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The Andrews Sisters produced a huge number of hits, and Boogie Woogie Bugle Boy is one of their finest. Alan Glasscock has scored a cracking version here, and has notated the vocal trio parts with exceptional skill. There were a couple of key versions of this song. One was the Decca release and the other done for the movie "Buck Pirates". The Decca chart used a small backing band, the movie a full big band. This version fuses the two and takes the best from both. Both of the Trumpet solos are fully written out (intro and in the middle section of the chart), and the Boogie Woogie piano and bass lines are all there. Although this is a Vocal Trio, we have also included a Solo Vocal part, should you wish to perform this chart with just one female vocalist. The Saxes are scored for clarinet, 2 altos and 2 tenors throughout. Vocal key: D Major.

Boogie Woogie Bugle Boy

Jazz Ensemble Score & Parts

Introducing "Corner Pocket," a swing sensation composed by the legendary Freddie Green and intricately arranged by Myles Collins. This piece captures the essence of classic swing with a lively, engaging rhythm that's perfect for jazz ensembles eager to showcase their flair and technical precision. Get ready to groove! - 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.

Corner Pocket

This chart has been transcribed from Nat King Cole's 1964 album "Let's Face the Music." The original arrangement was written by Billy May. It's an out-and-out vocal feature, with no breaks or padding in the form of an instrumental chorus. The chart opens in A-flat and modulates chromatically to B-flat. The band backings are always supportive of the vocalist, powerful when needed, yet wonderfully subtle in places. This is a fine vocal solo swinger which would make a great opener or closer. There are no saxophone doubles.

I'm Gonna Sit Right Down and Write Myself a Letter

"Black Coffee" weaves a sultry tale of longing and late nights. Composed by Paul Francis Webster and Sonny Burke, and masterfully arranged by Jon Harpin, this piece invites a vocal soloist to delve into a jazz ensemble backdrop. Perfect for capturing the essence of classic jazz with a modern flair. - 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.

Black Coffee

Here is Flying Home, transcribed by Alan Glasscock from the original Steve Steck arrangement scored for the Glenn Miller USAAF band. The chart is written at a bouncy 165 beats per minute and features solos for Tenor 1 (written out, with chords), Trumpet 2 (written as played), and Piano (improvised). Alto 1 has a short Clarinet double. A fine addition to any big band book.

Flying Home

Here is a great chart from Michael Buble. After a big and brassy opening the chart builds in layers, from solo vocal and bass, then a noodling tenor sax, then the full rhythm section, then the lower reeds and upper reeds, and finally the full band to a rousing finale. This is a fine arrangement for showcasing both your singer and the musicianship of your band. There are no sax doubles and the vocal key is E-flat throughout.

The More I See You

Series

Perhaps one of Frank Sinatra's most memorable hits, this version of Cy Coleman's Witchcraft was originally arranged by Nelson Riddle. The original concept has been adapted here by removing the strings and orchestral woodwinds, making the chart playable with standard 5/4/4/4 big band instrumentation. However, in order to maintain the feel of the original arrangement the two flute doubles have been retained in the alto 2 and tenor 1 parts (also cued in the alto 1 part). Sinatra's vocal line is untouched and the vocal key is F throughout.

Witchcraft

Here is Myles Collins's interpretation of Ralph Burns's great chart for Natalie Cole, from her "Unforgettable: With Love" album. This transcription is for a standard 5/4/4/4 big band, and follows the form and structure of the final studio version very closely. This chart should be taken as a mid-tempo swinger, at about 125 beats per minute. If it is played too fast, the vocalist won't have time to sing the lyric clearly. The chart is in the original key of G and there are no saxophone doubles.

Orange Colored Sky

This Frank Foster chart was first recorded in the mid 1950s on Count Basie's "April In Paris" album. This transcription is true to the original except that the trombones have been augmented to four voices, from the original three. The chart is taken at a laid-back, bluesy swing tempo and features trumpet. The original solo is written out in full, although it can improvised from the chords provided. Basie's solo passages and little fills are notated in the piano part as well. There is some wonderfully written ensemble work in this chart, as well as fine sectional solis from the saxophones and trombones. There are no saxophone doubles.

What Am I Here For?

This arrangement of Jive at Five, composed by Harry Edison Count Basie, has been transcribed and adapted from Basie's 1939 recording. This transcription has been scored for a full 5-4-4-4 big band and has been given a definite ending, as opposed to the studio fade-out on the recording. The original solos are written out: Tenor (Lester Young), Trumpet (Buck Clayton), Trombone (Dickie Wells), Baritone (Jack Washington) Piano (Basie). Aside from the solos, which require solid technique, this is an accessible chart to play, and it has an infectious feel that both concert and dance crowds are sure to appreciate. There are no sax doubles and the tempo is around 180 beats per minute.

