Stephen Johnson

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Full concert band song showcasing a comical, but spirited Latin jazz tune giving school and community bands an opportunity to play music often restricted to smaller jazz ensembles. The chart features a piano player, and the percussion section plays a key role in driving Latin rhythms on which the rest of the ensemble depends. The melody shifts between sections, giving woodwinds and brass players an equal opportunity to participate.
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Clowning 'Round Buenos Aires (Concert Band Version)

Concert Band Score & Parts

This jazz tune, is composed as a tenor vocal solo (alternatively played by the trumpet) in a traditional Latin style/rhythm supported by an experienced classical guitarist who opens the song with a featured fingerpicking introduction played as written, or ad lib, depending on player strengths (all first position and open chords). The ensemble is designed in a combo style as a Little Big Band and can be played by smaller ensembles (e.g. community bands with limited instrumentation) to achieve the fullest orchestration possible which, in fact, is preferred when a vocalist is used.

Meaning of Argentina

This is an arrangement of the traditional version of Shenandoah for classical guitar, inspired by the version played by Mason Williams. This version is supported by a full concert band providing harmonic support for the solo guitar with melodi soli sections as well.

Shenandoah

A loose interpretation/arrangement of the jazz standard Autumn Leaves (Les Feuilles mortes) by Joseph Kosma based on Eva Cassidy's version of the tune. The arrangement is set to celebrate Eva, possibly the greatest cover artist of her generation, with respects to her passing from skin cancer in 1996. The song is well within the capability of most high school and community jazz ensembles, but is difficult with respect to the soft dynamics required of all instruments needed inorder to allow the melody to remain clear and the rich chordal structure to shine through.

Autumn Leaves

Jazz Ensemble

Full concert band arrangement of a popular jazz standard. The arrangement is orchestrated to give the aspiring high school or community concert band a chance to achieve the big band sound of the 1940's. The song is arranged with a strong solo secton with written solos for you clarinet, trumpet and alto sax player composed in manner that each solo builds on the previous player. All other instruments have equal opportunity in this classic tune and even the flutes play a dominant role.

All of Me

This is a Broadway-themed tune designed for the aspiring high school or community concert band desiring to entertain an audience with a fresh melodic romantic fantasy ballad. The music is designed with full concert band orchestration with lush soli sections complimented by trumpet and clarinet solos. It is written in a strong Disney style and is sure to evoke lots of emotion from your audience

Frosty Reverie

Ensemble

Instrument Family

This is a suite of 4 original Latin Dances for a mixed chamber ensemble of Clarinet, Cello, Classical Guitar, Electric Bass, Piano and Latin Percussion. Songs are contemporary Latin compositions with traditional Latin themes embracing jazz beats/themes and were written to reflect Latin origins. The title "Mestizo Suite" is from the term "Mestizo/a" describing people of mixed ancestry, primarily of European and indigenous roots in Latin America. South Anericans frequently use the word to describe their genealogical background. This suite intertwines these mixed ancestral themes and sounds within a Latin musical framework.

Mestizo Suite

Flexible Instrumentation Ensemble

This is a complete jazz band song built upon an original comical, but spirited tune giving school and community jazz ensembles an opportunity to play Latin salsa big band music. The chart features a piano player and a complete written trombone solo. Percussion instruments also play a key role in this salsa tune and are purposely written to a limited degree (e.g. congas, bongos, congas and shakers/maracas) to emphasize the need to build stronger Latin Percussion sections fitting the groove/pattern of the conductor's vision for the song..

Clowning 'Round Buenos Aires

Breathless is a sophisticated, restrained bossa nova, recalling the classic arranging styles of Gary mcFarland (Stan Getz: Big Band Bossa Nova), Quincy Jones (Big Band Bossa Nova) and Claus Ogerman (João Gilberto: Amoroso) as well as the more contemporary harmonic language of Vince Mendoza, Lyle Mays and Maria Schneider.

Almost throuout, the drummer remains on brushes, and the dynamic level is contained, allowing the featured tenor 1 soloist to carry the melody without straining, in a sound reminiscent of Stan Getz. Only at m.140, during the BRASS SOLI, should the volume reach a true forte, including the use of sticks, before fading away again through to the end of the chart.

