Electronic Big Band E-Catalog - Ejazzlines.com

Electronic 

Frank Sinatra 

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GIFT HIGHLIGHTS 

Big Band e-Catalog 

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NEW TO THIS CATALOG 

2 

August 2006 

Dear Jazz Band Director, 

Thank you for your interest in our electronic big band arrangement catalog. We are proud of this e-catalog 

and feel that it is our most complete edition. Why did we go electronic? Well, in reality the cost of printing and 

mailing catalogs has skyrocketed over the last couple of years, making it difficult to continue to offer our 

discounted prices and depth of material. In addition, printed catalogs, by nature, are obsolete just about as 

soon as they are done being printed: our website is updated daily with great new arrangements. We encourage 

you to migrate to our website for browsing and purchasing. You can view listings by title, arranger, performer, 

style, and even difficulty level. You can also search by any criterion. 

Recognizing that many of you will still prefer the look and feel of a printed catalog, we came up with this 

compromise - an electronic version of our annual printed catalog. Within this e-catalog you’ll find sound 

samples for many of the arrangements. Just click on the musical notes next to the title and the sound sample 

will play in your preferred media player. In addition, the title for each listing is a link to the same title on our 

website. If you’ve found something that you want, just click on the title and add that to your basket for 

checkout. We really feel that we can serve you better with this e-catalog and our website. 

If you would prefer to have a printed copy of this, please phone or email us - we’re happy to run one off for 

you. 

In other news, we have completey re-vamped our website. In addition to a new look and feel, it is much more 

user friendly and has new features that will make your browsing and shopping experience that much more 

pleasant. One of the major changes is that we now have the capability of accepting orders from customers 

who wish to use only a purchase order number. A credit card is not needed to complete your order. We have 

established accounts in our database for all our educational customers and setup their accounts so that a 

credit card is not needed. Another great new feature is that our educational customers are setup to receive 

our discounted pricing on all our products. Discounts vary from 10% to 20% off the retail price. These prices 

are automatic once you login. Of course, we still accept phone, fax, email, and mail orders from our educational 

customers. We’re so confident that you’ll be happy with your online shopping experience at 

ejazzlines.com that we suggest giving it a try. 

If you have any questions, please feel free to contact us - we pride ourselves on our timely responsiveness. 

We hope you have a fulfilling Fall and Holiday Season. Thanks for your support from all of us at ejazzlines. 

Best Regards, 

Rob DuBoff and Doug DuBoff 

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Charts Listed by Arranger: 

David Baker ...................................................................... 6 

Stan Bann ......................................................................... 7 

Doug Beach ...................................................................... 7 

Louie Bellson.................................................................... 8 

Shelly Berg ....................................................................... 8 

David Berger .................................................................... 9 

Andrew Bishop ................................................................ 9 

Mike Carubia .................................................................... 9 

Dan Cavanagh ................................................................ 10 

Jim Cifelli ........................................................................ 10 

Matt Clancy .................................................................... 10 

John Clayton ................................................................... 11 

Chris Culver ................................................................... 11 

Bob Curnow ................................................................... 11 

Paquito D’Rivera ........................................................... 12 

Mike Dana ....................................................................... 12 

Rich DeRosa ................................................................... 13 

Don Ellis.......................................................................... 13 

John Fedchock................................................................ 14 

Neal Finn ........................................................................ 14 

Dirk Fischer .................................................................... 14 

Bob Florence .................................................................. 14 

Frank Foster ................................................................... 18 

Tony Gairo ...................................................................... 21 

Antonio Garcia .............................................................. 22 

Gordon Goodwin........................................................... 22 

David Guidi .................................................................... 22 

Dan Haerle ..................................................................... 22 

Tim Hagans .................................................................... 23 

Ryan Haines ................................................................... 23 

Matt Harris ..................................................................... 24 

Steve Hawk ..................................................................... 24 

Rick Hirsch ..................................................................... 24 

Bill Holman .................................................................... 25 

Roger Holmes ................................................................ 25 

Andrew Homzy .............................................................. 26 

Les Hooper ..................................................................... 26 

Rich Iacona ..................................................................... 27 

Jeff Jarvis ......................................................................... 27 

Thad Jones ...................................................................... 28 

Gus Kambeitz ................................................................. 29 

Phil Kelly ......................................................................... 30 

Michael Kocour .............................................................. 30 

Tom Kubis ....................................................................... 30 

John La Barbera ............................................................. 39 

Dave LaLama .................................................................. 39 

Paul Lavender ................................................................ 39 

Rick Lawn ....................................................................... 39 

Paul Lee .......................................................................... 39 

Mike Lewis ...................................................................... 40 

Aaron Lington ................................................................ 40 

Bill Liston ....................................................................... 41 

Chris Madsen ................................................................. 41 

John Mahoney ................................................................ 41 

Frank Mantooth ............................................................. 42 

Thomas Matta ................................................................ 43 

Rob McConnell .............................................................. 43 

Don Menza ..................................................................... 44 

Bob Mintzer ................................................................... 46 

Michael Mossman .......................................................... 46 

TABLE OF CONTENTS 

Paul Murtha ................................................................... 47 

Oliver Nelson ................................................................. 47 

Sammy Nestico .............................................................. 49 

Lennie Niehaus .............................................................. 51 

Edward Partyka .............................................................. 53 

Bill Potts ......................................................................... 53 

Kim Richmond ............................................................... 54 

Les Sabina....................................................................... 54 

Carl Saunders ................................................................ 55 

Don Sebesky ................................................................... 55 

Bob Sennett .................................................................... 56 

George Shutack ............................................................. 56 

Rick Stitzel ..................................................................... 57 

Dave Snider .................................................................... 57 

George Stone ................................................................. 58 

Carl Strommen .............................................................. 59 

Fred Sturm ..................................................................... 59 

Michael Sweeney ........................................................... 59 

Mark Taylor ..................................................................... 61 

Gene Thorne ................................................................... 64 

Mike Tomaro ................................................................... 65 

Chris Walden .................................................................. 67 

Bob Washut .................................................................... 67 

Charts Listed by Performer: 

Andrews Sisters ............................................................. 68 

Ray Anthony ................................................................... 68 

Charlie Barnet................................................................ 68 

Count Basie .................................................................... 69 

Louie Bellson.................................................................. 73 

Les Brown ....................................................................... 73 

Bobby Darin ................................................................... 74 

Tommy Dorsey ............................................................... 74 

Duke Ellington................................................................ 75 

Maynard Ferguson ......................................................... 80 

Ella Fitzgerald ................................................................ 81 

Benny Goodman ............................................................ 82 

Glen Gray ....................................................................... 83 

Ted Heath ....................................................................... 83 

Woody Herman ............................................................. 84 

Harry James .................................................................... 85 

Stan Kenton .................................................................... 86 

Gene Krupa .................................................................... 97 

Peggy Lee ........................................................................ 98 

Dean Martin ................................................................... 98 

Glenn Miller ................................................................... 98 

Mingus Big Band ...........................................................101 

Buddy Morrow ..............................................................102 

Buddy Rich ....................................................................102 

Shorty Rogers ...............................................................103 

Artie Shaw .....................................................................103 

Frank Sinatra.................................................................104 

Misc. Instrumentals ......................................................105 

Holiday Arrangements .................................................106 

Dave Pell Octet .............................................................110 

Customer Service .........................................................126 

Order Form ...................................................................127 


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NEW TITLES SORTED BY ARRANGER 

NEW TITLES - SORTED BY ARRANGER 

TITLE ARRANGER PAGE 

AN EVENING THOUGHT .................................... DAVID BAKER ................................ 6 

I.U. SWING MACHINE ......................................... DAVID BAKER ................................ 6 

SWEET AND SASSY .............................................. DOUG BEACH ............................... 8 

TWO WAY STREET ............................................... DOUG BEACH ............................... 8 

BLACK RATTLE ..................................................... DAN CAVANAGH ........................ 10 

CHAOS THEORY ................................................... DAN CAVANAGH ........................ 10 

HAVING BUILT IN DEEPER WATER ................... DAN CAVANAGH ........................ 10 

NORTH SOUTH ..................................................... DAN CAVANAGH ........................ 10 

PHASE SPACE ....................................................... DAN CAVANAGH ........................ 10 

SPLIT-ROCK ............................................................ DAN CAVANAGH ........................ 10 

NOT QUITE BRAZIL ............................................. JIM CIFELLI ................................... 10 

THAT CAT .............................................................. MATT CLANCY ............................ 10 

SQUATTY ROO ...................................................... JOHN CLAYTON .......................... 11 

FOR THE L’IL ONES ............................................. BOB CURNOW ............................. 11 

MOUNTAIN GREENERY (NONET) ..................... BOB CURNOW ............................. 11 

A PLACE IN THE WORLD ................................... BOB CURNOW ............................. 12 

SWEETLUMPS ....................................................... BOB CURNOW ............................. 12 

VIDA DE SUENO ................................................... BOB CURNOW ............................. 12 

WRITER’S CRAMP ................................................. BOB C URNOW ............................ 12 

ABYSSINIA ............................................................. MIKE DANA .................................. 12 

BOB SAGET ............................................................ MIKE DANA .................................. 12 

EL BURRITO PICANTE III .................................... MIKE DANA .................................. 12 

MIRA COSTA .......................................................... MIKE DANA .................................. 13 

SITE FOR PSORIASIS ............................................ MIKE DANA .................................. 13 

SORRY ABOUT THAT ............................................ MIKE DANA .................................. 13 

MORNING FUNK ................................................... RICH DEROSA .............................. 13 

ELVIN’S EMPIRE .................................................... JOHN FEDCHOCK ....................... 14 

BIG MAMA DIANE’S ROADHOUSE BLUES ....... NEAL FINN ................................... 14 

A BREMIS AMONG US .......................................... NEAL FINN ................................... 14 

DONDE ................................................................... DIRK FISCHER .............................. 14 

MAMBO PARA ESTUDIO ...................................... DIRK FISCHER .............................. 14 

SING DAMMIT! ....................................................... DIRK FISCHER .............................. 14 

GUIDING STAR ...................................................... BOB FLORENCE .......................... 16 

BETWEEN THE PIPES ......................................... TONY GAIRO ................................ 21 

DEALINES, DISTRACTIONS & DIVERSIONS ..... TONY GAIRO ................................ 21 

ELUSIVITY .............................................................. TONY GAIRO ................................ 21 

POKE AND HOPE ................................................. TONY GAIRO ................................ 21 

PORTRAIT OF MY WIFE ....................................... TONY GAIRO ................................ 21 

REVISITED .............................................................. TONY GAIRO ................................ 21 

SUPERMARKET SUSHI ......................................... TONY GAIRO ................................ 21 

TREACHEROUS ..................................................... TONY GAIRO ................................ 21 

A GAME OF INCHES ............................................ GORDON GOODWIN ................. 22 

THE QUIET CORNER ........................................... GORDON GOODWIN ................. 22 

WHAT SAMMY SAID ............................................ GORDON GOODWIN ................. 22 

THE HANG ............................................................ DAVID GUIDI ................................. 22 

MENTION THE EXTENSION .............................. TIM HAGANS ................................ 23 

MISSED THE BALLGAME BLUES ........................ TIM HAGANS ................................ 23 

ROLLIN’ WITH VON OHLEN ............................. TIM HAGANS ................................ 23 

GROUND ZERO ..................................................... STEVE HAWK ............................... 24 

ASPIRE .................................................................... RICK HIRSCH ................................ 24 

ELLIE’S NEW GROOVE ........................................ RICK HIRSCH ................................ 24 

FREE FOOD? FREE FOOD! ................................... RICK HIRSCH ................................ 24 

GRACE OF A SOARING EAGLE .......................... RICK HIRSCH ................................ 24 

LIFEBLOOD ........................................................... RICK HIRSCH ................................ 24 

NEBULA ................................................................. RICK HIRSCH ................................ 24 

SUSPENDED .......................................................... RICK HIRSCH ................................ 24 

BLUE DANIEL ....................................................... BILL HOLMAN ............................. 25 

WOODROW .......................................................... BILL HOLMAN ............................. 25 

DANCE TO THE MUSIC ........................................ ROGER HOLMES .......................... 25 

I REMEMBER YOU .................................................. ROGER HOLMES .......................... 26 

ORANGE COLORED SKY .................................... ROGER HOLMES .......................... 26 

THEME FROM ‘THE FAMILY GUY’ ...................... ROGER HOLMES .......................... 26 

THIEVES IN THE TEMPLE ................................... ROGER HOLMES .......................... 26 

BOOGIE STOP SHUFFLE ...................................... ANDREW HOMZY ....................... 26 

GOODBYE PORK PIE HAT .................................. ANDREW HOMZY ....................... 26 

HAITIAN FIGHT SONG ........................................ ANDREW HOMZY ....................... 26 

BACK IN BLUE ORLEANS ................................... LES HOOPER ................................ 26 

BLEEP BLOP .......................................................... LES HOOPER ................................ 26 

BLUE IN GREEN ................................................... LES HOOPER ................................ 26 

COOL SCHOOL DROPOUT ................................ LES HOOPER ................................ 27 

LONG INTERMISSION ......................................... LES HOOPER ................................ 27 

MILES BACK .......................................................... LES HOOPER ................................ 27 

NOT SO FAST ........................................................ LES HOOPER ................................ 27 

SHUFFLEUPHAGASS ............................................ LES HOOPER ................................ 27 

WHAT’S GOING ON ............................................ LES HOOPER ................................ 27 

BISTRO LATINO .................................................... JEFF JARVIS .................................... 27 

OUT ON THE STREET ......................................... JEFF JARVIS .................................... 28 

IT ONLY HAPPENS EVERY TIME ........................ THAD JONES/MIKE CARUBIA .... 29 

THREE AND ONE ................................................. THAD JONES/MIKE CARUBIA .... 29 

ON THE DL ............................................................ GUS KAMBEITZ ............................ 29 

(I CAN’T BELIEVE) I 8 DA WHOLE... ................. PHIL KELLY .................................. 30 

4 

JUAN BEATOV STOMP .......................................... PHIL KELLY .................................. 30 

PLEADING DIM CAP ............................................ PHIL KELLY .................................. 30 

ZIP CODE 2005 ...................................................... PHIL KELLY .................................. 30 

DONNIE’S TEMPO ................................................ MICHAEL KOCOUR ..................... 30 

ALICE BLUE GOWN ............................................ TOM KUBIS .................................... 31 

BRAZILIAN DANCE OF TEH FLUGELHORN ... TOM KUBIS .................................... 31 

BUCKET BRIGADE ................................................ TOM KUBIS .................................... 31 

DAT DA DUT DUH ................................................ TOM KUBIS .................................... 32 

MARABA ................................................................. TOM KUBIS .................................... 35 

NO 3 WAYS ABOUT IT ......................................... TOM KUBIS .................................... 35 

THAT WORM FEELING ........................................ TOM KUBIS .................................... 38 

TWO SAMBA TO GO ............................................ TOM KUBIS .................................... 38 

WHISPERS ............................................................. TOM KUBIS .................................... 38 

YOU CAN COUNT ON IT .................................... TOM KUBIS .................................... 38 

CLOTH OF SILVER THREADS OF BLUE ............ JOHN LA BARBERA ..................... 39 

FANTAZM ............................................................... JOHN LA BARBERA ..................... 39 

HIGHLAND CROSSING ....................................... JOHN LA BARBERA ..................... 39 

OVER F .................................................................... JOHN LA BARBERA ..................... 39 

PYTHODD FELLOWS ........................................... JOHN LA BARBERA ..................... 39 

YOUR OR MINE OR BLUES ................................. JOHN LA BARBERA ..................... 39 

ZIN ZAK .................................................................. JOHN LA BARBERA ..................... 39 

LEAP FROG ............................................................ PAUL LAVENDER ......................... 39 

AN APPLE A DAY .................................................. MIKE LEWIS .................................. 40 

CABIN FEVER ........................................................ MIKE LEWIS .................................. 40 

SLINKY .................................................................... MIKE LEWIS .................................. 40 

ASKEW ................................................................... MIKE LEWIS .................................. 40 

ORION .................................................................... MIKE LEWIS .................................. 40 

WHY MUSICIANS CAN’T DANCE ..................... MIKE LEWIS .................................. 41 

BELOVEANCE ....................................................... CHRISTOPHER MADSEN ............ 41 

E.V. FREE ................................................................. CHRISTOPHER MADSEN ............ 41 

GIVE AND TAKE ..................................................... CHRISTOPHER MADSEN ............ 41 

I’LL BE YOURS ........................................................ CHRISTOPHER MADSEN ............ 41 

REFLECTIONS ....................................................... CHRISTOPHER MADSEN ............ 41 

NEXT SEASON ...................................................... THOMAS MATTA .......................... 43 

THE INCREDIBILES .............................................. PAUL MURTHA ............................. 47 

SENTIMENTAL JOURNEY .................................... PAUL MURTHA ............................. 47 

SOUL MAN ............................................................ PAUL MURTHA ............................. 47 

WHAT’D I SAY ....................................................... PAUL MURTHA ............................. 47 

THE WAY YOU LOOK TONIGHT ......................... SAMMY NESTICO ........................ 51 

MAKING THE ROUNDS ........................................ LENNIE NIEHAUS ....................... 52 

NORTHWEST JOURNEY ...................................... LENNIE NIEHAUS ....................... 52 

MADLY LOVING YOU ............................................ EDWARD PARTYKA ...................... 53 

SOMETIMES ........................................................... EDWARD PARTYKA ...................... 53 

STOLEN BLUES ..................................................... EDWARD PARTYKA ...................... 53 

TOGETHERNESS ................................................... EDWARD PARTYKA ...................... 53 

TUNNEL VISION ................................................... EDWARD PARTYKA ..................... 53 

PORGY AND BESS MEDLEY ................................ BILL POTTS ................................... 53 

HORIZON UNDER ................................................ KIM RICHMOND .......................... 54 

POETRY .................................................................. KIM RICHMOND .......................... 54 

BLUES-GO-ROUND ............................................... LES SABINA .................................. 54 

CHILLED OUT ....................................................... LES SABINA .................................. 54 

BLUES, BOOZE, AND TATOOS ............................. BOB SENNETT ............................. 56 

DARK CUSTERS ..................................................... BOB SENNETT ............................. 56 

DON’T LEAVE NOW ............................................ BOB SENNETT ............................. 56 

UNCHARTED TERRITORY .................................... GEORGE SHUTACK ..................... 57 

PROUD MARY ........................................................ RICK STITZEL ............................... 57 

BASS ON TOP WHERE PAUL LIKES IT ............. DAVE SNIDER ............................... 57 

JP ............................................................................. DAVE SNIDER ............................... 57 

A LITTLE TASTE OF FUNK .................................. DAVE SNIDER ............................... 57 

SEVEN FOR SCOTT ............................................... DAVE SNIDER ............................... 57 

THINKIN’ ‘BOUT MAYNARD ............................... DAVE SNIDER ............................... 58 

STRAIGHT AHEAD ............................................... GEORGE STONE .......................... 58 

TIME OUT .............................................................. CARL STROMMEN ....................... 59 

ALL BIRD’S CHILDREN ........................................ FRED STURM ................................. 59 

MICHELANGELO ................................................. FRED STURM ................................. 59 

MUMUKI .................................................................. FRED STURM ................................. 59 

ALL OF ME ............................................................ MICHAEL SWEENEY .................. 59 

PERFIDIA ................................................................ MICHAEL SWEENEY .................. 61 

UNTIL I MET YOU (CORNER POCKET) ............. MICHAEL SWEENEY .................. 61 

I CONCENTRATE ON YOU .................................. MARK TAYLOR .............................. 62 

LET THE GOOD TIMES ROLL ............................. MARK TAYLOR .............................. 63 

A NIGHT IN AUGUSTA ........................................ MARK TAYLOR .............................. 63 

THE RAINBOW CONNECTION ......................... MARK TAYLOR .............................. 63 

SEPTEMBER ........................................................... MARK TAYLOR .............................. 64 

TRIBUTE TO MILES ............................................... MARK TAYLOR .............................. 64 

NEXT CHAPTER ................................................... GENE THORNE ............................ 65 

BIRKS’ WORKS ....................................................... MIKE TOMARO .............................. 65 

BLUES AT THE GATE ............................................ MIKE TOMARO .............................. 65 

BLUESETTE ............................................................ MIKE TOMARO .............................. 65 

FOREIGN INTRIGUE ............................................. MIKE TOMARO .............................. 65 

LUSH LIFE .............................................................. MIKE TOMARO .............................. 65 

OTHERS BROTHERS ............................................. MIKE TOMARO .............................. 66 

SUPERSTITION ...................................................... MIKE TOMARO .............................. 66 

TO NO AVAIL ......................................................... MIKE TOMARO .............................. 66 

TONES FOR JOAN’S BONES ............................... MIKE TOMARO .............................. 67 

COUNT THE STARS .............................................. CHRIS WALDEN .......................... 67 

FILM NOIR SUITE PART 1 .................................... CHRIS WALDEN .......................... 67 



ONLINE!


HOME OF MY HEART .......................................... CHRIS WALDEN .......................... 67 

HOT WHEELS JUMPIN’ HIGH ............................ CHRIS WALDEN .......................... 67 

IN THE DOGHOUSE ............................................. CHRIS WALDEN .......................... 67 

MR. J ......................................................................... CHRIS WALDEN .......................... 67 

NITE CLUB SWING .............................................. CHRIS WALDEN .......................... 67 

REMEMBER TOMMY .............................................. CHRIS WALDEN .......................... 67 

SHORT PENCIL ..................................................... CHRIS WALDEN .......................... 67 

START GROOVIN’ .................................................. CHRIS WALDEN .......................... 67 

NEW FAMOUS BIG BAND ARRANGEMENTS 

NEW FAMOUS BIG BAND ARRANGEMENTS 

TAKE YOUR TIME ................................................... CHRIS WALDEN .......................... 67 

THIS BAND IS BOUNCIN’ ................................... CHRIS WALDEN .......................... 67 

THIS IS NOT 4 U ................................................... CHRIS WALDEN .......................... 67 

TICINO ................................................................... CHRIS WALDEN .......................... 67 

TRY HARDER ......................................................... CHRIS WALDEN .......................... 67 

TITLE PERFORMER PAGE 

APPLE BLOSSOM TIME ANDREWS SISTERS 68 

BEI MIR BIST DU SCHOEN ANDREWS SISTERS 68 

SKYLINER CHARLIE BARNET 68 

ALL OF ME COUNT BASIE 69 

GOIN’ ON COUNT BASIE 70 

PENNIES FROM HEAVEN COUNT BASIE/FRANK SINATRA 71 

RED BANK BOOGIE COUNT BASIE 71 

ROLL ‘EM PETE COUNT BASIE 72 

SENTIMENTAL JOURNEY LES BROWN/DORIS DAY 74 

THE MINOR GOES MUGGIN’ TOMMY DORSEY 74 

T.D. BOOGIE WOOGIE TOMMY DORSEY 75 

I SAID NO ELLA FITZGERALD 81 

CHRISTOPHER COLUMBUS BENNY GOODMAN 82 

CLARINADE BENNY GOODMAN 82 

DOWN SOUTH CAMP MEETING BENNY GOODMAN 82 

JAM SESSION BENNY GOODMAN 82 

LIFE GOES TO A PARTY BENNY GOODMAN 83 

PAGANINI CAPRICE XXIV BENNY GOODMAN 83 

WHY DON’T YOU DO RIGHT BENNY GOODMAN/PEGGY LEE 83 

12TH STREET RAG TED HEATH 83 

AUTUMN LEAVES TED HEATH 83 

HOT TODDY TED HEATH 84 

OL’ MAN RIVER TED HEATH 84 

FOUR BROTHERS TED HEATH 84 

HAPPINESS IS A THING CALLED JOE TED HEATH 85 

B-19 HARRY JAMES 85 

CIRIBIRIBIN HARRY JAMES 85 

DONCHA GO ‘WAY MAD HARRY JAMES 85 

I’VE HEARD THAT SONG BEFORE HARRY JAMES 85 

JAMES SESSION HARRY JAMES 85 

MUSIC MAKERS HARRY JAMES 86 

ALL AT ONCE YOU LOVE HER STAN KENTON 86 

CHIAPAS STAN KENTON 87 

EL MANISERO (PEANUT VENDOR) STAN KENTON 88 

MALAGUENA STAN KENTON 92 

PEGASUS STAN KENTON 93 

STREET SCENE STAN KENTON 95 

STRING OF PEARLS STAN KENTON 95 

TAKING A CHANCE ON LOVE STAN KENTON 95 

TIME FOR A CHANGE STAN KENTON 96 

YOUNGER THAN SPRINGTIME STAN KENTON 96 

STOP! THE RED LIGHT’S ON GENE KRUPA/ANITA O’DAY 97 

SYMPHONY IN RIFFS GENE KRUPA 98 

AIN’T THAT A KICK IN THE HEAD DEAN MARTIN 98 

SUNRISE SERENADE GLENN MILLER 101 

SWING LOW, SWEET CHARIOT GLENN MILLER 101 

GRAND SLAM SHORTY ROGERS 103 

PIROUETTE SHORTY ROGERS 103 

AT SUNDOWN ARTIE SHAW 103 

PENNIES FROM HEAVEN FRANK SINATRA 105 


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TITLES LISTED BY ARRANGER 

6 

ARRANGED BY DAVID BAKER 

5M CALYPSO 

Arranged by David Baker 

Difficult $62.00 Cat: SMP-272 

This is one happy chart! It starts with the trombones laying down a nifty bass line, 

and then a great groove with a calypso pattern. Trumpets take the melody, and 

things cook on from there. Solos for piano, tenor saxophone and trumpet. This is a 

great crowd-pleaser. 

AUTUMN’S DREAMS 


Medium Easy $46.00 Cat: 50757 

A wistful, lyrical ballad. No soloists, all written composition. Sax doubles. 10 brass 

(including tuba). 

BOURNE 


Medium Difficult $45.00 Cat: 50750 

Bebop line with extremely angular and modern sounding chart. Theme is stated in 

octave line by flute, trombone and bass. Lead alto doubles flute. 10 brass. 

BROTHER 


Medium $44.00 Cat: 50751 

Medium tempo blues which builds into an outside sounding lydian section and 

climaxes with an a cappella brass soli, alto, piano, trumpet and trombone solos. 

CAHAPHI 



A modern-type tune with bi-tonals and a form that has straight combined with 

Latin. Based loosely on the changes to Soon. Reminiscent of Birth of the Cool 

arrangements. Solos: trumpet and tenor. No doubles. 10 brass (incl tuba). 

CELEBRATION SUITE: 

SUNBURST MOVEMENT I 


Medium Difficult $44.00 Cat: 50759A 

A lilting Latin melody over an unusual form. Modal piece with a Gil Evans style 

introduction in brass. Fun to play on. Alto 1 doubles soprano. 10 brass (incl tuba). 

Solos for trombone and guitar. 


A CRYSTAL TEAR MOVEMENT II 


Difficult $44.00 Cat: 50759B 

A lush, sensual melodic ballad a la Johnny Hodges followed by a long, open 

development section featuring soprano in a quasi-Coltrane section. Sax doubles. 10 

brass (incl tuba). Solos for alto sax/soprano sax. 


JAM SESSION MOVEMENT III 


Medium Difficult $46.00 Cat: 50759C 

A festive, hard-swinging blues with lots of blowing space. No doubles. 10 brass 

(including tuba). Soloists: all saxes in a collective improvisation, then alto, then guitar, 

then all instruments in a collective improvisation. 

AN EVENING THOUGHT ***NEW*** 


Medium Difficult $55.00 Cat: SMP-760 

This lovely Latin piece begins quietly with piano, then brass, and leads into a warm, 

lush saxophone soli. The brass quietly lead into a piano solo, alto sax solo and then 

a baritone sax solo. The ending is quiet, soulful and beautiful. Brass ranges are quite 

modest and the tempo is easy to play for most bands. 5/5/5/3 

FOLKLIKE 


Medium $45.00 Cat: 50752 

Up-tempo rock/R&B groove with interesting changes. Tenor and trombone solos. 

Small group free-improvisation for trombone and trumpet. 

I.U. SWING MACHINE ***NEW*** 



David Baker’s music is wonderful to play because of its originality and sense of 

adventure. This is no exception. Written for his amazing jazz ensemble at Indiana 

University, this chart, set in a fast swing tempo, just sails along at a fast clip, exciting 

all who hear (or play) it. The trumpet section plays the melody in unison and things 

swing on from there. There is solo space for alto, trumpet and trombone. There is 

also a killer sax section soli. Your band and audiences will love this one. 5/5/5/3 

LIMA BEBA SAMBA 



Fast Samba. Bi-tonals and unusual harmonic progressions. Lots of blowing space. 10 

brass. 

MIAMI SUITE: SUNFEST 


Difficult $46.00 Cat: 50760C 

Contemporary tune. Sections as follows: (A) swing, (B) Latin, (C) modal vamp. 

Melody uses 4ths and pentatonics. No doubles. 10 brass (including tuba). Solos: 

trombone and trumpet. 

MIAMI SUITE: TIPPIN’ 


Easy $44.00 Cat: 50760A 

A 14-bar minor blues, funky melody, interesting backgrounds. No sax doubles. 10 

brass (including tuba). Solos: tenor, guitar, baritone, trumpet and trombone. 

PADOSPE 



Nice easy swing. Exciting shout chorus in brass. 10 brass. 

ROLY POLY 



Slow 12/8 blues in the style of After Hours. Attractive mixture of laid back 12/8 feel 

and an aggressive 3/4 swing. A virtuoso shout chorus in the saxes. 

SHIMA 13 


Medium $45.00 Cat: 50756 

Medium tempo Latin chart with piano and alto solos and lots of dynamic contrasts. 

SOME LINKS FOR BROTHER TED 



This is a great blues chart, and there are never enough of those! Lots of blowing 

space for lots of players makes this a fun-filled romp through the blues. David wrote 

this for his top-notch Indiana University Jazz Ensemble. 

TRUCKIN’ 



A hard-swinging shuffle. Great shout chorus with virtuosic saxophone writing. No 

doubles. 8 brass (no tuba). Solos for alto and trumpet. 


ONLINE!

ARRANGED BY STAN BANN 

CHANGE OF HEART 

Arranged by Stan Bann 

Difficult $45.00 Cat: 55329 

Haunting ballad featuring lush woodwind and trombone support of flugelhorn 

soloist. Meter shifts between 3/4 and 4/4. Five trombones are strongly recommended 

and a strong bass trombone foundation is necessary. This piece stresses ensemble 

and sensitivity in rich voicings. There are sax doubles. 

FACADE 


Medium $45.00 Cat: 55327 

A straight ahead, slightly modal chart with a strong melody and a Woody Herman 

feel. Predominantly sectional voices. Brief solo space for trumpet and guitar. 

GOOD INTENTIONS 



A brisk Latin original with a melody that will stay with the audience long after the 

performance. They will leave humming this one. Features tenor solo, extensive use of 

flutes (all saxes double flute except baritone) and harmon mutes. 

LOVE ALWAYS 



Opening with piano and flugelhorn statement, this chart moves through double 

time rock and swing sections before returning to the original ballad. Tenor solos over 

the rock section while the swing section features trombone. Brief interlude features 

drum solo in time over clustered pad. 

RAINSILK 



Double time Latin with strong contrapuntal lines in the A section. Some triple vs. 

double rhythms just to keep things interesting. Solo space for flugelhorn, drums, and 

a conversation between trombone 1 and 2. Flute doubles and baritone sax doubles 

bass clarinet. 

ARRANGED BY DOUG BEACH 

BIG CAT GROOVE 

Arranged by Doug Beach 

Easy $42.00 Cat: 42030 

This serves equally well as a concert opener or closer and will teach and/or reinforce 

basic swing rhythms every jazz musician should know. The easy-to-hear solo changes 

will give students the opportunity to work on improvising. Written or ad lib solos for 

all rhythm section parts notated with chords cued. Playable by 12-17 pieces. 

BLUES OF A DIFFERENT COLOR 

Arranged by Doug Beach and George Shutack 


This medium easy swing original from the Doug Beach Music catalog features a solid 

groove and wonderful ensemble work essential to the mastery of the jazz language. 

This minor blues offers an open solo section for anyone in the ensemble. 

BLUESIN’ WITH BRADLEY 



The charts that have been commissioned in recent years by noted jazz educator 

John Bradley have proven to be very popular. Bluesin’ With Bradley should prove to 

be no exception. Plenty of ensemble work is contrasted with flowing melodic lines to 

create this exciting swing blues chart. All solos contain a written solo and rhythm 

section parts are completely notated. A great opener or closer. 


CENTER LINE 



Rich in teaching opportunities, this energetic medium easy chart can be played in 

either the swing or shuffle styles. Suitable for an opener or closer, the solid ensemble 

writings create a big sound while observing the moderate brass range requirements 

of the series. While sample solos are provided, an open solo section allows the 

chance for additional solo opportunities. 

CONNECTING WITH THE BLUES 


Easy $42.00 Cat: 42064 

Written for 12-17 players, this new Beach original provides young jazz bands with 

an excellent introduction to the all-important blues form. Crisp articulations, 

fundamental swing rhythms, and an open solo section in F concert with cued 

backgrounds are highlights. A sheet with written solo lines for all instruments 

supplements each set. 

EL CENTRO 


Medium $42.00 Cat: 43162 

This Salsa chart is an electrifying addition to the Doug Beach catalog. Commissioned 

by Robert Blazek’s Youth Jazz Ensemble of DuPage, Illinois, the fiery rhythm section 

groove provides the foundation for strong sax and brass lines. 

ESCAPE ROUTE 


Easy $42.00 Cat: 42105 

This straight-ahead minor blues is a rewarding journey in the swing idiom. Students 

should play with a solid sense of time and pay close attention to articulations for 

best results. Written lines are provided for the open solo section if players lack 

improvisation experience, and the chart features a strong finish. 

FIRST LIGHT 


Easy $38.00 Cat: 42117 

A pensive melody and rich harmonies blend perfectly in this straight-8ths ballad for 

young bands. It builds gradually, starting with piano only in the first four bars, adding 

solo trumpet in m.5 and just about everyone else by m.16. All solo lines are entirely 

written, and it’s playable by bands ranging in size from 12 to 17 pieces. 

GUMBO CALIENTE 


Easy $42.00 Cat: 42167 

All of the ingredients for a hot gumbo are present in this sizzling new Latin composition 

playable by 12-17 pieces. The strong rhythm groove is the foundation for a perfect 

blend of melody, Latin rhythms, an open solo section, and the roaring ensemble work. 

Stir all of the above, bring to a strong simmer, and serve HOT! 

I GOT CHILI PEPPER 



The famous Chili Pepper saga continues! Based on rhythm changes, this spicy Latin 

adventure features an open solo section, a unique ensemble response, and a strong 

finish. Crisp horn articulations and a solid groove are essential. 

LI’L LIZA JANE 


Medium $42.00 Cat: 43264 

Dedicated to and recorded by trumpeter Nicholas Payton on Gumbo Nouveau, 

this familiar melody takes on new life in this refreshing swing treatment by Doug 

Beach and George Shutack. Scored at the medium level, the rhythmic and harmonic 

twists in this arrangement complement the hard-driving groove. 


1-518-587-2325 1-518-587-2325 7


MARGIN OF ERROR 


Easy $42.00 Cat: 41890 

The first title in the new Jazz Foundations Series, Margin Of Error is a solid rock 

chart at the very easy level that will provide young musicians with the essential jazz 

foundation to move on to more advanced literature. The solid voicings insure that 

any size group will sound big and full. Playable with any combination of four or more 

horns plus rhythm. Optional parts are included for flute, clarinet, and french horn. 

Standard instrumentation, plus optional flute and horn in F. 

MISSING TOOTH 



This heartfelt tribute to Frank Mantooth is an excellent programming choice for 

medium advanced groups. It is, without a doubt, one of Doug’s finest charts - 

consisting of great ensemble writing, strong swing figures, an open solo section, and 

a roaring shout chorus. 

OFF THE RECORD 


Easy $42.00 Cat: 41910 

This very easy swing chart provides young musicians with the necessary background 

to move on to more advanced literature. This chart utilizes fundamental swing 

figures and is playable by any combination of four or more horns and rhythm. 

Optional parts are also included for flute, clarinet and horn in F. Two sample solos 

transposed for any instrument are provided in each set. Written or ad lib solos for 

all rhythm section parts. 

THE RED BANK EXPRESS 



Written in the style of the great Count Basie Orchestra and titled in reference to 

Basie’s birthplace of Red Bank, NJ, this swingin’ original features plenty of great 

ensemble work and an open section for improvised solos (written lines provided). 

Highlights include a sax soli, shout chorus, and a Basie piano signature just before 

the final chords. 

SOUTH SIDE BLUES 



This medium easy original is a straight-ahead swing chart commissioned by noted 

jazz educator Dr. John Bradley. A strong melody, sax soli, brass soli, open solo section, 

and a burning shout chorus make this an ideal choice for opening or closing your 

concert program. 

SWEET AND SASSY ***NEW*** 


Easy $42.00 Cat: 41930 

With swinging rhythm throughout the chart, Sweet & Sassy lives up to its name. 

Features include a solid bass line, an infectious melody, and swinging ensemble figures. 

Approachable by very easy level groups, this chart will be popular with more 

experienced groups as well. As with all charts in this series, it provides the director 

with an almost unlimited number of instrumentation options. The music is scored 

for four horn parts, with the instruments assigned to parts based upon range and 

voicing considerations. With each of the four parts assigned, the chart will sound full 

and complete. The director may then add as many horns as desired past the initial 

four as long as some effort is made to retain a reasonable balance. Optional parts are 

included for flute, clarinet, and french horn. Two sample solos are provided for all 

instruments, but players should be encouraged to step away from the written solos. 

THAT’S NOT MY DOG 


Easy $42.00 Cat: 41940 

This medium swing chart at the very easy level pays tribute to the great Peter Sellers 

and The Pink Panther series. The solid groove and use of fundamental swing figures 

make this a wonderful teaching vehicle for younger jazz musicians as they encounter 

patterns and concepts that are the building blocks of the jazz idiom. Charts from 

this series are playable by as few as four horns and rhythm, and are expandable to 

full big band instrumentation. Optional parts are provided for flute, clarinet, and 

horn in F. Written or ad lib solos for all rhythm section parts. 

8 

TRANQUILLO 



This delightful, medium easy Bossa Nova original provides a wonderful alternative to 

the standard ballad. The flowing melody and rich voicing create a perfect showcase 

for either flugelhorn or alto saxophone. 

TRUMPETS OUT FRONT 



The title says it all! This catchy, hard-swinging trumpet section feature at the 

medium easy level will provide excitement for any concert setting. 

TWO WAY STREET ***NEW*** 



A frontline of trumpet, trombone, and tenor saxophone deftly navigates the turns 

of this medium easy level chart. With a minor melody and very hip harmonies, this 

arrangement is sure to be a hit with students and audiences alike. If you’re looking 

for an up-tempo swing tune with attitude, look no further! 

ARRANGED BY LOUIE BELLSON 

BASSICALLY BOSSA 

Arranged by Louie Bellson 

Medium Difficult $36.00 Cat: CLBA039233800 

Bossa Nova. Alto and trumpet are featured. 

CRYSTALS 



Ballad. Alto feature. 

SINGIN’ SAMBA 



Moderately fast Samba. Trumpet solo. 

SMOOTH TOUCH 



Bossa Nova. Features piano and tenor solos. 

TIME IS RIGHT 



Medium-up swing. Trumpet solo. 

UNTITLED WALTZ 



Up-tempo jazz waltz, features alto and trumpet. 

ARRANGED BY SHELLY BERG 

BLUE GENES 

Arranged by Shelly Berg 


12/8 funk featuring trombones. Exciting contrapuntal shout. 

BLUESBERRY JUICE 



Speedy 12-bar blues. Exciting sax soli and full brass soli without rhythm. 


ONLINE!

C.P. SAMBA 



As performed by Bill Watrous. Relaxed Samba features trombone or piano. Lovely 

melody and changes. Fun and challenging sax soli. Lots of solo space. 

DEEDLE DEEDLE 



As performed by Bill Watrous’ Wildlife West. This bright swing is based on I Got 

Rhythm changes. Great melody! Sax soli, exciting shout trades fours with drummer. 

Solo space. 

FOR JR 



Composed in tribute to pioneering jazz educator, J. Richard Dunscomb, For JR is 

alternately beautiful and exciting. The style is straight eighth, with a warm main 

theme featuring piano, then soprano sax. The orchestration is colorful and lush. The 

contrasting section is a 7/4 cascara! The cascara section has excitement and climaxes 

into the piece, and is also a solo vehicle for alto sax. Some sax doubles. 

FORWARD MO 



Commissioned for the 2004 Missouri All-State Jazz Ensemble, this chart has a lyrical 

theme with interspersed partito alto sections to add excitement. The rhythm parts 

are notated throughout to demonstrate the Brazilian Samba style. 

GRAPPLE WITH THE APPLE 



Tune based on Honeysuckle Rose. Trio of trumpet, tenor, and trombone. 

JO 



Funk-shuffle featuring alto sax, a la David Sanborn. Relaxed groove. 

MAN TUNA 



Authentic salsa groove. Unusual montuno played by the brass section. 

SKIP TOO, MY LOU 



Great ensemble writing. Medium groove swinger featuring the bass. 

SOLEMN DESTINY 



Haunting ballad for solo trombone. Composed for Bill Watrous. Some sax doubles. 

SPLICE OF NICE 



Features alto sax and flugelhorn. Nice, easy-feeling funk shuffle. 

TURN OUT THE STARS 


Medium $30.00 Cat: 54561 

Acapella setting of Bill Evans’ timeless ballad. Contrast piece. No piano or Drums. 

THE WILL 



As played by the Bill Watrous Big Band. This is a medium, in-the-pocket, swing tune 

featuring piano. The sax soli is challenging, but well worth the effort, and the shout 

chorus will bring the audience to its feet. Also a great trading section of unison lines 

for the trumpets and trombones. The chord progression is ‘Rhythm changes’ in Ab. 


ARRANGED BY DAVID BERGER 

BUSY WOMAN BLUES [VOCAL] 

Arranged by David Berger 

Medium $38.00 Cat: SCM-020 

This swinging blues arrangement is from Duke Ellington expert Dave Berger. Written 

for Dave’s Sultans of Swing band, Busy Woman Blues captures the essence of the 

blues that allows for individual vocal interpretation by your male or female vocalist. 

JOURNAL SQUARE 

Arranged by David Berger 

Medium $42.00 Cat: 61385 

This straight ahead shuffle in the tradition of Duke Ellington’s train songs will be a 

welcome addition to advancing big band literature, and is also appropriate for 

professional bands as well. Berger used it as his band’s opener for many years. 

Conceived by the composer while riding home on the Journal Square train, it 

features a 12-bar minor form and has plenty of opportunities to open things up for 

solos. A guitar chord chart by Jim Greeson is included in each set. 

ARRANGED BY ANDREW BISHOP 

FUNERAL MUSIC FOR 

JOBIM AND PIAZZOLLA 

Arranged by Andrew Bishop 


This work was commissioned to celebrate the 25th Anniversary of the Wichita Jazz 

Festival and was conceived as a piece that shifts between Bossa Nova and tango. 

Harmonically it mines Chopin's Prelude in E minor, op. 28, no. 4--a chord progression 

used by both Jobim and Piazzolla--and the title suggests a connection to Beethoven. 

The prevailing texture is contrapuntal in the spirit of Renaissance vocal music along 

with several other reworked conventions of Western concert music. It is conceived 

and written as a trombone feature, but additional solo parts are provided for B-flat, 

E-flat and other concert key instruments making this an ideal feature for guest 

artists and soloists ranging from flugelhorn, guitar, or even violin. The chord changes 

are fairly simple but require the soloist to adapt through form and feel shifts. Easy to 

moderate ranges for all wind instruments. 

MORE THAN SUGAR 

Arranged by Andrew Bishop 


The title and tempo marking "apocalyptic rhumba" (medium) are reverence to 

Cuban music--though it is composed more in the spirit of John Coltrane and Elvin 

Jones rather than traditional guaguanco. The chord changes are fairly straight 

forward even though they require the soloist to adapt form and tempo--a layering 

modal pyramid for the tenor and drums to drive the soloists to the fine. The ranges 

are moderate-to-difficult with some ossia for trumpet 1. 

ARRANGED BY MIKE CARUBIA 

AS TIME GOES BY [VOCAL] 

Arranged by Mike Carubia 

Medium $50.00 Cat: WBJE9419 

As good a torch song as ever written, and now available for vocal group (SATB or 

SSAA) with jazz ensemble. Can be used as a vocal solo also. Either way, it’s great 

music! Good voice leading in the vocal parts, and the band has background figures 

that are just right. The band gets a chance to blow in its own right, too. Key of C. 

AT LAST [VOCAL] 


Medium Difficult $50.00 Cat: JEV9601 

A classic tune in an arrangement for four vocalists with big band. It the style of the 

great bands, this chart contains lush, thick four part vocal writing, but it is very 

singable. Your vocalist also will get a chance to scat during the tune. Solo opportunities 

for the tenor, and alto singer. Key of G to Ab. 


1-518-587-2325 1-518-587-2325 9


BLUE MOON [VOCAL] 


Medium $50.00 Cat: JEV9503 

Take a nice standard, add a Mike Carubia arrangement, and it turns to magic! This 

one features a vocal soloist or quartet (SATB or SSAA) with big band and has all of 

those big sounds everyone likes. Nice voice leadings and a Bossa interlude for a 

change of pace. Great for programming! Key of C (goes to Eb near end). 

FUNKY JEANS 


Medium Difficult $38.00 Cat: SCM-015 

Funky Jeans is a funk style blues in C. Written in a Thad Jones style, this original tune 

features some creative ensemble writing and sounds more difficult than it is to play. 

The funky groove will make this an instant hit. (Scored to sound complete with 4-3-2-3). 

I’LL NEVER SMILE AGAIN/DREAM [VOCAL] 


Medium Easy $45.00 Cat: JEVM00005 

These two gorgeous tunes, arranged with a mellow Bossa-Nova groove, are perfect 

for a vocal treatment-smooth, very singable lines, modest ranges and well-known 

melodies. Concert, show, festival, dance-you name it, this chart is right for every 

performance setting. Mike Carubia arranged this chart with instrumental parts that 

are a breeze with a few background solos supporting the vocal. Written for a vocal 

quartet or a solo vocal, this is a must-have arrangement! Key of C going to Ab. 

IT DON’T MEAN A THING [VOCAL] 

(IF IT AIN’T GOT THAT SWING) 



More Duke Ellington magic! This chart sells itself... the vocal group is just the frosting 

on the cake. The voice leadings are good and the band cooks along well. Look at this 

one! (2:36) Key of D minor. 