Jive at Five

There is not too much to say about this chart, because the combination of Frank Sinatra and Billy May speaks for itself. Lovingly transcribed by Jon Harpin, this chart swings like crazy from start to finish. The vocal part is written "as sung" by Sinatra and the vocal key is Bb throughout. There are no sax doubles. Style: Swing @ 170 b.p.m. Ranges: Trumpets 1-4: D6, B5, Bb5, Bb5 ; Trombones 1-4: Bb4, G4, F4, D4 ; Vocal key: Bb ; Vocal Range: A2 - D4 (11 steps as sung) .

Cheek to Cheek

Set the stage alight with this delightful classic, "Oh Johnny Oh Johnny Oh," brilliantly arranged by Myles Collins. This piece infuses jazz ensemble with vocal group style, offering a charming and lively rendition of Ed Rose and Abe Olman's composition. Perfect for adding a timeless touch to your repertoire. - 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.

Oh Johnny Oh Johnny Oh

Fantail has been transcribed from the Neal Hefti chart written for the Basie band's "Atomic Mr. Basie" album. It's an up-tempo swinger that features piano, alto and drums. Basie's opening piano solo passages have been written out as played and Frank Wess' alto solos have been transcribed as well, or the alto can improvise from the provided chords if desired. The alto solos are scored in the alto 2 part and the drum solos are improvised. The only adaptation is that the trombone section has been augmented to four parts, although the chart is perfectly playable with only 3 trombones (1, 2 and 4). This is not an easy chart to play and strict attention to dynamics and articulations is needed in order to produce the right outcome. There are no sax doubles and the 4th trombone is a bass which can be played on tenor trombone if necessary.

Fantail

Dive into the swingin' rhythms of "Body and Soul" by Don Simpson and Myles Collins. This captivating arrangement exudes the irresistible charm of the swing era, perfect for jazz ensembles seeking to energize their repertoire. A must-have piece that promises to deliver both style and substance to your performance. - 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.

Body and Soul (Ray Anthony)

It's Been a Long Long Time - Harry James vocal big band chart. A beautiful ballad from the great co-operative writing team of Sammy Cahn Jule Styne, this chart was made famous by Harry James and features your lead Trumpet, lead Alto and naturally your singer too. We have written out HJ's solo and Willie Smith's alto solo in full, and have kept the chart true to the James original, with the exception of re-scoring the string lines back into the saxes. The chart has been graded as Medium though the lead bone has to hit a high C. Other than this, it's not that hard to play. The vocal key is C and there are no sax doubles.

It's Been a Long Long Time

Jazz Ensemble with Vocalist

Immerse yourself in the timeless elegance of "My Way," a swing-style masterpiece originally composed by Jacques Revaux and Claude Francois, and exquisitely arranged by Don Costa. Perfect for performers seeking to captivate with a classic, its rich harmonies and fluid melody promise an unforgettable musical experience. - 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.

My Way

American Patrol...but everybody's got that in their library. Well, yes and no. There are many bands using the stock dance band arrangement originally written for five saxes and five brass, and possibly adapted for a bigger band. The problem is that it's incorrect on a number of counts, not least is that the correct key is B-flat. The stock was in A-flat and made many sectional passages lumpy and tricky to play. This has been faithfully reproduced here, with the instruments scored properly, and the wrong notes and chord progressions tidied up. All of the expressions and dynamics are in place and easy to read. This is a really good value for money chart and will give your band the authentic Miller sound when you play it. Lead alto doubles on clarinet, and baritone sax doubles on alto. The trumpet solo is written for the 2nd part, and cued in the lead trumpet part.

American Patrol

Here is an out-and-out trumpet solo feature from the Harry James book on this iconic jazz standard. It is as the name suggests...lush, rich, full of wonderful tone and color, and makes the hair on the back of your neck stand up. The trumpets are written as three trumpets and solo trumpet, with the solo part suiting a player with a big fat tone. The lead alto sax doubles clarinet for just a couple of bars, and the 1st trumpet reaches a high D-flat briefly on a couple of occasions. The 1st trombone gets to high C, though it's cued in the 3rd trumpet part just in case.

Lush Life

Another nostalgic song from the early WWII years, We'll Meet Again remains as popular as ever. It is a particularly good closing number for a nostalgia gig or concert as it is not a long arrangement, but a very effective one. The saxes are Miller-voiced with Clarinet Lead and Baritone on Alto throughout. In Eb, the Vocal range is A below to Bb above Middle C, and is well within the range of most male and female vocalists. A medium to easy chart.

We'll Meet Again

Dive into the soulful depths of "I Only Have Eyes For You," masterfully composed by Neal Hefti and Jon Harpin. This enchanting vocal solo, accompanied by a lush jazz ensemble, promises a rich, melodic experience. Perfect for jazz aficionados and performers seeking to captivate and enchant their audience. - 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.

I Only Have Eyes For You

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