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Hammerstein and Kern's popular hit is presented with a light and jazzy Latin feel, complete with optional instrumental parts or rhythmic accompaniment track. Smooth vocal lines sit above the exciting
Originally written for the 1932 musical "Flying Colors," this jazz standard has been recorded by a "who's who" of jazz icons, including Dizzy Gillespie, Miles Davis, Julie London, and Ella Fitzgerald. This
Hot horns and vocals make this Latin standard into an incredible feature for jazz and show choirs. With opportunities for solos, and great instrumentals, this chart will be a fun change of pace for your
This quirky gem from Duke Ellington has been a staple for the jazz vocal group New York Voices for years and is an audience favorite. NYV member Darmon Meader turns the relatively simple tune on its ear,
Irving Berlin's much-recorded song from 1926 takes a sultry and sophisticated turn with this dynamic jazzy arrangement that includes optional rhythm, flugelhorn and flute. "Blue days, all of them gone.
This combination of Birth of the Blues and Blues in the Night is filled with all the jazzy nuances you expect in such golden oldies. Use the recorded accompaniment track or a live combo to
Get your boogie down with this 1980s classic by Al Jarreau - it has a funky feel that still grooves! Great solo opportunities and vocal riffs make it a super feature for pop, jazz and show choirs!
Develop intonation, blend, rhythm, and solo techniques with this vocal jazz setting of a song originally made famous by Petula Clark in 1965. Solo opportunities, including a written-out scat solo, and parts
A Duke Ellington Latin jazz classic in this Afro-Cuban setting, this song is an energetic selection that will make your choir and audience want to move their feet! Fun and rewarding for your group to
Get hip, little dogies! This country blues tune made popular by Ella Fitzgerald in the 1940s makes a great swingin' western-style novelty, perfect for themed concerts. This well-done vocal jazz arrangement
This popular torch song was originally composed for Ella Fitzgerald, but ended up being dropped from the film "Pete Kelly's Blues." She would eventually record it six years later, but in the meantime, a
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