2000.fi was composed as a fanfare for the new Millennium and is a solo vehicle for drums. The writing is very contrapunctual in some sections. It benefits from twelve-tone technics in some of its
Not the tune by Chicago! The composer came up with the groove for this chart while driving Interstate 95 in Miami. Since it is in 6/4 time, the title jokingly speaks for itself. Solo spots are for
This small group arrangement for 3 horns and rhythm section alternates between an Afro-Cuban feel and an easy 3/4 swing with fluid and richly harmonized melodic lines.
Beginning with an opening chorale by the trombone section, then the rest of the winds, August Dreams is a gorgeous trombone solo feature that settles into a lovely, modern bossa-like
An up-tempo rendition of the Vincent Rose standard, this arrangement features extended solos for trumpet and piano. Saxophone players get a technical challenge on this one! Instrumentation: Alto I/Flute,
This movement is written for full big band, including woodwind doubles with alto saxes on flutes and B-flat clarinets; tenors on B-flat clarinets; and baritone sax on bass clarinet. Additionally, the
Begin, Began, Begun is a clarinet solo feature with nods to Artie Shaw and Eddie Daniels. The style undergoes changes from a groove with a 16th pattern on hi-hat, to afro-cuban 6/8, to medium
Oscar Levant's classic ballad is set here as a feature for female vocalist in the key of B-flat. It modulates to C for a piano solo with a return to the original key for the vocal re-entrance.
This is an arrangement of a composition by Peter Bernstein. The featured solo is for guitar.
Composed as an exercise in restraint built off a simple two-chord motif, this tune gets twisted from a modern jazz trio to an a cappella orchestral interlude, and finishes with a rocking flourish. The solos
Here's an Afro-Cuban Songo in 3-2 clave, inspired by one of the most important streets of Santo Domingo, Dominican Republic, "El Conde." Orchestrated for 5 saxes, 4 trumpets, 4 trombones, and rhythm
This chart is an adaptation of the Dirty Dozen Brass Band version with an infectious groove! Tuba is essential to the general character, but the part is playable with a good bass trombone substitute. The
This arrangement is recorded on the Phil Mattson and the P.M. Singers album Setting Standards. Starting a cappella, the arrangement soon goes into ballad tempo. Then, after a key change, it
Commissioned by Gene Aitken for the University of Northern Colorado/Greeley Jazz Festival All-Stars to feature saxophonist Don Aliquo, Come On In is a medium shuffle in minor blues form that
Conversation with a Camel is a straight 8ths funky groover that features a tenor and trumpet soli on the melody. The solo form is an extended blues.
Cuckoo's Nest is a medium-up tune on rhythm changes and includes a challenging a cappella dialogue section for saxes and brass. The solo possibilities are for alto 2, tenor 1, trumpet 2,
This difficult, up-tempo vocal feature on Rube Bloom's classic standard makes a great concert opener, and will remind the listener of Nat King Cole's various big band collaborations. Scored for AATTB saxes,
Here's an Afro-Cuban adventure in polyrhythms that also includes some 3/4 swing, featuring solos for trumpet and trombone or tenor sax.
Don't Be Jealous features an alto saxophone soloist, and a triplet-based swing feel at a moderately slow tempo. Angular, twisting melody lines slip in and out of lush voicings in this moody
This original work is by Zhang Xiaolu, professor of saxophone and Director of Jazz Studies at the Shanghai Conservatory of Music. East Lake 1522 features Alto Saxophone 1 and Trumpet 2 and begins
El Improvo Grande is a speedy rock/jazz piece with Spanish influences. It slides into a burning section with lots of counterpoint leading to a trumpet solo ending with a bullfighting interlude
This laid-back, Brazilian-flavored piece was commissioned by Dr. Kyle Mack and the North Dakota State University Jazz Ensemble I. It features solo trombone (or optional solo tenor saxophone or solo
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