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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 set 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!

Fly Me to the Moon

Jazz Ensemble with Vocalist

This is one of the most famous vocal studio orchestra arrangements, recorded by Dean Martin in 1960. This is the authentic and swinging version that Nelson Riddle created to showcase Martin in his typical, easy-going vocal style. An optional synthesizer part has been included that may be used in place of the strings. There are no saxophone doubles and the vocal key is D throughout. This is oh, so nice! Instrumentation: five saxes (AATTB), four trumpets, three tenor trombones, bass trombone, three violins, viola, two celli, guitar, piano, bass, drums, and optional synthesizer.

Ain't That a Kick in the Head

Jazz Ensemble Score & Parts (with Strings)

Now in print for the first time, this was originally written in 1987 for the Richard Stoltzman album titled Ebony, featuring the Woody Herman Big Band. Duke Ellington's Come Sunday featured Stoltsman as a clarinet soloist. John Fedchock modified it sometime later to make it a baritone saxophone solo feature and added a trombone 4 part to cover the original baritone sax part. Fedchock's chart is absolutely gorgeous, featuring lush harmonies, a few woodwind doubles, beautiful ensemble sections, and a double-time section for the ensemble. The baritone sax solo is both written and improvised and features a wonderful cadenza at the end. Highly recommended!

Come Sunday

Jazz Ensemble Score & Parts

A high-energy swing tune with fast tempo, layered horn writing, and bold solos. It builds gradually from rhythm section to full ensemble, with dynamic shifts, counterpoint, and shout choruses leading to a dramatic finish.

Sugar

Benny Golson composed this octet chart in 1957 and it was featured on the Dizzy Gillespie album The Greatest Trumpet Player of Them All. The features include a bluesy sound, interesting harmonies, varied rhythmic figures and solos for tenor sax, trumpet, and piano with backgrounds. Blues After Dark is quite accessible and fun to play! Instrumentation: ATB Saxes, Trumpet, Trombone, Piano, Bass, Drums and Optional Guitar.

Blues After Dark

Jazz Combo Set of Parts (Octet)

Horace Silver created a blues with a perfectly consistent character and structured the accompaniments and his piano solo in perfect balance. Orchestrating the piano parts from the original recording is a fairly straightforward process. Some thought goes into choosing which instruments best express the music and there's some attention paid to contrasting timbres and textures, but so much of the music already exists in Silver's piano playing, both in his solos and in his accompaniments, that the piece is already there without additional writing. It's a perfect framework that will produce a telling performance. Small Band: ATB Saxes, Trumpet, Trombone, Piano, Guitar, Bass, and Drums.

Doodlin'

Jazz Combo Score & Parts

This chart does an excellent job of maintaining the standard formula of the octet while throwing in some unexpected curveballs along the way. It manages to strike a lovely balance between dreamy romanticism and jovial playfulness. Wonderful for adding a more relaxed tune to your combo's catalog.

I've Got a Feeling I'm Falling

Manny Albam wrote this arrangement for the Terry Gibbs Dream Band and it was recorded on their 1962 "Big Cat" album. Originally arranged to feature Terry Gibbs on vibes, this chart has been adapted to feature any C, Bb or Eb soloist.

Big Bad Bob

Ensemble

Instrument Family

This studio ensemble arrangement was written for Charlie Parker in the early 1950s. From all appearances this arrangement was never played. In fact, many of the arrangements that made up the Charlie Parker with Strings library were never recorded or performed. This is a very interesting arrangement and fits well within the context of the rest of the Parker with Strings book. Here's a chance to play a never-before-heard Bird with Strings arrangement! Instrumentation: Alto Saxophone Soloist, Oboe, 3 Violins, Viola, Cello, Harp, Guitar, Piano, Bass and Drums.

I Cover the Waterfront

Mixed Ensemble Jazz Studio Ensemble

Released in 1955, Frank Sinatra's performance of Learning the Blues proved to be yet another hit in his lengthy string of popular successes, even becoming the most played song on the radio for a brief time. With Nelson Riddle's arrangement providing ideal accompaniment, it's honestly not hard to see why this would be the case. Vocal key: A to B-flat

Learning the Blues

Jazz Ensemble Score & Parts (Male Vocal)

This fabulous Marty Paich arrangement was written for the Dave Pell Octet and recorded for the Dave Pell Octet Plays Rodgers and Hart album (1954).

Mountain Greenery

Complete set of 8 movements!

Tchaikovsky's "Nutcracker" ballet has served as a source of inspiration for jazz and pop artists for a number of years. The Glenn Miller Orchestra finally decided to take their own crack at it in 1993, enlisting the help of arranger Dave Wolpe to give the most famous melodies from the holiday classic a new twist. These arrangements pay homage to the original orchestrations while coating them in the unmistakable "sweet" Miller sound. Mellow and easy-swinging, these arrangements are sure to bring holiday cheer to your musicians and audiences alike.