JUST HAVIN’ A GOOD TIME 


Medium Easy $38.00 Cat: SCM-007 

This happy shuffle/swing is the least difficult in the series. Solos are played over F7 & 

Eb7 so almost anyone can try improvising on this one. As always, playable with less 

than a full band with lots of unison and block ensemble chords. High school and Jr. 

high students can handle this one on short notice. It’s simple, but it swings! (Scored 

to sound complete with 4-3-2-3). 

L’IL BASIE 



Has the feel of L’il Darlin’ but quite different melodically and harmonically. Piano solo 

in the middle and a nice shout section at the end. Easy to play and very smooth. 

WALKIN’ & TALKIN’ 



A real crowd-pleaser at an easy level. Kids love it too. A real winner! 

10 10 

10 

ARRANGED BY DAN CAVANAGH 

BLACK RATTLE ***NEW*** 

Arranged by Dan Cavanagh 


Lengthy (~9:30). Up-tempo driving ECM feel/free. Rhodes piano (opt. piano). 

Woodwind doubles (soprano sax, clarinet/bass clarinet). Premiered at the IAJE 

conference in 2005, Black Rattle utilizes a ‘follow the leader’ concept. Bass trombone 

is the first leader: the other instruments begin their parts after the bass bone and try 

to ‘catch up.’ Trumpet takes over and leads the ensemble through more leader/ 

follower moments. The tune then counts off into an aggressive, driving melody 

leading to a modal trumpet solo. The backgrounds reprise earlier material, but end 

up pushing towards another leader/follower section featuring your drummer. 

CHAOS THEORY ***NEW*** 



Up-tempo Swing. This driving, exciting piece explores changes from stability to 

instability and back to stability again. Quick, explosive motifs in the beginning of the 

piece give way to a developing ocatonic (half-whole) melody. A lush trombone solo 

out of time gives way to percoLating backgrounds that build over time. Solo space 

for tenor sax comes next with a much more aggressive character. The piece ends 

with a solo contemplative piano drawn from ideas found earlier in the piece. 

HAVING BUILT IN DEEPER WATER ***NEW*** 



Medium tempo, straight eights in 3/4. Woodwind doubles (clarinet/bass clarinet). 

One of Dan's most popular (and most performed) pieces! Starting off with pedal 

point C in the bass, this lush piece develops organically over time, presenting evolving 

representations of the same initial idea. Substantial solo space for the soprano sax 

and guitar and a nice overall shape to this piece make it an ideal program complement 

to straight-ahead swing pieces. 

NORTH SOUTH ***NEW*** 


Medium $55.00 Cat: 50575 

Straight eighths, medium tempo. Commissioned by saxophonist Dave Camwell, this 

piece features your soprano soxophonist. Starting with melodic ideas on solo soprano 

in the lush key of concert Gb, the band sneaks in to complement. Sweeping dynamic 

gestures push the tune into a new key area. The tune quickly drops back down. The 

modal solo section features beautiful backgrounds bubbling up from the surface, 

leading towards a dramatic push to the end of the piece. 

PHASE SPACE ***NEW*** 


Medium $55.00 Cat: 50572 

Relaxed Swing in 3/4. Phase Space is set in a relaxed mood with the melody first 

outlined by the lead trombone. Solo space for trumpet or trombone comes first 

after the melody with backgrounds sneaking in on the second chorus. Piano is 

allowed another solo with optional repeats. The piece ends with piano trio simply 

stating the melody. 

SPLIT-ROCK ***NEW*** 



Up-tempo swing. This high-energy big band piece starts off with a full ensemble 

shout and drops its energy down into a short piano solo. The band then enters with 

fragments of the main melody, using bold dynamic gestures and sharp attacks to 

highlight drum work. After a large build-up and statement of the tune, a tenor solo 

ensues with plenty of space and well-integrated backgrounds. Next comes an open 

drum solo after which the melody returns. This piece ends with a final burst of 

energy making it a great closer. 

ARRANGED BY JIM CIFELLI 

NOT QUITE BRAZIL ***NEW*** 

Arranged by Jim Cifelli 


Contemporary jazz Samba that offers solo space for baritone sax, flute, trumpet, 

piano and drums. The chord changes for both the melody and the blowing sections 

are inspired by Herbie Hancock's ‘Cantaloupe Island.’ Halfway through the chart 

the 4/4 Samba gives way to a 6/4 groove that accompanies the trumpet and piano 

solos. A tutti ensemble section brings the chart full circle back to 4/4 for a reprise of 

the melody. 5 reeds: alto 1 doubles on flute, trumpet 1 to high f#. 

ARRANGED BY MATT CLANCY 

THAT CAT ***NEW*** 

Arrnaged by Matt Clancy 


This Bossa Nova/Swing is easy to play and sounds great. Matt is a composer who 

teaches at the middle school level in Vermont. Great for your young band. Scored for 

full band but will sound complete with 4/3/2/3. 


ONLINE!

ARRANGED BY JOHN CLAYTON 

BAGS’ GROOVE 

Arranged by John Clayton 


John’s arrangement of this jazz classic was written specifically to feature Milt Jackson 

with the Clayton-Hamilton Jazz Orchestra; however, just about any instrument can 

play the head at the beginning of the chart. Shout chorus at the end is a standout! 

DAY BY DAY 



John Clayton’s fierce, swinging arrangement of this familiar standard is written as a 

solo vehicle for tenor sax. Marvelously crafted in a kind of ‘call and response’ form 

between tenor and band. 

EVIDENCE 



Monk was a master of composing unconventional and angular melodic lines. John 

Clayton provides a jagged yet stimuLating chart that features dueling trumpets and 

an exciting full band shout chorus. From the recording Explosive! - Milt Jackson 

Meets The Clayton-Hamilton Jazz Orchestra. 

FOR ALL WE KNOW 



Recorded by The Clayton-Hamilton Jazz Orchestra on their CD Absolutely! this 

light Latin setting opens with a unique intro featuring guitar and arco bass. What 

follows is a lush ensemble statement with drums playing on brushes leading to an 

extended solo section for piano. 

GROOVE SHOP 



This John Clayton original from the CD Groove Shop explodes into a medium swing 

groove, then features a small group (soprano, tenor, trumpet and trombone) on the 

first go-round of the tune. The saxes have a soli feature and the entire ensemble 

helps deliver the powerful shout. Includes solos for trumpet and piano. 

THE JAZZ CALLING 



This monster chart from John Clayton was written specifically for his clinic 

presentation at the IAJE convention where it was rehearsed and premiered in 

January 2005. After the rhythm section sets the tone, the trumpets state the first 

‘calling’ then pass it along to the rest of the ensemble. This amazing composition 

grows organically throughout as tension and release points are explored and the 

final climax is realized through a layering effect from section to section. 

SILVER CELEBRATION 



In honor of Horace Silver’s 75th birthday, John Clayton serves up this special 

celebration of swing. The opening statement by trumpet and tenor is balanced 

nicely with full ensemble backgrounds. In the ‘airy’ middle section of this uniquely 

crafted chart, the rhythm section loosens up a bit and solos are offered for trombone 

and drums. The groove then returns and churns all the way to the finish. 

SQUATTY ROO ***NEW*** 


Advanced $60.00 Cat: 7011139 

Written for the Ellington orchestra by saxophonist Johnny Hodges, this catchy riffbased 

tune swings hard from beginning to end. After the hard-hitting opening, solos 

are exchanged by tenor, trombone, trumpet and piano. In typical Clayton-Hamilton 

fashion, the piece roars to an exhilarating full tilt finish! 


ARRANGED BY CHRIS CULVER 

MONGO’S MOOD 

Arranged by Chris Culver 


Mongo’s Mood is a hip Samba with firm roots in both the blues and salsa. Chris has 

done a great job in keeping this at a reasonable playing level while still being quite hip. 

This one should fit perfectly into your balanced programming format. 

ARRANGED BY BOB CURNOW 

ANOTHER LIFE 

Arranged by Bob Curnow 


Bob Curnow is very well known for his wonderful arrangements of Metheny’s music, 

and this chart will only enhance that reputation. This is another superb ballad, very 

much in the Metheny mode. It is scored to feature flugelhorn throughout, but there 

are optional solo parts for alto sax or guitar available also. Pat’s recorded solo has 

been transcribed, and it is included. (optional 10 brass parts available). 

CHILDREN OF THE SUN 



This is a completely re-composed and re-notated (in Finale) version of a piece that 

has been in the catalog for a while. It has a Latin / fusion feel reminiscent of some 

early Freddie Hubbard tunes. Solo space is provided for alto sax and trumpet. The 

“shout” chorus which follows the solos is very exciting, and then the piece ends 

quietly after returning to the main theme. All ranges are very reasonable, and the 

chart should be playable by even young bands. 

FOR THE LI’L ONES ***NEW*** 


Medium $55.00 Cat: SMP-756 

Here is a wonderful ‘Basie-ish’ chart with a catchy melody set in an easy-swing 

tempo. Curnow has created a laid-back, swinging chart very much in the style of 

Sammy Nestico and others who wrote for the amazing Basie Band. Solo space for 

alto saxophone, swinging ensembles, moderate ranges and a cute ending make this 

a terrific piece to program for players of all levels. 5/4/4/4 

HERE’S THAT RAINY DAY 


Medium Easy $32.00 Cat: SMP-126 

This is, unquestionably, one of the most beautiful ballads ever written. And this 

arrangement really takes advantage of the richness of the Kenton Sound. This chart 

captures that wonderful feeling of warmth and power without high trumpet parts 

or extra demanding dynamics. A great choice for festivals. (8 brass) Full score. 

I’LL BE SEEING YOU 



This was originally arranged as a vocal chart and has been published to also feature 

vocal or any one of a number of soloists (your choice). It is a lush ballad, full of rich, 

warm textures of the trombone section and saxophones. There is also a harmonmuted 

trumpet solo behind the gorgeous trombone soli on the 2nd chorus. This is 

the melody that is loved, and it makes a great program choice. 

MOUNTAIN GREENERY (NONET) ***NEW*** 



Bob Curnow has created a wonderful nonet chart (6 horns, 3 rhythm) on this great 

Rodgers & Hart tune. The medium-swing setting features solo space for alto, tenor, 

flugelhorn, trombone, piano and drums. This is a great chart to do on a big band 

concert to rest the band and feature your soloists. This is very much patterned after 

the wonderful things Shorty Rogers wrote for this instrumentation (alto, tenor, 

baritone saxes, 2 flugelhorns, trombone, piano, bass, drums). 


1-518-587-2325 1-518-587-2325 11


OBLIVION 



Piazzolla wrote many beautiful melodies, and this one is perhaps the most haunting. 

This is a flugelhorn solo throughout, with very reasonable ranges for all. This is one 

of those rare charts that is easy to play. Piazzolla’s music is very popular, and this 

chart will thrill your band and your audience - guaranteed! 

A PLACE IN THE WORLD ***NEW*** 



This piece was originally recorded on ‘Speaking of Now,’ and it is scored to feature 

solo space for alto saxophone and trumpet. Modest ranges (tpt. high D only) make 

this a very playable chart in a medium Latin setting. 5/4/4/4 (opt. 10 brass parts). 

PROMISE OF DREAMS 



This piece has been in the catalog for a while, but it has been totally recomposed 

and notated in Finale. It now comes with a full score (and parts). It was written for 

Stan Kenton, and it features a written piano solo throughout the piece. This is a slow 

ballad, written in the Kenton tradition. If you’re looking for a piano feature in ballad 

style, this will work very well for you. 5-5-5-4 (can be played by only 8 brass) 

RIVERDANCE 



The chart everyone has been waiting for! Eight minutes of amazing, dynamic, exciting 

sounds! It is, of course, based on the centerpiece of the wildly popular show. 

Everytime this chart was performed in live concerts in Germany (and elsewhere), 

the audience just erupted with applause and standing ovations. This isn’t an easy 

chart to play, but it is well worth the effort. All ranges are fairly reasonable, with the 

1st trumpet part topping out at a written high E. This is recorded on the highly 

acclaimed CD Towednack by Bob Curnow and the SWR Big Band. 

SWEETLUMPS ***NEW*** 



This is a new edition of this lovely Bossa Nova tune. Flugelhorns are used to create 

a warm, lush, lyrical melody that floats in and out of various counter lines. There is a 

tenor sax solo which is followed by a marvelous full ensemble passage. The melody 

returns and takes things out to the end. Very reasonable ranges (1st tpt. high Db 

only) and rhythms make this very playable by most bands. 5/4/4/4 

SWORD 



Here is a most unusual chart, set in a Celtic style, with shades of bag pipes and 

Scottish overtones. It is an extremely clever piece that opens and closes with the 

celtic sounds and has a roaring, swinging ensemble section in the middle. There is also 

room for a tenor sax solo. If you’re looking for something very fresh and different to 

program, this is the chart! 5-5-5-4 (can be played by only 8 brass) 

VIDA DE SUENO ***NEW*** 



This is a gorgeous feature for tenor saxophone (there is also a piano solo). Sensual 

and lush. Set in a slow Bossa Nova style, this lyrical piece will please your players and 

audiences alike. Very modest brass ranges (high D for tpt. 1) and easy rhythms make 

this chart very playable for just about any band. 5/4/4/4 (Opt. 10 brass) 

WRITER’S CRAMP ***NEW*** 



This is a new edition of this trombone section feature. It is available with a full score 

for the first time. It has also been edited to allow for performance by 8 brass as well 

as 10. There is solo space for trumpet, and the rhythm section starts things off. This 

is a happy, swinging chart with lots of full ensemble passages that really roar. You’ll 

enjoy having a full score. 5/5/5/3 (can be played with only 8 brass) 

12 12 

12 

ARRANGED BY PAQUITO D’RIVERA 

ALMA LLANERA 

Arranged by Paquito D’Rivera 

Medium Difficult $70.00 Cat: 32M-1001 

Folk song from Venezuela. 3/4 style (6/8 feel). Open solo section. 

CHUCHO 



Mambo. Open solo section. 

I REMEMBER DIZ 



Slow Bossa. Solos for clarinet and trumpet. Note: instrumentation for brass are three 

trumpets and three trombones. 

ARRANGED BY MIKE DANA 

53RD STREET SHLIDE 

Arranged by Mike Dana 

Easy $55.00 Cat: 55338 

This medium-tempo (mm=128) Bb blues shuffle is a great opener for your young 

band. Solo changes are included for alto, tenor, trumpet, a d trombone, and can be 

opened up to feature any other soloist. Ranges: trumpet 1 to G, trombone 1 to F. 

Notated piano voicings and bass lines are provided, along with chord symbols. 

ABYSSINIA (I'LL BE SEEIN' YA) ***NEW*** 


Medium $55.00 Cat: 55344 

Here's a medium up-tempo modal chart that your band (and audience) will really 

enjoy. A contemporary head sits on top of an ostinato in open fifths, while the 

drummer keeps things energized with ‘Elvin-ish’ time. Solos for tenor or trumpet; can 

be opened up. Very reasonalble brass ranges are used. Suggested piano voicings and 

bass lines (also with chord symbols) are provided. 

BOB SAGET! ***NEW*** 



Once in a while a chart comes along that just makes you ask "why?" This is that 

chart. This medium-up blues swings from start to finish. The sax riff at the beginning 

will make you want to sing "Bob Saget" out loud. By the end of the chart, you'll be 

doing exactly that. Solos for alto, tenor, or trumpet; moderate brass ranges (bones 

to F, lead brumpet occasional Bbs.) Suggested piano voicings and fully notated bass 

lines (also with chord symbols) are provided. 

CONFLUENTIAL 



This burning contemporary original will be an audience-pleasing opener or festival 

chart, and your band will dig it too. It's a 12 bar (but not a blues) form in C minor. 

The melody is stated by a trio of alto, trumpet, and tenor (all are featured on solos 

as well). An extended coda with exciting background figures builds behind a drum 

solo for a dramatic ending. Trumpet 1 to a D, trombone 1 to an A. 

EL BURRITO PICANTE III: ***NEW*** 

THIS TIME IT'S PERSONAL 


Medium $55.00 Cat: 55349 

The ‘spicy burrito’ returns with a vengeance in this Latin chart that sounds much 

harder than it plays. An ominous opening leads into a 12/8 feel that alternates with 

a driving Afro-Cuban groove. You'll need auxiliary percussion for this: congas, timbales, 

etc. Reasonable brass ranges. Suggested piano voicings, sample percussion grooves, 

and notated bass line are provided. For high school or strong middle-school bands, 

this is THE closer for your festival set. 


ONLINE!

EYE OF THE GEMINI 


Medium $55.00 Cat: 55336 

This is a beautiful chart, with a unique feel. Chart opens with a warm chorale melody, 

then evolves into an ethereal, straight-eighth (mm=140) ECM-ish feel. Solo changes 

are included for tenor and trumpet, but can easily be played by anyone. The modal 

solo section uses only 2 or 3 tonal centers, so younger improvisers should have no 

fear. A dramatic development section leads back into the head, and closes with the 

chorale. Trumpet to C, trombone to G. 

FARTHER (STILL) 



This soprano sax feature was composed in memory of Paul Shaghoian. A hauntingly 

beautiful minor melody in 3/4 is supported by lush brass and woodwind textures. 

Scored for 10 brass (inc. tuba), with some doubling (alto 1/flute, bari/bass clarinet). 

A mature soprano soloist and rhythm section, and a strong lead trumpet are a must. 

MIRA COSTA ***NEW*** 


Easy $50.00 Cat: 55346 

This is a beautiful medium tempo Bossa that works great for young bands. The 

melody is played first by alto/tenor/trumpet/bone (with optional guitar or vibes.) 

The soloist (any of the above) can stay in C minor as the changes move around that 

key. Easy for brass: lead trumpet stays in the staff. Great middle tune in a festival set. 

NICE HAT 



Here's the perfect chart to feature your drummer...specifically, your drummer's hihat. 

The Monk-ish melody has lots of holes for some tasty hat fills. The tempo 

(mm=140) and ranges (trumpet to C, trombone to G) are very manageable for high 

school players. The solo section, a slightly modified Bb blues, features alto or tenor. 

Piano and bass parts contain both notation and chord symbols. 

NOT QUITE SUMMER 



Your band will love this medium-up tempo (mm=144) chart based on the changes 

of Summertime. A driving bass line supports the melody, played by altos and trumpet. 

Solo changes are included for alto, tenor, trumpet, and trombone, and can be 

opened up to feature any other soloist. A strong (but very playable) shout chorus 

follows. Ranges: trumpet 1 mostly G (one A), trombone 1 to F. Notated piano 

voicings and bass lines are provided, along with chord symbols. 

PORK CHOP THURSDAY 


Easy $55.00 Cat: 55341 

Inspired by Homer Simpson's favorite day of the week, this very playable medium-up 

(mm=140) chart really cooks. A bluesy intro sets up the tasty 16-bar melody, played 

by altos and tenors. Solos are for alto, tenor, or trumpet. Ranges are very manageable: 

F for trumpet, Eb for trombone. Chord voicings and bass lines are provided. Students 

and audiences alike are sure to eat this one up! 

SITE FOR PSORIASIS ***NEW*** 



Your band will be itching to play this medium shuffle. The melody gets under your 

skin, and the shout chorus really burns! Listen carefully for cameo appearances by 

Wayne Shorter and the Pink Panther. Moderate brass ranges; suggested piano 

voicings included. Nothing rash here, just a grooving opener! 

SORRY ABOUT THAT ***NEW*** 


Medium $55.00 Cat: 55348 

A great opener: a hard-driving minor blues shuffle always gets the crowd in the right 

mood. Your tenor player has a short bluesy cadenza at the top and again at the end, 

and is also featured on the solo section. Trombone 1 to G, trumpet 1 to B. 


TOO HIP FOR THE ROOM 


Easy $55.00 Cat: 55342 

This relaxed, hip, Basie-style chart is a great vehicle for teaching your young band 

how to lay back. This is the perfect middle-of-the-set chart. There are short solos for 

trumpet and either alto or tenor. Ranges: trumpet 1 to G, trombone 1 to F. Notated 

piano voicings and bass lines are provided, along with chord symbols. 

ARRANGED BY RICH DE ROSA 

THE FUNK STOMPS HERE 

Arranged by Rich De Rosa 

Difficult $38.00 Cat: SCM-017 

Talk about a high energy, happy funky/hip-hop chart that sounds much harder than 

the written parts, well this is it! Simple, contemporary changes make solos a breeze 

and place this piece in the must-have category. Features a three-horn (alto, tenor, 

and trumpet) melody to start. 

MORNING FUNK ***NEW*** 

Arranged by Rich DeRosa 


Real funky and not too difficult. You students will love this one. Can be opened for 

extra solos. Short shout chorus and short rehearsal time for this one. Scored for full 

band but will sound complete with 4/3/2/3. 

ARRANGED BY DON ELLIS 

BULGARIAN BULGE 

Arranged by Don Ellis 

Medium Difficult $45.00 Cat: UNCJ-1016 

The chart, written in 33/16, is one of the all-time favorites. There are sax doubles. 

FINAL ANALYSIS 



This march/rock chart ends with a hilarious Beethoven-style ending. 

GREAT DIVIDE 



A dynamic show stopper. It’s in a very fast 13/4. Not for the timid. There are some 

sax doubles. Solos for alto and tenor. 

IN A TURKISH BATH 



A popular 7/4 arrangement of Ron Myers’ tune with an Oriental flavor. 

PUSSYWIGGLE STOMP 



Romping chart in 7/4 time. Tenor, piano, trumpet, and drum solos. 

STRAWBERRY SOUP 



One of Don’s most popular charts. A rich, multi-layered minor tune in a moderately 

fast 9 but with lots of shifting subdivisions. Everyone gets featured either as a soloist 

or as a section. A surefire showstopper that winds it all up with a dirty 4/4 blues. 


1-518-587-2325 1-518-587-2325 13


14 14 

14 

ARRANGED BY JOHN FEDCHOCK 

BIG BRUISER 

Arranged by John Fedchock 


This chart features trombone and tenor saxophone solos. 

BLUE AFTER TWO 



Recorded on the John Fedchock New York Big Band’s latest CD No Nonsense, this 

slow blues chart has subtle sophisticated harmonies placed over an after-hours 

roadhouse 12/8 groove. After the subtle opening it heats up with solos by alto sax, 

trombone, and bass, and features powerful ensemble passages, along with an a 

cappella chorale section with the horns, all culminating in a down and dirty ensemble 

shout chorus. 

ELEVEN NIGHTS 



New York trombonist/band leader John Fedchock brings us an effective Bossa 

original. Featured on his latest CD, No Nonsense, the contemporary harmonies 

evoke images of the softer Latin works of Herbie Hancock. The melody is stated by 

solo trombone, and improvised solos are provided for flute and flugelhorn. 

ELVIN’S EMPIRE ***NEW*** 



Dedicated to the memory of recently deceased drum legend Elvin Jones, this engaging 

swing original for proficient groups is a modal work that sets the tone for the 

drumming giant’s loose and open style of playing. Piano, trombone and tenor 

saxophone are featured and Fedchock’s recognizable chord voicings are apparent 

throughout. Rousing background figures add to the excitement prior to the climactic 

finish where the drums are placed in the spotlight. The piece can end in classic ‘Elvin’ 

style with a cymbal crash providing the perfect stylistic exclamation point. 

J BIRDS 



Commissioned by the New Trier (IL) High School Jazz Ensemble directed by Jim 

Warrick and dedicated to J.J. Johnson, this showcase for two trombones features 

moderate brass ranges and accessible up-swing rhythms. To properly complement 

the energetic solo lines and avoid a frantic sound, it should be played with a light feel 

at the indicated tempo (quarter note=192). An optional 5th trombone part is 

included, plus an alternate 1st tenor part (sub. for 2nd trombone). 

LIMEHOUSE BLUES 



From the library of John Fedchock’s New York Big Band, ‘Limehouse Blues’ is an 

exciting up swing, flag-waver featuring crisp figures, and mighty ensemble sections. 

Designed for proficient groups, open solos are included for piano, and trumpet - and 

an alto/tenor sax battle is thrown in for good measure. Rhythm section parts 

partially notated with chords cued. 

ARRANGED BY NEAL FINN 

BIG MAMA DIANE'S ***NEW*** 

ROADHOUSE BLUES 

Arranged by Neal Finn 

Easy $50.00 Cat: 51187 

Commissioned by Lewis Britton Middle School, Morgan Hill, California. Funky shuffle 

tune based on the 60's hit by Canned Heat, ‘On the Road Again.’ Solos for tenor 

and piano. Features individual sections as well as full ensemble.Lead tpt. to C above 

staff (briefly). No doubles. 

A BREMIS AMONG US ***NEW*** 


Easy $50.00 Cat: 51186 

Commissioned by Lewis Britton Middle School, Morgan Hill, California. A minor blues 

with dark timbres and tight voicings to develop your ensemble. Open for any soloist 

on minor blues changes. A good chart for young bands, has a mature sound. Lead 

trumpet to A above staff. No doubles. 

MODABONES 



Commissioned by Polytechnic High School, Long Beach, CA. Modal tune ala Coltrane's 

Impressions features trombone section. Trombone 1 and 2 have improv sections. 

Trombone 1 blows 16 measure duet with drummer a la Coltrane/Elvin. Lead tpt 

tops out at C. Exciting and playable showcase for good trombone players. Solos for 

trombone 1 and 2 with no doubles. 

UNKNOWN DIMENSIONS 



Unusual modal tune with atypical phrase cycle. Melody has small 4-horn "band 

within a band" concept. Solo section open for any soloist. Piece combines "westcoast 

coll" subtleties with just good old big band power during the shout. Modal 

chord progression fun to play on and challenging. Lead tpt up to D above staff, and 

no doubles. Open for solos. 

WHO KILLED JOSE LAGUMBY?? 



Super-funky chart that's a real crowd-pleaser. Short funk solos from tenor 1, tenor 

2, alto 2 interspersed around the head. Change of groove goes half-time for a 

trombone solo that builds. Tenor1 follows with just drums back-up. Ensemble builds 

again to long drum solo and super exciting ending. Lead tpt up to E above staff, with 

no doubles. Solos for tenor 1 and 2, trombone 1, and drums. 

ARRANGED BY DIRK FISCHER 

DONDE ***NEW*** [VOCAL] 

Arranged by Dirk Fischer 


Vocal arrangement of Dirk's lovely Latin bolero. Spanish lyrics by Barbara Ransom. 

Instrumental version on ‘George Stone Plays the Music of Dirk Fischer’ CD. 

Flugelhorns, easy range. Vocal key is F (A below middle C to high Db). 

MAMBO PARA ESTUDIO ***NEW*** 

(MAMBO ETUDE) 



Mambo at 1/2 note=190. Atipico figures for entire ensemble, open for solos, blowing 

changes included. Effective and easily accessible. Lead trumpet high C & one high D. 

SING DAMMIT! ***NEW*** 



Pop-rock-ballad, vibes solo (partly improvised). Effective interplay with guitar, vibes, 

& piano. Soprano sax lead, stresses melodic, singing ensemble work. Bass part completely 

written.Trumpet to high B. Easily accessible by young players. 

ARRANGED BY BOB FLORENCE 

3 “E” MOTIONS PART 1 

Arranged by Bob Florence 


A three part piece built on the note E. Trumpet solo in a harmon mute and a tenor 

solo. Recorded by the Bob Florence Limited Edition on Serendipity 18. 


ONLINE!




Baritone solo melody and flugelhorn solo on this waltz. Very gentle for most of the 

way through (swing 8th notes). Recorded by the Bob Florence Limited Edition on 

Serendipity 18. 




This is the conclusion of 3 “E” Motions. It’s bright and has solos for piano, trumpet 

and baritone. Drums are important. The rhythm section on all of the “E” MOTIONS 

is free. Recorded by the Bob Florence Limited Edition on Serendipity 18. 

AFTERNOON OF A PRAWN 



Up-tempo minor blues that would be a great opener! Dynamic sax soli. Some sax 

doubles. 

APPEARING IN CLEVELAND 



Composed in honor of Stan Kenton and based on snippets from the Kenton library. 

Solos: baritone, guitar and trumpet and written out piano. A great concert closer. 

From the CD ‘Next Stop Live On The Road’ by the Mike Vax Big Band featuring 

alumni of the Stan Kenton Orchestra. 

AULD LANG SYNE 



A touching treatment of a song that works at any time of the year. An a cappella 

trombone soli states the melody, then the bari sax is featured as the rhythm section 

accompanies with some lovely substitution chords. Some saxophone doubles. 

AUTUMN 


Medium $40.00 Cat: 50323 

Trombone choir opens, simple and well orchestrated ballad. Tenor feature. Some sax 

doubles. 

BBC 


Medium $90.00 Cat: 50304 

An exciting calypso-Samba written for the BBC in London. The melody is based on 

the notes B, B and C. A great closer. Solos for trombone, piano and trumpet. 

THE BABBLING BROOK 


Medium $79.00 Cat: 50305 

A lovely and subtle jazz waltz which switches between major and minor keys. Tenor, 

flugelhorn and piano solos. Some doubles. 

BE BOP CHARLIE 



Swinger featuring some of the finest ensemble writing for big band. Some sax 

doubles. 

THE BE BOP TREASURE CHEST 



Collection of Be Bop licks-sixteen to be exact, you figure them out! 

THE BIG BAND TREASURE CHEST PART I 



Part I of a 2-part suite (but can be performed individually). An interesting modal 

pedal point introduction surprisingly breaks into a blues shuffle. Baritone, trombone 

and trumpet solos. 


THE BIG BAND TREASURE CHEST PART II 



Part 2 of a 2-part suite (but can be performed individually). An up-tempo rhythm 

changes flag waver that features alto and tenor solos. Challenging chromatic lines 

for sax section. 

BIMBOSITY 



A feature for two clarinets. Sopranos may be substituted. 

BLEUPHORIA 



Lush and lovely ballad feature for your baritone saxophone! Some sax doubles. 

BODY AND SOUL 



A great concert piece of this John Green classic. Half of this medium tempo 

arrangement is very soft. The other half is very loud. No doubles. No score. 

CARMELO’S BY THE FREEWAY 



Swing chart featuring trumpet and tenor on the initial melody. Sax soli. Some sax 

doubles. 

CHICAGO 



The old 1920s song done as a bright Samba and fast swing. Solos are tenor and 

trumpet. No score. 

CLAIRE DE LUNE 



A fast jazz waltz beginning with a rubato piano solo - piano then sets tempo. The 

other solo is a flugelhorn. 

THE CREEPY CRAWLIES 



A mysterious piece that starts very lightly and builds to a shocking conclusion with 

bass, soprano, and trumpet solos. Doubles: woodwinds 1-4 on clarinet; woodwind 5 

on E flat contra alto clarinet (contra alto clarinet part can be played on the 

baritone); and woodwind 6 on bass clarinet. Trumpets double flugelhorns. 

THE CRUNCH 



This swinging medium blues with its unusual voicing and surprising ensemble sections 

avoids sounding like just another blues chart. Bb, bass and contra-bass clarinets, and 

flute doubles. Solos for tenor, trumpet and bass. 

DOUBLE BARREL BLUES 


Medium $55.00 Cat: 50327 

A 16-bar blues that alternates back and forth between two keys. 

DUKEISMS 



Celebrating Duke Ellington's 100th birthday, this is an extended composition based 

on snippets of familiar Ellington/Strayhorn themes. Solos: guitar, tenor, alto and 

written out pianos. A great concert closer. From the CD Whatever Bubbles Up by 

the Bob Florence Limited Edition on the Summit label. 


1-518-587-2325 1-518-587-2325 15


EARTH 



A slow blues in 12/8 feel with unaccompanied piano solos. No doubles. 

EMILY 



A real concert piece. Emily goes back and forth from 4/4 to 3/4. Flugelhorn solo on 

trumpet 4; trumpet solo on trumpet 5; piano solo at the top. This piece requires 

much soft playing. 

ETERNAL LICKS AND GROOVES 



Commissioned by ASCAP & IAJE and premiered at the IAJE convention in Long 

Beach, CA on January 6, 2005. Honoring Count Basie, this is an extended composition 

based on snippets from the Count Basie library. Solos: guitar, trombone, tenor, 

trumpet and drums, and written out piano. A great concert closer. 

EVELYN 



A gentle Bossa Nova featuring 2 altos. Woodwind doubles are clarinets, bass clarinet 

and Eb contra alto clarinet. 

EVIE 



3/4 Samba feel. Soprano/flugelhorn have the melody. Woodwinds and muted brass. 

Some sax doubles. 

FLIGHT OF FANCY 



Great Samba feature for drums, ensemble written around solo fills. 

THE FLY BY KNIGHTS 



A show-stopper to be played as fast as possible. This piece goes into half-time Bossa 

for alto solo (2nd part). Recorded by Bob Florence. 

FUNUPSMANSHIP 



A good festival opener or closer, this fast and furious piece features trombone and 

baritone sax. Straight ahead feel. 

G.A.B. 



Up tempo swing. Solo changes in 2nd trumpet and 4th trumpet. Difficult sax soli. No 

doubles. 

A GOLDEN MILESTONE, 

(GOLDENER MEILENSTEIN): PART 1 



A three-part suite written for the SWR Radio Big Band in Stuttgart, celebrating 

their 50th anniversary. The piece can be played complete or as a separate part. A 

bright straight 8th note feel with an alto and trumpet solo. The piano interludes are 

written out. Lead trumpet to high D. Alto 1 doubles on soprano. 

16 16 

16 

A GOLDEN MILESTONE 






slow straight 8th note feel with a soprano and trombone solo. The soprano solo is 

with piano alone. The piano closing is improvised. Lead trumpet to high D. Altos 

double on soprano. 

A GOLDEN MILESTONE, 






very fast tempo with a tenor, guitar, and an extended drum solo. The piano interludes 

are written out. Lead trumpet to high Eb. 

GRAHAM CRACKER 



A medium-tempo trumpet blues in B flat feature, starting with cup mute then 

plunger then open. Woodwinds are clarinets and bass clarinet switching to saxes. 

GREEN FLAG 



Up-tempo Samba featuring trombone. No doubles. 

GUIDING STAR ***NEW*** 



A soft, quiet solo feature completely written out for the baritone saxophone. 

Woodwinds are 4 clarinets and a bass clarinet. From ‘Eternal Licks & Grooves’ CD. 

HOT LICKS 



Straight ahead medium swing featuring both tenor saxes. No doubles. 

I’LL REMEMBER 



Bossa Nova featuring sax section melody, alto bridge, tenor cadenza. Some sax 

doubles. 

IN THE SAMBA MODE 



Another great Samba from Bob Florence. Features tenor sax and piano solos. 

THE INDUSTRIAL STRENGTH STOMP 



Medium-tempo swinger that features great sounding ensemble. Some sax doubles. 

JEFF N’ JEFF 



Jazz waltz. Two tenors are featured soloists with trading choruses. Some sax doubles. 

Recorded by Bob Florence Limited Edition on Soaring. 

JEWELS 


Medium $40.00 Cat: 50332 

Nice, easy (12/8) ballad, trombone feature dedicated to Julie Andrews. Some sax 

doubles. 


ONLINE!

THE JUNKMAIL SPECIAL 



A medium-bright opener or closer with some written high note trumpet solos. 

Other solos include tenor and another trumpet. Recorded by the Don Junker Band. 

LEICESTER (LESTER) LEAPS IN 



An up-tempo 3/4 version of this familiar jazz line. Soprano solo. As recorded by the 

Bob Florence Limited Edition Funupsmanship. 



Medium $60.00 Cat: 50367 

A different treatment done slowly and quietly in a 3/4 swing feel. Solos are written 

out piano interludes and ad lib piano solo. 

LONELY CAROUSEL 


Medium $40.00 Cat: 50333 

Slow jazz waltz. Flugelhorn melody statement, with woodwind backgrounds. Cadenza. 

MAGIC TIME 



Happy feeling up-tempo Samba. Exciting ensemble shout takes it home. Some sax 

doubles. 

A MEANS TO A BEGINNING 



A lush and haunting Bossa Nova. This chart challenges your band’s ability to balance 

and play sensitively. Some sax doubles. 

A MIRROR IMAGE 



A delicate medium slow waltz with a swing feel dedicated to Duke Ellington and Billy 

Strayhorn. The melody is carried by trumpet 4 on flugelhorn and trombone 1. The 

interludes are improvised and written-out. Alto 1 doubles on soprano; trumpets 

double on flugelhorn; lead trumpet to high Eb. Recorded by Bob Florence and the 

SWR Radio Big Band. 

MISBEHAVIN’ 


Advanced $75.00 Cat: 50335 

A jazz waltz that doesn’t feel like a waltz. Complex time feels. Some sax doubles. 

Recorded by Bob Florence Ltd Edition on Soaring. 

MR. PADDINGTON 



An against-the-beat introduction sets up a lilting waltz featuring an engaging sax 

soli on the melody. Some sax doubles. Plenty of solo space for soprano. 

MONDAY NIGHTS 



Dedicated to all of the big bands that perform on Monday night, this medium-up 

piece is to be played with a small group in the middle. Solos are bass and trumpet and 

a short piano interlude. No doubles. Recorded by Bob Florence Limited Editions 

Earth. 

NERVE ENDINGS 



An abrasive medium tempo blues, written with the title in mind. Solos: trumpet, tenor 

and written out piano. From the CD Whatever Bubbles Up by the Bob Florence 

Limited Edition on the Summit label. 


NEW YORK INJECTION 



A high-energy waltz with tenor and trumpet solos. No doubles. As recorded by the 

Bob Florence Limited Editions Earth. 

A NIGHT IN WINDSOR 



An up-tempo trombone feature written for Rob McConnell. Optional solo parts for 

Eb and Bb are included. 

NOBODY’S HUMAN 



Alto and baritone solos. Fine ensemble writing, appealing to any audience. Recorded 

by Bob Florence Limited Edition on Soaring. 

NOW PLAYING 



A flugelhorn/trumpet feature. The tempo is slow, then doubles up. Woodwind doubles 

are flutes, clarinets, bass clarinet and Eb contra alto clarinet. Recorded by the Bob 

Florence Limited Edition on Serendipity 18. 

OCEANOGRAPHY 



Very up-tempo swing (1/4 note = 300 approx) in that great Florence style. Changes 

are based on How Deep is the Ocean. Solo space for alto sax and trumpet. Lots of 

ensemble writing. No doubles. Recorded by Bob Florence Limited Edition on With 

All The Bells and Whistles. 

PARTY HEARTY 



Bright blues, a real showpiece for your band. Tenor solo, optional bass. 

PUMPKINETTE 


Medium $65.00 Cat: 50339 

Swinger featuring the melody from the two baritone sax parts. Some sax doubles. 

RHYTHM AND BLUES 



An extremely fast alto feature originally written to feature Lanny Morgan that, as its 

title implies, combines I Got Rhythm chord changes with blues changes. 

RUNNING WITH SCISSORS 



Running with Scissors was inspired by a parent saying to a child: "Don't run with 

scissors in your hand". This makes the piece slightly ominous at a bright tempo. Solos 

are trumpet, trombone and extended drums. This is featured on Whatever Bubbles 

Up by the Bob Florence Limited Edition on the Summit label. 

SAILING 



Fast jazz waltz with quick moving woodwind lines underneath. Some sax doubles. 

SERENDIPITY 18 



A bright opener or closer. Some collective improvising from tenor, trombone, soprano 

and trumpet. Other solos from piano, alto and trombone. This number is high energy. 

Recorded by the Bob Florence Limited Edition on Serendipity 18. 


1-518-587-2325 1-518-587-2325 17


SILKY 



A lush and melodic Bossa Nova featuring flugelhorn. The chart also utilizes interesting 

textural contrasts through the use of flutes and contra-bass clarinet doubles. 

SLIMEHOUSE 



Medium swing chart. Solo space for piano. As recorded by the Bob Florence Limited 

Edition on ‘Funupsmanship.’ 

SOARING 


Medium $65.00 Cat: 50341 

Light Samba featuring flugelhorn and trombone. Simple and straight-forward. 

Recorded by Bob Florence Limited Edition on Soaring. 

SOME BAD AND BEAUTIFUL BLUES 



A bright blues with a bridge in a swing feel. The solos are by baritone and trumpet. 

Lead trumpet to high Eb. The piece is long but great for concerts. Recorded by Bob 

Florence and the SWR Radio Big Band. 

A SONG FOR BARBARA 



A lovely trombone ballad feature written for Charlie Loper. Soloist is supported by 

lush orchestration. Excellent concert piece. 

A SOUNDSKETCH 


Medium $53.00 Cat: 50321 

Tenor sax ballad feature. Intensity and sensitivity go hand in hand. Some sax doubles. 

Recorded by Bob Florence Ltd Edition on Soaring. 

SUGAR 



A hard shuffle with guitar, tenor, and baritone sax solos. This is a great closer version 

of this Stanley Turrentine classic. Recorded by Bob Florence Limited Editon cd 

Serendipity 18. 

TELL YOUR STORY 


Medium $53.00 Cat: 50342 

Bossa Nova that features flugelhorn. 

TENORS, ANYONE? 



A different kind of tenor duet. Both soloists play together at the top. A straight 

ahead feel. As recorded by the Bob Florence Limited Edition on With All The Bells 

and Whistles. 

TRASH CAN CITY 



Hard driving 12-bar blues shuffle at its best! Great ensemble shout. 

WESTLAKE 


Medium $65.00 Cat: 50346 

In Bob’s usual style, this jazz waltz melody is shared by everyone. Some sax doubles. 

18 18 

18 

WHATEVER BUBBLES UP 



A medium straight 8th note feel with a muted trumpet, trombone and tenor solo. 

Alto 1 doubles on soprano. The beginning of the trombone solo is with guitar only. 

The beginning of the tenor solo is with piano only. The piano interludes are written 

out. Lead trumpet to high E. Recorded by Bob Florence and Limited Edition on 

Whatever Bubbles Up. 

WIDE OPEN SPACES 



Nice and easy 16-bar minor blues in a 12/8 feel. Ensemble melody with a trombone 

solo. Some sax doubles. 

WILLIS 



Great up-tempo swing chart. Can be used as a concert opener or closer. Written 

for Bill Holman. Extensive ensemble writing. Solos for trumpet, alto and a short drum 

solo. No doubles. 

WILLOWCREST 



An exciting 24-bar minor blues in 3/4 time with an unforgettable shout chorus. 

Intermittent 5/4 bars have never swung so hard. Features trombone and alto solos. 

WITH ALL THE BELLS AND WHISTLES 



A medium-tempo Samba. The first two choruses feature 6 flutes in unison (may be 

played by 3). Features exchanges between band and drums. As recorded by the Bob 

Florence Limited Edition on With All The Bells and Whistles. 

YOUR WAKE UP CALL 



This chart is a great opener or closer for a concert. Contains solos for both tenor 

saxes, and two trumpets. Since it was written for Louie Bellson, it has 4-bar and 8bar 

solos for the drummer throughout the piece. As recorded by the Louie Bellson 

Big Band on ‘Art Of The Chart.’ 

ARRANGED BY FRANK FOSTER 

BACK TO THE APPLE 

Arranged by Frank Foster 

Medium $55.00 Cat: 51213 

A medium up-tempo D-flat major blues scored for Count Basie (and partially 

dictated by the Count himself) around 1960. This somewhat imitates the Basie 

Band style of the 1940s, with brass fanning hats, etc. Solos for tenor, trumpet, and 

piano. This chart was recorded by the Count Basie Orch on Breakfast Dance. 

BASS IN YO’ FACE 



A medium tempo 12-bar blues featuring string bass, of course. The bass soloist states 

the melody as written, then gets off following an ensemble chorus. Ad-lib solo 

segments include trading fours with the trombones, saxes and trumpets with some 

challenging soli figures, especially for the saxes and trumpets. 

BLUES IN HOSS’ FLAT 

(BLUES IN FRANKIE’S FLAT) 



A medium shuffle blues in D-flat scored for the Basie Orchestra in 1957. This chart 

was featured in the Jerry Lewis film The Errand Boy. The chart features solos for 

tenor (not heard on the original Roulette Records recording), trumpet, and trombone. 

Recorded by the Count Basie Orchestra on ‘Chairman of the Board.’ 


ONLINE!

BOOZE BROTHERS 


Medium $55.00 Cat: 51200 

Medium blues. Solo changes on 2nd trumpet and 2nd trombone. Recorded by the 

Count Basie Orchestra on ‘The Legend and the Legacy.’ 

CECILIA IS LOVE 



Starting out with a slow ballad-like intro, this piece breaks into a medium, somewhat 

Latinesque groove, and after an eight-measure introductory build-up the pretty 

melody is stated in unison. There is an optional baritone sax solo. The band director 

may wish to feature the flugelhorn/trumpet soloist only, since this is not a short 

piece. And if you insist on letting the baritone sax jump in there, he/she better know 

some harmony. The chart goes out all the way keeping the Latin groove (which, by 

the way, would be strongly enhanced by the presence of a set of congas and/or 

bongos, along with other Latin percussion axes). As recorded by Frank Foster’s Loud 

Minority Big Band. 

CLANKS 



2nd trombone is featured throughout this arrangement, opening with the melody 

written out for solo trombone playing funky using the plunger (a la the late Al Grey), 

then unison trumpets take over doing the same thing on the second chorus. After 

that it's all trombone on this medium tempo blues, first with the plunger, then open 

horn after the modulation from F to B-flat major. Sax doubles on piccolo (or lead 

flute) - 3 flutes, and bari sax to bass clarinet on the back half of the chart. Lead 

trumpet high is F4. If your trombone soloist can handle the plunger, this should be 

a nice little 3-plus minute feature. As recorded by the Count Basie Orchestra on 

‘Basie's Bag.’ 

COME ON IN 



A nice groovy medium tempo piece that swings right along, with solos for 2nd alto 

sax and 4th trumpet. Based on 'I Got Rhythm' chord changes, the arrangement 

contains a few 'boppish' licks in the melody and solo backgrounds. This is a relatively 

simple chart that should be good for dancers who like not-too-fast tempos. Lead 

trumpet to a D4. 

DAYSPRING 



Medium swing chart. Featuring trumpet, trombone and piano solos. Nice ensemble 

writing. 

DEEDLE’S BLUES [VOCAL] 



Up-tempo blues as recorded by Diane Schuur with the Count Basie Orchestra. 

DIDN' YOU 



With the same harmonic structure as the late Dizzy Gillespie's 'Woody'n You', this 

song features tenor sax and piano. Following the intro and opening chorus the 

ensemble swings for half a chorus, then introduces the piano solo starting on the 

bridge. One full chorus of piano follows, then a sax-measure build-up to the tenor 

sax, which takes over for the rest of this chorus, then two more. Late in the chart 

there are short written tenor sax solo exchanges with the ensemble. Also at the very 

end, a four-bar solo break (soloist may play optional written cues, or ad-lib own 

ideas so long as they take it out in adequate fashion). After the soloist comes to rest 

on a suitable sustained tone, preferably in the upper register, the director gives a 

downbeat for the ensemble's closing chord. Lead trumpet to high G4. 

