Isaiah.6

This Oliver Nelson chart features alto saxophone and trumpet playing the melody. Lengthy solo sections with exciting backgrounds are featured for both those players. The band also has their turn to

One of the later and lesser-known entries in Thad Jones' expansive catalog, 61st & Rich' it was written as a tribute to the Thad Jones-Mel Lewis Orchestra's original bassist, Richard Davis. It

Although it was originally intended to be a vehicle for trombonist Al Grey with the Count Basie Orchestra, the Hank Jones composition/Thad Jones arrangement of 'A-That's Freedom' (the "A" is pronounced

Ad Lib on Nippon was composed by Ellington and tenor sax/clarinetist Jimmy Hamilton after the band's 1964 visit to Japan. This movement consists of four sections: Fugi; Igoo; Nagoya and

Afro-Bossa is a wonderfully strange and important piece of Ellingtonia because it is a great example of Ellington integrating the blues into his writing, as he did so often. The moods seamlessly

Rob McConnell's treatment of the classic Irving Berlin standard Alexander's Ragtime Band, recorded on 1974's The Best Damn Band in the Land album, is not for the faint of heart. Featuring several

The original big band recording of Duke Pearson's Amanda was significantly trimmed down from the arrangement's actual manuscript, likely for time purposes. The melody is only stated once at the

Written in 1953 for Nat King Cole, Billy May's arrangement of Angel Eyes does a wonderful job of both capturing and expanding upon the dark and sensual melody of what has become one

Bill Holman's treatment of Gerry Mulligan's Apple Core for Mulligan's Concert Jazz Band served as a tour de force for the guest soloist, tenor saxophonist Zoot Sims. Much of this tune featured Sims

The Artists' Rightful Place is the fifth movement of Nelson's eight-movement suite "The Kennedy Dream." It is presented here as originally written by Oliver Nelson for the following

This roaring and challenging Bill Holman chart begins with the vocal soloist solely accompanied by bass. Halfway through the first chorus drums enter, and then at the end of the chorus the whole band