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As recorded by Miles Davis and Gil Evans on the iconic 1958 Porgy and Bess album, here is the original studio ensemble arrangement. Instrumentation: Solo Trumpet or Flugelhorn; Woodwind 1: Alto Saxophone;

The most famous and frequently covered portion of "Black, Brown and Beige," Come Sunday is without a doubt the best example of a jazz hymn. There is a sense of reverence and awe throughout the

Blues Theme Mauve serves as a surprisingly dark finale for the middle movement of "Black, Brown and Beige." The arrangement stays at a slow and burdened pace throughout, with the lyrics delving

One of the most moving pieces in the repertoire, Strayhorn's Blood Count is a beautiful and devastating alto saxophone feature.

As recorded by the Kenton band on the 7.5 on the Richter Scale album, this all-time great standard receives a fresh sound with the impeccable scoring talent of Marty Paich. This arrangement has it all:

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

Day Dream is a beautiful alto saxophone ballad feature by the genius of Billy Strayhorn. The tempo is around 72 bpm and the instrumentation is five saxes, one trumpet, three trombones, piano,

One of the loveliest ballads ever recorded by the Kenton band. Recorded on the "Stan Kenton Plays Chicago" CD. This is one of two original pieces by Bob Curnow from this album. Features a 3-horn melodic

As recorded by Miles Davis and Gil Evans on the iconic 1958 Porgy and Bess album, here is the original studio ensemble arrangement. Instrumentation: Solo Trumpet or Flugelhorn; Woodwind 1: Alto Saxophone;

As recorded by Miles Davis and Gil Evans on the iconic 1958 Porgy and Bess album, here is the original studio ensemble arrangement. Instrumentation: Solo Trumpet or Flugelhorn; Woodwind 1: Alto Saxophone;

Written by French composer Leo Delibes in 1874, The Maids of Cadiz was mostly known as a vocal piece before arranger Gil Evans heavily reworked it for inclusion on his 1957 collaboration with