DISCOMMOTION 



A romping B-flat blues written for Count Basie around 1959. It swings hard at a 

medium-fast tempo. Solos are for piano, tenor, and trombone. A two-chorus trumpet 

section soli follows the piano solo. 


DOWN FOR THE COUNT 



Medium blues. Solos for piano, trumpet with harmon, and trombone. As recorded by 

the Count Basie Orchestra. 

EASIN’ IT 


Medium $55.00 Cat: 51218 

Another D-flat blues, but this one’s more laid back (as the title might imply). In the 

pocket tempo, the chart starts the same as the one recorded on Roulette Records, 

from the pen of Frank Foster, but includes additional ensemble choruses not heard 

on the original recording. Solos for tenor, trombone, and trumpet. Not a difficult 

chart. 

FOR ALL INTENTS AND PURPOSES 



After a brassy intro in 2/4, the chart breaks into a medium fast swing. Although this 

tune is not a blues, the tenor and trombone follow blues in Bb patterns for four 

choruses apiece. Exciting sudden death ending. 

‘FOS ALARM 



A medium swing tempo rouser, this chart features baritone sax. With a one-measure 

pick-up break at the end of the intro, the ‘big E-flat’ states the melody of this B-flat 

blues, then takes off on its own for a series of choruses. 

FOUR-FIVE-SIX 



From the Count Basie book of the ‘60s, this straight ahead blues swings with a sax 

section soli after the head. Features trumpet and tenor solos and two out-choruses 

of typical Basie ensemble style finishing up.Includes guest tenor solo, but is optional. 

Recorded by Manhattan School of Music. 

GONE AN’ GET IT, Y’ALL 



This is a kind of knock-down-drag-out blues in A-flat major that features solos by 

piano and trombone. In a medium fast swing tempo the chart is somewhat typical of 

the so-called New Testament Basie Band, where shouting brass and funky reeds 

were the order of the day. 

HAMPTON STRUT 



A 16-bar blues that's just a little too happy to really be bluesy, 'Strut' lopes along 

with a medium up-tempo swinging motion with several 'two-five' progressions in its 

harmonic framework. Solos by trumpet, trombone and tenor sax are enhanced by 

straight-ahead groove-producing background figures. Lead trumpet to high Eb4. As 

recorded by the Count Basie Orchestra on ‘Basie's Bag.’ 

I LOVES YOU PORGY [VOCAL] 



Slow ballad in Ab. As recorded by Diane Schuur and the Count Basie Band. 

KATHERINE THE GREAT 



Your big band has just shaken the earth off its foundation with one of your monster 

flag wavers, now you’d like to cool things down with a somewhat relaxed swinger. 

Try Katherine The Great - no pyrotechnics; no open-ended ensemble trips to 

never-never land without the rhythm section; just a nice pretty little piece for your 

trumpet, tenor sax and piano soloists to groove on for a few minutes while your 

audience sits back without having to hold onto their seats.Recorded on ‘The 

Legend, The Legacy by the Count Basie Orchestra’ in 1989. No score. 


1-518-587-2325 1-518-587-2325 19


KING CHARACTER 



Originally written to feature legendary veteran bassist Earl May, longtime member of 

Frank Foster’s Loud Minority big band rhythm section, this chart is perfect for the 

big band bassist who rarely takes solos. A simple 12-bar blues in F major, the tune 

merely requires an ability to improvise on the blues. Along with bits of interesting 

ensemble work, your bassist gets to blow on some straight-out blues changes, walk 

some behind a trombone solo, and make the final statement of the melody with a tag 

and a slowed down ending. 

LADY CAROLYN 


Medium $53.00 Cat: 51223 

This lovely ballad is the third movement of Foster’s Count Basie Remembrance Suite. 

The lead trombone is featured in an entirely written solo, except for a short improv 

cadenza on the ending. Also featured is alto on a written solo on the first bridge, and 

then an improv 16-measure solo on the second chorus. As recorded by the Basie 

Orch on ‘Basie’s Bag’ directed by Frank Foster. 

LITTLE CHICAGO FIRE 



This up-tempo swinger is dedicated to one of Chicago’s finest and one of the 

world's most fiery tenor saxophonists, Johnny Griffin. The challenging melody, based 

mostly on 'I Got Rhythm' chord changes, is written out for two tenor saxophones 

and two trumpets, all of which are featured soloists on the chart. The harmonic variations 

may be a little tricky for the soloists at first, but a little concentration and application 

should get them past this aspect. The ensemble blasts behind the soloists as they go 

through their paces, then following the first 16 measures of the shout shorus, they 

take it out with melody from the final bridge. Lead trumpet high Db 4. 

MAJOR BUTTS 



One of Frank Foster’s more ambitious charts in the context of the so-called ‘Basie 

Tradition,’ Major Butts is really just another medium up-tempo 12-bar blues, but 

with the added twist of an ‘I Got Rhythm’ bridge in long meter played in a jazz 

Samba groove. One full chorus consists of two 12-bar blues segments followed by 

the Latinesque 16-measure bridge and then another 12-bar blues segment, giving 

the song an elongated A-A-B-A form. The chord changes aren’t difficult, and your 

tenor sax and trumpet soloists should handle them pretty well. If the band director 

elects to insert additional solos it is suggested that all soloists be limited to one full 

chorus apiece. 

NOW THAT SHE’S AWAY 



This is a ballad featuring trumpet or flugelhorn. Flute and clarinet doubles on saxes. 

A very meaty big band style tune of the late ‘50s and early ‘60s. 

ODE TO JOE NEWMAN 


Easy Medium $53.00 Cat: 51227 

A somewhat mournful but haunting ballad dedicated to the late great jazz trumpet 

stylist, a New Orleans native who made his name with the bands of Lionel Hampton 

and Count Basie. This chart features three of your trumpeters, or all four, whichever 

you prefer. There are written and improv solos for the 2nd, 3rd, and 4th chairs, while 

the lead player has an eight-measure written solo on the final bridge of the tune. 

Chart goes into double time for the improv solos, then returns to ballad tempo. 

READY NOW THAT YOU ARE, G.B. 



Written for and featuring guitarist George Benson with the Basie Orchestra, 'Ready 

Now' takes us on a swinging mildly up-tempo (but not too up) excursion through 

some slightly challenging harmonic area. However, it's still straight-ahead swing, and 

not too far off the norm for big band jazz, and should be fun for your trombne and 

alto sax soloists, and of course your jazz guitarist. Lead trumpet to high E4. 

20 20 

20 

SHINY STOCKINGS 



The original Foster classic from the Basie book. Medium swing featuring a trumpet 

solo. Recorded by the Count Basie Orchestra. 

SIMONE 



Medium blues waltz with solos for tenor and piano. A deceptively different set of 

chord changes. 

SKULL-DOUG-ERY 


Medium $55.00 Cat: 51204 

A challenging unison melody and an equally challenging set of chord changes 

reminiscent of the hard-bop era characterize this moderately fast tenor sax feature. 

The solo is on the 2nd tenor part, but you’d better give it to your star player, as the 

harmonic structure calls for NO LYING. The chart also includes a piano solo, and 

some fairly nice ensemble work. 

TOMORROW'S BLUES TODAY ***NEW*** 



This is a somewhat different kind of blues. While it employs the normal 12-bar 

chorus format, it uses minor seventh chords insted of major or dominant chords in 

the first eight measures of the 12-bar chorus. Yet, it's not a minor blues, because it 

sounds major as a result of the minor 7th substitutions, which do not resolve to 

dominant 7th chords in II-V sequences. The only dominant 7th chord in any chorus 

occurs in the 9th and 10th measures, a C7 raised 9th. Solos for 1st tenor and 4th 

trumpet. Should be played as a medium swing tempo. Trumpet 1 to double high G. 

TRANSITION 


Medium $60.00 Cat: 51236 

The second movement of the Count Basie Remembrance Suite (four movements 

total), this short easy swinger, with its simply stated melody, is reminescent of the 

infectious Basie style of the ‘40s, featuring solos by tenor sax, trombone and muted 

trumpet. No one has to stretch for their limits on this one. Just groove it right along 

with some tasty little licks. Some humor may be injected in that the last two soloists 

(trombone and trumpet) enter in such a way as to appear to be interrupting the 

previous soloist before that person is finished soloing. Looks of surprise, astonishment 

or good-natured annoyance by the tenor sax and trombonist might be in order. A 

few '4s' are traded by the soloists, then all three take it out together. The bass walks 

a six-measure intro (yes, 6 bars), then three flutes and harmon muted trumperts do 

the melody accompained by bass clarinet. Flutes and bass clarinet go all the way, as 

the only saxophone is the tenor soloist. Lead trumpet to high C4. 

UPTOWN RECOLLECTIONS 


Medium $52.00 Cat: 51209 

1940s big band sound. Up-tempo swing, featuring alto, tenor and trumpet solos. 

VICTORIOUS BLUES 



Written for Basie Band. Has great sax soli and trombone, tenor and trumpet solos. 

WE BE JAMMIN’ 



Up-tempo swing with solos for piano, alto, trumpet, and trombone. Recorded by 

University of Wisconsin, Eau Claire on Brilliant Corners. 


ONLINE!

WHO, ME? 



This arrangement is part of Frank Foster’s Vintage Basie Series, compositions performed 

and/or recorded by Count Basie and his world famous New Testament orchestra 

between 1953 and 1960. It’s another straight ahead blues, for which that band was 

especially noted. Recorded by the Count Basie Orchestra on Chairman Of The 

Board. The full ensemble blasts into the introductory chorus, followed by two 

choruses of the ‘head’ stated alternately by saxes and brass. Next comes a twochorus 

saxophone section soli displaying no pyrotechnics, just simplicity and swing. 

A growling muted trumpet solo greases things up for a minute (on the recording the 

marvelous Snooky Young played the solo; no one did it better), backed up by 

trombones with a riff that must have been dated some 25 years prior to the 

recording! Next of course what else but a typical ‘Basie-styled’ piano solo, couched 

in that All-American rhythm section format; you know the drill.After the piano the 

soft full ensemble takes over with a 24-bar build-up to the shout chorus, which is of 

course punctuated by Young’s screaming open trumpet, and the piece ends with the 

customary dominant 13th chord with raised 11th. 

YOU CAN HAVE IT 


Medium $55.00 Cat: UNCJ-1025 

Up-tempo chart as recorded by Diane Schuur and the Count Basie Band. 

YOU GOT IT 



From the Count Basie library. This medium up-tempo blues features solos by flute, 

4th trumpet, 2nd trombone, and 2nd tenor. It’s a nice set opener to get things 

started vigorously. Your tenor sax soloist has to take it out with a flourish on the end, 

as there’s a four-measure break for a climaxing cadenza in tempo before the closing 

chord. The soloist can’t be laid back, so to speak; this has to be with a straight-ahead, 

slamming kind of approach that will get the audience aroused and wanting more. 

ARRANGED BY TONY GAIRO 

BETWEEN THE PIPES ***NEW*** 

Arranged by Tony Gairo 

Medium $55.00 Cat: 51529 

Medium level straight-ahead medium swinger with a shout chorus. Featured are 1st 

tenor and 1st trombone stating the head in and out, each getting a blow, though 

letter F can be opened for choruses. Only a quirky triplet figure in the shout might 

be troublesome for inexperienced players. Charts are for piano, bass, drums, 4 

trumpets, 3 trombones, bass trombone, and 5 saxes standard. Medium. As recorded 

by the Gairo-Rissmiller Jazz Orchestra on Sea Breeze Records, ‘Treacherous.’ 

DEADLINES, DISTRACTIONS, ***NEW*** 

AND DIVERSIONS 



Features three motives in counterpoint, each motif representing one of the three 

issues in the tune's title. The three lines come together for a tutti chord that 

introduces a piano blow on the form. After lots of ensemble interplay, the 2nd tenor 

player gets to explore an open vamp. More ensemble work precedes a tutti out 

chorus. Charts are for piano, bass, drums, 4 trumpets, 3 trombones, bass trombone, 

and 5 saxes standard.Difficult. As recorded by the Gairo-Rissmiller Jazz Orchestra 

on Sea Breeze Records, ‘Treacherous.’ 

ELUSIVITY ***NEW*** 



Lighter textured and in 3/4 time. Woodwind doubling is required, blended with lots 

of muted brass. 1st tenor is featured, but on soprano, as well as piano, and an open 

drum solo. Drums open on brushes. Charts are for piano, bass, drums, 4 trumpets, 3 

trombones, bass trombone, and 5 saxes standard. As recorded by the Gairo-Rissmiller 

Jazz Orchestra on Sea Breeze Records, ‘Treacherous.’ 


POKE AND HOPE ***NEW*** 


Medium $55.00 Cat: 51531 

Chart swings in a medium-slow groove straight through. Lots of soloists are featured 

and lots of woodwind doubling which could, in fact, bump this one into the 

"advanced" category. Drummer opens on brushes. Charts are for piano, bass, drums, 

4 trumpets, 3 trombones, bass trombone, and 5 saxes standard. Medium. As recorded 

by the Gairo-Rissmiller Jazz Orchestra on Sea Breeze Records, ‘Treacherous.’ 

PORTRAIT OF MY WIFE ***NEW*** 

(IN MANY COLORS) 



Portrait has been aptly described as a "tone poem" though it meanders through 

several incarnations. Lots of thick textures, doubling, and mutes. There are several 

soloists represented with a pixie-muted plunger trombone feature over a light, 

funky groove. Charts are for piano, bass, drums, 4 trumpets, 3 trombones, bass 

trombone, and 5 saxes standard. Difficult. As recorded by the Gairo-Rissmiller Jazz 

Orchestra on Sea Breeze Records, ‘Treacherous.’ 

REVISITED ***NEW*** 



Revisited is most certainly an advanced level romp that, at its core, is a blues, though 

it frequently wanders astray. The brass is screaming, the tempo is "as up as you can 

take it", the head is very bebop, and there is a moderate amount of doubling and 

muting. The solo sections (one that is wedged between the intro statement and the 

head) can be opened-up for choruses of blowing. There is a bit of counterpoint 

jusst to challenge the band even more. This can be a real "toe-tapper" once it comes 

together.Charts are for piano, bass, drums, 4 trumpets, 3 trombones, bass trombone, 

and 5 saxes standard. Difficult. As recorded by the Gairo-Rissmiller Jazz Orchestra 

on Sea Breeze Records, ‘Treacherous.’ 

SUPERMARKET SUSHI ***NEW*** 



Chart with tons of contrapuntal figures representing the layers of flavor in a sushi 

roll and several odd-measured sections. The pianist has a blow atop the chart, just 

after the intro and before the statement of theme in Thad Jones-esque style. 1st 

trombone has a blow over a figure that moves around the band beneath him/her. 

Lots of plunger playing in the brass and layers of sound. Charts are for piano, bass, 

drums, 4 trumpets, 3 trombones, bass trombone, and 5 saxes standard. Difficult. As 

recorded by the Gairo-Rissmiller Jazz Orchestra on Sea Breeze Records, ‘Treacherous.’ 

TREACHEROUS ***NEW*** 



Treacherous is an advanced level chart that floats between an up-tempo swing and 

a half-time funk. The composer's intention was for the work to represent the 

treacherous experience of driving through a severe winter storm late at night after 

hours of studio time. There is quite a bit of stop-time, with the rhythm section tacit 

for measures at a time. Featured is a trombone section/bari sax soli that is a "chops 

buster", 1st tenor solo over a wicked line that morphs into a tutti setting up the 

straight 8ths funk feel, a pointillism section over the freshly established funk groove 

that may need to be conducted, a 4th trumpet blow over the funk, and lots of 

rhythm section "parts". Charts are for piano, bass, drums, 4 trumpets, 3 trombones, 

bass trombone, and 5 saxes standard. Difficult. As recorded by the Gairo-Rissmiller 

Jazz Orchestra on Sea Breeze Records, ‘Treacherous.’ 


1-518-587-2325 1-518-587-2325 21


22 22 

22 

ARRANGED BY ANTONIO GARCIA 

CHA-CHA CON SABOR 

Arranged by Antonio Garcia 


A "cha-cha with flavor" in A-minor at quarter=124, "Sabor" features melodic and 

rhythmic material for all in the style of Oye Como Va.’ Written for an all-regional high 

school jazz band. Solos over the AABA form, or use an A-minor vamp for younger 

soloist; changes in lead alto, tenor, plus bari, top two trumpets and trombones, and 

rhythm. Lead trumpet goes up to concert B, trombone only to A; no sax doubles. 

Rhythm section is piano, bass, timbales (substitute drum part included), guiro, and 

optional congas. Optional "coro" for the entire band to sing in authentic style! 

MAELSTROM 

Arranged by Antonio Garcia 


Named after the center of a storm, this funk chart can be played as such or with 

shifts into swing or other styles, as the intent is to be flexibly changing. Half note = 

118. Premiered by saxist Seamus Blake with the Virginia Commonwealth University 

Jazz Orchestra I. Solos over one-chord A-sections with a several-chord bridge. Solo 

changes available in lead alto, tenor, trombone, and fourth trumpet, plus rhythm. 

Lead trumpet/trombones ascend to concert Bb; no sax doubles. 

ARRANGED BY GORDON GOODWIN 

A GAME OF INCHES ***NEW*** 

Arranged by Gordon Goodwin 


Written in a popish Latin style, this is a hot, contemporary chart, featuring complex 

saxophone lines, crisp brass accents and interesting harmonic movement. You can 

hear the Big Phat Band's version on XXL and although tenor soloist Michael 

Brecker shows his mastery of this style, you can assign any soloist you wish to blow 

on this chart. An exciting, multilayered piece of music! Alto 1 doubles on soprano 

sax, alto 2 doubles on flute, trumpet 2 doubles on flugelhorn, trumpet 1 to high F#. 

I’M BEGINNING TO SEE THE LIGHT 



Gordon’s medium tempo chart features the saxes at the start and then lets the 

ensemble carry it and build to the alto solo. This one goes down smooth. 

THE QUIET CORNER ***NEW*** 


Medium $67.00 Cat: 56182 

This chart sets a gentle but slightly funky groove full of soft colors and smooth 

textures, courtesy of muted brass, flugelhorns, and flutes. The chord changes are 

lush and rich and fun to blow on. Doubles: alto 1 on soprano, tenor 2 and baritone 

sax on flute, trumpets on flugelhorns. Trumpet 1 to A above the staff. As recorded by 

Gordon Goodwin's Big Phat Band on ‘XXL.’ 

WHAT SAMMY SAID ***NEW*** 



A slow Basie-style blues that is dedicated to and inspired by the great Sammy 

Nestico, this chart starts out slow but before you know it you are building your way 

towards a stomping Basie shout chorus. You can open this chart up for any of your 

soloists, and there is plenty of juicy ensemble work to display your band's tightness 

and ability to swing. Sammy Nestico rules! As recorded by Gordon Goodwin's Big 

Phat Band on XXL. Alto 1-2 doubles on flute. Trumpet 1 to high G (optional to Ab). 

WHEN I FALL IN LOVE 



Gordon has taken a refreshingly different approach to this well-known standard. 

Written in a relaxed 12/8 feel and featuring a tenor sax soloist, this superb arrangement 

is immediately appealing. Great for festivals. 

WHERE OR WHEN 



This well-known standard by Rodgers and Hart receives a creative treatment by 

Gordon Goodwin as a moderate Samba. With a great sounding groove and easy 

flowing style, this is truly an outstanding chart. Includes a solo for trumpet. 

ARRANGED BY DAVID GUIDI 

THE HANG ***NEW*** 

Arranged by David Guidi 


An up-tempo opener or closer that alternates between swing and Latin, The Hang, 

features a driving post-bop melody for the saxophone section. The trumpet section 

also shares the melody and combined with the trombone section, provides powerful 

accents and unison figures that propel the energy forward throughout. Solo sections 

feature a soprano solo over the form and an open tenor solo accompanied by an 

Afro-Cuban groove in the rhythm section that allows for harmonic and rhythmic 

interplay. Doubles: alto 1 on soprano. 

HIKE!!!! 



One of the winning compositions from the 2005 ASCAP Foundation Young Jazz 

Composer Awards competition, Hike!!! was premiered at the North Sea Jazz Festival 

in the Hague. Exciting meter changes and clever harmonic activity make this piece 

an excellent concert opener or closer. Based in part on a modified blues structure 

that traverses through several distinct interludes and formal settings, Hike!!! is an 

adventure for the serious jazz ensemble. Solo space provided for trumpet, alto, and 

tenor saxophone. Trumpet section-harmon mutes, alto 1-flute. 

PUNCH TOOK A LEAP 


Medium $55.00 Cat: 54276 

Commissioned by the McCallum Fine Arts Academy Jazz Ensemble in Austin, Texas, 

"Punch Took A Leap" brings a harmonically and rhythmically fresh sound to literature 

that is specifically written for a high school level ensemble. Ideal for intermediate 

ensembles, this composition is based on a traditional thirty-two measure AABA form 

that features the saxophone section. It also includes exciting interludes between 

formal sections over pedal points. This composition is a rare find in that it is both fun 

and challenging for students to play while still serving as an excellent teaching 

vehicle for a multitude of stylistic techniques. Written solo and chord changes provided. 

WINDING ROSE 



Winding Rose is an exhilarating composition that consists of clever melodies and an 

imaginative rhythmic treatment. Comprised of several tempos and meter changes, 

this piece begins with a slow introduction in 4/4 before evolving into 11/4. Exciting 

rhythms for full band, lyrical melodies for horn trio and two contrasting solo sections 

for trumpet (11/4) and tenor saxophone (4/4) make this work a must for any 

serious jazz ensemble. Doubles: alto 1 on alto sax and flute; alto 2 on alto and 

soprano sax; trumpet 1 on trumpet and flugelhorn, trumpet 2 on trumpet and 

flugelhorn, trumpet 3 on trumpet and fulgelhorn, harmon mute; trumpet 4 on 

trumpet and flugelhorn, harmon mute. 

ARRANGED BY DAN HAERLE 

THE CAT FROM CARACAS 

Arranged by Dan Haerle 


Dan has created a very nice, very hip Latin chart with a great melody. There is a 

written-out trumpet solo in this modern, catchy chart. It is surely very playable by 

most bands and a great selection for any concert program. 

CRIB CHIMP 



Dan has created a very nice, very hip shuffle / funk chart with a great melody. There 

is a written-out tenor sax and guitar solo in this swinging, catchy chart. There is also 

a nicely done section for a drum solo. This chart is surely very playable by most 

bands and a great selection for any concert program. 


ONLINE!

THE ESSENCE 



Dan has created a wonderful rock ballad, with a nifty, repeating vamp figure, that can 

be played by even the most inexperienced players. He has managed to do this 

without compromising the music. The chart is wonderful! The melody is stated by 2 

altos, trumpet and trombone in unison, and it grooves on from there. VERY limited 

ranges (1st trumpet written G top of staff). Solos for alto sax, tenor sax and 

trumpet. Solos are written out, or they can be improvised. Your band will love it! 

MOVIN’ ON 



This is a great drum set feature, but it also has room for solos for tenor sax, trumpet 

and guitar (or piano). The chart starts with 8 bars of fast Swing from the drums. 

Then full ensemble figures bounce back and forth with the drums. The melody is 

played by unison altos and trumpets (2 each). After the solos, there is a terrific 

saxophone soli that just goes and goes. The chart finishes in a flurry of excitement. 

Your band and audiences will enjoy this one for many years to come. 5-5-5-4 

REVIVAL 



Big band gospel - what a wonderful idea! Dan has written a very attractive gospelflavored 

chart which is not difficult to play. Limited ranges make this a playable chart 

for most bands (the last chord has optional notes / 1st trumpet written C above 

the staff). Haerle has a wonderful skill for writing interesting, musical pieces which 

don’t require a lot of “chop busting.” Solo space for alto sax, tenor sax and trumpet. 

ARRANGED BY TIM HAGANS 

HOUSEWIFE FROM NEW JERSEY 

Arranged by Tim Hagans 


A boogaloo for big band. A great chart for rhythm section players to learn the 

Sidewinder/Watermelon Man groove. Solos for guitar and second trombone. A 

screaming shout chorus makes this chart a perfect closer. Originally recorded on 

Hagans' No Words CD on Blue Note Records. 

IMMEDIATE LEFT 



An up tempo tour de force for big band with occasional slow stinky swing sections. 

Alto and trumpet soloists are featured. Angular melodies baswed on the Hagans' 

approach to improvisation abound. As with many Hagans' charts, the development 

(in the form of a early shout chorus) takes place before the main theme is stated. 

Challenging rhythmically and melodically for all players. Originally recorded with Joe 

Lovano on the Hagans' No Words CD on Blue Note Records. 

LETTERS IN A BOX 



A medium swing but heavily orchestrated composition. A moving ensemble where 

every note is a new chord. Requires rhythmic accuracy and impeccable intonation. 

Several beautiful melodies are presented individually and then combined for the final 

ensemble. Interesting and challenging chord progression for piano soloist and a 

drum and percussion solo section...unusual on a swing chart. Sopranos or clarinets 

doubling on flute. Bari doubling on bass clarinet. 

MENTION THE EXTENSION ***NEW*** 



Medium swing 32-bar song form. The entire melody is comprised of upper extensions 

of the chords, hence the title. A challenging chord progression features bass and 

tenor soloists but can be opened up for others. The trumpet section is presented in 

a chorus-long soli. A great opener and an interesting contrast to more standard 

types of harmonic movement. No doubles. Recorded on ‘Future North.’ 


MISSED THE BALLGAME BLUES ***NEW*** 



Medium swing. One fat chord introduces a bass solo before the actual intro and 

head are played. A puckish melody is developed throughout. This chart also features 

a small band soli for mixed instruments that leads to tenor and piano solos. A mighty 

shout leads back to the intro, head and out. As with all of Hagans' charts, the lead 

lines are derived directly from his distinctive improvisatory melodic language, giving 

the players and listeners a unique experience. Soprano and flute on original score 

but alternate alto and tenor parts included. Recorded on ‘Future North.’ 

NOOGALOO 



A boogaloo in the Sidewinder tradition. Solo for 1st alto. Trombone section featured 

throughout starting with an unaccompanied intro and then a voiced soli after the 

theme is stated. Sure to have everyone in the band and audience movin' and 

groovin'. Originally recorded on ‘Hagans’ No Words CD, Blue Note Records. Big 

band version recorded by the Norrbotten Big Band on Future North, Double Time 

Records. No doubles. 

ROLLIN' WITH VON OHLEN ***NEW*** 



An up tempo rhythm changes chart written for and recorded by John Von Ohlen 

and the Blue Wisp Big Band. Features a wild sax soli with soprano lead (alternate alto 

included.) Solos for trombone, piano, and trumpet but can be easily opened up for 

other soloists. The shout chorus is an exciting exchange between band and drummer. 

The chart ends in a half-time romp with humor and joy. 

SPACE DOZEN 



This piece asks the following question: "Can the blues be played without actually 

playing the blues progression?" The theoretical chords merely describe the emotional 

content. For example, during the solos in Space Dozen, the soloist is asked to play 

over the emotion in the fourth bar that leads to the fifth bar rather than thinking 

V7 of IV to IV7...the emotion found in the rhythm section must play an abstract 

emotional progression. Great for emphasizing that being able to make the changes 

is only a start. One must also understand the emotional impact of each note choice. 

To avoid tonality, the piece is based on a 12-tone row. Ensemble sections are based 

on the row but are surprisingly consonant. A 12-tone shout chorus leads the way 

back to a full ensemble unison statement of the theme. A concept from Hagans' small 

group experiments expanded for big band. Solos for alto and trumpet but can be 

opened up for any musician. No doubles. 

TWIST AND OUT 



Up-tempo swing. Feature for trumpet/tenor duo in front of band. An examination 

of the vertical and horizontal aspects and powers of the three basic blues chords: 

17, IV7 and V7. An open form contrapuntal ensemble section follows the presentation 

of the fragmented theme by the duo. Solos are open each of the above mentioned 

chords giving the soloist a chance to explore the meaning of the blues. After a piano 

solo, the band states the theme (for the first time as a 12-bar blues) in unison and 

then in constant structure to bring the blues to a boil. Originally recorded for Blue 

Note Records as a sextet piece by the Blue Note All Stars. Big band version 

recorded by the Norrbotten Big Band on Future North on Double Time records. 

ARRANGED BY RYAN HAINES 

PEOPLE AND PLACES 

Arranged by Ryan Haines 


Exciting and impressive full band feature. Begins as an open drum solo with brass/ 

sax chorale underneath that builds to a fast swing feel. Extended solo time for lead 

bone and tenor sax 1 (with stop time for bone solo intro). The solos are followed by 

challenging unison lines for the saxophones who are eventually joined by the bones 

and trumpets in a build to a spectacular close. 


1-518-587-2325 1-518-587-2325 23


24 24 

24 

ARRANGED BY MATT HARRIS 

CHOP SUEY 

Arranged by Matt Harris 


Great funk chart. Features tenor and drum solos. One flute double. This has been 

recorded by Univ Wisconsin-Eau Claire. 

FOOTPRINTS 



This classic Wayne Shorter composition gets a facelift from respected Los Angeles 

composer Matt Harris. The chart includes dense, satisfying voicings. Solo space is 

provided for tenor sax and either piano, guitar, or bass. 

OUT OF NOWHERE 



California composer Matt Harris brings us this bebop treatment of Edward Heyman 

and Johnny Green’s classic song from the Paramount Picture Dude Ranch. The 

clever arrangement utilizes a septet within the big band. Tenor, trumpet, and trombone 

share the melody and have improvised solo space. 

THE PREZ 



Commissioned by the Los Alamitos High School Jazz Ensemble directed by Chuck 

Wackerman, the melody in this high-energy, 16-bar modal blues is carried by tenor, 

trumpet and trombone. The only break in its momentum comes during a free, outof-time 

piano solo, after which the original tempo resumes. A great opener or closer 

for bands with standard personnel. 

ROMPE CABEZAS 



The literal translation of this Spanish phrase is twisted head. This Latin song original 

by Matt Harris features very rhythmic salsa figures with an original displaced montuna 

for the piano. Solos for trumpet 3 and tenor 1. 

SEA BAND STOMP 


Easy $42.00 Cat: 494 

This well-conceived chart provides a great opportunity for developing players to 

perform in the jump-swing style and has utilized many unisons and tutti figures to 

bolster the confidence of younger jazz musicians. Solo space is included over the 

accessible F blues changes. A guitar chord chart by Jim Greeson is included. 

SPRING SEASON 



Loose Samba with straight 16th feel. Piano and tenor solos and some sax doubles: 

one flute, one clarinet and one bass clarinet. As recorded by the Univ of Wisconsin- 

Eau Claire Jazz Ensemble on the CD In Transit. 

WHATSA MATTA 


Medium $42.00 Cat: 61960 

This high powered chart for advancing groups in the style of Tower of Power’s hit 

song What Is Hip, features tenor saxophone after the catchy melodic statement. 

The two-chord funk solo changes will be accessible to most players, as are the 

repetitious but effective rhythmic figures. Drums are also featured during ensemble 

parts and a dedicated solo section. A guitar chord chart by Jim Greeson is included 

in each set. 

ARRANGED BY STEVE HAWK 

GROUND ZERO ***NEW*** 

Arranged by Steve Hawk 


Composed by Steve Reyes. This is a concert jazz piece that features a dramatic 

opening, leading to the main theme, which is in 5/4. The middle section of the tune, 

which features alto sax, offers solo space for alto, trumpet and piano, and is in a 4/ 

4 medium swing feel. Optional french horn parts, add to the dramatic effect. 4 

trombones, 5 trumpets, 5 saxes, bass, piano, drums, and guitar. Medium difficult. As 

recorded by The Hawk-Richard Jazz Orchestra on ‘Reunion.’ 

ARRANGED BY RICK HIRSCH 

ASPIRE ***NEW*** 

Arranged by Rick Hirsch 


Medium-up Jazz Waltz. Wonderful melody set over a feel-good C-major pedal point. 

Excellent opener or closer. Tenor & flugelhorn have melody and jazz solos. Recorded 

on the Valley Jazz Orchestra CD ‘Free Food?’ Trumpet range to high Eb. 

ELLIE'S NEW GROOVE ***NEW*** 



16th note funk groove in 3. Funky, contrapuntal a capella writing for the saxophone 

section. Jazz solos for trombone and alto saxophone. Described as Mintzer-ish by 

drummer John Riley. Trumpet range to high E. 

FREE FOOD? FREE FOOD!! ***NEW*** 



A tribute to breadcrumb-and-popcorn-hungry ducks at your local park. Fun calypso 

in C-minor. Jazz solos in each section. Mouthpiece quacking in the trumpets. Title 

track of the Valley Jazz Orchestra CD ‘Free Food?’ Trumpet range to high D. 

GRACE OF A SOARING EAGLE ***NEW*** 


Medium $53.00 Cat: 55832 

Modern straight 8th note feel. Terrific contrast piece. Lyrical melody; pedal point 

with shifting harmonies; solos for flugel, trombone, and flute (alto 1). Terrific piece for 

high school, college, and professional bands. Trumpet range to high C. 

LIFEBLOOD ***NEW*** 



Up-tempo, brisk contemporary swing at soft dynamic level. Minor mood throughout. 

Inventive orchestration. Solos in tenor and trombone. Excellent contrast piece. On 

Valley Jazz Orchestra CD ‘Free Food?’ Trumpet range to high A. 

NEBULA ***NEW*** 



Some call this the obligatory weird tune. Very slow, exotic 16th-note feel. Drums use 

mallets. Opt. bass clarinet in the bari sax. Solos from trumpet and trombone. Trumpet 

range to high E-flat. 

SUSPENDED ***NEW*** 


Medium $50.00 Cat: 55835 

Terry Riley meets the contemporary jazz orchestra: minimalist groove with shifting harmonic 

colors. Bass tacets entire chart. Some jazz in soprano sax 1. This is a one-of-a-kind 

big band tune. On Valley Jazz Orchesra CD ‘Free Food?’ Trumpet range to high A. 


ONLINE!

ARRANGED BY BILL HOLMAN 

BARY ME NOT 

Arranged by Bill Holman 


As recorded on the new CD ‘The Bill Holman Band Live,’ Holman has written a 

witty, musical, fun-filled feature for baritone saxophone. Lots of space 

for creative playing, and the wonderful contrapuntal writing that we come to 

expect from Holman. It’s time to feature the foundation of your jazz band. 

A moderate tempoed shuffle-feel makes this one swing like crazy! 

BLUE DANIEL ***NEW*** 



Frank Rosolino’s jazz waltz is loved by all, and Holman’s arrangement of it is superb. 

He takes the band on a wonderful excursion from the quiet beginning, through 

open alto sax and trumpet solos, to wonderful, exciting ensemble sections, a roaring 

shout chorus and back again to a quiet, tuneful ending. This is exactly as recorded 

in the ‘Bill Holman Band Live’ CD. Very modest brass ranges make this an attractive 

piece for just about any band. This is Holman at his best! 5/4/4/4 

CLAP HANDS, 

HERE COMES CHARLIE! 



This is a wonderful chart, an old tune in a new dress, as only Bill Holman 

can do it. It’s the exact chart as recorded by the terrific Charlie Barnet 

Big Band. The tempo is bright, a swinging excursion into the clever writing. Solo 

space for piano, alto, tenor, trumpet, and drums. There is a 

great sax soli section and the usual, wonderful, roaring ensemble shout 

choruses. A big finish ends an amazing chart. 5-5-4-4 (4 tpts. work just 

as well) 

DONNA LEE 



This chart is not for the faint-of-heart. It moves at a fast, swinging 

pace, and it captures the spirit of Parker’s classic bebop tune, including 

the humor. As recorded on the new CD ‘The Bill Holman Band Live,’ this 

chart allows for solos by tenor sax, trombone and piano. This is the whole 

package; outstanding ensemble writing and lots of solo space. This 

should be in every big band library. Flute doubles (short passages) on alto 

and tenor 1 parts. 

I’LL BE AROUND 



Boy, you talk about a wonderful Trombone feature .... this is IT ! It has been recorded 

by trombonists Jiggs Whigham and Andy Martin, and will certainly go down as one 

of the best Trombone features ever. It’s a bright Swing version of this terrific tune. 

Lots of solo space and the usual exciting Holman ensemble sections. Lots going on 

and lots to hear! Optional parts for 2 french horns (all cross cued). 

NEVER SLEEP 



This is the third movement of the three-part suite titled ‘The Big Street’ which was 

recorded on the album “The Fabulous Bill Holman” in 1957. This is a Fast Swing, with 

solo space for 2 tenor saxes and trumpet. It is full of the fantastic contrapuntal 

writing that sets Holman apart from others. This really swings along, and it certainly 

can stand alone as a single piece..... or be performed with the other 2 movements. 

PRESS ONE 

Bill Holman 


As recorded on the new CD The Bill Holman Band Live, this chart is a 

vibrant, clever, swinging original. It was Bill’s opening tune at the 

I.A.J.E. conference concert, and the audience went nuts for it! The solos 

are in the tenor sax, trumpet, trombone and drum parts. Your band and your 

audiences will love this one! 


ROSELAND 



This is the second movement of the three-part suite titled ‘The Big Street’ which 

was recorded on the album “The Fabulous Bill Holman” in 1957. It is a slow Swing 

feel with a wonderful melody. Wonderful section writing throughout, with solo 

space for alto sax and trombone. It certainly can stand alone as a single piece..... or 

be performed with the other 2 movements. Classic Holman! 

WEST SIDE 



This is the first movement of the three-part suite titled ‘The Big Street’ which was 

recorded on the album ‘The Fabulous Bill Holman’ in 1957. Set in a medium-up 

Swing tempo/feel, this piece is a wonderful example of Holman’s use of counterpoint, 

moving unison sections against each other. There is lots of solo room for 2 tenor 

saxes, trumpet and piano. It certainly can stand alone as a single piece...or be 

performed with the other 2 movements. This is classic Holman! 

WINNING THE WEST 

As Performed by Buddy Rich 



As written for and performed by the Buddy Rich Big Band, here is the long-missing 

chart that Holman wrote to feature Buddy on drums and Pat LaBarbera on tenor 

sax. What a great chart! It is set in a quasi Rock Feel which shifts to swing and back 

again. This is a very high-energy, exciting chart, and Buddy played it all the time! Your 

band will eat this one up. 

WOODROW ***NEW*** 



Bill Holman has created a rollicking, swinging, wonderful tribute to Woody Herman 

with this great chart. As recorded on ‘Bill Holman Band Live’ this chart features solos 

for tenor saxophone, trumpet and piano. Saxophones state the theme (reminiscent 

of Woody’s theme “Blue Flame”), and there is a lot of call and response in the brass. 

The out chorus will lift your audiences out of their seats. 

ZOOT ‘N’ AL 



As recorded on the new CD “The Bill Holman Band Live”, this chart features 

two tenor saxophone players throughout, playing together and separately. 

This is the ideal solo vehicle for your tenor players. The tempo is a 

bright swing, and the writing - as always - is superb. A great 

tribute to Zoot Sims and Al Cohn, two of the greatest in jazz history. 

ARRANGED BY ROGER HOLMES 

DANCE TO THE MUSIC ***NEW*** 

Arranged by Roger Holmes 

Medium $50.00 Cat: 7011195 

Sly & the Family Stone became a household name in the late ’60s and this up-tempo 

rock tune typifies this group’s energetic and funky style. This one will be a blast for 

your students to play and a ‘blast from the past?’ for their parents to hear! 

DO NOTHIN’ TILL [VOCAL] 

YOU HEAR FROM ME 


Medium $40.00 Cat: 7500101 

One of the true gems from the Ellington catalog of great songs, here is a marvelous 

setting for vocal soloist with jazz ensemble. The style is slow swing, and the mood is 

sensuous and lush. Key of E flat. 


1-518-587-2325 1-518-587-2325 25


THE GIRL FROM IPANEMA [VOCAL] 


Medium $40.00 Cat: 7010020 

Made famous by Astrud Gilberto and Stan Getz, this laid back Latin favorite features 

a great groove and tasty ensemble writing to back your singer, male or female. Key of F. 

I REMEMBER YOU ***NEW*** [VOCAL] 


Medium $40.00 Cat: 7500113 

Roger Holmes treats this familiar standard in a light Latin style that works nicely for 

vocal soloist. This medium tempo chart also features a tenor sax solo and tasty 

background figures. Vocal key: F 

I’M JUST A LUCKY SO AND SO 



The trombones get first crack at the melody in this great Ellington shuffle tune 

before the entire band joins in. Written in a medium tempo and featuring nicely 

scored ensemble writing, solos are included for tenor sax and trumpet. 

JUMP, JIVE AN’ WAIL 


Medium $40.00 Cat: 7010412 

This hot swing tune from the legendary Louis Prima is featured on the jitterbuggin’ 

GAP commercial and is also on the new CD ‘The Dirty Dozen’ by The Brian Setzer 

Orchestra. Swing is back and this tune is helping to lead the way! 

‘MISSION: IMPOSSIBLE’ THEME 


Medium $40.00 Cat: 7010111 

Aside from Take Five, this is the most famous 5/4 piece ever written. This solid chart 

captures the excitement and drive of the original and includes a solo for alto sax. 

MUSIC FROM THE MOVIE ‘CHICAGO’ 


Medium $50.00 Cat: 7010949 

From the movie musical that rocked the entertainment world, here is an exciting 

medley that includes the show stoppers And All That Jazz, Cell Block Tango, and 

Roxie. Great entertainment with a tip of the hat to the styles of early jazz. 

ORANGE COLORED SKY ***NEW*** [VOCAL] 


Medium $40.00 Cat: 7500117 

This swingin’ medium up-tempo standard was recorded by Natalie Cole on her 

acclaimed Unforgettable album. Great chart! Vocal key: G 

RHYTHM OF THE NIGHT 


Medium $45.00 Cat: 7010975 

Originally a hit for DeBarge in 1985 and more recently revived for the hit movie 

Moulin Rouge, here is a hot chart for your entire ensemble. This one really burns 

with Latin excitement. 

SOUL MAN 


Medium $45.00 Cat: 7010905 

Originally recorded by Sam and Dave, and made popular again by The Blues Brothers, 

this well-known rhythm and blues workhorse is a natural for jazz ensemble. In the 

skilled hands of Roger Holmes, this one flows nicely but rocks hard! 

THEME FROM ‘THE FAMILY GUY’ ***NEW*** 


Medium $45.00 Cat: 7011187 

From the brash, slightly irreverent, and wildly popular TV series ‘Family Guy,? here is 

the supercharged big band style theme adapted by Roger Holmes. The style is 

medium swing and it features an alto solo along with screaming ensemble hits. 

26 26 

26 

THIEVES IN THE TEMPLE ***NEW*** 


Medium $45.00 Cat: 7011199 

You don’t normally associate the music of Prince with jazz ensembles. However, this 

outstanding arrangement draws inspiration from the funky Herbie Hancock version 

and provides a great vehicle for ensemble playing as well as soloing. 

WHEN SUNNY GETS BLUE 



Often recorded by jazz artists, this standard is famous for its distinctive harmonic 

structure and flowing melody. Beautifully adapted in an easy version, Roger’s chart is 

written in a slow swing ballad style. 

ARRANGED BY ANDREW HOMZY 

BOOGIE STOP SHUFFLE ***NEW*** 

Arranged by Andrew Homzy 

Medium $50.00 Cat: 7011215 

This catchy riff-based tune uses blues changes, and you can make it as easy or as 

difficult as you like, depending on the tempo you choose! Solos (or soli) are for sax 

as well as piano and drums. A wonderful introduction to the exciting music of 

Charles Mingus, skillfully adapted by Andrew Homzy. 

GOODBYE PORK PIE HAT ***NEW*** 


Medium $50.00 Cat: 7011217 

Here is a beautiful arrangement of Charles Mingus’ signature ballad featuring altos 

and trumpets playing the melody off the top, then later joined by the entire ensemble. 

Sample written solos are provided for the short solo or soli spots for trumpet and 

trombone. A jazz classic! 

HAITIAN FIGHT SONG ***NEW*** 


Medium $50.00 Cat: 7011219 

Featuring a dark intensity and a powerful unison riff figure in minor, this medium 

swing chart is a great showcase for your bass player as well as the trombone section. 

The harmonic structure is quite simple, but the depth of the arrangement comes 

from the thematic layers that are added throughout. Written solo (or soli) sections 

are included for the trombones and also trumpets. 

ARRANGED BY LES HOOPER 

BACK IN BLUE ORLEANS ***NEW*** 

Arranged by Les Hooper 


As recorded on the Hooper Big Band CD ‘Out of the Woods,’ this hot, blues shuffle 

is full of energy and good ol’ down-home funky blues. This is a very exciting chart, 

with solo space for alto and guitar. There are a lot of wonderful brass figures, and the 

tune is carried mostly by the unison saxes. Makes a great opener or closer. 5/4/4/4 

BLEEP BLOP ***NEW*** 



As recorded on the Hooper Big Band CD ‘Out of the Woods,’ this clever, quirky, 

swinging chart is terrific. Alto, tenor, trumpet and trombone state the tune, with 

interjections by the rest of the band. There is solo space from trumpet, trombone 

and drums. After the solos the full ensemble roars through a harmonization of the 

tune. This chart is fresh and exciting. 5/4/4/3 

BLUE IN GREEN ***NEW*** 


Medium $50.00 Cat: 7011243 

From the landmark jazz album Kind of Blue by Miles Davis, Les Hooper adds his own 

stamp of originality and craftsmanship with this outstanding setting. The trumpet 

soloist is supported by a light rock groove and lush backgrounds. Solo space is also 

provided for alto sax. 


ONLINE!

COOL SCHOOL DROPOUT ***NEW*** 


Medium $55.00 Cat: Cat: SMP-745 

This is exactly as recorded on the Hooper CD ‘Out of the Woods.’ It is a wonderful 

piece at a medium swing tempo, with a great feel, fresh harmonic content, lots of 

clever lines and solo space for tenor sax. There are also short drum solo breaks. The 

great thing about this chart is how fresh it sounds, how hip it is, and how easy it is 

to play. The ranges are very modest (1st tpt. only an A above the staff). 5/4/4/4 

LOCAL TIME 



Once again Hooper leads the way with a chart that is simple to play but still great 

to listen to. Solo space is open for Trumpet or others at your discretion. This chart 

has limited ranges, (occasional written D above the staff for 1st Tpt. but generally 

much lower) but not limited musicality or charm. This has a sort of Basie-ish sense to 

it but also a certain hipness. 