Rhythmically, the piece largely adheres to a 3-2 Bossa Nova clavé. Some use of Partido Alto would be appropriate to create some variation in the accompaniment if desired. The SOLOS section at m.91 is notated for tenor 1 and tenor 2 (doubling soprano sax), but the supplied solo changes sheets allow for any soloists as preferred; this section can be repeated as many times as necessary, with the notated backings used on cue. The notated solos may be used or ignored as appropriate to your band's needs. This is also true of the piano solo at m.107.

Overall, this chart is most challenging in its rhythmic and harmonic detail, requiring good section balance, tuning and time feel. The rhythm section has the most to do to bring the whole piece together well; otherwise, the piece can be tackled by any reasonably confident ensemble. The lead trumpet goes to concert C6; lead trombone to A4.

Breathless

This an original big band R&amp;B shuffle featuring guitar based on 1960's rythyms in an avant guard style. Lots of room for soloing and stylistic changes with instrumentation for the full big band, but keyboard relying on a Rhodes Piano and Electric Organ in typical '60's styling.

Cognitive Dissonance

Song about a young woman's romance and the heartbreaks she is experiencing.. It is sung as a female solo supported by a full big band with a short tenor sax interlude. This song is currently streaming on Spotify as a Piano-Vocal duet, and this song is adds a compliment of horns and a full rhthym section to yield a full rich big band ballad.

Cloudy

Song about typical things that happen around Christmas. The song is orchestrated as a 40's to 50's jazz big band tune, complete with a trumpet solo. It is an energetic happy song meant to be fun. It is meant to be sung with a female vocalist, but could easily be revised for male singers. It is easily played by small jazz ensembles since it features a smaller horn section.

Stereotypical Christmas

Jazz Combo

Full holiday Christmas composition for the aspiring high school or community concert band featuring a Piano solist. The song is a spirited winter celebration simulating a toy box, giving the pianist plenty of opportunity to shine and twinkle throughout the tune. While the song highlights the piano, plenty of opportunty is alloted to the rest of the band to sparkle in this delightful holiday song.

Christmas Serenade

Overview of the Arrangement
This piece, based on Steve Johnson's earlier version for smaller forces and with an aaba structure, is a fun feature for flugelhorn (or trumpet) in a classic medium-up swinging style, with just a hint of Film Noir about it. It's suitable for a wide range of high school and community bands, as the parts and ranges are not too challenging: if you can play Nestico/Hefti arrangements, then this chart should be well within your band's capabilities.

The lead trumpet part tops out at (written) C6. Having a drummer with a good feel for swinging brushes will help a great deal: have your player listen to Cute by Neal Hefti (recorded by the Count Basie Orchestra) and Vernell Fournier playing on [There is] No Greater Love (on Ahmad Jamal's Live At The Pershing), if they don't know these records already.

Structure and Key Points
After an establishing INTRODUCTION, during which the drummer should use brushes and the pianist play light, basie-style fills, the HEAD (main melody) begins in the (featured) flugelhorn at m.25. The rest of the band responds at m.41 (ensure the dynamic remains soft at first), rising into the B SECTION of the theme at m.57: initially in the saxes, then building up to a peak in the full band; the drummer should switch to sticks towards the end of this passage. M.73 brings the focus back down to the flugelhorn and rhythm section before rising in intensity again into the solo section. Ensure that the peak doesn't arrive until m.89.

The SOLO SECTION (mm.89-120) for flugelhorn and tenor sax can be futher opened up for longer/other solos if desired (with muted BACKINGS on cue). Example solos have been provided, which can be ignored or played at your preference. The initial four-bar SEND-OFF is indicated to only be played the very first time; if you add multiple, longer solos, it could be repeated to provide some variety between solos. A supplementary sheet is provided giving the chord changes in concert, bflat and e-flat pitches so you can distribute solos as suits your band.

An ensemble SOLI follows next (mm. 123-154), featuring all sections of the band. It starts quite restrained, only gradually rising in volume and intensity to m.139, which should be quite full; drop back somewhat at m.150 and crescendo to a final high point at m.154. Throughout this section in particular, try to ensure the rhythm section pay close attention to variations in dynamics, which can sometimes change quite suddenly.

After a short reprise of part of the intro (m.155; during which the drummer should return to brushes), there is a section for TRADING between the drums (mm.159-162) and flugelhorn (mm.163-166). Piano and guitar should not play during the drum measures, but bass continues throughout. Written BACKINGS need are played the last time (or otherwise at your preference). When continuing on at m.167, the flugelhorn and drums continue to play small fills but bring the intensity down into the ENDING at m. 175.

Utopia and a Rose

Global Sections - CORE [DO NOT TOUCH]*

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