Nutcracker Suite Complete Set

This Shorty Rogers arrangement was written for the Dave Pell Octet and recorded and released on the 1954 'The Dave Pell Octet Plays Rodgers and Hart' album. The chart features solos for trumpet, baritone saxophone, and tenor saxophone. This publication was based on the original parts used during the 1954 recording session - this is not a transcription.

The Blue Room

This swinging studio orchestra arrangement was written by Billy Byers in May of 1970 for a concert that Frank Sinatra gave at Royal Festival Hall in November of that same year. This is classic Sinatra/Byers collaboration featuring swinging reed figures and punchy brass statements with string support. A synthesizer part has been included as an optional substitution for the string parts. This is not a difficult arrangement, except for the brass ranges, and would be fairly easy to work up. Also included is the vocal part as written by Byers. Ranges: Trumpet 1 to Eb6; Trombone 1 to Cb5; Vocal Key: D-flat.

A Foggy Day

Jazz Ensemble Score & Parts (Studio Orchestra)

This Frank DeVol arrangement was written for a Peggy Lee 1946 Capitol recording session in Hollywood. Featured along with the vocal is alto saxophone. What sounds like the alto saxophonist improvising was actually entirely notated by DeVol. Chord changes are included for the alto sax soloist for improvising as an option. Trumpets and trombones need plunger mutes. This chart is based on the original score and parts. Instrumentation: Solo Vocal, AATTB Saxophones, 3 Trumpets, 3 Trombones, 3 Violins, 2 Celli, Harp, Guitar, Piano, Bass and Drums. Ranges: Trumpet 1 to C#6, Trombones 1 and 2 to A4. Vocal Key: B-flat.

Come Rain or Come Shine

Jazz Ensemble Score & Parts with Strings

This Quincy Jones arrangement was recorded by Ella Fitzgerald on her 1963 collaboration with the Count Basie Orchestra, "Ella and Basie!" Both Fitzgerald's and the Basie band's performance of this wonderful chart serve as a definitive treatment of one of jazz's most unique and endearing ballads. This publication has been prepared from the original set of parts used during the recording session and is not a transcription. Vocal Key: Db

My Last Affair (This Is)

From the Glenn Miller Orchestra album In the Christmas Mood, arranged by Dave Wolpe.

Yuletide Medley 1

Immerse yourself in the classic jazz stylings of "Four or Five Times" expertly composed by Byron Gay and Benny Carter. This vibrant arrangement for jazz band, featuring a captivating vocal solo, showcases Carter's intricate musical design. Perfect for ensembles seeking to evoke the spirited essence of traditional jazz. - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

Four or Five Times

Jazz Ensemble Additional Score

Mary Lou Williams wrote Camel Hop and Roll 'Em for Benny Goodman while she was still with Andy Kirk's band, and in late 1946, she started writing for him again. At the time, he had his own radio show with pianist Victor Borge, and in 1947, he would begin a new recording contract with Capitol Records. Goodman recorded Williams' Lonely Moments and Whistle Blues, a novelty that was recorded a few times during 1946 and 1947. Although the original parts exist for the Goodman version of Whistle Blues, this is the stock arrangement. It is very similar to the recording made by Milt Orent's orchestra for Moe Asch's Disc label, and is a more interesting treatment of the material. The original publication has a bit of history. In 1947, Goodman's publishing company Harman Music issued both Lonely Moments and Whistle Blues as octavo-sized stock arrangements with Goodman's image on the cover. The copyright notices on both are credited to Harman, but this was an error. It is believed that Goodman thought that he was buying the copyrights themselves and released the stocks with that understanding, but Williams refused to sell them to him. Both publications were promptly withdrawn.

Whistle Blues

Benny Carter's 'Easy Money' was written for one of two sessions the first Renaissance man of jazz made with the Count Basie Orchestra in the early 1960s. While retaining Carter's distinct musical identity, it manages to be an excellent fit for the classic Basie band style at the same time.

Taken at a quintessential medium swing tempo, the catchy melody is stated in unison by the horns from measures 8 to 24. The saxophones play a harmonized melody on the bridge at measure 25 with gently prodding brass accompaniment before the whole band comes together for the final A section at measure 32.

Beginning with a two bar break at measure 39, the spotlight is handed over to a trumpet solo for the next chorus, taken by lead trumpet master Snooky Young on the original recording. The backgrounds are mostly simple unison figures in the saxes for the A sections, breaking into basic but effective harmony for the bridge. Following this trumpet solo is a half chorus sax soli at measure 71, followed by a half-chorus of Benny Powell's trombone at measure 89.

A key change at measure 105 sets up a Harmon-muted trumpet section soli that is revisited by the entire band at full blast at measure 129 following a piano solo. Another 8 bar piano solo at measure 145 sets up the melody recap at measure 153, with some slight variations in the final four bars of the chart. Some quick ensemble hits, a sax soli break, and one last warm brass chord bring everything to a gently effective conclusion.

This publication is not a transcription - it has been prepared from Benny Carter's original score.

Easy Money

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