LONG INTERMISSION ***NEW*** 



An exciting piece with driving rhythms on a meter layout of 4, 4, 4, and 3 giving the 

effect of a missing beat every 4 measures. Handclapping on 2 and 4 for the 4/4 

measures and 2 & 3 for the 3/4 measure will give this piece an infectious quality. Solos 

will be played over a singular basic mode, thereby freeing up the soloist to concentrate 

on the odd meter. No doubles. 

MILES BACK ***NEW*** 



This is exactly as recorded on the Hooper Big Band CD ‘Out of the Woods.’ It is a 

wonderful piece, written in an easy swing tempo, with a great feel, fresh harmonic 

content, lots of clever lines and solo space for trumpet, trombone and bass. Very 

reasonable ranges (1st tpt. high B only) and rhythms make this a very easy piece to 

play, but it has musical qualities and integrity which will meet the demands of even 

the most accomplished ensembles. 5/4/4/3 

MUNCHY THE MOUSE 



This chart is a play on “Minnie the Moocher” and somewhat set in that era. It’s a 

modern day Swing chart with bebop roots. The chart sounds old fashioned and 

modern all at the same time. It has modern elements mixed with an older style. The 

groove under the main “head” is a touch Latin, but mostly a Jazz feel, not unlike 

Hooper’s great arrangement of “Green Dolphin Street.” Solos for trumpet and alto 

saxophone (or anyone you wish). This chart is a blast! 

NEW SUIT FOR ZOOT 



Les has created another techno-swing chart that has overtones of the old swing 

band style, but it is set very much in modern day fashion. The open solo section can 

feature any one or a number of soloists - your choice. You’ll love the quiet, swinging 

ensemble section. Very reasonable ranges throughout. This chart is a blast! 

NOT SO FAST ***NEW*** 



A tenacious jazz piece with an infectious 4 bar ostinoto bass line that glues everything 

together, leaving freedom for the horn lines that hover overhead. The ranges aren’t 

too difficult, though there are 1 or 2 high Ds written for 1st trumpet and there are 

no doubles. The title indicates that there is a ‘perfect’ tempo for this at 195bpm. 

SHUFFLUPHAGASS ***NEW*** 



This is a new edition of this great swing/shuffle chart by Les. There is solo space for 

tenor, trumpet, trombone and piano. This intense, swinging, shuffle-blues will bring 

your audiences to their feet. Les has created a dynamic, exciting chart that sounds 

a lot harder than it really is. 5/4/4/3 


WHAT’S GOING ON ***NEW*** 


Medium $50.00 Cat: 7011241 

This classic Marvin Gaye hit has always been a favorite with jazzers and has great 

crossover appeal. From the CD ‘Out of the Woods’ by the Les Hooper Band, this 

funky version is infused with a West Coast attitude and is packed with energy and 

drive. A solo for alto sax is featured. 

ARRANGED BY RICH IACONA 

2 HIP 2 B BLUES 

Arranged by Rich Iacona 


This extended blues form shifts from a swing shuffle to a funk bridge then back 

again. Lots of excitement, easy changes to blow on with a chance to open for more 

solos, if desired. Optional lead trumpet notes save chops but won’t take the energy 

away from this chart. 

SIN PALABRAS 

Arranged by Rich Iacona 


Sin Palabras(Without Words) was written for Rich’s Bad Little Big Band and was 

perfectly suited to be re-scored for full jazz ensemble. Rich did a wonderful job 

making it playable by high school and college bands. The relaxed Latin style will be a 

pleasant addition to any concert program. All high notes on the recording are 

optional and all solos are written out. 

ARRANGED BY JEFF JARVIS 

BISTRO LATINO ***NEW*** 

Arranged by Jeff Jarvis 


This authentic Latin original for advancing groups is truly a showstopper in every 

way! The chart is named after a popular Latin dance club and restaurant in New 

York City that recently closed. After opening with a dynamic tutti unison statement, 

this challenging work utilizes two Latin feels, namely songo and Samba. The songo 

rhythm is most commonly heard in salsa music and employs lots of exciting 

syncopation supported by a repetitious, but always moving rhythm section 

background. The Samba rhythm is used in the interlude section of the piece, which 

features very lush, modern voicings. Solo space is offered for soprano saxophone, 

tenor saxophone, trumpet, and trombone. A member of the rhythm section could 

also solo. A guitar chord chart by Jim Greeson is included in each set. 

FLIGHT TO AUGUSTA 


Medium $42.00 Cat: 61215 

This funk original for advancing groups was commissioned by Dr. John Bradley, 

director of the Augusta (GA) State University Conservatory Jazz Band. The chart 

employs a tuneful melody supported by an interesting chord progression, and rock 

solid orchestration. It’s fun to play and will leave both the band and the audience 

whistling the melody. The piano part is predominately notated with chord symbols 

provided. The guitar part has notated parts and sections with changes and slashes. 

Some of the key melodic material is shared by the guitar and optional vibraphone, 

but is cross-cued into other horn parts during those sections. Solo changes are 

cued for all instruments. A guitar chord chart by Jim Greeson is included in each set. 

MOHAVE BREAKDOWN 



Commissioned by the Arizona Association for Jazz Education for the 2003 Arizona 

All-State Jazz Ensemble, this exciting chart will energize just about any program, 

especially festival performances. If you liked Jeff Jarvis’ best sellers, High Octane, 

White Heat, Powder Keg, and Critical Mass, then you won’t want to miss this funk 

original. Frequent articulations are provided for the horns, and the rhythm parts are 

an integral part of the arrangement. Solos include tenor saxophone and guitar, 

however all players have interesting and challenging parts. 


1-518-587-2325 1-518-587-2325 27


NIGHT SKY 


Medium $38.00 Cat: 61530 

Commissioned by Rick McClure and the St. Mark’s Upper School Jazz Ensemble in 

Salt Lake City, Utah, Night Sky is a lushly voiced ballad for advancing groups in the 

Neal Hefti, L’il Darlin’ tradition. All instruments share the tuneful melody during this 

sophisticated yet accessible original. As in most of Jarvis’ charts, frequent articulations 

and dynamics are provided for all horns and rhythm, and are an integral part of the 

arrangement. A guitar chord chart by Jim Greeson is included in each chart. Standard 

instrumentation, plus optional flute and vibes, trumpets on flugelhorn. 

OLD SCHOOL 



If you like Jeff Jarvis’ bestsellers, High Octane, White Heat, Powder Keg, and Critical 

Mass, then you won’t want to miss out on this new medium advanced funk chart. 

Written in the Funkadelic and Rick James old school style of the ‘70s and ‘80s, this 

chart will light up any concert. Interesting and challenging parts are included for all 

as this tune grooves hard throughout. 

OUT ON THE STREET ***NEW*** 


Medium $48.00 Cat: 62590 

Commissioned by the Centennial High School Jazz Ensemble under the direction of 

David Pietsch, this cleverly conceived chart is dedicated to Frank Vargas to 

commemorate this arts-friendly administrator’s retirement from the Phoenix (AZ) 

area school district. Based on the chord progression to On The Street Where You 

Live, this swing original for proficient groups offers interesting playing for every 

member of the big band. In addition to brief quotes from other songs containing the 

word street (Green Dolphin Street, On The Sunny Side Of The Street), you’ll hear 

a couple measures of On The Street, plus short quotes from Second Time Around 

and Nica’s Dream. Exciting ensemble writing, solos for trumpet and piano, and a 

humorous ricky-tick section make this energetic swing chart great fun to play. 

RIPTIDE 



Here's a fun and challenging chart that's guaranteed to keep your audience on the 

edge of their seats. Scored at the medium advanced level, this bright swing original 

alternates with a Samba groove. Rhythmically interesting and very densely scored 

for maximum impact, solos are offered for alto sax, tenor sax, trumpet, or trombone 

and can be opened up at the director's discretion. 

SHOW ME 



Commissioned by the Missouri IAJE Unit for their 2003 All-State Jazz Ensemble 

directed by Shelly Berg, this exciting swing/salsa tune thrives on high energy and 

strong momentum. Though tenor and trumpet are the designated soloists, the solo 

section based on minor blues changes can be opened up for more players if desired. 

The drummer also takes center stage with an expandable solo. 

VORTEX 


Medium $48.00 Cat: 1828 

Make your jazz ensemble sound more advanced while performing this medium level 

swing chart that juxtaposes dense voicing with accessible swing features. This 

festival-worthy chart has a terrific sax soli plus interesting parts for all. An optional 

vibes part is included along with solo sheets and a guitar chord chart by Jim 

Greeson. Commissioned by the University of Portland Jazz Festival, David Parker 

director. 

28 28 

28 

ARRANGED BY THAD JONES 

AHUNK AHUNK 

Arranged by Thad Jones 


This great Thad Jones arrangement is a funky 5/4 chart. 

AIN’T NOTHIN’ NU 



One of many tunes composed by the great Thad Jones, this uptempo burner for 

advanced big bands features intricate sax section work, thick ensemble writing with 

modal harmonies, and expandable solo space for trumpet, trombone, and two 

tenors. Recorded by Fedchock’s New York Big Band on their critically acclaimed CD 

On The Edge. Includes solos for tenor saxophone and trumpet. 

BACK BONE 

Arranged by Thad Jones/Mike Carubia 


Medium tempo blues in F that really drives. Unison saxes carry the melody for the 

first chorus and are joined by the brass on the second. A short lead in to the 

trombone solo carries the chart to the solo section. One chorus of sax soli sets up 

a solid shout chorus and an ending drum solo. Very player-friendly with written solos. 

May be opened up for more solos. (Scored to sound complete with 4/3/2/3). 

BIG DIPPER 



This is a classic Thad Jones arrangement with standard instrumentation. From the 

Thad Jones/Mel Lewis recording 'Central Park North.' 

CENTRAL PARK NORTH 



This driving rock/funk/ballad/blues is Thad’s tour de force which captures the 

essence of life in a part of New York City in the 1970s. Carefully re-scored, it has 

been made playable by high school and college bands at a Grade 4 level. Written as 

a mini-suite, this chart will be well worth the effort mastering the different styles 

incorporated in this classic Thad Jones masterpiece. Written solos for tenor sax, 

trumpet, guitar, trombone. High trumpet note 1st ledger line A. (Scored to sound 

complete with 4/3/2/3). 

A CHILD IS BORN 



This gorgeous Thad Jones ballad is arranged here as a trumpet feature. A vocal 

lead sheet is also provided if you want to do this as a vocal. 

DON’T GET SASSY 



This Thad Jones composition has been re-scored for performance by high school & 

Jr. high bands. Technical and range requirements have been reduced without 

compromising the “Thad Jones sound.” This is easier of the 2 Sassy arrangements. 

Solos, piano voicings and bass parts are completely written out. (Scored to sound 

complete with 4/3/2/3). 

DON’T GET SASSY 



This is the second and more difficult of the 2 Sassy arrangements. This one mirrors 

Thad’s original in form and style. Slightly richer voicings than SCM-001 but not an 

overly high lead trumpet part. Written Bb with optional high C. You will think you are 

playing Thad’s original in Db when you play this one without the demanding ranges 

and difficult sax soli. (Scored to sound complete with 4/3/2/3). 


ONLINE!

DON’T GIT SASSY 



This great Thad Jones tune is a wonderful feature for multiple soloists. Includes 

soprano saxophone double. 

THE FAREWELL 



The Farewell is the third part of Thad’s Suite for Pops completed in 1973 and 

recorded for the first time in 1975. This movement reflects the joyous retreat 

associated with funerals typical in Louis Armstrong’s home town of New Orleans. 

Adjustments made to this Thad gem make it a very playable addition to the catalogue. 

The written trombone solo section may be opened up for additional soloists followed 

by plenty of exciting ensemble for the whole band to sink their teeth into. (Scored to 

sound complete with 4/3/2/3). 

GREETINGS & SALUTATIONS 



Funky jazz/rock style re-scored to be performed by high school and college jazz 

ensembles. Range demands reduced while maintaining the “Thad Jones sound.” Lots 

of unison and block soli sections. Your students will love this one. Sounds more 

difficult than it plays. (Scored to sound complete with 4/3/2/3). 

GROOVE MERCHANT 



This classic medium shuffle features soprano sax (sub alto part is provided if you 

don’t have a soprano) and optional 5th trumpet part. 

IT ONLY HAPPENS EVERY TIME ***NEW*** 



This beautiful Bossa Nova shows us Thad’s sensitive side. Re-scored by Mike Carubia. 

There are no sax doubles. Scored for full band but will sound complete with 4/3/2/3. 

KIDS ARE PRETTY PEOPLE 



This fabulous ballad features the whole band on some intricate ensemble arranging. 

Trumpets are on cup mute during a few parts. No guitar part. 

LOW DOWN 



This tune is based on the changes to I’m Getting Sentimental Over You but at a 

medium swing tempo. This chart is real jazz by a true master made playable by high 

school & college bands by Mike Carubia. 

RHODA MAP 



This Thad Jones swing chart is a saxophone section feature. Has nice brass accents 

throughout and a pleasing shout chorus. Featured soloists are trumpet, trombone, 

and tenor. Doubles: alto 1 on soprano (includes sub alto part). No guitar part. 

SECOND RACE 



Second Race once again shows Thad’s attention to form. Constructed to highlight 

the tenor sax solo, yet perfectly setting up the two ensemble choruses which follow. 

Thad has once again created a masterpiece from the time honored blues in F. Note 

to arrangers: check out Thad’s treatment of the last 4 measures of this composition. 

(Scored to sound complete with 4/3/2/3). 

THREE AND ONE 



This chart features flugelhorn, baritone saxophone and the bass. No guitar part. 


THREE AND ONE ***NEW*** 



A real Thad classic made accessible by Mike Carubia. Higher brass notes removed, 

sax soli re-scored & it still sounds like Thad. Scored for full band but will sound 

complete with 4/3/2/3. 

TIPTOE 



This is a really nice swing chart by the master, Thad Jones. Your trumpet and alto sax 

get the solos. Features soprano saxophone (sub alto part included). 

TO YOU 



This Thad Jones ballad features his lush harmonic sense and moving voices throughout 

the band. Soprano sax (sub alto part provided) and optional 5th trombone. 

TOW AWAY ZONE 



Need a hip funky rock chart? Thad really scored a winner here. Originally recorded 

for the Central Park North album in 1969, this chart has never been released. This 

is Thad at his peak, re-scored for today’s young stars by Mike Carubia. 

US 



Us is a wonderful gospel/rock composition a perfect 4th below Thad’s original, 

making it accessible to younger players. Thad utilized the a cappella brass soli, 

supported by the saxes in this arrangement, producing a solid funk/rock/gospel 

piece that students and parents will enjoy. Interestingly, this is one of the few big 

band charts Thad wrote without solo space. (Scored to sound complete with 4/3/2/3). 

ARRANGED BY MICHAEL ‘GUS’ KAMBEITZ 

EXOTIC LANDSCAPE 

Arramged by Gus Kambeitz 


This is a 'blowing' tune, with minimal tutti sections. Features for bone 1, tpt 5, ten 1. 

A great modern Blue Note feel makes this easy to program for any concert. 

ON THE DL ***NEW*** 

Arranged by Gus Kambeitz 


Commissioned by the West Valley Jazz Orchestra for their performance with Dave 

Liebman, this piece is a jazz waltz in the style of ‘Alice in Wonderland,’ but with a 

more modal feel. Solo space (changes) for all woodwinds, this piece is a nice change 

up for concerts since it is meant to be mainly soft. Lead trumpet to high E. 

QUATRO CINCO SEIS 



This is a fast modal tune (with a bridge) in the style of Coltrane. Nice feature for 

solos in trumpet 4, tenor 1 and opt for piano or guitar. Some challenging changes to 

blow over. Great piece to let your brass rest their chops! 

SALLY 



This is a 'great early in the year' medium shuffle. Scored for confidence building and 

easy playability, the piece is set to the chord changes of Bernie’s Tune and with 

flexible backgrounds and changes for each instrument, can feature any soloist in the 

band. Trumpet to high E, (in backgrounds only) but can easily be revoiced down or 

left out completely. 


1-518-587-2325 1-518-587-2325 29


30 30 

30 

ARRANGED BY PHIL KELLY 

BEAU-DAY-SHUS BUNZ 

Arranged by Phil Kelly 

Medium $65.00 Cat: 56400 

An easy walking sassy Quincy Jones type theme featuring flugelhorns and altos in a 

two part exposition accompanied later by trombone punches. Solo spaces with 

backgrounds for tpt/ten. Easy ensemble builds to a screaming shout chorus, finally 

leading into a piano solo and recap of the theme. Tpt 1 to D. All tpts double flugels. 

BLOOLONIUS 



An original slow blues with a 12/8 feel based on a theme composed of "monkish" 

sixth leaps that ascend and descend in a somewhat acerbic manner. After developing 

into an entwined twisting contrapuntal second chorus, there is solo space with 

backgrounds for tpt and tenor leading to an ensemble chous. Trumpet 1 has several Ebs. 

CAMELTOE WALTZ 



An offbeat funk oriented piece in 3/4 time alternating with a 4/4 B section featuring 

a snaky chromatic funky blues line introduced by a group of 4 horns and then 

developed by the entire band. May require work reading the 16th note funk-based 

notation and some superimposed 3/16 crossrhythms in the cadences. Ensemble 

based on a stop-time statement/response in the brass with snaky overlaying sax 

lines. A challenging offbeat chart! Tpt to D. Electric keys/bass/gtr recommended. 

CONVERGENCE ZONE 



A challenging original that will really give your band something to shoot for. A semi 

"out" tpt/ten neo bop line based on the G diminished scaled and ascending half 

diminished changes proceeds into a contrapuntal treatment of the main theme. 

Open solos with big bands for tpt/tenor lead to a challenging sax soli and piano solo, 

leading into some fairly dissonant ensemble work culminating in a big ensemble with 

drum fills finale. A really big show piece for the entire ensemble. Tpt 1 has a couple 

Ebs and many Ds. Soprano sax doubles on alto 1. 

(I CANT BELIEVE) I 8 DA WHOLE ***NEW*** 

/ HALF THING 



Funky hip-hop style Brecker Bros. type line reminiscent of Freedom Jazz Dance with 

a strut feel B section. Solo sections feature more dimished scale vamps followed by 

a call and response section over a drum/percussion breakdown. Requires ensemble 

able to deal with Tower of Power-type 8/16 notation. 

JEANNINE 



A swinging up-tempo version of the old Duke Pearson jazz standard that features 

the trombone section on the theme...solo background for tenor, trumpet, (possibly 

trombone) leading to an exciting ensemble shout chorus. Trumpet 1 has a couple 

Ebs, generally lays around C. 

JUAN BEATOV STOMP ***NEW*** 



A tongue-in-cheek funk/Latin excercise written in 7/8 (to keep everyone's toes 

tapping a bit spasmodically) based upon extended and slightly altered blues type 

changes. Features a fairly challenging ensemble shout chorus (lead tpt has a couple 

high Gs) but since the song is largely two line counterpoint, a lot of cuing is included 

to afford some brass rests to save chops. Requires ensemble able to deal with Tower 

of Power-type 8/16 notation. A fun but challenging chart! 

MERCY, MERCY, MERCY 



A new treatment of the old Joe Zawinul favorite that features various two part tpt/ 

sax voicings that build to an exciting shout chorus featuring some 16th based funk 

rhythms that might require some rehearsal. Open solos with backgrounds. Trumpet 

1 has several high Ebs. Electric keyboard, bass, and guitar suggested. 

PLEADING DIM CAP ***NEW*** 



Medium up tempo jazz feel with contrapuntal Holman-esque lines further exploring 

the possibilities of the diminished scale both for the ensemble and soloists. Ensemble 

shout chorus with lots of space for the drummer to shine as well. Challenging 

straight ahead type chart. 

RAINSHADOW 


Medium $60.00 Cat: 56406 

A haunting slow Bossa Nova featuring soft flugelhorns and woodwind colors with 

a Gil Evansish brass chorale type bridge. Solos on flute (and guitar or piano). 

Requires 2 c flutes, 2 Bb clarinets, and bass clarinet along with 4 flugels, 4 bones in 

buckets and 4 rhythm (acoustic guitar suggested and additional light percussion 

could be added). 

ZIP CODE 2005 ***NEW*** 


Medium $60.00 Cat: 56410 

An updated re-write of ‘Zip City’ with some new added materials including an 

extended ending. A real barn burner double blues of a closer for a concert. (Lead tpt 

ends on band tune.) Trumpet range to high A. 

ARRANGED BY MICHAEL KOCOUR 

DONNIE'S TEMPO ***NEW*** 

Arranged by Michael Kocour 


Medium swinger with obvious references to the work of Thad Jones. While written 

solos for piano and flugelhorn are included with the chord changes, the solo section 

may be opened up for other instrumentalists in the band. This chart was written for 

the Texas All-State Jazz Band. 

ARRANGED BY TOM KUBIS 

12TH STREET RAG 

Arranged by Tom Kubis 


An up-swing feature for the two tenors. A great vehicle to show off the soloists. 

Trumpet high D. 

AFTER YOU'VE GONE 


Medium $55.00 Cat: 55549 

This is a trumpet feature based on the great old standard. Up-tempo all the way 

with plenty of room to solo for the jazz trumpet player! 

AGGRESSIVE SHUFFLING! 



This is a bluesy shuffle with chord changes that have a unique twist! Solos for 

baritone and tenor sax. This one has a lot of punch and energy starting with the 

bones and ending with lots of full ensemble. 

AIN’T IT WONDERFUL 



Up-tempo swing. Open solo section. Recorded on Tom Kubis’ Slightly Off the 

Ground. 


ONLINE!

ALEXANDER’S BIG TIME BAND 

COUNT BASIE SERIES 



Great up-tempo swing chart with similar title. Recorded by Tom on ‘Slightly Off The 

Ground.’ 

ALICE BLUE GOWN ***NEW*** 


Medium $55.00 Cat: 55557 

Features flugels over bones, which leads into a solo section with 3 soloists, and a 

shout chorus and out, including a brief saxophone soli. Medium swing. Solos: trumpet, 

tenor sax. Trumpet 1 highest note is high E. 

ALL WE NEED IS RON! 



Written for the great Ron Stout, trumpet player for the Woody Herman orchestra. 

Starts out as a ballad, then jumps into an up-tempo swing feel. Great be-bop 

changes to blow on! 

ATLANTIC SNOW FALL 



A full and rich ballad for the baritone sax. Drops into a slight double time feel at the 

end. 




This starts out as a pretty rock ballad and ends on a high note so to speak. The lead 

trumpet player can play the really high stuff down an octave. This is a great chart to 

bring in the new year! As recorded on A Jazz Musician’s Christmas. 

AWAY IN A MANGER 



This is an up-tempo jazz waltz featuring the tenor sax or soprano sax. As recorded 

by the Tom Kubis Big Band on A Jazz Musician’s Christmas. 

BAHIA YODEL 



This is a cooking Latin jazz piece featuring trumpet and alto sax solos. This chart is 

becoming a standard for Steve Allen and is requested by most of the bands he works 

with. As usual there is plenty of hard cookin’ ensemble stuff for all to play! Recorded 

by the Kubis/Allen Big Band on Fast Cars and Fascinating Women. 

BALLAD FOR G AND E 



A contemporary minor rock feel featuring the 2 altos in the band. Great for featuring 

the 2 as they play solos and also swap back and forth. Trumpet plays a high F. 

BALLAD ONE 



This is a moody 16th ballad for the first tenor player who could also play this on 

soprano sax. Chart has a full dynamic range and is a great vehicle for that good 

tenor player who aspires to be the next Michael Brecker. Trumpet to B. 

BEFORE YOU LEFT 



Up-tempo swing that starts with a sax soli. Great as an opener or closer. Features 

tenor sax. No score. 

THE BEST PART OF ME IS YOU 



Jazz ballad. Very pretty flugelhorn feature. A great feature for that trumpet player 

with that great sound. Trumpet high C. 


BIG D’S OVERNIGHT SPECIAL 



A heartily swinging piece which seems never to stop building. Perfect opener. Piano 

solo. No score. 

BIG ED’S MONDAY NIGHT BLUES 



The chart swings heartily featuring a trumpet solo. No score. 

BILL BAILEY 



Up-tempo swing. It’s got it all from an a cappella ensemble to a Dixieland band and 

a killer shout section. Solo changes in each section. 

BLUE JOB 



Medium blues featuring trumpet. No score. 

BLUEST BLUES 



Steve penned this 12/8 down and dirty blues as a trombone feature. Features both 

the lead trombone and the trombone section. Recorded by the Kubis/Allen Big 

Band on Fast Cars and Fascinating Women. 

BOOGIE MAN 


Medium $55.00 Cat: 55550 

Medium driving rock. Fusion. Features tenor sax. 

BOOKE ENDS 



This is a cool blues chart featuring the bass and the trombone with the melody. The 

blowing section is open for anybody to play ending with lots of cool ensemble at the 

end. 

BRAZILIAN DANCE ***NEW*** 

OF THE FLUGELHORN 



Medium to up Samba with a pretty melody statement in the flugelhorns. Very catchy 

melody. Samba. Features: trumpet section. Solos for flugelhorn, and alto sax. Trumpet 

1 highest note is double high G. 

BRECKER BRAC 



This is a funk chart. It will need some work, but the time spent will be worth it. Tenor 

solo. No score. Recorded by Univ of Wisc-Eau Claire on ‘Jazz, In Transit.’ 

BUCKET BRIGADE! ***NEW*** 


Medium $55.00 Cat: 55559 

This starts with buckets. Plenty of ensemble room in this one! Up swing. Solos: 

trumpet, trombone, tenor sax. Trumpet 1 highest note is high C. 


1-518-587-2325 1-518-587-2325 31


BY THE LIGHT 

OF THE SILVERY HARVEST MOON 


Medium $55.00 Cat: 55541 

Medium swing. Great for the audience with the 2 old great classics. Done with 

flugelhorns and bucket trombones with a tenor solo in the middle! Tenor sax solo 

and trumpet 1 highest note is high D. 

CAUGHT IN THE MOMENT 


Medium $50.00 Cat: 55522 

Pretty flugelhorn feature in the Latin Bossa Nova vein. Perfect for the lyrical trumpet 

player in your section. Starts with the head and goes into a solo section, then to the 

last ensemble with a short sax soli. 

CERTAIN NIGHTS I HAVE THE BLUES 



Steve Allen penned this slow bluesy piece featuring the sax section on the head and 

giving room for the tenor player to air out his/her grief. The exiting 12/8 shout 

section will get them off their feet! Recorded by the Kubis/Allen Big Band on Fast 

Cars and Fascinating Women. 

THE CHINESE SAMBA 



Starts off with two unison sections (that should wake everybody up) into a solo 

section with chord changes in every section. Based on the old early jazz standard 

China Boy. 

CHITLINS 



It’s fast, and it’s rhythm changes. This is a fun one. Written for trumpeter Louise 

Baranger. Play it as fast as you can! Can be opened up for anyone to play solos on. 

CHUCK’S OVERNIGHT FUNK MACHINE 



Written for Los Alimitos High School under the direction of Chuck Wackerman. This 

is a supreme funk piece! Lots of Breckerish and Tower of Power kind of stuff. A good 

high school band will funk out on this one. Open drum solo at end sets this one off! 

COLD SEPTEMBER MORNING 



WOW! What a nice ballad! This is the alto feature you have been looking for! This 

is a jazz ballad with lots of nice pad backgrounds that are easy on the ear. 

DAT DA DUT DUH! ***NEW*** 


Medium $55.00 Cat: 55560 

Straight ahead blues shuffle with trumpet and tenor solos. Great opener: gets your attention 

right away! Shuffle. Solos: trumpet, tenor sax. Trumpet 1 highest note is high F. 

DECK THE HALLS 



From the Kubis Big Band Christmas CD. This is yet another Samba full of the 

Christmas spirit. As recorded by the Tom Kubis Big Band on A Jazz Musician’s 

Christmas. 

DO I HEAR FOUR 



It’s a swinging band feature with some great ensemble writing. Features a trumpet 

solo. No score. 

32 32 

32 

DOWN BY THE OLD MILL STREAM 


Medium $55.00 Cat: 55542 

Medium swing. Starts out with the flugels over bucket bones and and builds from 

there. Room for the trumpet to stretch out! Big shout! Trumpet solo. Trumpet 1 

highest note is high E. 

DOWNTOWN CLOWN 



This is a very catchy and pleasing tune. This medium swing chart has a great little 

bounce to it. Opening with a statement by flute and harmon trumpet moves into 

solid ensemble throughout. Trumpet 4 has a solo. There are some doubles. High D in 

trumpet 1. Recorded by the Kubis/Allen Big Band on Fast Cars and Fascinating Women. 

EARLY AUTUMN 



Starts out with a tenor ballad section with brass (flugelhorns) reharmonization of 

this great tune. As the ballad section finishes, the tenor takes a written up-tempo 

break ala Supersax and then weaves his way through the great changes of this tune 

with a lot of hard-hitting ensemble behind. The tempo drops back into an ensemble 

ballad and closes with a tenor cadenza and band ending. 

EVERYBODY HAS THE BLUES 



Another in the line of the Steve Allen/Tom Kubis series. Steve created this hip pop 

tune. This is a very catchy little song with the melody stated by the trumpets with 

lots of great ensemble stuff. A very exciting chart! 

EVERYBODY LOVES MY BABY’S 



Up-tempo burner. This is a hard chart and packs quite a wallop! A great shout 

chorus. Trumpet to D. Recorded by Charles Rutherford’s Jazz Pacific Orchestra. 

EVERYTHING MUST CHANGE 



Nice ballad. Features alto sax solo. Conductor sketch. 

EXACTLY LIKE THIS 



Medium swing. Open solo section. Conductor sketch. Recorded by Tom Kubis. 

EXTREME WEST COASTING 



Up-tempo cool-school chart. More of a linear feel with counterpoint unisons. Solos 

available in all sections. Trumpet 1 to high F. 

FAHN AND ANDY 



Written for 2 very fine Southern California trombone players Mike Fahn and Andy 

Martin. This is a very fast chart featuring 2 trombones with a very cool be-bop type 

head. If you have 2 good soloists in the trombone section you have wanted to show 

off, this is the chart for you! Trumpet to D. 

FAST CARS AND CRAZY WOMEN! 



This is a burner that features the tenor player and has a lot of room to feature the 

drummer! This cooks from beginning to the end, a great set closer! As recorded by 

the Kubis/Allen Big Band on ‘Fast Cars and Fascinating Women.’ 


ONLINE!

FLY ME TO THE MOON 



Medium up-swinger that starts out with a hip hop groove (very cool!). After the first 

chorus with the melody presented by the flugelhorns, the chart goes into regular 

swing handing the melody off to the sax section. Solo section is open then goes into 

a sparkling (yes sparkling!) 2 chorus ensemble. Trumpet to high D. Recorded by 

Charles Rutherford’s Jazz Pacific Orchestra on Reunion. 

FRANKIE AND JOHNNY 

AND A TROMBONE GUY 



This shuffle features the 3rd trombone player playing the old familiar Frankie and 

Johnny. The chart starts with a cool vamp to set up the trombone player playing the 

melody on plunger mute. There is plenty of soli stuff with the trombone section and 

a burning shout section. 

GENTLE BREEZE 



This is a Samba. Features trumpet and requires a strong lead trumpet. Some doubles. 

GOD REST YE MERRY TROMBONES 



This one will warm up the old yule log! This up-tempo jazz chart features the 

trombone section and a lot of great ensemble. As recorded by the Tom Kubis Big 

Band on A Jazz Musician’s Christmas. 

HAPPY TUESDAY 



This is a piano feature in a jazz waltz style. This gives plenty of jazz space to the 

pianist and also gives room for the band to cook too! 

HARK THE HERALD 



This is a pretty rock ballad that features the lead trumpet. The real high trumpet 

stuff at the end may be played down an octave. As recorded by the Tom Kubis Big 


HERE WE COME A WASSELING! 



Look out we’ve never Wasseled like this before! This one is difficult. Very good high 

school or very good college with lots of meter changes but wow what a burner! 

Tenor feature. High trumpet F. Very fast 3/4 time. Well worth the effort! From the 

third Tom Kubis Big Band Christmas CD. 

HEY JEFF 



Jazz blues shuffle. Features the 4th trumpet player. Plenty of great ensemble. Trumpet 

to high D. 

HONEY’S BUCKLED HOSE 



Up-tempo swing. Changes based on Honeysuckle Rose. Conductor sketch. 

HOSPITAL BLUES 


Medium $55.00 Cat: 55551 

Very pretty slow ballad for the flugel and trumpet jazz player. This part has a few 

high notes. This arrangement is featured on Wayne Bergeron's You Call This A Living. 


I AIN’T GOT NOBODY 


Medium $55.00 Cat: 55533 

Medium swing. The familiar standard with lots of exciting dynamics. This has a tenor 

sax solo. Starts with the flugelhorns and trombones in buckets. Tenor sax solo. 

Trumpet 1 highest note is high E. 

I CAN’T BELIEVE YOUR IN-LAWS WITH ME 



Medium swing with an open solo section. Some flute doubles. 

I JUST FLEW IN FROM CHICAGO 

AND BOY ARE MY ARMS TIRED 



Blues shuffle. Features a trombone solo. No score. 

I’M ALWAYS CHASING RAINBOWS 


Medium $55.00 Cat: 55537 

The chart will work for concerts as well as for dance gigs. The chart starts with 

flugelhorns and trombones in buckets. Has blowing changes on the 4th trumpet 

part. Lead trumpet up to concert D. Has an 8-bar sax soli. 

I’M GONNA TELL 



A great set opener! This tune is very gospelish in nature. Tenor has the solos or it can 

be opened up. Shout section is a ball! As recorded by the Kubis/Allen Big Band on 

Fast Cars and Fascinating Women. 

I’M KINDA CRAZY 



Features the trombone section on this up-tempo swing chart - this is another 

cooker! Solo section set up to feature trombones. The shout features extremes in 

dynamics. Another great set closer! Recorded by the Kubis/Allen Big Band on Fast 

Cars and Fascinating Women. 

I’VE BEEN WORKING ON THE RAILROAD 


Medium $55.00 Cat: 55544 

The head is soft brass with a bone solo in the middle with a tough sax soli and a cool 

shout! Features trombone solo. Trumpet 1 highest note is high D. 

I’VE GOT TO GET ANOTHER BABY! 


Medium $53.00 Cat: 50184 

This is a medium swing Basie style chart that opens up with the trombone section. 

Solo section is open for anyone to play. The shout section feature extremes in 

dynamics and has intensity that won’t stop. All this ends with the trombone section. 

This is a fun one to play. Recorded by the Kubis/Allen Big Band on Fast Cars and 

Fascinating Women. 

IF I HAD IT TO DO ALL 

OVER AGAIN I'D SHUFFLE 


Medium $55.00 Cat: 55552 

Crankin' shuffle chart with solo changes in saxes and bones. 

IMAGINE WHAT A CHANGE WILL DO 



Beautiful ballad featuring trombone. Recorded by Kubis on Slightly Off the Ground. 


1-518-587-2325 1-518-587-2325 33


IN MEMORY OF BIX 



As a tribute to the great trumpeter Bix Biederbecke, Steve Allen penned this great 

and melodic tune. This 4th trumpet feature plays a Bix-like melody line with a big 

band background. This arrangement is quickly becoming a standard for trumpet 

repertoire. Trumpet to high D. Recorded by the Kubis/Allen Big Band on Fast Cars 

and Fascinating Women. 

IN THE GOOD OLD SUMMERTIME 


Medium $55.00 Cat: 55543 

The great old standard - perfect for those summer concerts! This is a shuffle with 

a tenor solo and a very cool sax soli! Trumpet 1 highest note is high E. 

IN THE WINTER IN THE SUMMER 



This features the soprano sax all the way through but also has plenty of ensemble 

to work through. If you haven’t bought the Keep Swingin’ CD, you are missing a 

great tune and fun chart! 

INDIANA (BACK HOME AGAIN) 



Medium swing. This one is a challenge. Bucket trombones, flugelhorns and a difficult, 

but swingin’ sax soli and the cool shout! Features the sax section. Solos for trumpet, 

trombone, and tenor sax. Trumpet 1 highest note is high E. 

IS IT YOU 


Medium $53.00 Cat: 55518 

Sanborn-style alto ballad with a half time funk feel. Easy changes to blow on. This is 

a great vehicle to mellow things out and not put a lot of high stuff in the brass! Lead 

trumpet up to Bb. 

IT CAME UPON A MIDNIGHT CLEAR 


Medium $55.00 Cat: 62521 

This is a solo flugelhorn 3/4 ballad nicely reharmonized with lush chords and 

backgrounds. A bit on the bluesy side! As recorded by the Tom Kubis Big Band on A 

Jazz Musician’s Christmas. 

JADA 


Medium $55.00 Cat: 55531 

The chart will work for concerts as well as for dance gigs. It starts with flugelhorns 

and trombones in buckets. Starts a cappella with some cool changes. Has blowing 

changes on the 4th trumpet part. Lead trumpet up to concert D. 16-bar sax soli. 

JINGLE BELLS 


Medium $52.00 Cat: 62534 

Bass trombone feature on this old Christmas standard. This is a medium swing 

version featuring the bass trombone all the way through the chart. The ensemble 

and bass trombone trade off throughout the chart. As recorded by the Tom Kubis 

Big Band on A Jazz Musician’s Christmas. 

JOY TO THE WORLD 


Medium $55.00 Cat: 62522 

A rousing Samba and a great tune to open a Christmas concert with! As recorded 


34 34 

34 

JUMP, JOHN 



Steve Allen wrote a cute little tune that features the trombones and the bass player 

in a Thad Jones-style unison line. This is a medium swing tune with a power-house 

ensemble towards the end and finally ends with the bass. 

JUMPY BLUES 


Advanced $55.00 Cat: 50190X 

Hard kickin’ jazz-blues shuffle with plenty of room for the tenor to solo. 

JUST A PRETTY LITTLE THING 



A pretty flugelhorn feature in the Bossa style. Great feature for the trumpet player. 

JUST MONKING AROUND ***NEW*** 


Medium $55.00 Cat: 55561 

Very Monkish swing jazz tune featuring the trumpet and tenor sax. Medium swing. Features: 

trumpet. Solos for trumpet & tenor sax. Trumpet 1 highest note is double high G. 

KEEP SWINGIN’ 



This great, swingin’ chart starts with unison saxes and leads way to a trumpet solo 

then plenty of ensemble. This chart kicks! 

KEY LIME PIE 



This is a clever little Latin tune penned by Steve Allen. Features the tenor sax on the 

melody. This is a very tasty tune! Lots of rich backgrounds. 

KINDA TWO KINDA THREE 


Medium $51.00 Cat: 55510 

This chart has been a big hit with all the bands that have played it. This is a very cool 

Latin ballad trumpet feature. 

LADY, YOUR COW’S ON FIRE 



Jazz shuffle. Alto doubles on soprano. Nice ensemble and shout chorus, trombone 

soli. No score. 

LAST GREAT GEORGIA EXTRAVAGANZA 



Big, brassy and blustering swing which seems never to stop building. Some doubles. 

Goes from swing to 4-bar Dixie feel back to swing. Piano and bari solos. No score. 

LE JAZZ HOT 



Medium to up-jazz swing starting with a very challenging sax line. Lots of meaty 

ensemble leaving room for the trumpet to stretch out. This is a cooker. 

LET GEORGE DO IT 



A medium tempo blues shuffle written for George Graham. Piano solo in the middle 

of chart sets up a resounding shout chorus with lead trumpet solo over the band. 

LET’S DO IT 



Funk-rock head that alternates into up-swing. This chart is a great mesh of rock 

horns and cookin’ big band. Lots of funk syncopations. Trumpet to D. 


ONLINE!

LET’S HAVE SOME SAMBA! 



This starts with a very cool little melody stated by the flugelhorns. It has an open 

solo section for all those who wish to play. This one will keep your toes a-tappin’! 

MACFUNKY 



Is a very funky 16th groove that stays funk all the way through. Great closer or 

opener or just something to let the rockers blow on! Trumpet to D. 

MAKE YOUR DREAMS COME TRUE 



Bossa-rock. Great ensemble writing. Solos for tenor and trombone. Some sax doubles. 

No score. 

MAMA USED TO DO THE CHA CHA 



This is more a jazz Latin feel then a Cha Cha. This starts out with a small group 

playing the cute melody and works into some powerful backgrounds and ensembles. 

Lots of good fun on this tune! 

MARABA ***NEW*** 



This is a hard driving Samba chart on the difficult side but well worth the effort, very 

Mangioneish. Features alto sax. Solos for trumpet and alto sax. Key: C minor. Trumpet 

1 highest note is high E flat. 

MARIE’S SHUFFLE 



Jazz shuffle based on the old Glenn Miller tune. Starts with an a cappella section 

with lots of ensemble all over the place. Chord changes in each section. 

MEAN TO ME 



Easy swing of this classic standard. Solo space for trumpet and piano. Nice sax soli. 

MIDNIGHT WALTZ 



Another in the line of the Steve Allen/Tom Kubis series. This lovely tune penned by 

the great Steve Allen features the trumpet on a sweet 3/4 jazz waltz. Lots of great 

solo space and ensemble! 

NO 3 WAYS ABOUT IT ***NEW*** 


Medium $55.00 Cat: 55563 

This is just the right ballad to feature your alto player with the cool sound. Nice 

melodic chart with punchy ensemble at the end. Bossa. Features: alto sax. Solos for 

alto sax. Trumpet 1 highest note is high E. 

NO GREATER BE-BOP 



This very up-swing chart starts out with a three piece be-bop group who play the 

head and solos before the big band joins in. This has a lot of nice ensemble sections 

and plenty of places to blow. 

NOT NECESSARILY THE BLUES 



This tune is a slow, rock, bluesy, knock down drag ‘em out kinda thing you would 

expect a good down and dirty blues to be. Starts out in major and goes into a 16th 

feel minor section with plenty of room for all soloists to perform. 


NOT TONIGHT, I’VE GOT A HEADACHE 



Up-tempo flag waver based loosely on a requested Glenn Miller classic. Open solos. 

O CHRISTMAS TREE 



This medium swing chart starts out with the piano and moves into a harmon 

trumpet solo. As always, plenty of great ensemble to get you into that great yule 

spirit! As recorded by the Tom Kubis Big Band on A Jazz Musician’s Christmas. 

O COME ALL YE FAITHFUL/ 

O LITTLE TOWN OF BETHLEHEM 



A two-trumpet feature playing these two great Christmas standards in a ballad 

style. As recorded by the Tom Kubis Big Band on A Jazz Musician’s Christmas. 

O HOLY NIGHT 



This is a high note first trumpet feature. A very thrilling and exciting vehicle for the 

lead trumpet. High parts may be played down an octave. As recorded by the Tom 

Kubis Big Band on A Jazz Musician’s Christmas. 

OH THAT FACE 



A very cool melody in an up-tempo jazz waltz style. This starts by featuring the 

flugelhorns and also features a trombone solo. This has lots of good solid ensemble 

throughout. This is a nice change of pace for a jazz concert. 

ON PURPLE PORPOISE PARKWAY 



Your alto, soprano and tenor players will get a chance to trade fours on this familiar 

tune. You’ll figure it out when you get there. Great Samba-swing recorded by Kubis 

on Slightly Off the Ground. 

ONCE IN A WHILE 


Medium $55.00 Cat: 55532 



part. Lead trumpet to concert C. 16-bar sax soli. 

PAIN FOR WAYNE 



Funk high trumpet feature with Maynard Ferguson in mind. This is a great vehicle for 

the trumpet player with a high G. 

PATITUCCI ON THE BACK 



Bossa Nova written for John Patitucci. Features bass solo. Some sax doubles. No 

score. 

PAYIN’ YOUR DUES 



Featuring the trombone section, this minor up-swing tune has a lot of personality. 

Saxes are featured in the Supersax style. This chart is another cooker! 


1-518-587-2325 1-518-587-2325 35


PEANUT FACE 



Very cool Samba with a short funk section in the middle. It’s not an easy chart but 

it is guaranteed to keep the feet tappin’. 

PEG O’ MY HEART 


Medium $55.00 Cat: 55545 

Medium swing. Starts out with a cool little combo playing the melody then a big 

ensemble. Great way to hear this one! Solos features the trumpet and tenor sax. 

Trumpet 1 highest note is high D. 

PLACE TITLE HERE! 



Up-tempo jazz burner in a minor mode - very west coast jazz! Starts out featuring 

the trumpets in a be-bop line with the rest of the band coming in halfway. Lots of 

room for soloists in the middle with a bebop ensemble toward the end. Very cool 

school chart to play and blow on! Trumpet to high D. 

PLAY BY PLAY 



Up-swing. There is one purpose for this straight ahead jazz tune: swing hard and 

fast! This starts with a burning sax soli into an extended solo section. The rousing 

shout section takes it out with a bang. 

PLAY IT NICE 



Pretty Bossa Nova featuring flugelhorn. This tune is pretty quiet throughout but 

does have some hot ensemble writing. No doubles. 

PLEASE TALK ABOUT ME WHEN I RETURN 



Medium swing chart with a lot of ensemble all the way through. Based on the 

changes of another Dixie tune with approximately the same name. Nice spot for the 

tenor to play the solo. Trumpet to D. 

POOR BUTTERFLY 


Medium $55.00 Cat: 55535 

Medium swing. This great old standard starting with the trumpets on flugelhorns or 

buckets and the trombones in buckets. Two dynamic shout choruses at the end. 

Features a tenor sax solo. Trumpet 1 highest note is high D. 

PREHEAT AND BURN 



Swing chart. Sax soli introduction flowing to a trumpet and an alto solo. Great as an 

opener or closer. No score. Some doubles. 

PRETTY BABY 


Medium $55.00 Cat: 55539 

Medium swing. This great standard with a bit of a twist. Still in the Basie style. 

Features the trumpet solo. Flugelhorn and bucket trombones at the top. Trumpet 1 

highest note is high D. 

A PRETTY GIRL IS LIKE A MELODY 


Medium $55.00 Cat: 55529 


buckets and the trombones in buckets. Features solo on the 4th trumpet part. 

Trumpet 1 highest note is high D. 

36 36 

36 

RED RIVER VALLEY 


Medium $55.00 Cat: 55538 

Medium swing. You won’t be able to stop singing it...Red River Valley in the Basie style! 

This has a trombone solo and lots of ensemble. Trumpet 1 highest note is high E. 

RHYTHM MACHINE 



Medium shuffle. This is a solid concert opener or closer. Nice sax soli. tenor sax solo. 

No score. 

ROSE ROOM 


Medium $55.00 Cat: 55534 


buckets and the trombones in buckets. A difficult sax soli in the middle. Features 

trumpet solo. Trumpet 1 highest note is high E. 

