical melody over a
I'm Free is one of the many great tunes from The Who's rock opera "Tommy." With a nod to Mario Bauz and Tito Puente, Rick Hirsch has reimagined this classic rock anthem as a high energy mambo. The
Here's the chart that won first place in the 2015 Ithaca College Jazz Ensemble Composition Contest. It's a one-of-a-kind work with a compelling musical narrative, unique soundscape, and a tune that won't go
This jazz fusion classic by Chick Corea was recorded by Stan Getz in 1972 and also by Chick Corea with his group Return to Forever on the landmark album Light as a Feather. In this exciting version for
Rich DeRosa has created a marvelous Latin composition in a Baiao feel that comes out of the gate roaring! The very hip melody is stated by flute, soprano and alto saxohones, trumpet and piano. There's
Here's the full big-band version of Gordon Goodwin's The Cannonball Run! It's a high-energy Latin/pop cooker that moves along at a pretty good clip, around 240 bpm. The saxophone lead is
Commissioned by the South Carolina Band Director's Association, Finya Wulo (or Mende Funeral Song), is written using a distinctive 12/8 "bembe" feel in a moderate tempo. The scoring utilizes a
Latin music should be a part of every jazz group's repertoire. You'll enjoy the fire and rhythmic emphasis of this chart, as well as the harmonic and melodic richness. With the half note equaling 108
Commissioned by the U.S. Army Jazz Ambassadors, this Eric Richards chart shines new light on the beauty and depth of this classic Beatles hit. An up-tempo Brazilian groove gives way to hints of samba and
Availability Information
This item is temporarily unavailable from the supplier though we still may have stock. Add to cart to check availability.
This groundbreaking arrangement was written by George Russell in 1947 for the Dizzy Gillespie Big Band. It was first recorded live at Carnegie Hall then recorded at one of the last sessions Dizzy Gillespie
This exciting Afro-Cuban composition is the opening cut from the 1993 album 944 Columbus, the final recoding by Mario Bauza, one of the most influential figures in the development of Latin jazz. The title