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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

Jazz Ensemble 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

Jazz Combo Score & Parts

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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 Part

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!

Fly Me to the Moon

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

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 Part

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

This beautiful piece by Django Reinhardt and arranged by Bob Brookmeyer appeared on the first "Concert Jazz Band" album with Gerry Mulligan. The original parts had no written out drum part (the part marked "drums" is in effect a copy of another part) and there are no drums on the original recording. An optional drum part has been included with this version. Playing this setting with only the string bass is a wonderful challenge, especially if the instrument has no amplification, something Mulligan disliked anyway. The parts themselves are not technically challenging, so developing ensembles can study and play this. The challenge lies in playing the chart in tune, with everyone listening and thinking as one person. Rehearse this once the players are warmed up, and allow the magic to happen.

Manoir de Mes Reves (Django's Castle)

This is Bill Holman's arrangement as written for the "Terry Gibbs Dream Band" and recorded live in 1961 at the Summit Club in Los Angeles. It's a brilliant and exciting chart by Holman featuring a lot of counterpoint and band interplay with Terry Gibbs featured on vibes. Optional solo parts are included for B-flat and E-flat soloists. This would make a great festival or competition piece! Instrumentation: AATTB Saxophones, 4 Trumpets, 3 Trombones, Vibraphone, Piano, Bass and Drums.

Day In, Day Out

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.

Too Marvelous for Words

Manhattan

This arrangement of the Dizzy Gillespie, Gil Fuller, and Jay Roberts' bebop era classic tune was recorded by Supersax on their 1977 record "Chasin' the Bird." Med Flory based this six horn arrangement on Charlie Parker's 1949 "Royal Roost" performance of the tune. This chart does feature a trumpet part and some singing by the band. Instrumentation: 2 Alto Saxes, 2 Tenor Saxes, 1 Baritone Sax, 1 Trumpet, Piano, Bass, Drums.

Oop Bop Sh'bam

Jazz Combo Part (5 Saxes, 1 Trumpet with Rhythm Section)

Smada has a long and somewhat unusual history. Originally written for a group called the Moonlight Harbor Band sometime in the late 1930s, Strayhorn crafted multiple arrangements of the tune before settling on the final version recorded by the Duke Ellington Orchestra in 1951. Even the title wasn't solidified until then; at various points prior, this song was known as "Ugly Duckling," "Don't Take My Love," and "Jenny Lou Stomp." The version presented here is based on the version recorded by the Ellington orchestra's 1967 tribute to Strayhorn "...and his mother called him Bill." The majority of this arrangement has been prepared from Strayhorn's sketch score and a set of original parts. Unfortunately, some sections of the trumpet and trombone parts are missing both from the parts and sketch score and appear to have been lost. These sections have been transcribed accordingly.

Smada

This arrangement was written by Bob Brookmeyer for the 1956 album "Swingin' with the Terry Gibbs Orchestra." Originally written for five saxes, four trumpets and four trombones, it was adapted to the smaller instrumentation of five saxes, four trumpets, three trombones and three rhythm with vibraphone for the Terry Gibbs Dream Band book. The solo was originally played on mellophone but later moved to trombone 2. Alternate solo parts have been included so that any soloist can be featured.

Happiness Is a Thing Called Joe

Here is Shorty Rogers' swinging chart as written for the "Terry Gibbs Dream Band" and recorded live in 1961 at the Summit Club in Los Angeles. This is a brilliant chart by Rogers featuring a lot of counterpoint and band interplay. Instrumentation: AATTB Saxophones, 4 Trumpets, 3 Trombones, Vibraphone, Piano, Bass and Drums. Ranges: Trumpet 1 to G6, Trombone 1 to F5, Trombone 2 to D5.

T & S

This is Bill Evans' exercise in fast harmonic rhythm, an obstacle course not unlike Giant Steps. It is based on the outline of What Is This Thing Called Love with numerous added harmonic details and detours and Evans' usual rich rhythmic language. There is flexibility in interpreting the improvisational possibilities for solos in this chart. Small Band: ATB Saxes, Trumpet, Trombone, Piano, Guitar, Bass, and Drums.

These Things Called Changes

Here is Med Flory's arrangement of Bloomdido as recorded by Supersax. Charlie Parker's original solo was transcribed in full by Med Flory and then harmonized to be played by a standard big band sax section (2 altos, 2 tenors and 1 baritone) with a trumpet and rhythm section (Piano, bass, and drums).

Bloomdido

Jazz Combo Part (5 Saxes, Trumpet & Rhythm Section)

Copyright Year

Here is Marion Evans's swinging vocal duet arrangement that was the title track of Tony Bennett's 2021 Cole Porter songbook album Love for Sale. The chart begins with a piano/male vocal duet for the verse. After an 8-bar band entrance the male vocalist continues with bass only for the first 16 bars of the tune. The band re-enters and then swings to the end. Your alto saxophone player gets a chance to shine with a 32-bar solo section. The vocal key is Bb minor (the key signature of the tune is always written with two flats despite the minor key nature of the tune).

This publication was prepared using Marion Evans's original pencil score - this is not a transcription.

Love For Sale

This is not a technically demanding chart for the band; however, your singers need to be able to pull off this World War II era vocal trio style, which sounds easier than it is. Plus, there is a male vocal part that needs to seamlessly blend in as well. The well known Hawaiian slide guitar introduction has been scored into the ensemble as very few bands would have access to this instrument (or something that could approximate the sound). Recorded by Bing Crosby and the Andrews Sisters. Vocal Key: D modulating to E flat.

Mele Kalikimaka

Jazz Ensemble Part (Male Solo with Female Trio)

Here is the Shorty Rogers arrangement for the Dave Pell Octet recorded on the "I Had the Craziest Dream" album in 1955. This has been fully edited and engraved from the original parts and includes a full score. Instrumentation: Tenor Sax; Baritone Sax; Trumpet; Trombone; Guitar; Piano; Bass and Drums.

Mike's Peak

Global Sections - CORE [DO NOT TOUCH]*

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