ST. LOUIS BLUES 



This is a clever version of the old standard with plenty of ensemble and sax soli and 

trumpet solos. No score. 

SAMBA DE ELSE 



This tune starts with soprano and flugelhorn lead in a rather quiet fashion and 

builds to a shout section featuring the trumpets. The open middle section features 

anyone who wants to blow! Recorded on Fast Cars and Fascinating Women. 

SAMBA DEES GODDA DO IT 



Nice Samba with great changes. Open solo section. Conductor sketch. Recorded by 

Kubis on Slightly Off The Ground. 

SAMBA FOR THE COMMON MAN 


Medium $55.00 Cat: 55553 

Starts out with the flugel section playing the head. This has room for the alto and 

bone to play solos. Features the trumpet section. 

SAX TEST 



What a great jazz shuffle! All saxes solo. This also has an a cappella sax soli, and then 

an ensemble shout takes it out. Alto 1 doubles on soprano. 

SAY THAT AGAIN 



Medium swing chart in a relaxed east coast feel featuring the baritone and 4th 

trumpet on this very cool melody. Plenty of the usual Kubis shout stuff towards the 

end and this all ends back with the baritone and 4th trumpet again. As recorded by 

the Kubis/Allen Big Band on Fast Cars and Fascinating Women. 

SHUFFLE TILL YOU DROP 


Medium $55.00 Cat: 55520 

This starts out with the trombones in unison and burns till the end. If you have a 

good trombone section this one will fly! Lots of solo room and a killer ensemble. 

Trumpet does get an Eb above staff but only for a stab. No score. 

SILENT NIGHT 



This powerful and pretty ballad features the lead trumpet player. The extreme high 

notes on the solo part towards the end may be played down an octave. As recorded 



ONLINE!

SINCE YOU PUT IT THAT WAY 


Medium $55.00 Cat: 55554 

This is a nice way to feature a bone player. This chart is quiet at the top, but there 

is quite a bit of powerful ensemble at the end. Bossa. Features trombone. 

SKIPPING ALONG A RAINBOW 



Another in the line of the Steve Allen/Tom Kubis series. This is not easy! This features 

the trombone section with some great soli stuff in a medium-up swing style. 

SLAUSON CUTOFF 



Blues all the way. Starts with a sax soli. Ensemble shout,tenor solo, soprano double. 

No score. Recorded by Northern Arizona Univ. 

SLIGHTLY OFF THE GROUND 



Up-tempo swing as recorded by Tom Kubis. Has all the goodies: sax soli, a cappella 

brass soli and trombone solos. Recorded by Northern Arizona Univ Jazz Ensemble. 

SMILES 


Medium $55.00 Cat: 55530 


flugelhorns and trombones in buckets. Has blowing changes on the tenor sax part. 

Lead trumpet to concert D. 

SMILING OVER YOU 



This is a nice Bossa Nova chart and serves as a change of pace for the concert. 

Features trombone solo. No score. 

THE SNAKE WAS ON HIS WAY TO A GIG 



Up-tempo trombone feature in a minor key. This is a difficult chart but if you have 

a trombone section that’s good this will be a good one to perform. Starts with a 

unison head followed immediately by a trombone soli - the last note of the soli is an 

8th note D but that could be played down an octave and the A below will work for 

the lead part. 

SO WHO’S SORRY 



From start to finish, you’ll bring the house down. Tenor sax solo. No score. 

SOME OF THESE DAYS 



Starts with a wacky Dixieland version of this old tune featuring the alto sax (optional 

soprano sax) and a plunger trombone with the trumpets in harmons acting as the 

banjo. The drums pick up the tempo into a speedy straight ahead burner with lots 

of great ensemble passages. Solo section in the middle is open. 

SOMETHING MYSTERIOUS 



This is a pretty flugelhorn ballad. There are sax doubles. This is a very haunting solo 

and arrangement on the Keep Swingin CD. Another great ballad change of pace! 

SONG FOR MY FATHER 



This is the great Horace Silver Latin standard. This chart features the lead alto and 

4th trumpet. They get the melody and then each get a chance to solo. Lots of cool 

ensemble at the end! Trumpet to high Eb. 


SPACE AVAILABLE 



Swing at its best. This has all the goodies: ensemble, shout chorus, tenor sax solo. 

Some doubles. No score. Recorded by the Bill Watrous Big Band on Space Available. 

SPEAK LOW 



This is the great standard in a Latin groove featuring the alto sax with changes for 

the trombone to solo as well. Plenty of room for the alto player with the cool sound 

to show off! 

STAR SPANGLED BANNER 


Medium $32.00 Cat: 55523 

Soprano sax feature of the National Anthem. 

STEELY SHUFFLE-WOW! 



You gotta get this one. This was penned as a high-spirited rock shuffle and this one 

cooks from beginning to end. This kinda Steely Dan-ish chart uses the traditional 

rock horn styles and has plenty of room for all to solo. Trumpet to D. 

STEP THIS WAY SIR 



A lively medium-up swing that has a classic jazz feel along with the hard swinging big 

band sound Kubis is known for. Trumpet 4 has a solo. High D in trumpet 1. As 

recorded by the Kubis/Allen Big Band on Fast Cars and Fascinating Women. 

STEVE’S 5,000TH HIT! 



This Bossa Nova was written by Steve Allen on the 30th anniversary of the Tonight 

Show as his 5,000th song! The alto gets a nod on the solo section. This very 

subdued melody gives way to a full shout chorus but still holds to a very kicked back 

kind of chart! As recorded by the Kubis/Allen Big Band on ‘Fast Cars and Fascinating Women.’ 

STREET STRUT 



Medium cookin’ rock tune that starts with a small horn trio behind some a cappella 

funky bone riff with plenty of baritone funk stuff. Solo section open for anybody - 

even guitar. Lots of great ensemble and sax soli stuff. Each bridge section moves into 

fast swing feel. This is a very cool chart. Recorded on ‘Fast Cars and Fascinating Women.’ 

SULTRY SAMBA 



This is a very pretty melody introduced by the soprano sax and flugelhorn. Both 

these guys get a chance to solo. This starts nice and subtle and builds to the end. 

Again this is a nice Latin change of pace. Recorded on ‘Keep Swingin.’ 

SUMMER DOWN IN SAVANNA 



This is a very classy lead alto ballad. Lots of warm lush backgrounds on this one. A 

great way to show off the alto! 

TAKE ME OUT TO THE BALL GAME 



Up-swing. This great old standard in Bb cooks right along with the saxes taking the 

melody followed by an a cappella ensemble. Solos in each section and a modulation 

to C for the shout! Solos feature trumpet, trombone and tenor sax. Trumpet 1 

highest note is high E. 


1-518-587-2325 1-518-587-2325 37


TAKING THE “A” STUFF 



Medium-up tempo chart based on some tune about a train. This is a difficult chart 

with a lot of ensemble passages. Solo section has solo chords for each section. 

Trumpet to high D. No Doubles. 

THAT BASIE BEAT 



Another in the line of the Steve Allen/Tom Kubis series. This is a great one to open up 

a set with. Steve Allen created this in the Basie style, medium swing feel. 

THAT SAME OLD FEELING 



Bossa Nova featuring tenor sax solo. Doubles required. No score. 

THAT WORM FEELING ***NEW*** 


Medium $55.00 Cat: 55567 

Laid back ballad in the Nestico style. Bucket mutes are used here. Places for the 

tenor sax and piano to shine! Features tenor sax. Trumpet 1 highest note is high Bb. 

THEME WITHOUT A MOVIE 



A very romantic ballad featuring flugelhorn solo. 

THOSE DOWNTOWN COMPTON BLUES 


Medium $55.00 Cat: 55555 

Slow swing. This is a hard driving shuffle chart that starts with the bones and tenors. 

Trumpet and bass solos in the middle with a heavy hitting shout. 

TOOT TOOT THIS 



Up-tempo jazz chart with a lot of hard swinging ensemble. This is based on the 

Dixieland tune with a similar name. This is a great chart for the advanced group 

having plenty of open places for soloists. 

TWO SAMBA TO GO ***NEW*** 



Up Samba featuring the 2 altos. There are never enough features for the 2 altos in 

the big band. This one is a really fun driving minor Samba. Features alto sax. Solos for 

alto sax. Trumpet 1 highest note is high E. 

VILLAGE DANCE 



Fusion-Samba featuring trumpet, trombone and tenor solos. No score. Recorded by 

the Bill Watrous Big Band on Space Available. 

WE THREE KINGS 



This is a hard and fast jazz waltz. As recorded by the Tom Kubis Big Band on A Jazz 

Musician’s Christmas. 

WHEN I HEAR HAPPY MUSIC 



Another in the line of the Steve Allen/Tom Kubis series. This is an up-swing tune with 

lots of gusto. This is a great opener or closer. This is one of Steve Allen’s favorites to 

get the attention of the audience. 

38 38 

38 

WHEN YOU’RE SMILING 



Medium swing. Recorded by Tom Kubis on Slightly Off The Ground. 

WHICH CRAFT? 



Medium swing based on the changes to a familiar standard. Features a tenor solo. 

Recorded by Tom Kubis on Slightly Off the Ground. 

WHISPERING 



The old classic up tempo standard in the original key of Eb, starts out with the 

trumpet voiced over the saxophones leading into a solo section with bone trumpet 

and alto solos available followed by a killer ensemble then a restatement of the 

trumpet over sax melody. High D is the high trumpet note. Great way to show your 

band where Groovin' High came from! 

WHISPERS ***NEW*** 


Medium $55.00 Cat: 55565 

Bouncy jazz minor melody with the bari sax and trumpet. Solos are for baritone 

saxophone and trumpet. Cool shout section at end! Medium swing. Trumpet 1 

highest note is high F. 

WHISPOLOGY 



Based on the changes to Whispering. This is an up-tempo burner opening with the 

saxes. Solo section open for anyone. Trumpet high D. 

WHO CAN I TURN TO? 



Another great classic standard. As recorded by Tom Kubis on Slightly Off The 

Ground. 

YANKEE DOODLE BOY 


Medium $55.00 Cat: 55547 

Up swing. This one is great for those summer concerts or just feeling patriotic.It is 

an up-tempo swing with a little hip hop section at the end of each chorus. Solos for 

trumpet, trombone, and tenor sax. Trumpet 1 highest note is high E. 

YOU CAN COUNT ON IT ***NEW*** 


Medium $55.00 Cat: 55566 

Up-tempo swing. Piano solo with open solo section. Lead trumpet to high written 

high C. Optional Vibes. 

YOU MADE ME LOVE YOU 


Medium $55.00 Cat: 55536 



part. Lead trumpet to concert D. 8-bar saxohone soli. 

YOU MAKE ME FEEL SO VERY HAPPY 



Medium blues shuffle with a tenor solo (optional open solos). Lead alto may be 

played on soprano. 

YOU’RE A GRAND OLD FLAG 


Medium $55.00 Cat: 55548 

Up-swing. Good one to open up a set. Fast and cookin’! Room for solos in each 

section. A lot of fun! Trumpet, trombone and tenor sax solos. Trumpet 1 highest 

note is high E. 


ONLINE!

YOU’VE GOT TO 

HAVE THE BLUES SOMETIMES 



This medium-down swinger is reminiscent of that old Jimmy Smith organ minor 

blues thing! This is a battle royal of the two tenors - another down and dirty chart! 

ZAMBA 



Zamba is a Samba. Flute, soprano and flugelhorn open this relaxed piece with lots of 

nice flugelhorn lines on the bridge. Open solo section for everyone. Unison bebop 

lines introduce the big shout section and it all comes back to the small group in the 

end. As recorded by the Kubis/Allen Big Band on Fast Cars and Fascinating Women. 

ARRANGED BY JOHN LA BARBERA 

CLOTH OF SILVER ***NEW*** 

THREADS OF BLUE 

Arranged by John La Barbera 


This chart is dedicated to Horace Silver & Blue Mitchell. Written for a small group 

within a big band, it contains all of the elements of Horace's style. Solos for piano & 

trumpet. 

FANTAZM ***NEW*** 


Advanced $60.00 Cat: 7011189 

From John La Barbera’s latest big band recording, here is the title cut: a masterful 

arrangement of this little-known Ellington gem. The tempo is moderate in an African/ 

Latin vein and features a wealth of interesting orchestrational colors within the 

context of the big band. Featured solos include tenor or soprano sax and piano. 

HIGHLAND CROSSING ***NEW*** 



This chart is a soprano feature with a straight eights bed that builds to a high point 

for lead trumpet solo. Modal changes with rich textured backgrounds. It evokes a 

Scottish Highland flavor with an implied 3 against 4 melody. Solos for soprano sax 

and trumpet. Sax doubles: alto on soprano. 

OVER F ***NEW*** 



As you might discern from the title, Over F is inspired by the Brazilian Frevo and uses 

a lot of F pedal with some F sharps thrown in for a little harmonic crunch. John has 

included some of the energy and joy of a Carnival coupled with a more conventional 

Samba. Solos for soprano sax, drums, and percussion. Sax doubles: alto on soprano. 

PYTHODD FELLOWS ***NEW*** 


Advanced $60.00 Cat: 7011191 

The Pythodd Club in Rochester, New York was where the famed La Barbera brothers 

were first exposed to real, live jazz, and the Hammond B3 organ was often a part of 

these groups. Here John uses the organ as a centerpiece, but surrounds it with 

exuberant proclamations from the rest of the band in a smokin’ shuffle chart. Solos 

are included for organ, guitar and tenor sax. 

YOURS OR MINE OR BLUES ***NEW*** 



One of Pat La Barbera's newest compositions that is a cross between a C minor and 

an F minor blues with a couple of extra bars thrown in for good measure. Solos for 

trumpet, trombone, and tenor sax. 


ZIN ZAK ***NEW*** 



Joseph Zynczak was a close friend and publishing attorney of John's for over thirty 

years. The chart reflects the energy with which he tackled the business at hand. He 

was as relentless in his challenge to legal opponents as this chart is on the trumpets. 

A true friend will be missed. Solos for alto saxophone, trombone, and piano. 

ARRANGED BY DAVE LA LAMA 

FULL HOUSE 

Arranged by Dave La Lama 


This swingin’ minor blues features a unison sax melody and plenty of call & response 

between brass and saxes. A simple but effective shout chorus leads back to the head 

harmonized this time for saxes. Solo sections can be opened up and it this charts 

ends with a spot for your drummer. 

ARRANGED BY PAUL LAVENDER 

LEAP FROG ***NEW*** 

Arranged by Paul Lavender 

Easy $45.00 Cat: 30724014 

Paul has taken the famous Les Brown version and adapted it for younger groups. 

The authentic style of the original is still there in this classy arrangement of a classic 

from the swing era. 

ARRANGED BY RICK LAWN 

HYMN FOR 9/11 

Arranged by Rick Lawn 

Medium $42.00 Cat: 1597 

An unusual chorale written for advancing big bands, this lush and harmonically 

satisfying ballad captures the somber, but optimistic mood that came over the world 

on that historic day. An improvised piano solo is included in this hauntingly beautiful 

work commemorating the unforgettable events of September 11th. All trumpets 

double on flugelhorn, and a guitar chord chart by Jim Greeson is included in each 

set. Standard instrumentation, SATTB saxophones, trumpets on flugelhorn. 

ARRANGED BY PAUL LEE 

PEACEFUL MOMENTS 

Arranged by Paul Lee 


This original even-eighth ballad is written to allow multiple soloists. By leaving out 

the appropriate section part and substituting the optional solo part, you can 

feature alto, trumpet, tenor, trombone, guitar, flute or even piano as the featured 

soloist. Great for giving your students a chance to play a solo with big band 

accompaniment or for your guest artist to perform. (Scored to sound complete with 4- 

3-2-3). 

YOU CAN COUNT ON IT 

Arranged by Paul Lee 


A nice medium-tempo blues in Bb with the shout chorus in Eb. This composition 

captures some of the cool school style that was popular on the West & East coasts 

in the 1950s. Written solos, piano voicings & bass parts. High trumpet. Note written 

G top of staff, trombone 2nd ledger line F. (Scored to sound complete with 4-3-2-3). 


1-518-587-2325 1-518-587-2325 39


40 40 

40 

ARRANGED BY MIKE LEWIS 

AN APPLE A DAY ***NEW*** 

Arranged by Mike Lewis 

Medium $42.00 Cat: 60030 

This is the perfect chart for tightening up your band’s concept of ensemble skills, 

particularly blend and phrasing. Both tenor saxophone and trumpet have solos 

provided that can be performed as is or ad lib. This chart features Kendor Konvertible 

instrumentation - meaning that it can be played by as few as 9 players. See why jazz 

band directors everywhere are keeping lots of Mike Lewis charts in their books! A 

guitar chord chart by Jim Greeson is included in each set. 

CABIN FEVER ***NEW*** 


Medium $42.00 Cat: 61083 

As with all Mike Lewis charts, the ensemble writing is full and satisfying, while 

providing adequate opportunities for advancing groups to hone their skills. This one 

contains a brief (16 bar) piano solo, but puts the spotlight squarely on the entire 

band for the remainder of the time. A guitar chord chart is included in each set. 

HYPNOTRANCE 


Easy $48.00 Cat: 601 

Written in Kendor Konvertible format, this medium easy original is set in a straight 

eighth note feel, built around a series of rhythms and chord changes that keep 

repeating throughout - hence the title! Abundant unisons will help inexperienced 

groups build confidence, while offering all players a turn at the melody. 

ONE MORE FOR THE COUNT 



Great writing in the Basie tradition is presented here for developing jazz musicians 

requiring material with accessible brass ranges, notated rhythm parts, and minimum 

instrumentation requirements. It even has Count Basie’s signature piano figure at 

the end! A guitar chord chart by Jim Greeson is included in each set. 

SLINKY ***NEW*** 


Medium $48.00 Cat: 61700 

Continuing his contributions to educational jazz repertoire, professional composer/ 

arranger Mike Lewis has penned this relaxed swing original for advancing groups. A 

great vehicle for teaching blend, balance, and phrasing, solos are also provided for 

alto sax and trumpet. Features of this chart include nice saxophone section writing, 

and solid background figures. Although it’s not technically a Count Basie style piece, 

it employs a similarly laid-back approach. A guitar chord chart is included in each set. 

SONG FOR HAYLEY 


Easy $42.00 Cat: 677 

This original is set in a warm ballad style, and was written for and dedicated to one 

of Mike’s granddaughters, Hayley. Alto saxophone is featured along with the full 

ensemble. A guitar chord chart by Jim Greeson is included in each set. 

SOUL BOSSA NOVA 


Medium Easy $40.00 Cat: JE9837 

This tune is an old Quincy Jones hit, that has been given new life as the theme to the 

smash hit comedy “Austin Powers - Man of Mystery”. This “groovy” chart is very 

“retro”, and your students will love it. The “Lounge Lizard” sound is back, and Mike 

Lewis’ playable arrangement makes it perfect for any band. “Groovy Baby!” 

STANDING ROOM ONLY 



This swing chart from Mike Lewis reconfirms his ability to compose sophisticated 

sounding charts for developing players. The medium bright tempo generates 

excitement without posing undue technical demands. The key alternates between 

C and Eb and features lots of section and full ensemble playing. A guitar chord chart 

by Jim Greeson is included in each set. 

T-REX 


Easy $42.00 Cat: 699 

This medium easy original is set in a swing style and features Kendor Konvertible 

instrumentation. The saxophones introduce the tuneful melody, with trombones 

supporting. The brass section takes over from there, before yielding to the saxophone 

section again and a piano solo (as is or ad lib). The big ending will delight audiences. 

ARRANGED BY AARON LINGTON 

ASKEW ***NEW*** 

Arranged by Aaron Lington 


Up-tempo swinger loosely based on the chord changes of the jazz standard "What's 

New?" It was recorded by the University of North Texas One O'clock Lab Band on 

their album Lab 2002, and was awarded "Best Jazz Arrangement" in the 2003 

Downbeat magazine Student Music Awards. In addition, it was the 2003 winner of 

the Sammy Nestico jazz composition competition, sponsored by the USAF Airmen 

of Note. Improvised solos are written for second alto saxophone and baritone 

saxophone. Baritone saxophone doubles on bass clarinet. Top note for lead trumpet 

is a written G3, and top note for lead trombone is a written C2. Baritone saxophone 

doubles on bass clarinet. Number of brass: 10. 

THE BLACK WIDOW 



This dark, modal-flavored medium swinger was recorded by the University of North 

Texas One O'clock Lab Band on their album Lab 2003, and was awarded an 

honorable mention in the 2003 ASCAP Young Jazz Composer Awards. An extremely 

tuneful melody is stated over colorful chord changes by a trio of baritone saxophone, 

trumpet and trombone. Solos are written for baritone saxophone and trombone 

and interweaving counterpoint lines are incorporated throughout the chart. Second 

alto doubles on a brief, simple flute part. Top note for lead trumpet is a written F#3, 

and top note for lead trombone is a written B1. Second alto doubles on flute. 

COBBLESTONE ROAD 



This pensive and brooding contemporary-style chart was commissioned by the 

USAF Airmen of Note and was recorded by the University of North Texas One 

O'clock Lab Band on their album Lab 2004. Within this medium-swinger, the melody 

is featured in trumpet and tenor saxophone, both of which also have improvised 

solos. Portions of the chart alternate between 4/4 and 3/4 time signature. In addition, 

the middle of the composition switches from a swing feel to a straight-eighth ECM 

feel. First alto doubles on a brief, simple flute part. Top note for lead trumpet is a 

written E3, and top note for lead trombone is a written C2. First alto doubles on 

flute. 

ORION ***NEW*** 



Jazz waltz that features baritone saxophone, trumpet, and guitar on a memorable, 

Kenny Wheeler-type melody. It was recorded by the University of North Texas One 

O'clock Lab Band on their album Lab 2004. Improvised solos are written for bass 

and baritone saxophone. The chart alternates between 4/4 and 3/4 time signatures 

as a major part of the formal structure. Saxophones have no doubles. Top note for 

lead trumpet is a written F3, and top note for lead trombone is a written C2. No 

doubles. Number of brass: 10. 

TRANSLUCENCE 



This beautiful, Kenton-style ballad features tenor saxophone on a lyrical, haunting 

melody accompanied by lushly scored brass. This composition was recorded by the 

University of North Texas One O'clock Lab Band on their album Lab 2003. Trumpets 

double on flugelhorn, and saxophones have traditional woodwind doubles. Top 

note for lead trumpet is a written D#3, and top note for lead trombone is a written 

Bb1. Doubles: reed 1 utilizes alto saxophone and clarinet; reed 2 utilizes alto 

saxophone, clarinet and flute; reed 3 utilizes tenor saxophone and clarinet; reed 5 

utilizes baritone saxophone and bass clarinet. Features solo for tenor saxophone. 


ONLINE!

ARRANGED BY BILL LISTON 

LEFT IN THE DUST 

Arranged by Bill Liston 

Medium $42.00 Cat: 1657 

Here’s a new funk original that will add color to any program. Saxes are featured on 

the melody and solo space is provided for either alto saxophone or trombone. A 

guitar chord chart by Jim Greeson is included. 

THE LONGEST HOUR 


Medium $42.00 Cat: 1663 

This masterful funk chart demonstrates the writer’s expertise in big band orchestration and 

use of contemporary thematic material reminiscent of the 1980s. The grooving ‘A’ section 

will bring your audience to its feet asking for an encore. Includes guitar chord chart. 

NEW TOYS 


Medium $42.00 Cat: 1702 

Commissioned by Chuck Wackerman and the Los Alamitos (CA) High School Jazz 

Band, this bright swing excursion features the sax section and provides solo space 

for tenor sax and/or trombone. Nice interplay between the saxes and brass takes 

the tune to an interesting finish. 

OUT OF NOWHERE [VOCAL] 


Medium $42.00 Cat: 108 

This masterful shuffle arrangement demonstrates his expertise in both big band 

orchestration and supporting vocalists. Saxophones are featured during this chart 

which works equally well as an opener, closer, or in the middle of the set. If a vocalist 

is not available, a tenor saxophone solo part is included. Includes guitar chord chart. 

SONG FOR J.R. 


Medium $42.00 Cat: 61710 

This beautiful ballad features the trombonist. Rhythm section parts notated with 

chords cued; guitar chord chart included. Standard instrumentation plus vibraphone. 

SUMMER’S LAST GETAWAY 


Medium $48.00 Cat: 61730 

This is an energetic hip-hop tune based on an altered blues progression. There are 

choices of soloists and optional parts for flute and vibes. Open solo section. Standard 

instrumentation plus vibraphone and flute. 

UNDER THE WIRE 


Medium $48.00 Cat: 61760 

Composed for the Los Alamitos High School Jazz Ensemble near Bill’s home in 

Southern California, this chart is a great choice for use as a subtle opener or in the 

middle of a program. Several solo options are offered in this introspective swing 

chart for advancing groups. A guitar chord chart is included in each set. 

WALTZ OF THE FLOWERS 



This is a jazz arrangement of Tchaikowsky’s classic work from The Nutcracker. 

Written for and recorded by Wayne Bergeron on his Grammy winning WAG Records 

release, You Call This A Living?, this jazz waltz arrangement is an ideal showcase for a 

big band and its star trumpet soloist. The band parts are scored at the medium 

advanced level, while the solo part is advanced. You’ll love the way Liston has 

modernized the chord structure while staying true to the composer’s intent. 

WHY MUSICIANS CAN’T DANCE ***NEW*** 


Medium $52.00 Cat: 61970 

The exciting work is clearly articulated and packs a lot of punch from start to finish. 

The brass even have an a cappella chorus while the saxophones provide ensemble 

hits in the empty spots. And for solos, it’s your choice whether to feature your 2nd 

alto saxophone, 2nd trumpet, 2nd trombone, or all three. A guitar chord chart by 

Jim Greeson is included in each set. 


YOU GOTTA MAKE THE TIME 


Medium $42.00 Cat: 1859 

Also commissioned by Chuck Wackerman and the Los Alamitos (CA) High School 

Jazz Band, this swing original is ideal for use as a concert opener. It features the sax 

section and provides solo space for tenor sax and/or trombone. Bill also provides 

great rehearsal suggestions in the score notes. 

ARRANGED BY CHRISTOPHER MADSEN 

BELOVEANCE ***NEW*** 

Arranged by Christopher Madsen 


A moderate Bossa with a challenging dense chord progression. Lead trumpet to high 

F with solos in piano and trombone 2. A good study in theme and variations. Alto 1 

doubling to flute, alto 2, tenor 1 and tenor 2 doubling to clarinet and baritone 

doubling to bass clarinet. Good for the medium-level college to professional band. 

E.V. FREE ***NEW*** 



This medium-up straight eighths chart is scored for soprano, 2 tenors, baritone, 4 

trumpets, 3 trombone and rhythm. It features solo flugelhorn on melody and 

improvisation, and there is also a trombone solo. Soprano doubles to flute, baritone 

to bass clarinet. Lots of texture and a catchy melody. 

GIVE AND TAKE ***NEW*** 



A slow, mysterious ballad feature for texor sax. Good from the mid-level high school 

band on up to the pros with lead trumpet only reaching B above the staff. Tenor 

plays melody and has a chance to improvise over some interesting, somewhat 

challenging chords. Piano voicings are supplied. 

I'LL BE YOURS ***NEW*** 



A medium-slow tempo swinger (quarter=100) with lush chords and a pretty melody. 

Solos in piano and trombone 2 with a brief sax soli. A good chart for the high-level 

high school band which gives trumpet 1 good lead practice while not playing above 

a high D. Voicings supplied for piano. 

REFLECTIONS ***NEW*** 



This medium-up swinging chart is reminiscent of Bob Brookmeyer's early writing for 

big band. The chart containes tenor and trombone solos that can be opened up as 

well as some extreme register work by lead trumpet and bass trombone. A highenergy 

chart that wows audiences. 

ARRANGED BY JOHN MAHONEY 

BARELY IN TIME 

Arranged by John Mahoney 

Medium $57.00 Cat: 52076 

A medium up tempo original in 5 flats based on an old standard with a similiar title. 

Solos are for piano (or guitar) and trumpet 2 (or trombone 2). There are 3 

contrapuntal choruses in front where everyone gets a piece of the action, a sax soli 

and a slow burn tutti out chorus that builds to the end. Trumpet 1 to written Eb, 

trombone 1 to high Cb. 


1-518-587-2325 1-518-587-2325 41


BASIE BLUE 


Medium $55.00 Cat: 52077 

A medium tempo blues in Eb, featuring trumpet 2 and bari sax on the melody and 

lots of solo space. There are a couple of choruses of horn counterpoint without the 

rhythm section, and several roaring shout choruses. A bridge interlude takes over at 

the end for more soloing and ensemble passages. Trumpet 1 to written high F, 

trombone 1 to high B. 

O COME, EMMANUEL 


Medium $55.00 Cat: 62538 

The sung intro leads into a stretched out modal, straight 8th note treatment of this 

familiar carol. There are two solos for your choice of trombone 1 or trumpet 2 and 

tenor 1 or alto 2. Demanding trumpet parts, with trumpet 1 to written high F#, 

trombone 1 and 2 to high B. 

42 42 

42 

ARRANGED BY FRANK MANTOOTH 

A BIT FOGGY AT AUGIE 

Arranged by Frank Mantooth 


Finished just before he passed away, this piece was Frank Mantooth’s last work. 

Commissioned by Augustana College in Sioux Falls, South Dakota, this medium 

advanced bright swing captures many of the qualities that make Mantooth charts 

so appealing. The rich harmonies provide a perfect contrast to the light, swinging 

melody. An abundance of full ensemble work rounds out this brilliant piece. Open 

solo section. Standard instrumentation, 1st tenor doubles on flute 

I HEAR MUSIC [VOCAL] 


Medium $42.00 Cat: 88 

The background figures are reminiscent of the Tony Bennett, Frank Sinatra, Vic 

Damone swing style. Unlike Frank’s usual fare, this chart has been purposely arranged 

in a straight ahead format with no multi-meters, fermati, deceptive harmonies, or 

anything else that could discourage a top-to-bottom feel-good experience for 

band and vocalist. Optional tenor sax solo part is provided instead of vocals. 

I KNOW WHAT I’M HERE FOR 



Here’s the result of a collaboration between Louie Bellson, Remo Palmier, and arranger 

Frank Mantooth. Dedicated to trumpet/flugelhornist Clark Terry, this chart is a 

pocket tempo swinger that grooves from the count-off to the final fermata! 

INVITATION 



Here is a unique yet highly effective rendition of this Latin favorite by arranging 

craftsman, Frank Mantooth. Using an up-tempo groove, a fresh harmonic structure 

and interesting orchestration textures, Frank has created a winner for mature 

bands. An extended introduction helps establish the mood and the first statement 

is presented by a small combo of alto, trumpet and trombone. 

LAURALISA 



1/2-time rock feel. Features tenor and trombone solos. 

MOMENT’S NOTICE 


Difficult $50.00 Cat: 34120031 

Frank Mantooth has transformed this John Coltrane classic into an outstanding uptempo 

chart for big band. Features solos for tenor sax and flugelhorn. 

MOON RIVER 


Medium $45.00 Cat: 2072 

This swing arrangement provides a great opportunity for medium level groups to 

enjoy one of Henry Mancini’s most loved themes. Set in a 4/4 time signature, Mantooth 

showcases the entire group as the chart meanders through three key centers. Solo 

space is offered for 4th trumpet and 1st tenor saxophone. A guitar chord chart by 

Jim Greeson is included in each set. 

MOONLIGHT IN VERMONT [VOCAL] 



This 12/8 rock chart features a vocalist or optional tenor sax. Key of E flat. 

A NIGHTINGALE SANG IN BERKELEY SQUARE 


Difficult $50.00 Cat: 34120034 

Frank has crafted a real gem with this popular jazz tune. The opening is in a ballad 

style and features Bass Trombone in a very comfortable range. The mood shifts to a 

mediun swing groove featuring flugelhorn, bass bone, and baritone sax on the 

melody interspersed with brilliant ensemble writing. This classy setting was 

commissioned by the USAF ‘Airmen of Note.’ 

ONE FOR MY BABY 



Frank Mantooth seems to have a special flair for the sultry and sensuous. This wellknown 

ballad arranged in a slow bluesy 12/8 feel is a marvelous solo vehicle for alto 

sax; the full ensemble gets a chance to open up as well. 

ONEIDA 



Scored as a trombone feature for the Oneida (NY) High School Jazz Ensemble 

under the direction of Tim Watson, this tuneful ‘Tooth ballad is ideal for medium 

advanced groups. Great attention to detail is the key to mastering this piece. 

SO IN LOVE 


Advanced $50.00 Cat: 7010481 

As always, Frank Mantooth finds a unique way to treat a great standard. A feature 

for flugelhorn, this classy up-tempo chart is written in an even 8th note feel with 

fresh harmonies and great melodic lines. There is plenty for the ensemble to do as well. 

SPRING CAN REALLY 

HANG YOU UP THE MOST 


Medium $42.00 Cat: 2120 

Features trombone or flugelhorn. 

STELLA BY STARLIGHT 


Medium $45.00 Cat: 7010720 

Frank Mantooth was one of today’s most creative arrangers for jazz ensemble and 

he treats us here to a marvelously unique take on this well-known standard. The 

style is straight-ahead swing but the harmonic structure is fresh and the ensemble 

writing is super. It starts with alto and trumpet on the melody and includes solo 

space for any combination of alto, trumpet or trombone. 

THAT OLD BLACK MAGIC 



Recorded by the Ashley Alexander Big Band on Powerslide and originally issued in 

the mid-1980s, this dynamic solo feature for trombone or trumpet definitely warrants 

an advanced rating. It starts out in a bright swing groove, switches to light Latin 

midway through, and closes with a driving Samba shout. Lead alto has an optional 

soprano double. 


ONLINE!

THE SAGE OF DUPAGE 



This is a Samba feature for gifted alto and trumpet soloists. The chart is fairly 

demanding for the ensemble and does not attempt to avoid unconventional tonal centers 

(e.g. Cb major). Challenging, but the rewards of a successful performance are great. 

THE STUDS OF WAR 



This was commissioned by the U.S.A.F. Airmen of Note to challenge their trumpet 

section. Obviously, this is not a chart for those with a fear of ledger lines. Blowing 

changes appear for trombone 1 and guitar. This screams from downbeat to cutoff. 

THREE LITTLE WORDS [VOCAL] 



This medium Latin chart was commissioned by jazz singer Kevin Mahogany, who 

originally penned the tune. If used, optional doubles in the saxes and trumpets 

(flutes, clarinets, flugelhorns) will enhance the gentle nature of the piece. To give the 

chart a sense of balance and contrast, blowing changes are provided for flute, tenor 

sax, flugelhorn, trombone, guitar and piano. Altos and tenor double on flute; tenor 

and bari double on clarinet; trumpets double on flugelhorn. 

WE’LL BE TOGETHER AGAIN 


Medium $35.00 Cat: 43465 

This ballad features trombone and trumpet solos. 

WHEN SUNNY GETS BLUE 



Frank’s creative chart featues Flugelhorn off the top in a medium shuffle style. 

Changing to an up tempo Samba feel, flugelhorn and tenor are featured interspersed 

with stong ensemble statements. Includes solo space for flugelhorn and/or tenor. 

ARRANGED BY THOMAS MATTA 

NEXT SEASON ***NEW*** 

Arranged by Thomas Matta 

Medium $52.00 Cat: 62530 

This chart was commissioned by the Rock Valley Community College Jazz Ensemble, 

directed by Ken Stein. It features a flowing even eighth note groove that was 

inspired by Maria Schneider’s ‘Last Season’. Explore the rich ensemble textures, 

chorales, and solos by flugelhorn, trombone, and tenor saxophone. This is the 

perfect chart for proficient groups to work on their balance and blend. 

ARRANGED BY ROB MCCONNELL 

4 B.C. 

Arranged by Rob McConnell 


Starts with rubato intro. This medium tempo chart features tenor and trombone 

solos. Flute doubles on both alto1 and tenor 2, alto 2 on clarinet, baritone on bass 

clarinet. Difficult saxophone soli. This chart requires a mature band. 

THE 4,679,385TH BLUES IN B FLAT 



A groove/blues chart over double-time rock. Presented here in its original form. 




This brass-only arrangement is written for 4 trumpets, 4 trombones, and 2 horns. 

This is a different melody from the version already in the catalog. This is in a 

traditional-style brass chorale. The chords are lush and rich. No rhythm or sax 

parts. French horn parts are necessary. Score included. 


THE BACK BEAT 



Medium swing. Chart features trumpet, tenor, and piano solos. Two saxes double on 

flute. As recorded by Rob McConnell and the Boss Brass on Don’t Get Around 

Much Anymore. 

BETHLEHEM AND JOY 

[O LITTLE TOWN OF BETHLEHEM/ 

JOY TO THE WORLD] 



O Little Town of Bethlehem begins with a rubato chorale with flugelhorn lead. 4 

flutes and 2nd tenor has clarinet double. First time through is a cappella. Second 

verse has a trombone solo with piano accompaniment for 12 bars. The whole 

arrangement has no other rhythm section. Joy to the World has trumpet lead. 

Straight forward a cappella is cut time. Broad ensemble into 4 at the end. 5, 4, 4, and 

piano. Score included. Recorded by Rob McConnell and the Boss Brass on Big Band 

Christmas. 

BLUE TAG 



Medium blues with a tag. Featuring trombone, tenor, and trumpet. No doubles. As 

recorded by Rob McConnell and the Boss Brass. 

THE CLARINET IS BLACK AND BLUE 



Five clarinet feature. Slow blues-like tune with some flute doubles on 2nd tenor. 

Recorded by Rob McConnell and the Boss Brass on Even Canadians Get The Blues. 

THE COUNTLESS BLUES 



Slow, wonderful feeling blues featuring guitar and trumpet. As record by Rob 

McConnell and the Boss Brass on Even Canadians Get The Blues. 

DAYS GONE BY 



Tenor feature with ballad, then double time, then back to ballad feel. Short piano 

solo in the middle. As recorded by Rob McConnell and the Boss Brass. 

EVEN CANADIANS GET THE BLUES 



Very fast chart featuring trumpet and tenor. Very, very difficult (per Rob). Alto 1 

doubles on soprano. As recorded on ‘Even Canadians Get The Blues.’ 

HEY! 



12/8 feel with a 2nd trombone solo during shuffle feel. Double time unison shout. 

Recorded by Rob McConnell and Boss Brass on Brassy and Sassy. 

IT’S HARD TO FIND ONE 



Excellent and very difficult jazz waltz. Once again available in the original form. 

Recorded by Rob and Boss Brass on The Jazz Album. 

JUST TELL ME YES OR NO 



Ballad featuring trombone. Doubles on all saxes; alto 1 on flute, alto 2 on clarinet, 

tenor 1 on flute, tenor 2 on clarinet, and baritone on bass clarinet. 


1-518-587-2325 1-518-587-2325 43


LOVE OF MY LIFE 



Ballad with double time feel. Featuring flugelhorn solo. There are some sax doubles. 

Recorded by Rob McConnell and the Boss Brass on Brass Is Back. 

MY MAN BILL 



A great swinger. A tribute to Basie. Once again available in the original form. Recorded 

by Rob McConnell and Boss Brass on The Jazz Album. 

NIGHTFALL 


Medium $43.00 Cat: 51370 

Rubato intro leads to delicate ensemble writing without the rhythm section. The 

rhythm section is tacet throughout. All saxes must double. Recorded by the Boss 

Brass on Our 25th Year. 

RIFFS I HAVE KNOWN 



Up-tempo Blues. Solos for alto 2 with open solo section. Great saxophone soli. 

There are some saxophone doubles. Recorded by the Boss Brass on Our 25th Year. 

RUNAWAY HORMONES 



This Samba chart features soprano and trumpet solos. Another great McConnell 

chart once again available in the original form. As recorded on Big Band Jazz Vol l. 

There are saxophone doubles. 

SILENT AND MIDNIGHT 

[SILENT NIGHT/IT CAME UPON 

A MIDNIGHT CLEAR] 



It Came Upon A Midnight Clear begins this big band arrangement with a cappella 

brass, later joined by 4 flutes and a bass clarinet. Written out lead in alto 2. Silent 

Night is where the rhythm section joins in with a jazz waltz feel. The guitar has solo 

fills and a solo section. Recorded on Big Band Christmas. 

START WITH MRS. BEANHART 



Up-tempo be-bop chart, once again available in the original form. 

STEREO BLUE 



Straight ahead 4 with solos for tenor and soprano. Alto doubles on soprano. 

STROLLIN’ 


Easy $70.00 Cat: 51364 

Easy swing feel. There is a guitar solo and alto doubles on soprano. Recorded by Rob 

McConnell and the Boss Brass on The Brass Is Back. 

T.O. TWO 



Medium easy swing chart. Solos for trombone and trumpet 5. Alto 1 and 2 double 

on flute; tenor 1 and 2 double on clarinet; and bartone sax doubles on bass clarinet. 

Recorded by Boss Brass on Our 25th Year. 

44 44 

44 

THAT’S RIGHT 



Rock chart. Solos for tenor sax, soprano sax and trombone. Soprano and flute 

doubles. Recorded by Rob McConnell and Boss Brass on The Jazz Album. 

TRADITIONAL PEACE 



Slow four to a Samba feel. Solos for flugelhorn and guitar. There are saxophone 

doubles. 

A TRIBUTE TO ART FERN 



One of the most requested McConnell charts. A classic medium-blues chart. The 

chart feautres saxophone and brass soli. Solos for tenor and trombone. This is 

available in the original form. 

THE WALTZ I BLEW FOR YOU 



Jazz waltz. Features tenor & trumpet solos. Once again available in the original form. 

THE WALTZ YOU KNEW WAS BLUE 



Jazz waltz. Chart features trumpet and tenor solos. No doubles. As recorded by Rob 

McConnell and the Boss Brass on Don’t Get Around Much Anymore. 

WHO ASKED 



Straight ahead four. Solos for bass, trumpet, alto and also includes a short drum solo. 

There are sax doubles. Recorded by Rob McConnell and Boss Brass on Brass Is 

Back. 

WINTER IN WINNIPEG 



A comfortable swing chart with solos for soprano and piano. Alto doubles on 

soprano. Recorded by Rob and the Boss Brass on The Brass Is Back. 

ARRANGED BY DON MENZA 

ACID TRUTH 

Arranged by Don Menza 


Another great chart exactly as recorded by the Buddy Rich Big Band on Mercy, 

Mercy. 7 brass: 4 trumpets and 3 bones. 

ANOTHER WHO 



Features tenor sax and bass. 

BEULAH WITCH 



Classic slow rock chart. Guitar and drum solos with open solo section. Changes are 

in alto 1, tenor 2, trumpet 3, guitar, and piano. Lead trumpet to written F#. 10 brass. 

BLUES FOR UNCOMMON KIDS 



Great Don Menza blues chart. A must for every book. As recorded by Louie Bellson 

on East Side Suite. 


ONLINE!

BONES ALONE 



Features the trombone section. No score. As recorded by Charles Rutherford’s Jazz 

Pacific Orchestra on ‘Groovin’ Hard.’ 

BROADBOTTOM 



Feature for bass trombone, bass, and bass clarinet. As recorded on Charles 

Rutherford’s Jazz Pacific Orchestra CD Collage. 

BURNIN’ 



Just as the title indicates, this chart burns.As recorded by Don Menza and his 1980s 

Big Band. 

CREAM PUFF 



Easy swing. Solos for guitar, tenor sax, and trombone. 

DIZZYLAND 



Another great Menza chart now available. Recorded by Don Menza and his ‘80s Big 

Band. 

FAVIANA 



Feature for guitar and tenor. As recorded on Charles Rutherford’s Jazz Pacific 

Orchestra CD Collage. 

GROOVE BLUES 



What a great classic. A must for every book. Recorded on ‘The Louie Bellson Explosion.’ 

GROOVIN’ HARD 



No descripton needed. One of the all time greatest charts recorded by the Buddy 

Rich Big Band on Burning For Buddy Vol 2. 

MY HUCKLEBERRY FRIEND 



Written for Henry Mancini. 

NEW SPANISH BOOTS 



A classic chart as recorded by Don Menza and his ‘80s Big Band. 

NOTE-WALKER 



Up-tempo flute feature. As recorded by Charles Rutherford’s Jazz Pacific Orchestra 

on the CD Note Walker. 

PADDLIN MADELINE 



One of Don Menza’s favorite charts. Recorded by Louie Bellson on East Side Suite. 


THE PLACE 



Features tenor and guitar. Woodwinds double. 

REBEL ROUSERS 



Medium up shuffle. Solos for guitar and trumpet with optional tenor sax solo. Great 

sax soli with a roaring shout chorus. No doubles.As recorded by Charles Rutherford’s 

Jazz Pacific Orchestra on the CD Note Walker. 

RED MEN’S REVENGE 



Very up-tempo swing chart. Changes are based on Cherokee. Solo space for tenor 

sax, trombone and drums. Recorded by UNLV Jazz Ensemble with Don Menza. 

RED SNAPPER 



Very up-tempo chart. Open solo section. Changes are in alto 1, tenor 2, trumpet 5, 

and trombone 2. Great shout chorus. 10 brass. 

ROSE TATTOO 



Medium swing. Features tenor solo. Doubles: flutes and 1 bass clarinet. Recorded by 

Univ Nevada Las Vegas Jazz Ensemble with Don Menza on Caliente, Muy Caliente. 

ROYAL 



Dedicated to Marshall Royal. Ballad featuring alto. As recorded on Charles 

Rutherford’s Jazz Pacific Orchestra CD Collage. 

SAMBA DE ROLLINS 



Fast Samba. Features tenor sax, soprano sax and drums. As recorded by Univ 

Nevada Las Vegas Jazz Ensemble with Don Menza on the CD Caliente, Muy Caliente. 

Two soprano doubles. 7 brass. 

SAMBANDREA SWING 



This great drum feature was recorded by Louie Bellson and Explosion. 

SAMBIANA 



Fast Samba. Features trumpet or trombone. Open ensemble with drum solo. Not 

extremely difficult but watch out for the shout chorus. As recorded on Charles 

Rutherford’s Jazz Pacific Orchestra CD Note Walker. 

SHUFFLE BROTHERS 



Nice shuffle by Don. Solo space for piano, trumpet and trombone. Recorded by 

Univ Nevada Las Vegas Jazz Ensemble with Don Menza on the CD Caliente, Muy 

Caliente. 

T.N.T. 



Features tenor and guitar solos. Can be opened for solos at bar 43. As recorded by 

Charles Rutherford’s Jazz Pacific Orchestra on the CD Collage. 


1-518-587-2325 1-518-587-2325 45


TENOR TIME 



Nice tenor feature. A must for every library. Recorded by Rutherford’s Jazz Pacific 

Orchestra on the CD Note Walker. 

TIME CHECK 



No description needed. As recorded exactly by the Buddy Rich Orchestra on 

Burning For Buddy Vol 2. 

TIME TO LEAVE 



Medium fast swing. Solos for guitar, tenor sax, and piano. 

TONAWANDA FATS 



Another great chart as recorded by Don Menza and his ‘80s Big Band. 

WHERE DID SUMMER GO 



Features tenor solo. As recorded on Charles Rutherford’s CD ‘Note Walker.’ 

46 46 

46 

ARRANGED BY BOB MINTZER 

GENTLY 

Arranged by Bob Mintzer 


This Bob Mintzer original provides medium advanced groups with an opportunity 

to experience the sensitive side of the swing style. Soft intensity is how Bob describes 

the approach to this harmonically satisfying excursion. Woodwind parts consist of 

2 flutes, flute/tenor saxophone, and 2 Bb clarinets. 

GO GO 



This funk chart was originally recorded by the Yellowjackets for their Time Squared 

CD. Filled with unexpected twists and turns, this big band version requires a tripletbased 

swing feel similar to hip-hop. 

MOSAIC 


Medium $42.00 Cat: 3469 

Originally composed for the Yellowjackets’ live recording, Mint Jam, this even eighth 

feel chart was designed to promote lots of soloistic interplay. Mintzer advises drummers 

to check out the Jackets version for conceptual direction. 

ORIGINAL PEOPLE 



In keeping with his recent move away from the traditional power-oriented big band 

concepts, this work is dedicated to the Pequot Indian tribe. Their sophisticated 

approach to living in harmony with nature inspired the soft intensity of this piece. 

PRELUDE TO A KISS 



Mintzer gives this Duke Ellington classic a different treatment than the customary 

ballad feel for medium advanced groups. Set in a slow and easy gospel-like feel, the 

rhythm section will, in Bob’s words, get a groove on just by reading the written parts. 

A tenor saxophone soloist is featured throughout, which requires the player to use 

an R & B style while superimposing jazz harmonic sensibility over the solid, repetitious 

beat provided by the drummer. 

SOPHISTICATED LADY [VOCAL] 


Medium $42.00 Cat: 115 

Features vocalist or optional tenor saxophone. Key of E flat. 

TIMELESS 



Lush orchestration overlays a gentle Samba groove. The subtle energy will thoroughly 

entertain audiences. The chart was recorded using the woodwind parts (3 flutes, 2 

clarinets) provided, but alternate sax parts (AATTB) are included in the set that 

sound equally pleasing. All trumpets double on flugelhorn and 2 optional french 

horn parts are included. 

WHO’S WALKIN’ WHO? 



This unhurried swing chart was inspired by the Mintzer family’s two black Labrador 

retrievers. Humor, imagination and unpredictability are apparent in this clever piece. 

ARRANGED BY MICHAEL MOSSMAN 

57TH STREET MAMBO 

Arranged by Michael Mossman 

Medium Difficult $70.00 Cat: 32MUS1006 

Style: Mambo/Cha cha/Bembe. Trumpet feature. 

AFRO BLUE 



Made famous by John Coltrane, but treated here in a more traditional Afro-Latin 

style, this is something a little different for jazz ensemble. As with all Mossman charts, 

the rhythm section is meticulously notated to insure the correct style. The 3/4 

pattern throughout draws heavily on African influences and the melody is masterfully 

passed from section to section. A single pentatonic scale works for the solo section 

making this a wonderful vehicle for involving many soloists. 

CON ALMA 



Dizzy Gillespie was a pivotal figure in the connection between jazz and Afro-Cuban 

music. This exciting chart explores this relationship, combining authentic Cha Cha 

and Bembe with straight ahead swinging jazz. A tenor sax solo is featured and look 

for some quotes from Dizzy’s original recordings. 

CUBAUZA 


Medium Difficult $70.00 Cat: 32MU1004 

Latin bebop chart. Solos for trumpet, alto, trombone, tenor and baritone. 

THE DANCE OF DENIAL 


Medium $45.00 Cat: 7010901 

Using an Afro-Cuban style alternating with an authentically notated cha-cha groove, 

this has a hint of Egyptian mystery in creating this marvelous production number 

for today’s adventurous jazz ensemble. Includes solos for alto and trumpet, as well as 

space to feature Latin percussion and/or the drummer. 

FREEDOM SHOUT 


Medium Difficult $70.00 Cat: 32MU1005 

This arrangement is a Mambo. Features solos for alto, tenor, trumpet, and trombone. 

I LOVE LUCY 


Easy $40.00 Cat: 7010899 

One of the all-time favorite TV themes, this is also an amazingly sophisticated and 

exciting Latin/jazz composition. In the expert hands of Michael Mossman, here is an 

authentic-sounding version that even young bands can tackle. 


ONLINE!

MOMCAT MAMBO 



Explore the exciting world of ‘mambo’ with this Michael Philip Mossman original 

commissioned by the Delavan-Darien (WI) H.S. Jazz Ensemble. A variety of moods 

and meters are used and there is solo space for dueling alto saxes, trombone and 

trumpet. The angular melody and quartal harmonies give this one a distinctive 

sound, ensuring that your players will have a ball. 

A NIGHT IN TUNISIA 


Advanced $60.00 Cat: 7011069 

Written for and recorded by Mario Bauza, Michael Philip Mossman adds his own 

unique flare to this Dizzy Gillespie Latin jazz classic. Featured soloists include trumpet 

(of course), as well as trombone and alto. A great showcase for the entire ensemble! 

ARRANGED BY PAUL MURTHA 

AFTER YOU’VE GONE 

Arranged by Paul Murtha 


Here’s a nice change-of-pace swing tune that will work great for contest or concerts. 

The tempo is relaxed just enough to make it easy for younger groups to handle 

comfortably. Plenty of tutti ensemble playing and lush harmonies. Written for full 

band, playable with 4 saxes, 3 trumpets, 3 trombones and rhythm section. Fulllength 

recording included. 

BLACK ORPHEUS 


Medium $40.00 Cat: 7010909 

This familiar standard has been around for years, and is creatively set here in a 

medium swing style by Paul Murtha. The trombone section is featured in the 

beginning and is followed by the trumpet section. Following a solo section for 

trumpet and tenor, there is an effective key change and full ensemble shout chorus. 

Designed for young players, experienced bands will sound great playing this as well! 

BOOM BOOM 



Recently used in television ads, this classic R & B tune from John Lee Hooker is great 

for featuring a variety of soloists. The striking stop-time opening gives way to a 

straight-ahead blues. This one just feels good. 

CAR WASH 


Medium $45.00 Cat: 7011097 

Originally recorded by Rose Royce in 1977, this well-known funky hit is enjoying 

new life in the hit movie Shark Tale recorded by Christina Aguilera and Missy Elliott. 

DON’T KNOW WHY [VOCAL] 


Medium $40.00 Cat: 7500103 

Recorded by newcomer vocalist Norah Jones, this haunting tune was a big hit on 

the pop charts. With a beautiful melody and smooth harmonies, this is a wonderful 

contemporary feature for a vocalist. This arrangement may also be used as a feature 

for flugelhorn or tenor sax, in place of the vocal part. Key of B flat. 

THE INCREDIBLES ***NEW*** 



Here are the main themes from this popular soundtrack arranged for younger 

bands. With its unique mix of spy/adventure music reminiscent of the 1960s with a 

touch of cool jazz, this is sure to be a hit with your band and liven up your concert. 

MILESTONES 


Easy $35.00 Cat: 7470681 

Paul Murtha takes the essence of this great tune and makes it playable by beginning 

groups. The easy chords and modal style make it a natural for learning to improvise. 

Written for full band, playable with 3 saxes, 2 trumpets, 1 trombone and rhythm 

section. Full-length recording included. 


OYE COMO VA 


Easy $35.00 Cat: 7470635 

This arrangement of Tito Puente’s Latin/rock classic (made famous by Santana) is an 

absolute must for beginning groups! The simple chord structure makes this one a 

natural for players just learning to improvise. Includes full-length recording. 

RESPECT 


Medium $40.00 Cat: 7011079 

Nothing says Motown like this #1 Aretha Franklin hit from 1967! Add this to your 

jazz ensemble’s set list, and watch the crowd get movin’. 

ROUTE 66 


Easy $35.00 Cat: 7470663 

This traditional swing tune from the ’40s works great in this easy setting for 

beginning bands. The moderate swing tempo and easy rhythms provide a perfect 

model for teaching this style to inexperienced players. There are plenty of tutti 

patterns and the rhythm section parts are well notated. 

SENTIMENTAL JOURNEY ***NEW*** 


Easy $35.00 Cat: 7470689 

Give your band a little change of pace with this 1940s standard from the swing era. 

Slow and bluesy, this easy arrangement features various sections playing the melody 

in addition to a solo or soli for trumpet and a nicely scored sax soli. A key change 

follows with the full ensemble bringing it home. 

SOUL MAN ***NEW*** 


Easy $40.00 Cat: 7011209 

Originally recorded by Sam & Dave in 1967, then later revived by the Blues Brothers, 

this tune helped define rhythm & blues. Paul Murtha’s easy chart will sound great 

with any band and requires only limited rehearsal time. 

WHAT’D I SAY ***NEW*** 



Ray Charles could rock with the best of them and this tune shows why! Featuring 

a touch of gospel style, this exciting arrangement includes a driving pulse, an effective 

stop time section, the trademark call and response, and a full-blown push to the end. 

ZOOT SUIT RIOT 


Medium $40.00 Cat: 7010414 

From one of the hottest new swing bands in the country, ‘Cherry Poppin’ Daddies,’ 

here is an outstanding arrangement of their current huge hit. 

ARRANGED BY OLIVER NELSON 

BACK WOODS 

Arranged by Oliver Nelson 


Written to feature Phil Woods, this jazz waltz features alto saxophone and gives 

you the opportunity to explore the use of clarinets in the saxophone section. As 

usual with Nelson’s music, this is a catchy, wonderful, swinging piece, full of surprises. 

Your band will really enjoy playing this one. 

BLACK, BROWN, AND BEAUTIFUL 



This chart is recorded by Oliver Nelson on the recording titled Black, Brown and 

Beautiful. Johnny Hodges was the guest soloist on this absolutely gorgeous alto 

saxophone feature. A ballad in the most classic jazz tradition, this chart is very 

playable, with very easy rhythms and reasonable brass ranges. 


1-518-587-2325 1-518-587-2325 47


BLUES AND THE ABSOLUTE TRUTH 



This chart is the exact, original one that Oliver Nelson wrote for his terrific recording 

More Blues and the Abstract Truth. This was taken directly from his score. A wild, 

wonderful, multi-metered line that is one of those challenges that is well worth it. 

Features tenor sax and drums. Don’t miss this one! 5/4/4/3 

CRITICS’ CHOICE 



Here is a terrific medium-tempo shuffle chart that the Buddy Rich Band played 

all the time. It was recorded on the Swingin’ New Big Band album and has wide 

open blowing space in the blues format. A great shout chorus finishes off this 

exciting, swinging chart from Oliver Nelson. 5/4/4/3 

DAYLIE’S DOUBLE 



Oliver had a great feel for the “funky” jazz style which was so popular. This chart 

features tenor sax throughout, and was recorded on the ‘Fantabulous’ album. It is 

a very easy chart to play, and it would be a great addition to any big band book. This 

also could be played by a smaller instrumentation as recorded by Oliver (4 saxes, 2 

tpts.,2 trbs., 3 rhythm). 5/4/4/3 

DOWN BY THE RIVERSIDE 



There has been an illegal lift of this chart available before, but this chart is the exact, 

original one that Oliver Nelson wrote for his terrific recording Live From Los Angeles. 

This was taken directly from his score. A wild, wonderful look at an old tune that can 

feature 1, 2 or all of your trumpet players (or anyone else). 5/4/4/4 

EMPTY BALLROOM BLUES 



Nelson wrote an album for Johnny Hodges (Black, Brown & Beautiful) featuring the 

compositions of Duke Ellington and also some of his original things. This Ellington 

tune just romps and stomps right from the start. The ensemble shouts just scream 

with wonderful voicings that lift you up out of your seat! There is solo space for alto 

sax, trumpet and piano. 

FULL NELSON 



This chart was originally included in the Full Nelson album and then the Verve Jazz 

Masters 48: Oliver Nelson CD (now out of print). It is a simple, swinging blues chart, 

full of all of the ingenious writing we have come to expect from Oliver Nelson. It can 

feature many different players, but is written to feature tenor saxophone. 5/4/4/3 

GROOVE 



This piece was taken from Nelson’s original score. Exactly as recorded on the Verve 

Jazz Masters 48 CD (now out of print). This is a clever, highly original rendition of 

the traditional melody. It was written to feature the great Bob Brookmeyer. It is a 

swinging trombone feature throughout. Opens with a great brass chorale. 

HOBO FLATS 



As recorded on the brilliant CD Afrique, by the Count Basie Orchestra, this chart 

was originally written for a Jimmy Smith album. It’s a 12/8 blues feel, with room for 

piano, trumpet and alto saxophone solos. This is a real catchy kind of vamp and 

melody which will make it a favorite of your band and audiences. Very limited brass 

ranges make this piece accessible to almost any band. 5/4/4/4 

48 48 

48 

HOE DOWN 



This piece was taken from Nelson’s original score, not a watered down version. It is 

exactly as recorded on the Verve Jazz Masters 48 CD. This is a clever, bright, swinging 

chart which features a trumpet solo and great ensemble shout choruses. A guaranteed 

crowd-pleaser! This should be in every jazz band library - school or pro! 5/4/4/4 

I HOPE IN TIME A CHANGE WILL COME 



As recorded on the brilliant recording A Dream Deferred. Quite possibly the most 

heart-rending, beautiful melody Nelson ever wrote. It features soprano saxophone 

throughout (either an alto or tenor player) in a slow 12/8 feel. All parts are very easy 

to play, but don’t let that cause you to think this is a kiddie band chart. This is Nelson 

at his spiritual best. 5/4/4/3 

IT’S GLORY 



Also written for Black, Brown & Beautiful, this Ellington tune starts out with a 

rhythm section vamp and swings on from there. The ensemble shouts just scream 

with wonderful, dissonant voicings that are a thrill to hear! There is solo space for 

alto sax, trumpet and piano. 

JADA 



This chart is the exact, original one that Oliver Nelson wrote for his terrific L.A. band 

on the recording ‘Live From Los Angeles.’ This was taken directly from his score. A 

wonderful, laid-back chart! One of those rare gems that even younger players can 

manage (if they can swing!). A great teaching chart. Solos as you wish, with chord 

sheets provided for all. Exactly as recorded! 5/4/4/3 

MISS FINE 



This piece was taken from Nelson’s original score. This chart is exactly as recorded 

on the Verve Jazz Masters 48 CD. There aren’t many charts in this category ..... classic, 

one-of-a-kind, trend-setter, immediately attractive in every way. Features trumpet. A 

terrific easy swing chart that starts out politely and then knocks you out with a 

great shout chorus. Very reasonable ranges for all. This should be in every jazz band 

library - school or pro! 5/4/4/4 

A PENTHOUSE DAWN 



Oliver Nelson wrote the most beautiful melodies!! This is an alto saxophone feature 

and was recorded by Phil Woods and the Jazz Interactions Orchestra in 1967 (hear 

it on the Verve Jazz Masters 48 CD - now out of print). This is a stunning composition 

by Nelson. The band parts are very accessible to most players. 5/4/4/4 




Exactly as recorded by Oliver Nelson’s Orchestra and featuring Joe Newman on 

trumpet. This chart is very simple in concept and it can be played by even the 

youngest bands. The trumpet feature section can be any length. Clarinet doubles 

are required. Included in the Jazz Masters 48: Oliver Nelson CD. 5/4/4/3 

SELF HELP IS NEEDED 



Here is a great blend of swing and Latin, done in the inimitable style of Oliver Nelson. 

It was recorded on the Flying Dutchman label in 1969. This wonderful chart 

features alto saxophone. 5/4/4/3 


ONLINE!

SOUND PIECE FOR JAZZ ORCHESTRA 



This may well be the most significant (and respected) piece in the huge catalog of 

Oliver Nelson compositions. It is a magnificent, three-movement work that stretches 

the boundaries of the traditional big band. The instrumentation includes solo tenor 

sax, 5 W.W. (doubles on 3 cl. and 2 bs. cl.), 2 french horns (cross-cued and optional), 

4 tpts., 3 trbs., tuba, piano, bass and drums. This is a major, groundbreaking work 

which should be in every college and professional jazz ensemble library. 

STOLEN MOMENTS 



This, of course, is Oliver Nelson’s best known jazz standard. Here is his OWN 

fantastic arrangement for big band as recorded on a 1969 LP titled A Dream 

Deferred (on the Flying Dutchman label). Alto solo. Exotic re-harmonizations and 

instrumentations. This is a must have chart after which all other charts on this tune 

sound inferior. 5/4/4/3 

YEARNIN’ 



As recorded on the wonderful LP Black, Brown and Beautiful, featuring Johnny 

Hodges, this nifty blues chart has very reasonable brass ranges, no doubles, and 

Oliver’s sort-of gospel feel to it. It is a medium-slow blues, playable by most 

bands and featuring a trumpet solo (and room for anyone else). 5/4/4/4 

YOU LOVE BUT ONCE 



There may not be a more beautiful ballad anywhere in jazz ensemble literature. This 

is an alto saxophone feature throughout and was recorded on the Full Nelson 

album and also included in the Verve Jazz Masters collection CD. This is a stunning 

piece, which has a decidedly orchestral/classical sound to it. The possibility of using 

the original clarinet, flute oboe, bass clarinet and celeste parts makes this a most 

interesting and special piece. Regular saxophone parts are also included if doubles 

are not available. 

ARRANGED BY SAMMY NESTICO 


Arranged by Sammy Nestico 

Medium Difficult $35.00 Cat: NEST105 

Very laid-back and easy for the first chorus. Use guitar, piano or your choice of 

instruments for the jazz sections. Drums should build up a bar before the ensemble 

at 61. The ensemble should be BIG! From 75 to the end should be very light for a 

large contrast. 

ALRIGHT, OKAY, YOU WIN 


Medium $45.00 Cat: 7210016 

As recorded by Peggy Lee, Joe Williams, Count Basie and many others, this popular 

standard breathes new life under the masterful pen of Sammy Nestico. A flexible 

solo section allows for any combination of soloists. 

DON’T LOSE MY NUMBER 


Medium Difficult $60.00 Cat: POWH3014 

Sammy created this chart of the Phil Collins hit. Mid-tempo in the classic Basie style. 

EASY TO LOVE 


Medium $40.00 Cat: 32423025 

Sammy features the saxophones in this medium swing arrangement of this Cole 

Porter standard. Wonderful ensemble writing. No solos required. 

FLY ME TO THE MOON [VOCAL] 


Medium $40.00 Cat: 32323032 

This swinging vocal arrangement is in the key of A flat. 


FOOTLOOSE 


Easy Medium $35.00 Cat: NEST102 

8th notes are especially short. Rhythm must supply a solid, steady beat for this 

arrangement to sound good. Some real solid, “laid down” drums will really benefit 

everyone. Choice of solos are all written out for the different instruments. Again, a 

very low trumpet section demands that everyone listen as not to cover up the melody. 

FREE FLIGHT 


Medium Difficult $45.00 Cat: NESTP105 

Balance is the key starting at bar 7 and through bar 26. Each statement from the 

different sections is important for the overall balance. During the unison band 

chorus at bar 71, feel free to change a figure to tailor it for your ensemble. It isn’t 

written in stone, and any change won’t detract from the principle idea of the 

chorus. Recorded by Sammy Nestico Big Band on This Is The Moment. 

FRONT BURNER 


Easy $40.00 Cat: 2569 

This easy swing shuffle features tenor & optional alto, trumpet & trombone solos. 

GOOD NEWS! 



Nice and crisp, avoid any sluggish approach from the band. Keep it crisp & accented. 

At bar 72 everyone soft and together! Pay attention to the technique markings. 

GRACE 


Difficult $55.00 Cat: JEM01023 

From the Quincy Jones/Sammy Nestico CD titled ‘Basie & Beyond.’ Composed by 

Quincy Jones, this is an emotional ballad for either tenor or soprano saxophone 

soloist that will touch the hearts of performers and audience alike. Lush chords and 

a tender piano introduction set the mood for this superb chart arranged in 

collaboration by Quincy and Sammy Nestico. This chart was originally written as the 

Gymnastics Theme for the 1984 Olympiad. Playable by an experienced jazz ensemble, 

this is a sensational ballad! Strongly recommended. 

THE HEAT’S ON 



This medium easy swing chart features tenor and piano solos. 

HOW SWEET IT IS 


Medium Difficult $55.00 Cat: JEM01025 

From the Quincy Jones/Sammy Nestico CD titled ‘Basie & Beyond.’ A medium groove 

swing tune that fits like an old shoe-so comfortable and everything works just right. 

Composed and arranged by the legendary Sammy Nestico for the late Harry 

“Sweets” Edison, this chart screams Count Basie. And speaking of swinging, there is 

a glorious ensemble section that brings it all together that is so very sweet! Sammy 

includes solo space for trumpet, piano, 2nd alto sax, tenor and trombone. This chart 

is not technically difficult, but dynamics and cohesive ensemble playing are a must. A 

wonderful arrangement that belongs in every jazz library! 

I REMEMBER CLIFFORD 



Benny Golson’s tribute to Clifford Brown has been a jazz favorite for years, and in 

the hands of Sammy Nestico you won’t find a better feature for trumpet or 

flugelhorn. Silky smooth! 

JERSEY BOUNCE 



This familiar standard is a great way to feature your entire ensemble! Sammy’s use of 

intertwined melodic lines along wtih effective key changes is masterful. This chart 

features saxes off the top and then solos for trumpet, trombone, and piano. 


1-518-587-2325 1-518-587-2325 49


JUST IN TIME 


Medium $40.00 Cat: 32423017 

Sammy’s medium swing arrangement of this popular standard just seems to gather 

steam all the way through. Terrific ensemble writing and no solos. 

KATIE 



This calls for a very lazy feel. Keep saxes quiet behind. Piano solo at bars 21-25. Work 

on the split triplets at bars 35 and 36. They offer a chance for some very clean 

ensemble work. Very full at measure 43 and back down to a whisper for ending. 

KIJI TAKES A RIDE 



A real specialty number and can’t be played by every jazz ensemble. It sounds much 

more difficult than it really is, but it does take on some additional instrumentation. It 

needs a second keyboard (synthesizer) plus mallets and percussion. There is no 

guitar part. This arrangement does away with the need for flutes, woodwind, french 

horns and tuba. It is a lot of fun to play, and individual parts are not extreme. The 

bright tempo doesn’t call for a lot of fancy syncopation. With some heavy rehearsing, 

this could work well on a diversified program. Recorded on This Is The Moment. 

LONELY STREET 



This medium easy chart features alto sax. 

LOST STAR 


Easy Medium $35.00 Cat: NESTY105 

The first 12 bars asks for a good balance and presence from the rhythm section 

(preferably electric). We need some real dynamic change at bars 29 and 61, so make 

it happen! The last ensemble (bar 61) has some saxophone counter-melody that 

should be heard strongly. 

LOVE IS HERE TO STAY 


Medium $40.00 Cat: 32423019 

This is an absolutely gorgeous tenor sax feature! The ensemble has plenty to do, too, 

in providing a lush, subtly swinging backdrop for the soloist. If you have a strong 

tenor player, this could be the highlight of your program. 

A MINOR AFFAIR 



Strive for a good blend of altos/trumpets and tenor/trombone figures. Mostly section 

material until the ensemble at bar 85. Minor blues always offers more color. No 

straight time for the guitar. He should be comping most of the way. Recorded by 

Sammy Nestico Big Band on This Is The Moment. 

MOTEN SWING 


Medium $40.00 Cat: 32413010 

This classic blues was a standard of the Count Basie Orchestra for many years, and 

Sammy Nestico’s very playable version for young groups really cooks! 

MY FUNNY VALENTINE 


Medium $40.00 Cat: 7010042 

Feature a trumpet or flugel on this creative arrangement of a timeless standard. 

Written in a ballad style, this chart also features nice ensemble scoring and a brief 

very easy section in 3/4. This terrific setting for younger groups deserves to be in 

every band’s library. 

50 50 

50 

NICOLE 



Straight 8ths throughout. Electric rhythm is preferable. Bar 27 is very full, with sax 

line and trumpet melody predominate. Guitar should not be locked into the part. 

The music is down to a whisper for the ending. 

ON THE SUNNY SIDE OF THE STREET 


Medium $40.00 Cat: 32415010 

Creative use of unisons will give young groups added confidence, and the polished 

ensemble writing adds just the right contrasts in this Basie-style masterpiece. 

THE QUEEN BEE 


Medium $42.00 Cat: 2460 

Here’s Nestico’s classic from the Basie library. 

QUINTESSENCE 



From the Quincy Jones/Sammy Nestico CD titled ‘Basie & Beyond.’ Quincy Jones 

composed this lovely melody and beautiful alto saxophone feature, Quincy and the 

legendary Sammy Nestico collaborated on this stunning arrangement. The ultimate 

ballad showcase for your alto soloist, easily playable by an experienced jazz ensemble. 

ROBBIN’S NEST 


Medium $45.00 Cat: 32323038 

Here’s an outstanding medium swing arrangement of this jazz favorite. Featuring a 

sax soli and solos for Trumpet and Piano, this one is perfect for festivals or concerts. 

Effective use of key changes and a variety or scoring textures help make this 

another winner from Sanny Nestico. (Includes optional Synth. part) 



Medium $40.00 Cat: 32423011 

Sammy’s unparalleled craftsmanship is evident in this masterpiece. In one tempo 

throughout, there’s a hint of ‘march style.’ Solid ensemble writing. 

SAMANTHA 



Originally written for and played by Bud Shank, it is a showpiece for alto saxophone. 

The arrangement carries a wide dynamic range, and needs a very soft but smooth 

approach for background figures. An extremely large swell in bars 32 and 33 leads 

to a very powerful few bars of ensemble. It remains full until bar 50 and progresses 

into a quiet ending containing a brass pyramid. 

STRAIGHT AHEAD 



Here is the pro version of Sammy Nestico’s classic from the Basie Band. 

STRIKE UP THE BAND 


Advanced $60.00 Cat: 7011065 

From the Count Basie library, this classic flag-waver from the pen of Sammy 

Nestico is available again! A true tour de force for every section of the band, 

this monster chart features blistering brass, wailing saxes, a tenor solo, and a 

great full ensemble shout. Strike it up! 

SWEET GEORGIA BROWN 



As recorded by Count Basie on ‘Prime Time,’ here is the magnificent Nestico flagwaver 

to end all flag-wavers! Combine a wonderful standard tune with solos for 

piano and tenor along with some of Sammy’s finest ensemble writing ever, and you 

have a highlight for any concert or festival. Classic chart! 


ONLINE!

SWINGIN’ ON THE ORIENT 


Medium Difficult $45.00 Cat: NESTP108 

Dynamics and feel are of utmost importance in the playing of this arrangement. The 

first two bars can be omitted. A little less volume at bar 7, and then into the trumpet/ 

alto statement of the theme. The new theme at bar 54 is to be played full, but at an 

mf dynamic marking. At this point make certain that the trumpets are playing less 

volume than the saxes and trombones. They are not carrying the ball. Of course the 

ensemble at bar 116 is full and tight. Bar 74 calls for crisp quarter notes from the 

band, and leads to a delicate last four bars. Recorded on ‘This Is The Moment.’ 

TANGERINE ***NEW*** 



Adapted from the version on Sammy Nestico’s acclaimed 2005 recording Portrait of 

Sammy, here is a tasty up-tempo Latin treatment of this Johnny Mercer standard. 

Stylized as only Sammy can do, you’ll hear creative counterlines and harmonies, as 

well as flawless pacing and ensemble writing. Solos for tenor, trumpet and piano are 

also featured. At 81 years of age, Sammy is still the master and going strong! 

THIS MUST BE LOVE 


Medium Difficult $60.00 Cat: POWH3018 

A steady rock ballad with altos and tenors on optional flutes for the introduction 

section. 

A TIME FOR LOVE 


Medium Difficult $45.00 Cat: JE9516 

This is one hot chart! One of Sammy Nestico’s best, it features a trombone solo 

which was written for Bill Watrous. The solo goes up to B-flat 4 and requires a good 

performer, but in the right hands, it’s dynamite. Definitely first class! 

TRAVELIN’ HOME 



Easy jazz feel. Features a trumpet solo. 

THE WAY YOU LOOK TONIGHT ***NEW*** 


Medium $50.00 Cat: 32323034 

Sammy’s interpretation of this great old tune is right on target for today’s jazz 

ensembles, with all the class we have come to expect from this master arranger! 

Written in a relaxed swing style, this chart features lots of tutti ensemble writing, 

very melodic counter melodies, and also a wonderful sax soli. No solos required. 

WIND MACHINE 


Medium $50.00 Cat: 7210970 

Here is another classic Nestico chart penned for the Count Basie Band. 

WITCHCRAFT 



This naturally swingin’ tune has been a favorite among jazz artists for many years. 

Sammy’s craftsmanship in orchestration is evident in this medium swing arrangement 

which requires no solos. A strong chart that will really give your band a chance to cook! 

YA GOTTA TRY HARDER 


Difficutl $55.00 Cat: JEM01022 

Basie and Beyond! This is the definitive swing chart composed and arranged by the 

legendary Sammy Nestico. Straight from the Quincy Jones-Sammy Nestico CD, this 

chart starts off swinging and then swings even more. It’s packed with trademark 

Nestico swing figures and soaring ensemble sound. Written for the experienced jazz 

ensemble, the tempo is definitely brisk and there is plenty of solo space provided for 

drums, piano, tenor, trumpet and trombone. Festival and concert material destined 

for critical acclaim, this chart is absolutely outstanding, a must-have arrangement for 

every experienced band. 


ARRANGED BY LENNIE NIEHAUS 

ALMOST LIKE BEING IN LOVE 

(see Stan Kenton section) 

BALI HI 

(See Stan Kenton section) 

BEGIN THE BEGUINE 


BETWEEN THE DEVIL AND THE DEEP BLUE SEA 


BUT BEAUTIFUL 


DAY DREAM 

(See Stan Kenton Section) 

THE END OF A LOVE AFFAIR 


EVERYTIME WE SAY GOODBYE 


FINAL ANSWER 

Arranged by Lennie Niehaus 

Easy $42.00 Cat: 399 

Developing jazz bands will love this new moderate swing composition by film composer 

Lennie Niehaus. Important jazz concepts that should be in every aspiring jazz 

musician’s vocabulary are taught and reinforced in this easy level chart. Lots of 

unison, tutti, ensemble, and sax soli work are included, plus ad lib or as is solo space 

for trumpet (cues for tenor sax) and piano (cued for alto sax). This chart features 

Kendor Konvertible minimum instrumentation, making the chart playable by as few 

as 9 pieces, as many as 17 pieces, or anything in between. Playable by 9-17 players. 

A FOGGY DAY 


FOR ONCE IN MY LIFE 


Medium $38.00 Cat: 70 

This standard features vocalist or optional tenor sax. Key of A flat. 

GO WEST, YOUNG LIONS 



The well constructed form of this Niehaus original introduces an effective theme in 

the beginning, referring to it throughout the composition. Solos for tenor sax and 

trumpet are offered during this chart in the moderately fast swing style. A burning 

shout chorus and the coda section sum up the previously stated musical material. 

HODGEPODGE 


Medium $40.00 Cat: 158 

This swing original for medium jazz bands showcases all sections of the ensemble in 

a healthy mix of unison, soli and full-group settings. The intro. features a written 

piano solo; other solos for tenor and trumpet may be improvised or played as 

written. Scoring requirements are standard, and a chord chart by Jim Greeson 

comes with each set as an aid to guitarists with little or no jazz experience. 

HOW DO I LOOK IN BLUE 



1-518-587-2325 1-518-587-2325 51


I LOVE PARIS 


I’VE NEVER BEEN IN LOVE BEFORE 


IT COULD HAPPEN TO YOU 


IT’S ALL RIGHT WITH ME 


IT’S SHOWTIME 


Easy $42.00 Cat: 608 

Here’s a great moderate swing style feature for developing sax soloists. The soloist 

may improvise or perform the suggested solos, and interludes and a shout chorus 

give the soloist sufficient rest. Scored at the easy level, this chart features Kendor 

Konvertible minimum instrumentation, making the chart playable by as few as 9 

pieces, as many as 17 pieces, or anything in between. A guitar chord chart by Jim 

Greeson is included in each set. Playable by 9-17 players. 

KEY WEST 



This bright swing burner featuring alto and tenor soloists casts them together on a 

harmonized melody, then cuts them loose on two solo choruses each. 

LAURA 


LONG AGO AND FAR AWAY 


LOVE WALKED IN 


LULLABY OF BIRDLAND 


LULLABY OF BROADWAY 


MAKING THE ROUNDS ***NEW*** 



This moderate swing original utilizes the II7-V7-I progression - a must for all jazz 

soloists to master. Composed for proficient jazz ensembles, this chart has plenty of 

interesting material for all to play. The solo section features trumpet and tenor sax, 

but can be opened up for additional players by using the chord sheet provided. 

METRO WAIL 


Easy $42.00 Cat: 635 

This swingin’ new chart boasting an abundance of fundamental rhythms and figures 

is educational, entertaining, and great fun to play. Lots of tutti and unison passages 

build group confidence, while simple countermelodies develop independent playing 

skills. Solos for trumpet and piano may be improvised or played as written, and a 

guitar chord chart by Jim Greeson is provided. Playable by bands ranging in size from 

9-17 members. 

52 52 

52 

MOVING RIGHT ALONG 


Medium $48.00 Cat: 3654 

This swingin’ chart starring trombones is a tip-of-the-hat to bebop great, J.J. Johnson. 

It features the whole section playing unison and harmonized versions of the melody, 

then a single player leading the way as soloist. The chart goes out with some 

dramatic, four-bar trades between the bones and band, a short sax soli, and a 

powerful finish. 

MY AND ONLY LOVE 


THE NEARNESS OF YOU 


Medium $45.00 Cat: 56120 

This arrangement is scored in a slow ballad style. The rhythm section parts are 

optional, as is the improvised or written solo section. If no soloists are to be featured, 

the solo section may be cut from the performance as per the provided directions. 

Modern chords will give all players interesting and challenging parts, and backgrounds 

are provided in the string parts during the solo section, making solos possible even 

if no rhythm section is used. 

NORTHWEST JOURNEY ***NEW*** 


Medium $42.00 Cat: 61548 

Here’s a medium swing original for advancing groups by film composer Lennie 

Niehaus that’s sure to be a hit with players and audiences. Beginning with an 

introduction that quotes the main theme, the riff-like melody utilizes variations of 

the ‘Charleston’ rhythmic figure. There are strategically placed interludes, and a 

suggested or ad lib solo for trumpet. After the exciting shout chorus, the coda 

consists of two-measure phrases alternating with two-measure drum solos. A guitar 

chord chart by Jim Greeson is included in each set. 

ON THE STREET WHERE YOU LIVE 


THE PARTY’S OVER 


PAT’S RETORT 


Medium $42.00 Cat: 1723 

Commissioned by the University of Portland Jazz Festival, this original alternates 

between 4/4 and 3/4 time for a refreshing change-of-pace. Written solos for trumpet 

(cued for alto) and piano are provided, and directors have the option of speeding 

up the indicated tempo for more excitement if their bands are able. The chart closes 

out strong, and all sections have a chance to shine. Guitar chord chart included. 

PENNIES FROM HEAVEN 


PEPPER 



Composed in tribute to baritone sax legend Pepper Adams, this original is set in a 

moderately bright swing style and was written with maximum flexibility in mind. 

Clever cross-cueing techniques allow the 1st alto, 2nd alto, or baritone sax to be 

featured without leaving harmonic gaps when their ensemble parts are left out. A 

solo part is included in each set, and can be used by baritone or alto saxophone. 

POINT MUGU 


Easy $42.00 Cat: 468 

Named for a scenic area near his home in Southern California, this mainstream 

Niehaus swing original provides great training opportunity for groups needing easy 

level material. Abundant unisons, counterpoint, and lots of tutti ensemble playing will 

instill confidence in developing players. Solos are provided for piano and tenor 

saxophone. A guitar chord chart by Jim Greeson is included in each set. 


ONLINE!

SPRING IS HERE 


STAYIN’ INSIDE ***NEW*** 


Easy $42.00 Cat: 60750 

Featuring Kendor Konvertible instrumentation, this chart is set in a modern swing 

style for developing groups. The piece transitions into brief salsa sections, and 

provides written or ad lib solos for several band members. The band even gets to do 

their best Dizzy Gillespie impression by singing ‘Salt Peanuts’ toward the end of the 

chart. Between Lennie’s great big band writing ability and the entertainment value of 

this piece, how can you lose? A guitar chord chart is included in each set. 

TAKING A CHANCE ON LOVE 


WHATEVER LOLA WANTS 


YOUNGER THAN SPRINGTIME 


ARRANGED BY EDWARD PARTYKA 

MADLY LOVING YOU ***NEW*** 

Arranged by Edward Partyka 


Dramatic and modern, blending jazz with elements from the classical world like 

minimalism and serialism. While this piece is not very technically challenging, it requires 

a mature ensemble (especially the rhythm section) and advanced soloist. The chart 

has two french horn parts and woodwind doubles, which add interesting colors 

and textures to the music. A re-composition of Duke Ellington's ‘Love You Madly.’ 

Written for Bob Brookmeyer and recorded by Bob Brookmeyer with the Ed Partyka 

Jazz Orchestra on ‘Madly Loving You.’ Woodwinds: clarinet (solo), flute/alto, soprano/ 

tenor, soprano/tenor, bass clarinet/bari. 

SOMETIMES ***NEW*** 






has two french horn parts and woodwind doubles, which add interesting colours 

and textures to the music. First prize winner in 1998 Julius Hemphill Composition 

Awards, sponsored by the Jazz Composers Alliance in Boston. Also recorded on 

‘Tunnel Vision-Music for Jazz Orchestra.’ A haunting ballad featuring piano, soprano/ 

tenor sax and french horn (no improvising required.) Woodwinds: soprano/tenor, 

flute, flute, flute, bass clarinet. 

STOLEN BLUES ***NEW*** 







and textures to the music. A minor blues that features baritone and bass (can be 

opened up for more solos or other soloists.) Woodwinds: baritone (solo), soprano, 

soprano/clarinet, soprano/tenor, bass clarinet. 

TOGETHERNESS ***NEW*** 







and textures to the music. A re-composition of Alone Together as an up-tempo 

modal blowing vehicle for clarinet and trombone. Woodwinds: clarinet (solo), flute/ 

soprano, flute/soprano, clarinet/tenor, bass clarinet. 


TUNNEL VISION ***NEW*** 







and textures to the music. Recorded on the cd ‘Tunnel Vision-Music for Jazz 

Orchestra.’ An aggressive, up-tempo piece featuring drums and three soprano saxes 

collectively improvising. Woodwinds: soprano, soprano, soprano, bass clarinet, bass clarinet. 

BIG SWING FACE 

(See Buddy Rich Section) 

ARRANGED BY BILL POTTS 

I GOT PLENTY O’ NUTTIN’ 

Arranged by Bill Potts 


This is from the marvelous 1959 recording ‘The Jazz Soul of Porgy & Bess,’ as 

recorded by the Bill Potts Big Band (Phil Woods, Zoot Sims, Sweets Edison, Art 

Farmer, Bob Brookmeyer, Bill Evans and others). This swinging chart features the 

saxophone section and a trumpet solo. 

IT AIN’T NECESSARILY SO 



This is from the marvelous 1959 recording ‘The Jazz Soul of Porgy & Bess,’ as 

recorded by the Bill Potts Big Band (Phil Woods, Zoot Sims, Sweets Edison, Art 

Farmer, Bob Brookmeyer, Bill Evans and others). This swinging chart features the 

saxophone section and a trumpet solo. 5-5-5-4 (can be played by only 8 brass). 

MY MAN’S GONE NOW 



This is arranged it to feature trumpet throughout (as recorded on the 1959 album 

‘The Jazz Soul of Porgy & Bess,’ featuring the Bill Potts Big Band). Lush orchestration, 

rich harmonies, reasonable ranges and a touching ending make this chart a great 

choice for festival programming. This should be in every big band book. 5-5-5-4 

OH LAWD, I’M ON MY WAY 



The quintessential flag-waver (as recorded on the 1959 album ‘The Jazz Soul of 

Porgy & Bess,’ featuring the Bill Potts Big Band), this one is a real romp through a 

happy tune and a brilliant chart, arranged to feature everyone in the band. Some 

only have 4 bars, others have more blowing space, but everyone gets their chance 

in the spotlight. Great fun, great music and a great chart! 

PORGY & BESS MEDLEY ***NEW*** 



Bill Potts’ arrangements for the recording ‘The Jazz Soul of Porgy & Bess’ are 

legendary. This medley is one of those charts, and it includes 5 different themes from 

Gershwin’s masterpiece. There is space for solos for alto and tenor saxophone, 2 

trumpets, trombone, piano and drums. This is a lovely, peaceful setting of these 

themes, with very limited brass ranges (1 high C in the tpt. 1 part). This should be 

playable by most bands. This is a chart with great musical value and no endurance 

demands on anyone. 5/4/4/4 (opt. 10 brass parts). 

SUMMERTIME 



This is the opener on the 1959 ‘The Jazz Soul of Porgy & Bess’ album, and it is a great 

opener for any live concert as well. It is an up-tempo, swinging version. Potts is a 

master arranger, and he brought it all to this chart. Solo space for trumpet and tenor 

saxophone. Use this to start your concerts, and you’ll never regret it. 


1-518-587-2325 1-518-587-2325 53


THERE’S A BOAT DAT’S 

LEAVIN’ SOON FOR NEW YORK 



As recorded on the album ‘The Jazz Soul of Porgy & Bess’ (featuring the Bill Potts Big 

Band), this chart swings hard, but it isn’t hard to play. Bill arranged this in a wonderful 

contrapuntal fashion. He also chose to feature alto, tenor, trumpet, piano and drum 

solos. This arrangement should be in all big band books. 5-5-5-4 (can be played by 

only 8 brass). 

54 54 

54 

ARRANGED BY KIM RICHMOND 

HORIZON UNDER ***NEW*** 

Arranged by Kim Richmond 


This is a powerful piece with a strong theme initially stated in the middle low 

instruments. The even-eighth style is neither Latin nor rock but has a driving 

distinctive rhythmic pattern in the drums. After an intro with floating rhythm over 

which are fanfarish trumpets, the driving beat and motivic theme is established in 

trombones, baritone, guitar and French horn (optional). Orchestral in color and 

dramatic in shape, the melodic section opens to a trumpet solo, followed by alto (or 

soprano) and tenor saxophone solos (trading). The easy solo changes are few and 

modal. Solos: trumpet, alto sax (or soprano), tenor sax. Woodwind doubles: 2 sets of 

woodwind parts are provided. One with no doubles, another (preferred) with 1. 

flute/soprano, 2. flute/alto, 3. tenor/clarinet, 4. tenor/clarinet, 5. bari. The two versions 

can be mixed. Mutes: trumpets-straights, cups, harmons (no trombone mutes needed.) 

Optional parts for French horns (alternate parts for flugelhorns or top 5-6 provided), 

tuba, and percussion (mallets and hand-percussion). 




This chart is recorded on the sensational CD titled Passages by the Kim Richmond 

Concert Jazz Orchestra. It is a magnificent scoring of the Gershwin classic, a chart 

for which people have been clamoring for many years. Finally, it’s in print! Wonderful 

rhythmic ideas. 5-4-4-3 (Opt. French horn, tuba, Percussion). 

POETRY ***NEW*** 


Medium $60.00 Cat: 50447 

This is a colorful tone-piece, slow in tempo, and orchestral in nature. Starting in 

piano, then progressing to woodwinds, finally reinforced in the brass, the intricate 

and angularly dramatic theme, constantly shifting in color and texture, spins out in 

an attractively harmonic fashion. No high trumpet range. No solos. No doubles. 

Optional parts for French horns (alternate parts for flugelhorns or tpt 5-6 provided), 

tuba, and percussion (mallets and hand-percussion). 

ARRANGED BY LES SABINA 

BLUES-GO-ROUND ***NEW*** 

Arranged by Les Sabina 

Medium $42.00 Cat: 60055 

Quarter notes dominate the melodic material in this accessible swing chart for 

developing groups. Aspiring musicians will learn that each quarter note must receive 

its full value, that way directors can ensure that successive quarter notes do not get 

clipped causing acceleration. Players will not have to exceed a forte dynamic anytime 

throughout the chart because it is scored in either unison or two-part harmony. 

This chart features Kendor Konvertible instrumentation - meaning that it can be 

played by as few as 9 players. A guitar chord chart by Jim Greeson is included in each 

set. Add this confidence builder to your library today! 

CHILLED OUT ***NEW*** 


Easy $42.00 Cat: 60094 

Here’s a light rock chart for developing groups that features an easy-to-play melody, 

and short solo sections for alto saxophone and trumpet. Harmonic clarity is always 

guaranteed through plenty of unison and duet style voicings. This is the perfect 

chart to encourage your rhythm section to experiment with various comping 

patterns once comfortable with the written portion of their individual parts. This 

chart features Kendor Konvertible instrumentation - meaning that it can be played 

by as few as 9 players. A guitar chord chart by Jim Greeson is included in each set. 

DEEP FRIED 


Easy $48.00 Cat: 351 

This is a straight-ahead swinger for developing groups. It has a touch of blues and 

a hint of a mysterioso feel. Saxophones and brass often trade melodic phrases, and 

a written or ad lib solo is included for trumpet. Playable by 9-17 players. 

DOWN ‘N UP 


Medium $42.00 Cat: 366 

This swing original features a contrapuntal theme that combines unique melodies 

from the saxophone, trumpet, and trombone sections. Ad lib or written solos are 

offered for tenor saxophone and trumpet before moving on to a powerfully 

contrasting block-scored shout section. A guitar chord chart by Jim Greeson is 

included in each set. 

GIG BAG 



This straight-ahead medium swing chart features plenty of unisons and areas of 

block ensemble voicings. The result - a powerful sound coming from a less experienced 

jazz ensemble! As is or ad lib solo space is provided for tenor sax and some brief solo 

spots appear in the drum part. A guitar chord chart is included in this chart. 

HOTTER SAUCE 


Easy $42.00 Cat: 599 

A driving Salsa chart with lots of intensity that just doesn’t let up! A short alto sax/ 

trumpet duet is featured along with plenty of unison sax and brass lines. An ad-lib 

or as-is solo is provided for tenor saxophone with optional solo space indicated for 

alto saxophone, trumpet, and trombone. This work for the developing jazz ensemble 

is scored at the medium easy level and features Kendor Konvertible instrumentation, 

making the chart playable by as few as 9 pieces, as many as 17 pieces. 

MONEY ON THE CAT 



Featuring a slinky, feline-style melody in a relaxed swing groove, this chart for big or 

not-so-big bands is loaded with appealing highlights. These include an ad lib or aswritten 

piano solo, several short sax solis, and an exciting ensemble shout. Comes 

with a guitar chord chart by Jim Greeson. 

SHOOT DA HOOP 


Medium $40.00 Cat: 502 

Scored for standard bands but playable by as few as 9 pieces, this funk original 

features a tight, up-to-date groove and lots of full-group writing. Solo space is 

provided for piano (as written or ad lib), and the chord chart by Jim Greeson 

addresses the fact that the guitarist is required in some places to play the main 

melody along with saxes and brass. In his score notes Les also mentions that the 

sound of electric piano may be preferable to acoustic in this medium-level-chart. 

SWING INC. 



As the title implies, this is a no-nonsense, straight-ahead swing tune. Highlights 

include a hard-swinging melody, a written or ad lib solo for tenor sax, and several 

solo spots for drums. With flexible scoring for 9-17 players, each performance set 

includes a guitar chord chart by Jim Greeson. 


ONLINE!

ARRANGED BY CARL SAUNDERS 

AN APPLE FOR CHRISTA 

Arranged by Carl Saunders 


This arrangement was writen for Christa McAuliffe, the school teacher that lost her 

life in the Challenger tragedy. This up-tempo piece features trumpet, alto and 

trombone. This chart features an exciting out chorus with off-beat rhythmic figures 

which are challenging and fun. As recorded by Carl Saunders on Be Bop Big Band. 

BABY BLUES 



This Carl Saunders original was written as how a baby would conceive the blues. 

The trumpet is featured throughout and has hip backgrounds and swinging ensemble. 

As recorded by Carl Saunders on Be Bop Big Band. 

COMPILATION 



An up-tempo romp through rhythm changes. Featuring solos from every section in 

the band with hard cooking backgrounds. It can also be opened up for more solos 

if you wish. This arrangement builds up to an exciting out chorus and has a hip 

ending. As recorded by Carl Saunders on Be Bop Big Band. 

DEARLY BEFUDDLED 



This is a colorful arrangement with a Latin feel. Features trumpet and tenor on an 

interesting melody and changes. It has a lot of full ensemble passages and builds up 

to an exciting ending. As recorded by Carl Saunders on Be Bop Big Band. 

HIGH VOLTAGE 



This chart is a challenging piece of music. It is written for 10 brass but can be played 

with 8. It has many tempo changes. It goes from a 6/8 feel to an up-tempo swing to 

a slow Latin feel. Features tenor, trumpet and drum solos. Lead trumpet to high G. 

This is a professional level chart. 

I’M ALL FOR YOU 



An original tune written on the changes to ‘Body and Soul.’ Features alto and 

trumpet on the theme and the solos. This is an interesting arrangement. It has a 

balance of small band and big band writing which works its way to an ending that 

features cadenzas from both the trumpet and the alto. As recorded by Carl Saunders 

on Be Bop Big Band. 

NEVER ALWAYS 



This chart goes in and out of Latin and swing. Features trumpet and alto. Enjoyable 

to play and listen to. As recorded by Carl Saunders on Be Bop Big Band. 

PERCEPTIVE HINDSIGHT 



The trumpet and tenor are featured stating the theme and on the solos. This is a 

colorful arrangement - it builds up to a classic big band shout chorus and finishes 

with a very climactic ending. This chart is fun to play and listen to. As recorded by 

Carl Saunders on Be Bop Big Band. 

SOME BONES OF CONTENTION 



This happy and up-beat theme is stated by the trombones and features two 

trombones on the solos. After the solos they play 8s, 4s, 2s, and then play together. 

The band plays a full ensemble then ends with a double cadenza as both trombones 

end in the upper register. As recorded by Carl Saunders on Be Bop Big Band. 


STRIKE OUT THE BAND 



The theme is stated by the low register instruments: bass trombone, baritone sax, 

bass, and piano. The solos are written for trumpet and tenor. As recorded by Carl 

Saunders on Be Bop Big Band. 

ARRANGED BY DON SEBESKY 

ALCAZAR 

Arranged by Don Sebesky 


If you’re looking for a rock chart with a Spanish flavor, this is it! You have the option 

of adding a flute, clarinet and flugelhorn to give your group that winning and 

different sound. 

ALL THE THINGS YOU ARE 



This chart is from the I REMEMBER BILL a tribute to Bill Evans CD arranged and 

conducted by Don Sebesky! All of these incredible pieces require a mature band, 

soloists and woodwind doublers. Although these charts are not for the faint-ofheart, 

they are well worth the time and effort to perform. There has never been a 

more interesting or musical arrangement of this immortal Jerome Kern standard. 

From the I Remember Bill: A Tribute to Bill Evans CD. Give it a listen. A truly amazing 

and extensive excursion. Features alto saxophone. 5-4-4-3 (plus french horn). 

BILL, NOT GIL 



This chart is from the ‘I Remember Bill: a Tribute to Bill Evans’ CD arranged and 

conducted by Don Sebesky! All of these incredible pieces require a mature band, 

soloists and woodwind doublers. Although these charts are not for the faint-ofheart, 

they are well worth the time and effort to perform. An original by Don which 

is a wonderful, kind of quirky tune with extensive solo space. Give it a listen. 5-4-4- 

3 (plus french horn). 

BLUE MOAN 



Here’s a ballad featuring your tenor sax player in both slow and fast passages. 

Written for the Maynard Ferguson band, this one has all the spirit needed for great 

jazz effects. 

BLUER THAN BLUE 



This could be called Newer Than New, because Don just wrote this for John 

Pizzarelli’s new band in New York. It’s a wonderful tour-de-force for the entire band, 

with lots of open spots for your hot jazz players to improvise. It can serve as a great 

opener or an equally effective closer. This is superb Sebesky, with lots of riffs, roaring 

ensemble passages, and just all-around great blues from top to bottom. 5-4-4-4. 

BLUES FOR BELA 



Another chart recorded by Doc Severinsen based on themes of Bela Bartok. This 

clever adaptation will make your band a festival winner! 

CAPTAIN ARCADE’S VIDEO PARADE 



A video game fantasy scored as a jazz/rock march. If you want something different, 

this is the one. 


1-518-587-2325 1-518-587-2325 55


DANNY BOY 

(see Maynard Ferguson Section) 

FAN IT, JANET 

(See Maynard Ferguson Section) 

GLADLY 



This section starts out with a cymbal roll and a fanfare-ish intro which leads to a 

wonderful, happy, hip line stated in the brass. There is solo space for drums, trumpet, 

trombone, bass and alto saxophone. The original recording featured Dennis Mackrel, 

Bob Brookmeyer, Phil Woods, Tom Harrell and Dennis Irwin. This is a terrific chart 

with a light, puckish melody and big, swinging shout choruses. You’ll love it! Needed 

doubles are soprano sax, clarinet, flute and bass clarinet. 

HANDEL WITH CARE 



Originally recorded by Doc Severinsen, this chart shouts Handel’s Hallelujah with a 

lot of surprises. A great show opener. 

HAPPY FEET 



Toes will be tapping when playing this jazz/rock tune. The chart moves along with a 

happy feel that’s fun to play and definitely one that will leave your audience singing. 

HOME COOKIN’ 



This chart cooks from beginning to end with plenty of opportunity for soloists 

(either reading or improvising) to swing. 

MADLY 



A fitting last section to this marvelous suite. It features trombone, clarinet, flugelhorn, 

bass and drums. Sebesky’s tribute to Ellington comes to a wonderful, inspired end 

with this amazing music. Soprano sax doubles required. 5-4-4-3 

PEOPLE 

(See Maynard Ferguson Section) 

SADLY 



Phil Woods was the featured soloist on the recording on this chart which is an alto 

feature for the most part. There is also a piano solo section (a la Duke) as played by 

Jim McNeely on the original recording. This section is set in a slow, moody feel. A 

beautiful melody! Bass clarinet double. 5-4-4-3 

SOFT CELL 



A nice relaxed rock-style with close-voiced ensemble in the introduction and clusters 

at the end. You have the option of opening up this arrangement for additional solos. 

SONG FOR CYMBALINE 



This arrangement features the alto sax in a ballad and swing combination. Recorded 

by the Maynard Ferguson band, the lyrical theme will become one of your favorites. 

56 56 

56 

SUNFLOWERS 



The unique blend between girl’s voice (optional) and flute will introduce another 

color that will set your band apart from the others. 

SWEETIE PIE (EDITED) 



This wonderful, quiet, Li’l Darlin’-ish chart was recorded by Maynard as Easy Chair. 

It has a great melodic and harmonic sense that puts it in a class all its own. This 

version has been edited to exclude any woodwind doubles and high trumpet 

parts.(full score incl.). Also available as a pro version. 

WALTZ FOR DEBBY 



This chart is from the I Remember Bill: A Tribute to Bill Evans CD. All of these 

incredible pieces require a mature band, soloists and woodwind doublers. Although 

these charts are not for the faint-of-heart, they are well worth the time and effort 

to perform. There has never been a more interesting or musical arrangement of this 

immortal Bill Evans standard. A truly amazing and extensive excursion. Features 

tenor sax, flugelhorn and guitar solos. 5-4-4-3 (plus french horn). 

WARM VALLEY 



Don Sebesky has taken Ellington’s melody and created a warm, sensuous chart 

which will be played for years to come. The ensemble voicings and colorful harmonies 

are set in a kind of Li’l Darlin’-ish type of feel. This will be a wonderful contrast on any 

jazz program, as the brass ranges are very easy, and the effect of the chart is very 

mellow and peaceful. A must for any big band library! 5/4/4/3 

ARRANGED BY BOB SENNETT 

BLUES, BOOZE, & TATTOOS ***NEW*** 

Arranged by Bob Sennett 


A swinging modified blues. Extensive ensemble chorus around tenor and trombone solos. 

DARK CLUSTERS ***NEW*** 



An ethereal sounding composition that employs cluster voicing in the reeds and 

close voicing in brass. There is a tenor solo, part written, part improvised, with a 

building brass background leading to a climax which immediately reverts to quiet, 

cluster voicing again. Trumpets double on flugelhorns. 

DON'T LEAVE NOW ***NEW*** 


Medium $55.00 Cat: 51658 

Lush ballad featuring the trombone section. Lead trombone solo. Pretty changes 

and lush voicings. Trumpets on flugelhorns. 

MINOR MATTERS 



Features trumpet-tenor. Ensemble backgrounds and out chorus compliment soloists. 

No doubles. 

ARRANGED BY GEORGE SHUTACK 

EASY OUT 

Arranged by George Shutack 

Easy $42.00 Cat: 42097 

Jazz writer George Shutack has written this rock excursion especially for developing 

players. It serves equally well as a concert opener or closer due to the strong, yet 

accessible rhythms, and catchy groove. The easy-to-hear solo changes will give 

students the opportunity to work on improvisational skills in a non-threatening 

setting. Written or ad lib solos for all rhythm section parts. Playable by 12-17 pieces. 


ONLINE!

UNCHARTED TERRITORY ***NEW*** 

Arranged by George Shutack 

Easy $42.00 Cat: 42355 

A driving rhythm groove sets the mood in this contemporary Latin/rock chart. With 

solid scoring, a catchy melody, and an open solo section, this easy level chart will be 

the perfect vehicle to introduce young players to this essential style of music. As with 

all First Edition charts, this piece can by played by as few as 12 players. 

ARRANGED BY DAVE SNIDER 

BASS ON TOP ***NEW*** 

WHERE PAUL LIKES IT 

Arranged by Dave Snider 


This is a medium blues swing chart in the key of F, dedicated to the late great bassist 

Paul Chambers. Scored for 5 saxes, 4 trumpets, 4 trombones, and rhythm, with 

optional guitar, no doubles. This chart features the bass player with an optional 

cadenza at the beginning followed by a blues solo. The bass is also featured on the 

melody; shared with the solo trumpet. There is a challenging sax soli and tutti 

section with open solo sections. The lead trumpet plays a few passages going up to 

the high concert B natural. This chart is a great feature and challenge for any bass 

player and college or pro bands. 

JP ***NEW*** 



This is a great contemporary R&B chart in the key of B flat, dedicated to the late 

great electric bassist Jaco Pastorius. Scored for 5 saxes, 5 trumpets (the 5th part is 

optional), 4 trombones, and rhythm, with optional guitar, no doubles. The bass 

player should play electric bass. The bass part is written but it can be improvised 

since there are chords above the written line. The tempo is 96 bmp for the quarter 

note. This chart has a very nice and funky melody with a tenor solo with challenging 

rhythmic riffs and backgrounds throughout the first half of the chart. The second 

half of the chart changes feel from an R&B feel to a double time swing feel with a 

trumpet solo and a challenging sax soli/tutti section. There is a drum solo in swing 

time which goes back to the original R&B feel to the head, followed with a tag in 

double time swing feel with battling sax and trumpet solos. The highest note for the 

lead trumpet is concert high D flat. This chart is a definite opener or closer and is a 

great challenge for any college or pro band. 

A LITTLE TASTE OF FUNK ***NEW*** 



This is a great contemporary funk chart, dedicated to the great electric bassist Larry 

Graham. Scored for 5 saxes, 5 trumpets (the 5th part is optional), 4 trombones, and 

rhythm, with optional guitar, no doubles. The bass player must play electric bass 

(NOT STRING BASS). The bass part is written but it can be improvised since there 

are chords above the written line. The tempo is 90 bmp for the quarter note. This 

chart is very high energy from the beginning to the end. There are challenging 

rhythmic and melodic riffs and backgrounds throughout the chart in all sections. 

The chart starts in G minor with a tenor solo. There is a drum solo/groove with horn 

backgrounds used as a transition and modulation to the key of concert E for a 

trumpet solo. The highest note for the lead trumpet is concert high D. This chart is 

a definite opener or closer and is a great challenge for any college or pro band. 

SEVEN FOR SCOTT ***NEW*** 



This is a up blues swing chart that features the tenor sax. The chart has no melody 

so it requires the tenor player to be a good soloist with a good musical imagination. 

The introduction is a slow, thick, gospel feel with the tenor whaling over the top, 

followed by a cadenza into seven choruses of blues with horn riff backgrounds. 

There is a challenging sax soli and tutti section. This chart is a definite challenge for 

any tenor player and is a real crowd pleaser. Difficult for the tenor soloist. 

THINKIN' 'BOUT MAYNARD ***NEW*** 



This is a medium blues swing chart in the key of G, dedicated to the great trumpet 

player Maynard Ferguson. Scored for 5 saxes, 4 trumpets, 4 trombones, and rhythm, 

no doubles. There is an optional bass solo cadenza at the beginning followed by a 

piano solo into a great melody in a blues riff style. There is a challenging sax soli 

section. Solo sections are open. There is a drum solo with horn backgrounds. The 


trumpet section is not written in the high register as in Maynard's band, and the 

highest note for the lead trumpet is concert G throughtout the chart with one high 

D in the last measure. This is a good closer for the first set and is a great chart for any 

college or pro band. 

ARRANGED BY RICK STITZEL 

C JAM BLUES 

Arranged by Rick Stitzel 

Easy $35.00 Cat: 7470604 

Finally, this Ellington classic is available for even the most inexperienced bands. For 

starters, this version is in Bb rather than C. Rick features the saxes on the melody 

with inventive brass counterlines, and later a marvelous ensemble tutti section that 

starts soft then builds to the end. An absolute must! 

GOD BLESS THE CHILD 



One of the most soulful ballads ever written, this standard has been recorded by 

artists ranging from Billie Holiday to Blood, Sweat & Tears. Rick’s easy arrangement 

features rich harmonies with full ensemble writing. A short written solo is included 

for any sax, but no improvised solos are required. Written for full band, playable with 

4 saxes, 3 trumpets, 3 trombones and rhythm section. Full-length recording included. 

I’VE JUST SEEN HER 



From the 1960s Broadway production ‘All American,’ this ballad has enjoyed wide 

popularity among jazz artists and has been recorded countless times. The beautiful 

melody and marvelous changes are blended perfectly in this feature for alto sax. 

MOON RIVER 



Henry Mancini was a master of melodies and this is one of his best. Rick’s easy 

arrangement is in 3/4 and features skillful scoring and rich harmonies. 

NIGHT SONG (FROM GOLDEN BOY) 



From the show ‘Golden Boy,’ this jazz standard composed by Charles Strouse is 

tastefully arranged in a Latin ballad style with a Bossa/bolero feel. There is plenty of 

full ensemble playing, and solos are included for trumpet and tenor (written or ad 

lib.). This one will be a perfect change of pace for your next concert. 

NOW’S THE TIME 



Charlie Parker helped define the language of modern jazz. This marvelous arrangement 

of one of his most accessible compositions provides a perfect introduction to this 

legendary jazz master. Solid and swingin’! 

PROUD MARY ***NEW*** 


Easy $35.00 Cat: 7470691 

Similar to the trademark version by Ike & Tina Turner, this easy arrangement starts 

out slow in the beginning, then kicks into high gear to finish out. Saxes take the lead 

at first, but there is plenty of full ensemble playing as well. No solos are required. 

THEME FROM SHAFT 


Easy $35.00 Cat: 7010967 

Few of the famous funk themes from the ’70s are more well-known than this 

classic by Isaac Hayes. Rick’s authentic-sounding rendition makes it playable by 

just about any band. 


1-518-587-2325 1-518-587-2325 57


WHAT A WONDERFUL WORLD 


Easy $35.00 Cat: 7470606 

Made famous by Louis Armstrong, this is one standard that has stood the test of 

time. This very playable version is nicely scored with short features for each section. 

WHAT I’D SAY 


Easy $45.00 Cat: 7011201 

An up-tempo rockin’ style, call-and-response playing, and hot horn riffs are all a part 

of this arrangement of the Ray Charles classic. The legend of Ray lives on through 

tunes like this that never seem to grow old. 

58 58 

58 

ARRANGED BY GEORGE STONE 

ALL OR NOTHING AT ALL 

Arranged by George Stone 


This often recorded standard is expertly arranged by George Stone in a medium 

swing style. Filled with creative harmonies and soaring ensemble figures, this is truly an 

outstanding choice for contest or festival use. Includes solos for piano and/or trumpet. 

BASS-ICALLY TWO OF A KIND 


Medium $56.00 Cat: 51750 

Unique chart featuring an acoustic and an electric bass together, as well as a jazz 

and a rock groove. Scored with an optional guitar part to cover one of the bass 

parts.There are some doubles. 

BODY AND SOUL 



George Stone’s medium swing setting of this familiar standard features lush ensemble 

writing with short solos for alto and tenor. Beautifully orchestrated and easy on the chops. 

D-BOP 



Bright swing, unison bop line for alto, tenor, baritone, trumpet and guitar. Fun 

changes for tenor sax and trumpet solos.Challenging development section for the 

whole ensemble and sax soli/ensemble shout at the end. This is a great chart for 

festival and concert use. Lead trumpet is written high E, no doubles. 

THE EARLY MONDAY MORNING 

REHEARSAL BLUES 


Medium $54.00 Cat: 51751 

Medium rock shuffle with soprano lead. Open solo section for any instrument and 

an extensive sax soli. 

I’M OUT, ME TOO, I WIN 



Medium swing. Great ensemble writing. Solo changes on 1st tenor sax and 1st 

trombone. Nice shout chorus. Flute doubles. Optional percussion. 




This powerful chart takes a familiar standard and sets it as a medium up-tempo 

swing number. There’s lots of sax work here, including solos for alto and tenor and 

a great soli section. 

IT MIGHT AS WELL BE SPRING 



From the prolific pen of Rodgers and Hammerstein, this standard has been a favorite 

with jazz performers for years. George’s outstanding setting features tenor sax in a 

ballad style with a double-time swing section for soloing. 

LA SAMBA PRIMERA 


Medium $60.00 Cat: 51753 

Medium Samba that features a flugelhorn solo. There are some doubles: flute and 

soprano. 

NARDIS 



Here is a marvelous big band setting of this bebop classic from Miles Davis. Arranged 

in a medium up-tempo swing feel, this chart is loaded with great ensemble writing 

with the melody being traded among all the sections of the band. 

PEEL ME A GRAPE 



Recorded by Diana Krall on ‘Love Scenes,’ George Stone has taken a similar approach 

and created this sensual and engaging version for jazz ensemble. The slow and soft 

swing style makes this one a great change of pace for contest or festivals. 

SHUFFLE SCUFFLE 



Straight-ahead, hard-swinging shuffle with solos for alto and tenor. Soprano lead on 

extensive sax soli. 

SOPHISTICATED LADY 



This beautiful Duke Ellington ballad has been masterfully arranged here. 

SPEAK LOW 


Medium $60.00 Cat: 51755 

This is a Samba/Mambo which features both trombone and trumpet solos. A 

distinctive Bolero section offers a refreshing style change for a soprano sax soloist. 

Instrumentation includes four trumpets, four trombones, five saxes (double on 

soprano), guitar, piano, bass, drums and vibes.This chart is a fresh-sounding stylistic 

addition to a concert and/or festival set. Lead trumpet note is written B below high 

C, making this arrangement very accessible to bands of all performance levels. 

STRAIGHT AHEAD ***NEW*** 


Difficult $60.00 Cat:51757 

As the title suggests, it is a straight ahead swinger from start to finish. There is a 

unique rhythm section intro (with optional flute) followed by the band's statement 

of the melody and a large sax soli. Solos are designated for any rhythm instrument 

plus alto sax, tenor sax and trumpet. Following the solo section is an open rhythm 

section improvisation which can be constructed however you wish. Lastly, a three 

part contrapuntal section builds to a strong shout section all the way to the end. 

You will really enjoy this new, fresh and exciting composition. The high notes (optional) 

are high concert Eb and F. 

THE VERY THOUGHT OF YOU 



It’s not very often that we offer a trombone feature, but this classic tune by Ray 

Noble in the capable hands of George Stone seemed like a natural fit. Beautifully 

scored in a ballad style. 

YOU’D BE SO NICE TO COME HOME TO 



When it comes to great swing tunes, this Cole Porter classic is near the top of the 

list. George’s outstanding chart is well-paced and a pleaure to perform. 


ONLINE!

ARRANGED BY CARL STROMMEN 

A NIGHT AT THE BLUE NOTE 

Arranged by Carl Strommen 


This tune will remind you of all those Blue Note records you bought over the years. 

Moderate tempo and difficulty level, and full of surprises. Not quite a blues in F... 

AS TIME GOES BY 


Easy $45.00 Cat: WBJE9319 

The trumpet soloist starts alone with this memorable melody and soon draws the 

entire ensemble into this easy arrangement. Although the band get its say, it is the 

trumpet soloist who sustains right to the end. An excellent trumpet feature. 

SLIP SLIDIN’ 



One of the country’s leading educational writers for jazz ensemble, chorus, concert 

band and orchestra has written a hip-hop piece at an easy level that kids should 

really dig. Ranges are moderate with optional higher notes if you have the horses. 

Written solos. 

TIME OUT ***NEW*** 



Remember ‘Moanin’ Carl has done a great job with this at the high school, middle 

school and junior high school level. Blues in F. Scored for full band but sounds 

complete at 4/3/2/3. 

UNO MAS 



Carl has created a dynamic chart at a moderate difficulty level that gives you that 

hot Latin chart you’ve been looking for. 

WHAT KIND OF FOOL AM I 


Medium $35.00 Cat: 130 

In the key of C, this arrangement features a vocalist or optional tenor saxophonist. 

ARRANGED BY FRED STURM 

ALL BIRD’S CHILDREN ***NEW*** 

Arranged by Fred Sturm 

Advanced $50.00 Cat: 123406 

Arranged to feature the composer — the amazing Phil Woods — and recorded on 

Phil’s 1998 Grammy nominee CD ‘Festival.’ Phil toured Europe with a big band and 

typically opened or closed the show with this burning swing chart. 

MICHELANGELO ***NEW*** 



As recorded on ‘Libertango! Hommage to Astor Piazzolla’ (HR Big Band), this chart 

is very, very exciting. Set in a fast, quasi rock/fusion feel, this chart features solo space 

for trumpet (or whichever player(s) you might choose). The wonderful rhythmic 

interplay between all the sections and the brilliant scoring creates a must-have 

chart for every band. 5/4/4/5 (opt. marimba) 

MUMUKI ***NEW*** 



As recorded on ‘Libertango! Hommage to Astor Piazzolla’ (HR Big Band), this chart 

is a beautifully sensitive setting of a gorgeous ballad. There are different solo parts 

(Eb, Bb, C) for you to use in choosing your soloist. It is a solo feature throughout the 

chart. Sturm’s orchestration and the climactic passage will tear your heart out, it is 

so intensely beautiful. This requires 4 clarinets and bass clarinet in the sax section 

with very easy to play parts. The brilliant scoring of Sturm creates a must-have chart 

for every band. 5/4/4/5 (opt. vibes/bells) 


ARRANGED BY MICHAEL SWEENEY 

ALL BLUES 

Arranged by Michael Sweeney 


Here’s the classic Miles Davis tune from the landmark album ‘Kind Of Blue’ carefully 

arranged for young groups. Written in 3/4 for ease of reading, Mike has kept the feel 

and sound of the original in this excellent setting. Full length recording included. 

ALL OF ME ***NEW*** 


Medium $35.00 Cat: 7011159 

Made famous by the Count Basie band as well as countless other jazz artists, bring 

a bit of history to your young players with this familiar standard. This easy arrangement 

includes a nice mix of unison passages with full-sounding ensemble scoring. Medium 

swing at its best! 




This easy arrangement features a moderate Latin groove with alternating swing 

sections. Nice! Written for full band, playable with 4 saxes, 3 trumpets, 3 trombones 

and rhythm section. Full-length recording included. 




Some tunes seem to get better with age. Mike’s version of this swingin’ standard is 

written in a medium shuffle style and is easy to learn. The solo section features stoptime 

ensemble figures and written sample solos. 

APRIL IN PARIS 



Here’s an easy version of this big band favorite from the Count Basie Orchestra. Your 

audience is sure to recognize this one, and it’s the perfect way to introduce young 

players to one of the great bands of all time. 

BIRDLAND 



Josef Zawinul and the jazz fusion group Weather Report broke new ground with 

this inNovative composition. This easy version maintains the drive and power of the 

original and will sound great with mature as well as inexperienced bands. 

BLUE BOSSA 


Easy $35.00 Cat: 7010567 

This great jazz standard by Kenny Dorham is now available in a playable arrangement 

for young players! There is a touch of the original combo scoring as well as the 

original background figures scored for the entire band. 

BLUE MONK 



One of the all-time great tunes by jazz legend Thelonious Monk. This arrangement 

by Michael Sweeney is an authentic adaptation using the original key (Bb) and 

preserving Monk’s unique rhythmic phrases. The chart opens with a trumpet/tenor 

duet, however there is plenty of tutti ensemble playing and flexible solo sections 

over blues changes. This one is a must. 

BLUES MACHINE 


Easy $35.00 Cat: 7474537 

First released in 1992, this excellent blues original has stood the test of time. Perfect 

for teaching style and introducing the blues scale as a basis for improvisation. 

Includes CD. 


1-518-587-2325 1-518-587-2325 59


BOOGIE DOWN 



Here is an easy version of Al Jarreau’s funky jazz favorite. The rhythms have been 

simplified without losing the great feel of the original. Written for full band, playable 

with 4 saxes, 3 trumpets, 3 trombones and rhythm section. Recording included. 

CARAVAN 



Everyone will recognize this Duke Ellington classic. Using interesting textures and 

alternating between a Latin groove and swing, this is a very effective production 

number with limited technical demands. Comes with CD. 

CHAMELEON 



Here’s Herbie Hancock’s jazz-funk masterpiece. 

CHOO CHOO CH’BOOGIE 



In the tradition of Boogie Woogie Bugle Boy and ‘Chattanooga Choo Choo,’ here is 

one of the classic swing tunes from the ’40s made famous by Louis Jordan. The saxes 

get a workout on the main theme, then the brass take the lead on the familiar 

chorus. This entertaining chart is as fun to play as it is to listen to. 

CRUELLA DE VIL 


Easy $35.00 Cat: 7470582 

Here’s a bluesy and swingin’ version of this well-known favorite from Disney’s 101 

Dalmations. This easy chart features a flexible solo section for any trumpet and/or 

trombone as well as a hard-hitting shout chorus to finish it out. 

FREDDIE FREELOADER 



This early jazz classic by Miles Davis is an excellent vehicle for introducing the blues. 

The trumpet soli section is derived from Miles’ original solo and may be performed 

either as a solo or as a section feature. 

FROSTY THE SNOW MAN 


Easy $35.00 Cat: 8721405 

Be sure to bring the hip side of Frosty to your next holiday event with this swingin’ 

version for beginning groups. Including short solos for trumpet that can also be 

played as section features, this chart is easy to learn and fun to play. 

GEORGIA ON MY MIND 


Easy $35.00 Cat: 7470552 

This enduring standard by Hoagy Carmichael continues to sound fresh year after 

year. The notable recording by Ray Charles with its lush harmonies and bluesy ballad 

style is hinted at in this easy setting for jazz ensemble. The short solos for trumpet, 

sax, and trombone may also be played as section features. Great for developing 

balances and ensemble playing. Written for full band, playable with 3 saxes, 2 

trumpets, 1 trombone and rhythm section. Full-length recording included. 

HOW DEEP IS THE OCEAN 



Here is a unique version of this all-time great tune done in a Latin style. This easy 

chart features creative harmonies and exceptional scoring. Short solos are included 

for tenor, trumpet and drums. A great showpiece for young groups. 

60 60 

60 

HOW HIGH THE MOON 



Here is the swinging standard arranged by Sweeney for younger bands. 

IN THE MOOD 



One of the best-known tunes from the swing era is this classic from the Glenn Miller 

Orchestra. This updated chart from Mike Sweeney features very comfortable ranges, 

easy rhythmic patterns, and short written or ad lib solos. 

IT DON’T MEAN A THING 



Easy $35.00 Cat: 7470508 

Introduce Duke’s music to your beginning group with this great version. The rhythms 

have been simplified but the style is authentic. Includes full-length recording. 

KILLER JOE 


Easy $35.00 Cat: 8720665 

Here is a very playable arrangement of this quintessential ‘cool’ jazz swing tune. 

Carefully scored to sound full with incomplete instrumentation this arrangement 

also features written or ad lib solos for any sax and trumpet or trombone. 

MALAGUENA 


Easy $35.00 Cat: 7474514 

Stan Kenton’s signature version is probably the best-known treatment of this 

Spanish classic. Mike’s easy arrangement draws upon this version while keeping the 

ranges and rhythms well within the reach of beginning groups. A real powerhouse! 

Written for full band, playable with 3 saxes, 2 trumpets, 1 trombone and rhythm 

section. Full-length recording included. 

MARY ANN 



From the master of soul comes this catchy blues tune from the movie Ray. A 

distinctive feature is the alternating style between rhumba and straight ahead swing, 

and Michael’s skillful arrangement makes it a perfect fit for younger players. Written 

for full band, playable with 4 saxes, 3 trumpets, 3 trombones and rhythm section. 

Full-length recording included. 

MOANIN’ 


Easy $35.00 Cat: 7470645 

Known for his skill in adapting jazz classics for beginning players, Michael brings 

us this Bobby Timmons favorite in a very playable version. The style is medium 

slow swing, and the saxes present the theme first followed by the entire 

ensemble. Solos are only over sections with easy chord changes. Includes fulllength 

recording. 

MOTEN SWING 


Easy $35.00 Cat: 7470518 

Practically a trademark Count Basie tune, this medium swing classic has been carefully 

modified to fit the needs of beginning bands. Features authentic style, lots of tutti 

ensemble playing and easy written solos. 



Easy $35.00 Cat: 7473535 

Here is the Rodgers and Hart ballad arranged for young bands. 

A NIGHT IN TUNISIA 



Without losing the essence of this masterpiece, Mike has crafted a great chart for 

young players using safe ranges and moderate rhythms. You’ll still find the trademark 

alternating from Latin to swing, as well as written or ad lib solos for alto and trumpet. 


ONLINE!

PERFIDIA ***NEW*** 



This medium slow standard provides a nice introduction to Latin style for young 

players. Solo sections are based on easy scales and the rhythm section groove is 

completely written out. 

ROCK AROUND THE CLOCK 


Easy $35.00 Cat: 7470661 

Bill Haley & The Comets made the top of the charts with this hit back in 1955. And, 

it’s as fun now as it was back then! This easy chart will sound great with any band. 

ST. THOMAS 


Easy $35.00 Cat: 7470647 

Never has there been a version of this Sonny Rollins classic in an arrangement this 

easy! With ample use of unison lines, a moderate tempo and careful scoring, this one 

will really cook with young players. 

SATIN DOLL 


Medium $35.00 Cat: 7010740 

Beginning jazz ensembles will sound great with this solid swing arrangement by 

Michael Sweeney. Featuring tutti scoring and easy rhythms, this is a perfect chart to 

teach the basics of style. 

SOFT WINDS 



This jazz classic adapts perfectly for young players. The tempo is moderate and the 

swing figures are easy to play. The blues form makes it easy for inexperienced 

improvisers and sample solos are included for alto, tenor, trumpet, and piano. 

SPINNING WHEEL 


Easy $35.00 Cat: 7474140 

Anyone who remembers Blood, Sweat & Tears will instantly recognize this jazz-rock 

classic from the ’60s. Perfect for teaching rock to beginning bands, this easy chart 

gives every section a chance to shine, particularly the trombones! 

TEQUILA 


Easy $35.00 Cat: 7470502 

Everybody knows it, and your students will want to play it! The simple chord 

progression is perfect for encouraging your inexperienced improvisers. 

TOMORROW [FROM ANNIE] 


Easy $40.00 Cat: 7010907 

Attractively arranged in a light rock style, here is a great sounding chart on the main 

song from the musical Annie. Featuring a trombone soloist on the melody and some 

nice harmonic twists, this arrangement builds to a solid finish with the full ensemble. 

Also includes solos for trumpet and tenor. 

UNTIL I MET YOU ***NEW*** 

(CORNER POCKET) 


Easy $35.00 Cat: 7470693 

One of the all-time classic charts from the Count Basie Band is this gem penned by 

long standing guitarist Freddie Green. Available for the first time in an arrangement 

for beginning bands, Michael Sweeney has crafted an authentic-sounding version 

that will work great for festivals or concerts. From the opening strains to the final 

shout chorus, the Basie style shines through. 

WHITE CHRISTMAS 


Easy $35.00 Cat: 7474570 

Irving Berlin’s unforgettable holiday classic is a perfect choice for your winter concert. 

This easy yet effective setting will sound great with limited rehearsal time. 


WITCHCRAFT 


Easy $35.00 Cat: 7010226 

This medium tempo swing standard provides the perfect way to get your young 

players to swing. Mike’s easy arrangement features plenty of full ensemble tutti 

rhythms and no solos are required. 

YARDBIRD SUITE 



This Charlie Parker bebop classic is now available for young bands. 

ZOOT SUIT RIOT 


Easy $35.00 Cat: 7470566 

The hippest new swing tune of the year from the ‘Cherry Poppin’ Daddies.’ This 

exciting chart for young players features the signature horn riffs and drum breaks. 

ARRANGED BY MARK TAYLOR 


Arranged by Mark Taylor 

Medium $45.00 Cat: 7010708 

Arranged here in a Basie-style slow swing setting, this well-crafted chart starts out 

as a study in ensemble writing with the brass in buckets and the drums on brushes. 

Later there is a solo for trumpet followed by a shout chorus where the full band 

really lets loose. Quality writing for contests and festivals! 

ATTITUDE DANCE 



Celebrating 25 years of funk and soul, the unmistakable sound of Tower of Power 

still sounds as fresh and impressive as ever. Mark’s chart on this hot tune features the 

blazing horn lines and driving groove of the original. 

BLUE ‘N’ BOOGIE 



From bebop master Dizzy Gillespie comes this lively tune in a great chart for 

younger players by Mark Taylor. It opens with a trumpet and alto on the head 

followed by a quintet of 3 saxes and 2 trumpets. A tutti ensemble section comes 

next followed by a flexible solo section for any combination of alto, tenor, trumpet 

or trombone. The brass ranges are reasonable and most rhythms are tutti. Let the 

maturity of your group determine how fast (or slow) you play this one, however. 

BLUE BOSSA 



Kenny Dorham’s relaxed Latin classic is a must for all jazz programs. Mark has 

retained elements of the original version using a small group (alto, tenor, trumpet 

and trombone) on the opening statement, then the saxes playing the important 

secondary theme. Included after the flexible solo section is a sax soli, ensemble shout, 

and stop-time section featuring the drums. This chart is destined to become a classic. 

BLUE SKIES 



Mark Taylor has created an effective new treatment of a great standard song. 

Alternating between a Samba feel and swing, this chart also uses contrasting textures 

of small group playing and full ensemble. Includes solos for tenor and/or guitar and 

features a nice sax soli. Great choice for contest. 

BLUES IN HOSS’ FLAT 



There is no better style for young players to emulate than that of the Count 

Basie Orchestra. This famous swing tune is nicely arranged here by Mark Taylor 

in a very playable version that still sounds authentic. Comes with CD. 


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BRADLEY’S BOP HOUSE 


Advanced $60.00 Cat: 7011117 

Accompanied by drums on brushes, saxes take the first round followed by the brass 

on this tasty bop-style original from Mark Taylor. Plenty of nice ensemble work and 

section feature spots spice up this winner. Solos are for trumpet and tenor. 

BROADWAY 



This familiar standard is arranged here in a medium up-tempo swing style and 

features your entire trumpet section. All parts include written sample solos, and it is 

constructed so that a single player can handle all the solo parts. Later, the trumpet 

section trades phrases with the drummer and a short ensemble shout takes you the 

rest of the way. Trumpet feature. 

CHEGA DE SAUDADE (NO MORE BLUES) 


Medium $40.00 Cat: 7500115 

Smooth Bossa Nova sophistication describes this classy chart. With its lyrical melodic 

style and terrific-sounding band accompaniment, this is truly a standout feature for 

a vocal soloist. Vocal key: C minor 

COTTON TAIL 


Medium $40.00 Cat: 7010802 

Here is the classic Ellington swinger in a fabulous version for younger players. The 

drive and excitement of the original is still there as Mark starts out with a small 

combo of 2 tenors and 2 trombones, then gets the full band involved. Includes solos 

for alto and/or trombone and also for trumpet and/or piano. This chart will sound 

great with any band! 

DAT DERE 



Here is the Bobby Timmons classic for jazz band. 

DOXY 


Medium $40.00 Cat: 7010646 

Mark Taylor has adapted one of Sonny Rollins’ best tunes in this medium tempo 

chart for younger bands. 

FLY ME TO THE MOON 


Medium $40.00 Cat: 7010107 

Here’s one of the most recognizable standards ever written, effectively scored for 

youger groups by Mark Taylor in a Basie swing style. This chart features tutti 

ensemble writing at its best, and also includes a short piano solo. 

FOUR 


Easy $40.00 Cat: 7010404 

Miles Davis left a legacy of inNovative playing and enduring compositions. Here is 

one of his best tunes in a swinging medium up-tempo arrangement for young bands. 

GEORGIA ON MY MIND 



At last...an easy ensemble-oriented chart on this great jazz classic. Arranged in a laidback 

Basie groove, this chart is everything you could ask for. 

GIRL TALK 



The unmistakable style of Neal Hefti is apparent in this popular swing standard. 

Mark’s well-paced chart starts with the full ensemble playing soft. After an alto sax 

solo, it builds to a full-blown shout and then tapers to a quiet ending. Real smooth! 

62 62 

62 

GORILLA MAN BLUES 



This swingin’ Basie-style shuffle starts out with a piano chorus followed by the saxes 

and finally a roaring brass section. Also featured are solos for tenor and trumpet and 

a fabulous shout chorus that starts quietly then builds to the end. Just hard-hitting 

swing as only Mark Taylor can deliver. 

HALLELUJAH I LOVE HER SO 


Medium $40.00 Cat: 7011103 

The Ray Charles sound comes through loud and clear in this distinctive gospel/rock 

arrangement for young bands. Featured in the hit movie Ray, this solid chart has a 

driving feel throughout, interspersed with the trademark stop-time phrases. 

HOW SWEET IT IS TO BE LOVED BY YOU 


Medium $40.00 Cat: 7500081 

Recorded by many artists (including James Taylor) Mark’s version for vocal soloist is 

written in a medium swing style with a moderate vocal range, and features wellwritten 

background figures. Key of C. G below middle C to fourth space C. 

I CONCENTRATE ON YOU ***NEW*** 


Medium $45.00 Cat: 7011249 

Feature your tenor sax in a very comfortable and smooth-sounding range with this 

soft Bossa style arrangement of Cole Porter’s standard. Well-styled ensemble writing 

combined with the soloist help make this a perfect change-of-pace arrangement. 



Medium $40.00 Cat: 7500027 

This makes an outstanding vocal feature, yet your band will have a great time with 

it as well. Key: C to E flat. 

I’VE GOT THE WORLD ON A STRING 



In the style of “Li’l Darlin’”, Mark has crafted a wonderful ensemble-based version of 

this standard featuring a wide range of dynamics for the full band and a solo for 

tenor sax. Impressive change of pace for festivals and contests. 

I’VE GOT YOU UNDER MY SKIN 


Medium $40.00 Cat: 7500021 

Arranged in the key of C. 

IMPRESSIONS 



Written and recorded by John Coltrane, this is one of the landmark tunes in jazz 

history. Mark Taylor’s exceptional setting for full jazz ensemble is a must. The modal 

nature of this chart makes it very accessible for improvising. 

IN A MELLOW TONE 



One of the all-time Ellington classics is this elegant medium swing tune. Mark’s 

smooth arrangement features plenty of rich ensemble scoring plus solos for trumpet 

and trombone. 

IN THE WEE SMALL HOURS OF THE MORNING 



This beautiful ballad has been recorded by countless jazz artists over the years 

in addition to being featured in several recent movies. The marvelous melody 

and distinctive harmony are treated masterfully in this setting for vocal soloist. 


ONLINE!

IT MIGHT AS WELL BE SPRING 


Medium $40.00 Cat: 7010612 

Feature your drummer on brushes with this classy chart on a well-known standard. 

The ensemble plays mostly tutti rhythms with solo fills provided by the drums. A 

great concept on a wonderful tune. Also included is a trumpet solo. 

JUMP JIVE AN’ WAIL 



Definitely the flagship of the current jump swing style, this tune was made famous 

again by Brian Setzer on his popular ‘The Dirty Boogie’ big band CD. Mark Taylor 

takes it one step further in this smokin’ arrangement. Featuring solos for tenor and 

guitar, soaring sax lines and ensemble hits, this chart never lets up! 

LESTER LEAPS IN 


Medium $40.00 Cat: 7010592 

The sax section gets a turn in the spotlight on this enjoyable chart of Lester Young’s 

jazz classic. This medium up-tempo chart features a great swing feel and a flexible 

solo section with ensemble backgrounds. 

LET THE GOOD TIMES ROLL ***NEW*** 


Medium $45.00 Cat: 7011107 

Inspired by the famous arrangement that Quincy Jones penned for Ray Charles, 

here is an impressive offering that pays tribute to Ray’s genius for style and 

showmanship. This is hard-hitting big band writing at its best! 

THE LOOK OF LOVE 


Medium $40.00 Cat: 7500107 

This well-known Latin classic has been recorded by many jazz artists and lends itself 

to an easy relaxed feel. Written in a very comfortable range for vocalists, this 

exceptional chart by Mark Taylor will be a joy to perform. Key of Eb (G below middle 

C to A above middle C). 

MAIDEN VOYAGE 


Easy $40.00 Cat: 30713030 

This intriguing Hancock classic is ideal for younger groups in Mark Taylor’s solid 

treatment, with a versatile modal solo section that is great for first attempts at improvisation. 

MAS QUE NADA 


Medium $40.00 Cat: 7010316 

Made famous by Sergio Mendez and Brazil ’66, you are sure to recognize the tune 

even if you don’t know it by its title. Featuring a great Latin groove, this is a natural 

for change of pace programming. 

MOANIN’ 


Medium $40.00 Cat: 7010626 

Mark has arranged this well-known jazz tune by Bobby Timmons as a piano feature 

at the beginning. The saxes take it after the piano and there is a solo section with 

sample written solos for piano, tenor sax and/or trumpet. This medium tempo swing 

chart also features a nice ensemble chorus before returning to the head. 

MOMENT’S NOTICE 


Easy $40.00 Cat: 7010876 

John Coltrane’s wonderful jazz classic is written in a medium up-tempo swing style 

and features solid ensemble figures alternating with a small combo (alto, tenor, 

baritone sax, trumpet, and trombone). Includes solos for tenor or trumpet. 

MY CHERIE AMOR 



Who would have thought to transform this Stevie Wonder hit into a swinging jazz 

waltz? That’s exactly what master arranger Mark Taylor has come up with as he uses 

this creative setting to feature an alto sax soloist and inventive ensemble lines. 





You simply can’t go wrong with a trusted standard, arranged by a gifted writer. Mark 

Taylor’s version is a concert ballad for tenor with a few hints of Latin to spice it up. 

MY ONE AND ONLY LOVE 



Mark Taylor’s superb arrangement of this great jazz ballad is one of the most 

dramatic alto sax features in years. Great for contest or festival use! 

MY ROMANCE 



Mark’s tasteful ballad treatment of this Rodgers and Hart classic features lush 

harmonies and a Latin middle section. An excellent setting for solo flugelhorn. 

MY ROMANCE 


Medium $40.00 Cat: 7010594 

Written in a soft Latin style, here is an attractive setting for solo flugelhorn on this 

Richard Rodgers favorite. The range is very comfortable for young players and all of 

the solo lines are written out. 

A NIGHT IN AUGUSTA ***NEW*** 


Medium $50.00 Cat: 7011227 

This Mark Taylor original is written in a moderate Samba style and starts with a 

quartet of alto, tenor, trumpet and trombone at the top. Also featured are ensemble 

riffs trading with solo drum fills. The flexible solo section is followed by a soft tutti 

ensemble section that builds to a powerful finish. 

PEBBLE BEACH 



The music of Vince Guaraldi is always melodic and fresh sounding and you will 

probably recognize this from the TV Charlie Brown specials. Arranged here in a 

moderate Samba style, the opening theme is played by a small combo with background 

figures played by the full ensemble. Includes solo opportunities for any combination 

of alto, tenor or trumpet. 

PICK UP THE PIECES 



This is the unmistakable number one hit from the ‘70s group Average White Band! 

Mark’s ultra-funky and ultra-cool chart written in classic horn band style showcases 

the familiar licks and hot grooves. Great chart for letting your soloists really open up! 

QUIET NIGHTS OF QUIET STARS 

(CORCOVADO) 



From the master of Latin music, this is one of Jobim’s best. Mark’s excellent treatment 

features tenor sax and nice ensemble writing. 

THE RAINBOW CONNECTION ***NEW*** 


Medium $45.00 Cat: 7011203 

Written in a light jazz waltz style, Kermit’s familiar tune from The Muppet Movie 

works great as a feature for flugelhorn in the skilled hands of Mark Taylor. Featuring 

a comfortable range for the soloist, a sax soli, and effective ensemble writing, this gem 

is a nice change of pace number. 


1-518-587-2325 1-518-587-2325 63


ST. THOMAS 


Medium $40.00 Cat: 7010465 

One of the best-known Latin/Jazz compositions is this classic by Sonny Rollins. Mark 

has done a great job of making it playable by younger groups while maintaining the 

style of the original. Small group playing is alternated with the full band and a flexible 

solo section allows any number of soloists. This one is a must! 

SALT PEANUTS 



Playing jazz should be fun and this carefully constructed arrangement for young 

players will certainly help make this happen. Alto and trumpet take the melody at the 

top, then the rest of the band joins in for a lively romp! 

SEPTEMBER ***NEW*** 


Medium $50.00 Cat: 7011231 

Here’s the classic funk tune from Earth, Wind & Fire in a terrific arrangement for big 

band by Mark Taylor. This one includes all your favorite signature horn riffs as well as 

a solo for tenor sax. 

SIDEWINDER 



Here is a standout chart on Lee Morgan’s soulful jazz standard. The familiar melody 

riff is first played by a small ensemble of alto, tenor, trumpet, trombone, and guitar. 

Gradually the entire ensemble gets into the act followed by solo space for alto and/ 

or trumpet and finally drums. With its distinctive and important style, this chart 

belongs in every band’s library. 

SMOKE GETS IN YOUR EYES 


Medium $40.00 Cat: 7010318 

Mark has given this Jerome Kern favorite a soft Bossa treatment that serves as a solo 

feature for flugelhorn. The tempo is comfortably moderate and the scoring is 

exceptional. 

SO WHAT 


Easy $40.00 Cat: 7010575 

Jazz giant Miles Davis is probably best-known for this tune. Alternating between a 

small combo (alto, tenor, bari.,trumpet, trombone, and guitar) and full ensemble, 

Mark has created a masterful chart for young players. Improvising is all done on 2 

dorian scales. Sample written solos and scales are included. This one should be in 

every young band’s library! 

SONG FOR MY FATHER 


Medium $40.00 Cat: 7010203 

Here is the Horace Silver standard arranged for big band. 

STOLEN MOMENTS 


Medium $40.00 Cat: 30724026 

This outstanding Oliver Nelson composition has been a jazz favorite for many years. 

This arrangement alternates between small group statements of the melody with 

full ensemble sections. The modal chord progression is easy for younger soloists to 

handle and separate solo sheets are included with sample solos and scales. 

STRAIGHT, NO CHASER 


Medium $40.00 Cat: 7010459 

Required literature for the noble study of Monk, this arrangement of a jazz classic 

will delight young bands as well as experienced groups. You can play it as fast or slow 

as you like, and it will sound great either way. 

64 64 

64 

SWING, SWING, SWING 



From the movie 1941 this is John Williams’ big band era extravaganza from the 

dance marathon scene. Written in a ’40s swing style, this up-tempo burner gives 

every section a feature spot and is guaranteed to bring down the house. 

TAKE THE ‘A’ TRAIN 


Medium $40.00 Cat: 2500470 

Made famous by the Duke, this Billy Strayhorn classic is the definitive swing tune. 

Carefully arranged in an authentic style, this one is a must for your vocalist. 

THIS CAN’T BE LOVE 


Easy $40.00 Cat: 7010947 

Beautifully scored with tutti ensemble rhythms played softly and featuring the 

drummer on brushes, here is a strikingly effective version of this Rodgers & Hart 

favorite. Also includes a sax soli and solo for trumpet. Excellent! 

TRIBUTE TO MILES ***NEW*** 


Medium $55.00 Cat: 7011221 

Celebrating the achievements of a true jazz inNovator, this excellent medley by 

Mark Taylor embraces some of the greatest compositions by the legendary Miles 

Davis. Includes: So What, All Blues, Seven Steps to Heaven and Milestones. Featured 

are solos for trumpet and drums. 

TURNAROUND 



This Latin funk tune starts out softly, then gradually picks up intensity as layers of 

sound are added until finally the entire ensemble is cookin’. Nice feature spots are 

provided for your drummer in addition to a solo for tenor sax. 

WELL YOU NEEDN’T 



Thelonious Monk was a master of creating distinctive melodies in the bebop style 

and this is one of his best-known offerings. Mark starts out by giving the melody to 

a small group of trombones, tenors, and bari. sax before turning it over to the entire 

sax section. After the trumpet solo section, there is a marvelous sax soli followed by 

solo space for tenor sax and a shout chorus for the full ensemble. This great chart 

has something for everyone! 

WHAT’LL I DO 


Easy $40.00 Cat: 7010897 

Mark has taken this Irving Berlin favorite and crafted a marvelous setting for solo 

flugelhorn using a unique 3/4 Samba feel. Beautifully supported by the ensemble, and 

all of the solo part is written out. 

YOU’VE CHANGED 



This wonderful standard from the ’40s receives a sensitive and beautifully orchestrated 

setting by Mark Taylor featuring tenor sax. In the double time swing section, the 

soloing changes are spaced far enough apart to make improvising easier on young 

players. The solo tenor part is completely written out including a sample solo. 

ARRANGED BY GENE THORNE 

LI’L JAMES 

Arranged by Gene Thorne 

Medium $42.00 Cat: 1661 

This piece originally started as a short introduction and 16-measure melody for an 

educational video by the Jazz Ambassadors of the U.S. Army Field Band entitled 

Inside The Big Band. This moderately slow Basie-style chart for advancing groups 

contains nice melodic and harmonic movement, which encourages better ensemble 

playing. It isn’t technically demanding, so more emphasis may be placed on achieving 

a laid back swing feel. A guitar chord chart is included. Trumpets on flugelhorn. 


ONLINE!

NEXT CHAPTER ***NEW*** 

Arranged by Gene Thorne 

Medium $52.00 Cat: 61525 

Every school jazz ensemble should have a jazz waltz in their program, and here’s the 

perfect one for advancing groups! It reflects upon some of the music written during 

the 1960s fertile Blue Note era. Balance and blend are vital factors since brass 

players are in mutes at times. Solos are provided for piano and alto saxophone. The 

writer provides excellent rehearsal suggestions to help you make this chart a huge 

success at your next concert. A guitar chord chart is included in each set. 

ARRANGED BY MIKE TOMARO 

‘ROUND MIDNIGHT 

Arranged by Mike Tomaro 

Medium $45.00 Cat: 7010864 

Few jazz ballads have been performed as consistently as this Thelonious Monk gem. 

Mike’s version is a solo vehicle for alto sax and includes a double time feel that 

alternates with the traditional ballad tempo. Beautiful lines and striking harmonies 

help create a real standout arrangement. 




Mike Tomaro has penned a Latin style version of one of Jerome Kern’s most often 

performed classics. Mike’s creativity and total command of the idiom shine through 

in this superb chart. 

BEWITCHED 



Here’s a great old standard in the hands of a great arranger who really understands 

how to use the colors of the jazz ensemble. The style is relaxed swing and a 

trombone solo is featured. 

BIRK’S WORKS ***NEW*** 


Medium $60.00 Cat: 7011125 

A classic minor blues tune from Dizzy Gillespie, Mike Tomaro starts this version as a 

funky mambo but then shifts the style to swing and finally back again to the mambo. 

This well-paced chart features a great feel plus solos for trumpet and tenor. 

BLUES AT THE GATE ***NEW*** 


Medium $42.00 Cat: 42035 

While Mike Tomaro is well known for his more challenging works, Blues At The Gate 

proves that he is equally adept at writing easy level charts. This straight ahead blues 

consists of a strong melody and very solid ensemble writing. An open solo section 

provides any player with the chance to work on their solo chops. 

BLUESETTE ***NEW*** 


Medium $45.00 Cat: 7011131 

We’re not entirely sure what possessed Mike Tomaro to take what is probably the 

best-known jazz waltz and turn it into a Samba! Actually, the relaxed Latin groove 

works quite well, and there are solos for trombone and tenor sax. Give it a try! 

BOPLICITY 

As Performed by Miles Davis with Gil Evans 

Adapted by Mike Tomaro 

Medium $45.00 Cat: 7010770 

The landmark album by Miles Davis Birth of the Cool brought us a unique 

instrumentation (the nonet) along with distinctive jazz sounds. Without straying 

from the intent of the music and working directly with the original version, Mike 

Tomaro’s adaptation for standard instrumentation makes this wonderful classic 

available to the contemporary jazz ensemble. As an added bonus this edition includes 

the transcribed solos of Gerry Mulligan, Miles Davis and John Lewis. 


CARAVAN 

(See Duke Ellington Section) 

COME SUNDAY 

(See Duke Ellington Section) 

EQUAL TIME 


Easy $42.00 Cat: 42109 

Here’s an easy level relaxed swing chart by Pittsburgh jazz composer and educator 

Mike Tomaro. As always, Tomaro’s writing is well-crafted, harmonically and melodically 

pleasing, and fun to perform. Aspiring jazz bands will find this a terrific concert or 

festival piece. Written or ad lib solos. Playable by 12-17 pieces. 

FANCY THAT 


Medium $60.00 Cat: 54500 

Jazz waltz featuring flugelhorn and baritone sax (optional tenor). Sax doubles: all 

flute and some clarinet. 

FOREIGN INTRIGUE ***NEW*** 



Mike Tomaro has created one of the most interesting charts in recent years with this 

new medium advanced work that alternates between a Brazilian Samba and a funk 

style. A strong melodic statement, and an exciting ensemble section leads to a 

soprano saxophone solo. A call and response between the trombones and the band 

adds an unique twist. Commissioned by the New Trier High School Jazz Ensemble in 

Winnetka (IL), James Warrick, director. 

I COULD WRITE A BOOK 


Medium $45.00 Cat: 7010688 

Here is a marvelous medium swing arrangement of this Rodgers and Hart classic 

that features solos for trumpet and alto, and also a unique sax soli section with a 

trumpet lead. Big band swing writing at its best! 

IN A SENTIMENTAL MOOD 



Mike Tomaro has beautifully adapted this well-known Ellington classic to feature 

tenor sax. With flowing melodies and a lush orchestration, this is the perfect ballad 

for contests or festivals. 

LAZY RIVER 



Mike kind of ignored the ‘lazy’ part of this river and has turned it into more of a 

raging whitewater monster. Look for some unusual twists in this high-powered 

chart including an original bebop line for small group, a brief ‘stride’ piano section 

and some wild ensemble writing. 

LET’S FACE THE MUSIC AND DANCE 



In a fast Samba style reminiscent of Horace Silver’s ‘Nutville’, this energetic chart 

features trumpet, tenor and trombone backed by a marvelous display of ensemble 

sounds weaving in and around the melody. 

LUSH LIFE ***NEW*** 


Medium $50.00 Cat: 2500828 

Here is Billy Strayhorn’s beloved ballad, skillfully arranged with subtle reharmonizations 

and reworkings of the melody, all the while remaining faithful to the original intent. 

Featured are solos for piano & trombone. A gorgeous setting for the entire ensemble. 


1-518-587-2325 1-518-587-2325 65


MANTECA 



Dizzy Gillespie was a genius at combining Latin influences with the jazz idiom. This 

medium tempo arrangement of one of his best-known compositions really sizzles for 

jazz ensemble. 

MILESTONES 



Mike Tomaro has taken this Miles Davis standard and created a roaring arrangement 

that screams with big band excitement. In a medium uptempo swing style, this chart 

includes solos for trumpet and tenor plus an ensemble shout that really pays off! 

A NIGHTINGALE SANG 

IN BERKELEY SQUARE [VOCAL] 


Medium $40.00 Cat: 7500057 

This vocal ballad is in the key of E Flat. 

NIGHTOWL SUITE, MOVEMENT 1 



Commissioned by the Kentucky Music Educators’ Association for its 2002 All-State 

Jazz Ensemble, the inspiration for this up-swing release comes from the music of Art 

Blakey’s Jazz Messengers and Birdland, NYC’s legendary jazz club. Though improvised 

solos are assigned to trumpet and trombone, chord sheets are included so anyone 

can serve as soloist. Mike’s score calls for five trumpets, and the chart takes about six 

minutes from start to finish. 



Medium $56.00 Cat: 43286 

Commissioned by the Kentucky Music Educators’ Association for its 2002 All-State 

Jazz Ensemble, this provocative swing ballad features tenor sax soloist from start to 

finish. Mike’s score calls for five trumpets with harmon mutes and flugelhorn doubles; 

the lead part goes to E6 at the dramatic climax. A great change-of-pace chart. 




This challenging medium advanced Latin original hails from Mike Tomaro’s extended 

work, Nightowl Suite, a musical account of a night in the life of the quintessential 

jazz fanatic. This movement finds our nocturnal fan going home as the city awakens 

from some much needed sleep after a night of listening to jazz. This movement can 

be played alone or programmed with the other two movements. 

ON THE NIGHTSIDE 



Dedicated to Pittsburgh’s premier jazz deejay, Tony Mowod, this aggressive tune can 

be played in a swing or shuffle feel. Either way, figures must be heavily swung while 

the rhythm section delivers a driving groove. Though improvisation is encouraged in 

the open solo section, scales and sample solos for all instruments are provided. Saxes 

and brass solis and rousing shout round things out. 

ONE FOR OLIVER 


Easy $42.00 Cat: 42260 

Scored at the easy level, this minor blues chart is a tip of the hat to Oliver Nelson’s 

Stolen Moments. Set in a relaxed swing feel, developing players will benefit greatly 

from this well-written original. Scales and sample solos are provided. 

66 66 

66 

ONE NOTE SAMBA 



The trombone section takes the spotlight in this smooth arrangement of Jobim’s 

well-known standard. There are solo sections for alto sax and piano with creatively 

written accompaniment figures. The powerful ending section begins with a striking 

full band unison and drives to the end. Great number for mature groups. 

OTHERS BROTHERS ***NEW*** 



Commissioned by the Ultraphonic Jazz Orchestra, this fusion Samba grabs you from 

the introduction and never lets go! Written in the style of the Brecker Brothers, the 

chart features extended solo space for trumpet and tenor as well as plenty of ‘in 

your face’ ensemble writing. 




This standard from the 1930s has a distinctive melody and great changes. Mike’s 

medium tempo arrangement features some excellent ensemble writing and a nice 

flowing swing feel. 

OUT ON A WHIM 


Medium Difficult $40.00 Cat: KJOS-ZB100 

Shuffle funk. Alto 1 doubles on soprano, and there are tenor and guitar solos. As 

recorded by the Mike Tomaro Big Band on Dancing Eyes. 

PASSION FLOWER 


Medium $45.00 Cat: 2500648 

One of the true jazz gems from the magnificent catalog of Billy Strayhorn. Using 

Billy’s original score, this adaptation features alto sax throughout and a kaleidoscope 

of ensemble backgrounds creating a rich and colorful setting. 

SCOTT FREE 



This medium easy level chart is an excellent introduction to the Samba style. The 

composer states that once a basic understanding of the rhythms has been established, 

the piece poses few problems. 

SUPERSTITION ***NEW*** 


Medium $45.00 Cat: 7011135 

Mike Tomaro takes this funk classic by Stevie Wonder through a series of new twists 

and turns, but he is careful to preserve the great groove and signature horn riffs 

from the original. Featured are solos for alto and trumpet. 

SWEET SORROW 


Medium $43.00 Cat: 54501 

This is an alto sax feature. Easy funk groove with very smooth melody line. Some sax 

doubles. 

THERE WILL NEVER BE ANOTHER YOU 



This is a nice swing arrangement of the standard. 

TO NO AVAIL ***NEW*** 



Written for Steve Houghton, this composition features the drummer in both delicate, 

color painting solo situations as well as more powerful ones. There is extensive use 

of woodwind doublings and brass mutings for color and flugelhorn solo space as 

well. This chart runs the dynamic and emotional gamut. 


ONLINE!

TONES FOR JOAN’S BONES ***NEW*** 


Medium $60.00 Cat: 7011157 

One of pianist Chick Corea’s earlier compositions, this medium swing chart begins in 

a subtle manner that features counterlines that are interwoven with the sinewy 

melody. However, the intensity begins to build through the piano and alto sax solos, 

ending with a roaring full band climax. 

YES OR NO 



Jazz master Wayne Shorter has given us a wealth of jazz standards and this is one of 

his best. Written in an up-tempo swing style, this impressive-sounding chart features 

solos for alto and trumpet. 

ARRANGED BY CHRIS WALDEN 

COUNT THE STARS ***NEW*** 

Arranged by Chris Walden 

Medium $60.00 Cat: 55850 

Medium-tempo Basie-like melody featuring muted trumpet and flute. 

FILM NOIR SUITE, PART I ***NEW*** 



Med up tempo, long intro, movie-score like, featuring trombone solo. Recorded by 

the Chris Walden Big Band on ‘Home Of My Heart.’ 

FILM NOIR SUITE, PART II ***NEW*** 



Slow, long intro without rhythm, movie-score like, flghn solo. Recorded by the Chris 

Walden Big Band on ‘Home Of My Heart.’ 

FILM NOIR SUITE, PART III ***NEW*** 



Ultra fast intro, then going into half time blues, open for any solo over blues changes. 

Recorded by the Chris Walden Big Band on ‘Home Of My Heart.’ 

HOME OF MY HEART ***NEW*** 



Slow jazz-waltz featuring a flugelhorn melody, then going into 4/4 Bossa featuring 

tenor sax solo, ending in 3/4 again. Recorded by the Chris Walden Big Band on 

‘Home Of My Heart.’ 

HOT WHEELS JUMPIN' HIGH ***NEW*** 



Up-tempo ‘40s swing featuring guitar melody and solo (Brian-Setzer-like). 

IN THE DOGHOUSE ***NEW*** 



Medium-up tempo. The intro illustrates funnily an argument between husband and 

wife. Then theme and solos played by flugelhorn and alto sax. Recorded by the Chris 

Walden Big Band on ‘No Bounds.’ 

MR. J ***NEW*** 



Up-tempo be-bop, featuring trombone and trumpet solo. 

NITE CLUB SWING ***NEW*** 



Up-tempo ‘40s swing in minor featuring guitar solo (Brian-Setzer-like). 


REMEMBER TOMMY ***NEW*** 


Medium $55.00 Cat: 55859 

Medium tempo easy swing featuring trombone melody (Tommy Dorsey-like). 

SHORT PENCIL ***NEW*** 


Medium $55.00 Cat: 55860 

Medium tempo swing, features the band all the way, no solos. Medium. 

START GROOVIN' ***NEW*** 



Medium tempo blues, melody with saxes, featuring alto sax and trumpet solos. Brass 

solo in between without rhythm. 

TAKE YOUR TIME ***NEW*** 


Medium $55.00 Cat: 55862 

Easy-going, smooth jazz, featuring tenor sax melody and solo. 

THIS BAND IS BOUNCIN' ***NEW*** 



Medium-up tempo boogie, featuring tenor sax solo. 

THIS IS NOT 4 U ***NEW*** 



Jazz-rock (Brecker Brothers-like) features trumpet and guitar solo. 

TICINO ***NEW*** 



Long contemporary jazz piece (10 min) starts out medium tempo with flugelhorn 

and tenor sax melody and solos, then a slow jazz waltz featuring flugelhorn and 

finishing with a fast jazz-Samba featuring a tenor sax solo. 

TRY HARDER ***NEW*** 



Up-tempo be-bop on the changes of ‘There Is No Greater Love.’ Theme played by 

the whole band followed by an alto sax solo, band tutti, and trumpet solo. Recorded 

by the Chris Walden Big Band on ‘No Bounds.’ 

ARRANGED BY BOB WASHUT 

LEAP OF FAITH 

Arranged by Bob Washut 


A modal composition in a fast swing feel. This arrangement was commissioned by its 

composer, saxophonist Dick Oatts, for a performance by a German radio band. Solo 

changes are in alto 1, tenor 1-2, trumpet 5, piano, and guitar parts and a drum solo 

over a vamp is also featured. Meaty tutti ensemble passages permeate the chart. 

Lead trumpet extends to a written E above staff. Leap of Faith is the title track to a 

recording by the University of Northern Iowa Jazz Band One on Sea Breeze Vista. 

SHININ' 


Medium $55.00 Cat: 55072 

A contrafact on My Shining Hour changes Shinin' featuring the piano trio within the 

big band. The chart is a medium swinger and was commissioned by director Randy 

Karon for the Barrington (IL) High School jazz band. The pianist, bassist, and 

drummer all get solo space and plenty of ensemble work is included as well. Lead 

trumpet extends to a written D above staff. 


1-518-587-2325 1-518-587-2325 67

TONES FOR JOAN’S BONES ***NEW*** 


Medium $60.00 Cat: 7011157 

One of pianist Chick Corea’s earlier compositions, this medium swing chart begins in 

a subtle manner that features counterlines that are interwoven with the sinewy 

melody. However, the intensity begins to build through the piano and alto sax solos, 

ending with a roaring full band climax. 

YES OR NO 



Jazz master Wayne Shorter has given us a wealth of jazz standards and this is one of 

his best. Written in an up-tempo swing style, this impressive-sounding chart features 

solos for alto and trumpet. 

ARRANGED BY CHRIS WALDEN 

COUNT THE STARS ***NEW*** 


Medium $60.00 Cat: 55850 

Medium-tempo Basie-like melody featuring muted trumpet and flute. 

FILM NOIR SUITE, PART I ***NEW*** 



Med up tempo, long intro, movie-score like, featuring trombone solo. Recorded by 

the Chris Walden Big Band on ‘Home Of My Heart.’ 

FILM NOIR SUITE, PART II ***NEW*** 



Slow, long intro without rhythm, movie-score like, flghn solo. Recorded by the Chris 

Walden Big Band on ‘Home Of My Heart.’ 

FILM NOIR SUITE, PART III ***NEW*** 



Ultra fast intro, then going into half time blues, open for any solo over blues changes. 

Recorded by the Chris Walden Big Band on ‘Home Of My Heart.’ 

HOME OF MY HEART ***NEW*** 



Slow jazz-waltz featuring a flugelhorn melody, then going into 4/4 Bossa featuring 

tenor sax solo, ending in 3/4 again. Recorded by the Chris Walden Big Band on 

‘Home Of My Heart.’ 

HOT WHEELS JUMPIN' HIGH ***NEW*** 



Up-tempo ‘40s swing featuring guitar melody and solo (Brian-Setzer-like). 

IN THE DOGHOUSE ***NEW*** 



Medium-up tempo. The intro illustrates funnily an argument between husband and 

wife. Then theme and solos played by flugelhorn and alto sax. Recorded by the Chris 

Walden Big Band on ‘No Bounds.’ 

MR. J ***NEW*** 



Up-tempo be-bop, featuring trombone and trumpet solo. 

NITE CLUB SWING ***NEW*** 



Up-tempo ‘40s swing in minor featuring guitar solo (Brian-Setzer-like). 


REMEMBER TOMMY ***NEW*** 


Medium $55.00 Cat: 55859 

Medium tempo easy swing featuring trombone melody (Tommy Dorsey-like). 

SHORT PENCIL ***NEW*** 


Medium $55.00 Cat: 55860 

Medium tempo swing, features the band all the way, no solos. Medium. 

START GROOVIN' ***NEW*** 



Medium tempo blues, melody with saxes, featuring alto sax and trumpet solos. Brass 

solo in between without rhythm. 

TAKE YOUR TIME ***NEW*** 


Medium $55.00 Cat: 55862 

Easy-going, smooth jazz, featuring tenor sax melody and solo. 

THIS BAND IS BOUNCIN' ***NEW*** 



Medium-up tempo boogie, featuring tenor sax solo. 

THIS IS NOT 4 U ***NEW*** 



Jazz-rock (Brecker Brothers-like) features trumpet and guitar solo. 

TICINO ***NEW*** 



Long contemporary jazz piece (10 min) starts out medium tempo with flugelhorn 

and tenor sax melody and solos, then a slow jazz waltz featuring flugelhorn and 

finishing with a fast jazz-Samba featuring a tenor sax solo. 

TRY HARDER ***NEW*** 



Up-tempo be-bop on the changes of ‘There Is No Greater Love.’ Theme played by 

the whole band followed by an alto sax solo, band tutti, and trumpet solo. Recorded 

by the Chris Walden Big Band on ‘No Bounds.’ 

ARRANGED BY BOB WASHUT 

LEAP OF FAITH 



A modal composition in a fast swing feel. This arrangement was commissioned by its 

composer, saxophonist Dick Oatts, for a performance by a German radio band. Solo 

changes are in alto 1, tenor 1-2, trumpet 5, piano, and guitar parts and a drum solo 

over a vamp is also featured. Meaty tutti ensemble passages permeate the chart. 

Lead trumpet extends to a written E above staff. Leap of Faith is the title track to a 

recording by the University of Northern Iowa Jazz Band One on Sea Breeze Vista. 

SHININ' 


Medium $55.00 Cat: 55072 

A contrafact on My Shining Hour changes Shinin' featuring the piano trio within the 

big band. The chart is a medium swinger and was commissioned by director Randy 

Karon for the Barrington (IL) High School jazz band. The pianist, bassist, and 

drummer all get solo space and plenty of ensemble work is included as well. Lead 

trumpet extends to a written D above staff. 


1-518-587-2325 1-518-587-2325 67

ANDREWS SISTERS/ANTHONY/BARNET 

68 

68 

AS PERFORMED BY THE ANDREWS SISTERS 

APPLE BLOSSOM TIME ***NEW*** [VOCAL] 

Transcribed by Alan Glasscock 

Medium $65.00 Cat: LL-3100 

This arrangement of the Andrews Sisters’ version of Apple Blossom Time shows a 

more sentimental side of the trio’s repertoire. Unusually, the chart is only scored for 

3 voices, 4 trombones and 4 rhythm. There are no parts for trumpets or saxes, 

so it can be used as a showcase for your bone section and singers. This has 

been faithfully transcribed by referencing a number of recordings that the Sisters 

made, in order to get complete authenticity and accuracy. This number will sit well 

in any set, particularly as a late-night closer. Vocal key G/Eb/G [Female trio vocal SSA] 

BEI MIR BIST DU SCHOEN ***NEW***[VOCAL] 

Arranged by Myles Collins 

Easy $65.00 Cat: LL-2135 

Here is the Andrews Sisters’ version of Bei Mir, and it is one of their most famous and 

popular songs. This chart includes the opening verse, with the clarinet solo fill-ins 

behind, and the solo vocal middle 8 also with the clarinet solo behind. The band 

backings have been adapted into a full big band line-up, from the smaller set-up used 

for their original recording. The vocal lines are written out as-sung, and the trumpet 

solo is written out in full too. Alto 1 is on clarinet throughout, with alto 2 and both 

tenors doubling clarinet up to the trumpet solo. The vocal key is F minor. 

BOOGIE WOOGIE BUGLE BOY [VOCAL] 


Medium $65.00 Cat: LL-99408 

The Andrews Sisters produced a huge number of hits, and this is one of their finest. 

Alan Glasscock has scored a cracking version here, and has notated the vocal trio 

parts with exceptional skill. There were a couple of key verions of this song. One was 

the Decca release and the other done for the movie ‘Buck Pirates.’ The Decca chart 

used a small backing band, the movie a full big band. This version fuses the two and 

takes the best from both. Both of the trumpet solos are fully written out (intro and 

in the middle section of the chart), and the Boogie Woogie piano / bass lines are all 

there. Although this is a vocal trio, a solo vocal part has been included should you 

wish to perform this chart with just one female vocalist. The saxes are scored for 

clarinet, 2 altos and 2 tenors throughout. Key of D. 

HOLD TIGHT [VOCAL] 



The Andrews Sisters recorded this chart with the Jimmy Dorsey orchestra in 

November 1938, and it went on to be a big hit for them. The original chart has been 

transcribed, but it has been scored for 8 brass and 5 saxes rather than the original 

5 + clarinet (the clarinet solo lines are now on alto 2). The Andrews Sisters interweaving 

vocal lines are scored in full, as are all of the band backings with carefully notated 

dynamics and articulations, to allow your band to recreate the authentic sound. 

Another fine transcription. Alto 2 doubles clarinet, and the vocal key is Bb. 

JINGLE BELLS [VOCAL] 

Arranged by Alan Glasscock 

Medium Easy $65.00 Cat: LL-2016 

This chart is just happy and fun from start to finish. Written for a male vocal and 

female vocal trio, it is equaly well suited to a male / female duo. Full of quirky little fills 

and backings from the band which compliment rather than outshine the vocalists, 

plus a cameo baritone sax solo, this chart is perfect for injecting a little festive cheer. 

Both altos are on clarinets, the brass ranges are very moderate (lead trumpet only 

up to an A) and the vocal ranges are not challenging. The only tricky little bit is the 

piano intro. Key of E flat. 

RUM AND COCA COLA [VOCAL] 

Transcribed by Alan Glassock 

Easy $65.00 Cat: LL-2132 

Rum and Coca Cola is an enduring hit for the Andrews Sisters, sung against a 

Calypso rhythm apart from the last 5 measures which move into swing tempo. All 

three vocal parts are written to intertwine in true Andrews Sisters style. The chart 

is scored for SSA vocal, piano, bass, guitar, drums, maracas and 4 trumpets only. The 

solo trumpet line is written on the 1st part, but cross-cued on the other 3 trumpet 

parts, so you can share the solos around the section if needed. The vocal key is Bb. 

AS PERFORMED BY RAY ANTHONY 

MR. ANTHONY’S BOOGIE 

Transcribed by Myles Collins 

Difficult $65.00 Cat: LL-1093 

Mr Anthony’s Boogie is a rousing up-tempo swing Boogie Woogie which features the 

trumpet section, and a solo 3rd trumpet in particular. This chart is really powerful, 

and great for a jitterbug dance crowd. We have graded it as medium/advanced, as 

the arrangement has a number of triplet passages which require precision from 

both trumpet and sax sections, plus the trumpets are quite high in their registers. 

The trumpet and tenor solos are written out, though we have left the pianist free 

to improvise. Though not a long chart, at two and a half minutes, your players might 

still need a quick rest after blowing it! No sax doubles. 

TENDERLY 

Transcribed by Bob Martin 


Tenderly has been a standard for trumpet players for a long time. This is the Ray 

Anthony version from his huge-selling album, ‘Dream Dancing’, from the early ‘50s, 

and is in 4:4 time. Ray played a little bit with the Miller band and, when he formed his 

own outfit after WWII, he kept the clarinet lead. Ray is not a high-note artist and 

has a powerful low range, and in this chart the solo is given to the 3rd trumpet. 

THUNDERBIRD 



Thunderbird is another chart from the Ray Anthony/George (the Silver Fox) Williams 

partnership, and is a classic of its time. It is an ensemble chart, and has some great 

sectional writing. The unusual feature part is the baritone sax, which underpins the 

whole chart from start to finish. The arrangement is full of color and dynamic 

contrast, as well as being a really bouncy swing number. Playing this chart will help to 

develop good sectional techniques within your band, and it is recommended not 

just as a dance piece but as a band training tool too. The chart has been faithfully 

transcribed right down to the Anthony’s cameo muted trumpet lead over the sax 

section towards the end of the piece, and the important little piano licks and fills on 

the part have also been written in. 

TRUMPET BOOGIE 

Arranged by John Ferguson 


Ray Anthony used this chart in much the same way as Harry James used Trumpet 

Blues - as a rousing sectional feature. It storms from start to end, and plays just as 

well at a slightly reduced tempo too. The arrangement features solos for tenor and 

trumpet, a cameo piano solo in the intro, and some thundering sectional interplay. 

Saxes are scored for a regular section and there are no sax doubles. 

AS PERFORMED BY CHARLIE BARNET 

CHEROKEE 



Cherokee was the first big hit for Charlie Barnet and his Orchestra, though when 

Billy May arrived for the 1939 recording session and handed out the parts nobody 

seemed that impressed with it! This is a good tenor feature, and a straight forward 

chart to play. The arrangement is full of interest. Glissing trombones, trumpets with 

wah-wah plungers, and some rich voicings in the saxes and ensemble sections. This 

chart is the one that set the standard for all subsequent arrangements of this Ray 

Noble composition. There are no sax doubles. 

SKYLINER ***NEW*** 



Arguably the most famous number of the Charlie Barnet Orchestra, Skyliner is a 

really punchy, up-tempo swinger, featuring a piano intro, unison brass carrying the 

melodic line, with clarinet-led saxes over the top and later on a cracking trombone 

soli. Both tenor sax parts are scored with the solo chords and the cameo trumpet 

solo can be taken by lead or second. 


ONLINE!

ACES AND FACES 



This is a medium swing tempo chart from the Basie band of 1945, featuring the 

trumpet. There are ad-lib solos for piano, clarinet, tenor 1 (cued on 2), trumpet 2 

(cued on 1,3&4) and trombone 1 (cued on 2) too. This chart will make a refreshing 

addition to any library, and it is very playable, provided you have soloists who can 

improvise! Lead alto doubles clarinet. 

AFTER SUPPER 

Transcribed by Jon Harpin 

Medium $65.00 LL-1108 

Another beautifully relaxed chart from the Basie band, featured on the Atomic Mr 

Basie album. Written by Neal Hefti, this easy chart is aptly named. It is slow, relaxed, 

laid-back and super cool. It features piano, tenor and muted trumpet solos and 

there are no sax doubles. The brass is muted throughout. Originally written for 7 

brass, an optional 4th trombone part has been added for completeness. The bass 

trombone is on the 3rd part. 

ALL OF ME ***NEW*** [VOCAL] 



This version is a transcription of Basie’s performance from the ‘Sinatra at the Sands’ 

album, and it differs slightly from the great Billy Byers studio version of the chart. It 

opens with a floating piano solo, and the piano takes the first chorus, with sparse 

backings from the band. The second chorus is ensemble, with some beautiful harmonic 

structured writing, and the piano solo comes back for the third, with some classic 

call and response with the band. The chart must be taken at a laid-back pace, and 

your band needs to observe the written dynamics and articulations in order to 

achieve the right feel. The piano part is written out as played, though the lead line at 

the start of the second half of the first chorus has been written in, where Mr. Basie 

chose not to play at all. The chart is graded as medium even though the lead 

trumpet has a written high F. The 4th trombone is bass. 

ALL OF ME 

Arranged by Billy Byers 

Difficult $50.00 Cat: 33301010 

This is the original Billy Byers arrangement. 

ALRIGHT, OKAY, YOU WIN [VOCAL] 



This version of Alright, Okay was done by Joe Williams with the Count Basie 

Orchestra and it is a very danceable bouncy shuffle that has a solid pulse. There is 

nothing complicated about the chart and it is a fine example of how to score an 

arrangement to feature your vocalist. There is also a great 8 bar bridge between the 

vocal choruses which gives a real kick. The trombones are written for 3 tenors and 

a bass, though the bass bone is in tenor range. The chart has been scored to reflect 

Joe Williams’ performance. No sax doubles. Vocal key: Ab 



Medium $45.00 Cat: 7210016 

As recorded by Peggy Lee, Joe Williams, Count Basie and many others, this popular 

standard breathes new life under the masterful pen of Sammy Nestico. A flexible 

solo section allows for any combination of soloists. 

AMOROSO 

Arranged by Benny Carter 


As recorded by Count Basie on the Roulette LP (Vogue CD) ‘The Legend,’ this is an 

up-tempo latin and swing chart. Solo space is provided for tenor sax. trumpet and 

drums. There is an open solo for your drummer and latin inst. players (if you have 

them) The tune moves beautifully from latin to swing and back again. Classic Basie! 

5-4-3-4 (w/opt. 4th Trb.) 

APRIL IN PARIS 

Transcribed by Jeff Hest 

Medium $50.00 Cat: JE9902 

Exactly how Count Basie and his orchestra played it. Every detail of this jazz 

standard has been transcribed and recontructed by Jeff Hest. What better way to 

learn about the Basie style than to play this classic. An educational vehicle that is 

long overdue. 

C O U N T B A S I E 

AVENUE C 



Here is Avenue C in all its glory. A rousing flat-out swing chart, written by Buck 

Clayton for the Basie band. This chart powers from start to finish and is great for 

both concert work and swing dancing. All of the instrumental solos have been 

transcribed (2 tenors, trumpet, trombone and piano) and have included all phrasing 

marks, articulations and dynamics. This is a truly rare chart from the Basie band at 

the height of its power. There are no sax doubles. 

BASIE BOOGIE 



Basie Boogie is, as its name might suggest, an up-tempo piano feature that swings 

from top to toe. Like many of Basie’s charts, the arrangement evolved over time, but 

this version is from the original recording. The piano part has been written out in full 

to include the licks and fills and the boogie-woogie left hand patterns, though your 

player can improvise from the chords if need be. The band parts are not demanding, 

and fairly sparse, leaving the pianist a lot of space. No sax doubles. 

BEAVER JUNCTION 



Written by Harry Edison, this chart, whilst still being a punchy swing tune, shows the 

way for others such as Cute, where unison muted trumpets take the melody. There 

are a couple of fine sax soli passages in this arrangement, a small cameo solo for 

trumpet 2, and the Basie piano intro that became something of a hallmark. Not 

technically difficult, this chart requires precision and good section work to do it 

justice. Great for dancing or concert work. No sax doubles. 

BLUE FIVE JIVE 



As originally recorded on Kansas City Suite, this is a medium-tempo chart featuring 

solos for tenor saxophone, trumpet and piano. It is a terrific arrangement that puts 

a lot of emphasis on the saxophone section. Classic Basie! 5-4-3-4 (w/opt. 4th Trb.) 

COME FLY WITH ME 

Transcription by Jon Harpin 


This is Frank Sinatra at his best. This chart is a transcription of Sinatra with the 

Count Basie Band, taken from Sinatra at the Sands. It features the original band 

intro - big, punchy and nearly a minute long - giving you time for a big introduction 

to your vocalist. The chart is also marked with an optional start point, just before the 

vocal, should you wish to shorten things. We have removed a couple of muted 

trumpet fills here and there, to keep things cleaner. There are some sax doubles.Altos 

go to clarinets and tenors to flutes. These doubles add color to the voicings though 

are not vital to the chart. So if your tenor players are fluteless don’t worry too much. 

The vocal is in Bb, with a range from Bb to D (one octave and 3 tones) and has been 

written out to give your vocalist a good feel of Sinatra’s phrasing. 

CORNER POCKET 



Corner Pocket was written by the unsung hero of the Count Basie band, Freddie 

Green, and its title is a reference to the place that Green called his own - the corner 

pocket of the rhythm section. This has been transcribed from the ‘Basie in London’ 

album but the chart has been adapted slightly to make it suitable for 8 brass. There 

are ad-lib solo spots for trumpets 1 & 2 and tenor 1. Basie’s piano solos are written 

out as-played, as is the last 8 measures of the lead trumpet solo because it suggests 

the theme for the final shout chorus at the end of the piece, though your player can 

improvise if desired. There are no sax doubles. A fabulous chart from the height of 

the Basie Band. 


1-518-587-2325 1-518-587-2325 69


CUTE 

Arranged by Neal Hefti 


Cute is one of the great tracks from the Basie band of the 1950s, and one of a series 

written and arranged for the band by Neal Hefti similar to that found on The 

Atomic Mr Basie album. This is the original Hefti arrangement and not a 

transcription, and makes a nice show spot for your drummer. There is not a full 

score with this arrangement, though a conductor lead sheet is included. 

DICKIE’S DREAM 



Another very rare chart, this is named for trombonist Dickie Wells. This was first 

recorded in ‘39 as a 7-piece featuring Wells, Buck Clayton and Lester Young, backed 

by the All-American rhythm section. The tune evolved over time until Basie recorded 

the version that is offered here. The tempo is more relaxed and the harmonic 

structure is modified a little, though the form is still original. This chart features 

trumpet, trombone, tenor and piano, interspersed with backing phrases. All four of 

the solos are written out as-played (chords are included for improv). No sax doubles. 

DUET 



Duet is one of the great tracks by Neal Hefti, from The Atomic Mr Basie album. This 

is a wonderfully laid back chart featuring two of your trumpet players. This is a 

transcription of the original Hefti arrangement, and includes fully transcribed Joe 

Newman and Thad Jones’ solos, scored on trumpet 2 and trumpet 4, plus the piano 

solo and fill-ins. We have rated it as easy/medium, but as with so many charts your 

band will need to be tight to do it justice. There are no sax doubles. 

EVERY TUB 



Another flat-out swing chart from the earlier days of the Count Basie band. Every 

Tub is a quick swing chart featuring tenor sax, trumpet and piano, with loads of 

visual possibilities too, as much of the brass ensemble work uses plungers/fan hats. All 

of the original solos are written out, though your players can improvise over the 

chords if they wish. This is another rare Basie chart. The brass ranges are moderate 

and there are no sax doubles. 

FANCY PANTS 



Funky blues arranged by Nestico and performed by Count Basie. 

FEELIN’ FREE 


Medium $40.00 Cat: 2340 

Arrangement by Sammy Nestico as performed by Count Basie. 

FLIGHT OF THE FOO BIRDS 



Flight of the Foo Birds is one of the great tracks from the Basie band of the 1950s, 

and one of a series done for the band by Neal Hefti, to be found on The Atomic Mr 

Basie album. This is a transcription of the original arrangement, and includes fully 

transcribed trumpet, alto and tenor solos, plus the piano fill-ins and even the 2 bar 

drum solo leading into the shout chorus. This chart really swings. 

GOIN’ ON ***NEW*** 



Benny Carter created a wealth of marvelous, swinging big band music, and this piece 

is no exception. As recorded on ‘The Legend’ by Count Basie, this medium-swing 

chart features solo space for tenor saxophone and piano and the terrific ensemble 

writing for which Carter is so well known. Modest ranges (tpt. high C only) make 

this a great choice for players of all ages and levels of ability. 5/4/4/4 

70 

70 

I LEFT MY HEART IN SAN FRANCISCO 


Easy $65.00 Cat: LL-1075 

This arrangement is based on a 1960s Basie instrumental version, in the Neal Hefti 

style. It is a laid-back, relaxed swinger, mostly in ensemble but with nice counterpoint 

passages of unison altos and trumpets against tenors and trombones. The tenor 

solo can be played as written or improvised, depending on your preference. Likewise 

with the little piano fills and licks. This chart is easy to play and will give that 

wonderful relaxed sound that was the feature of so many Basie arrangements. 

I’VE GOT YOU UNDER MY SKIN [VOCAL] 

Transcribed by Myles Collins & Patrick Gazard 


This chart is a transcription of Sinatra with the Count Basie Band, taken from 

Sinatra at the Sands, and is a must for all male vocalists. Everything has been included, 

from the rumbling baritone sax line, the big trombone build after the first vocal 

chorus, the wailing trombone solo and even the little piano fills and tinkles. We have 

re-scored the saxes to a regular AATTB section and have removed the clarinet & 

bass clarinet doubles from the original, as we recognize that not all bands have a 

bass clarinet at hand. All dynamics are clearly written, and the vocal part replicates 

Sinatra’s performance. The brass ranges are moderate other than the trombone solo 

which is up to high Db, though your player can always improvise on the chords 

provided. A fine addition to any library. Key of Db. 




This Basie chart was scored by Frank Foster, and our version is closely modeled on 

this. It has the same length and structure as the Basie chart, but we have modified 

the sax soli to make it playable by us mortals, though the lead trumpet still needs to 

hit high F. This chart is a Basie classic, and all five and a half minutes swing in the 

groove. We have written out an opening piano solo and another behind the later 

brass chorus, but your pianist can improvise instead. There is also an ad-lib trombone 

solo written on the 1st trombone part. 4th trombone is bass. No sax doubles. 

IT’S OH SO NICE 


Medium $40.00 Cat: 2390 

Arranged by Sammy Nestico and performed by Count Basie. 

JACKSON COUNTY JUBILEE 



As originally recorded on Kansas City Suite, this is an up-tempo swing chart featuring 

solos for tenor saxophone, trumpet and piano. Your band will love playing this happy, 

swinging flag waver. It is a terrific arrangement that will make a great opener or closer. 

Classic Basie! 5-4-3-4 (with optional 4th trombone). 

JAMIE 



This ballad was arranged by Sammy Nestico and performed by Count Basie. 

KATY-DO 



As originally recorded by Count Basie on the Roulette LP (Vogue CD) Kansas City 

Suite - the Music of Benny Carter, this is a slow swing, not unlike Li’l Darlin’ in effect. 

A brilliant, laid-back chart on a lovely melody. Solos are written out (opt.) for tenor 

saxophone, trumpet and piano. Classic Basie! 5-4-3-4 (w/opt. 4th trombone). 

THE KID FROM RED BANK 



The Kid From Red Bank is one of the great tracks from the Basie band of the 1950s, 

and one of a series written and arranged for the band by Neal Hefti to be found on 

The Atomic Mr Basie album. This is the original arrangement and not a 

transcription, and includes the piano solo fully written out. There is not a full score 

with this arrangement, though a conductor lead sheet is included. 


ONLINE!

THE LEGEND 



As recorded by Count Basie on the Roulette LP The Legend, Benny Carter has 

created a marvelous, quiet, “smoky” sounding tune - somewhat in the vein of 

Whisper Not. This is a wonderful piece, so classic in its proportions, melody, harmony 

and its slow, swinging feel. There is solo space for trumpet, tenor sax and a bit of 

piano. Classic Basie! 5-4-3-4 (w/opt. 4th Trb.) 

LESTER LEAPS IN 



First recorded in September 1939, in the same session as Dickie’s Dream, Lester 

Leaps In is a milestone chart which showcased the phenomenal talent of Lester 

Young. The arrangement evolved over time, easing in tempo, lengthening and gathering 

more band backing, until we arrive at this version. This chart simply swings from start 

to finish. All of the tenor solos have been transcribed, also the piano solos and bass 

lines too, though chords are provided on the parts should your players wish to 

improvise. If you have a star tenor player that you wish to spotlight, then Lester 

Leaps In is a perfect choice. There are no sax doubles. 

LI’L DARLIN’ 



Li’l Darlin’is one of the great tracks from the Basie band of the 1950s, and one of a 

series written and arranged for the band by Neal Hefti to be found on The Atomic 

Mr Basie album. This is the original arrangement and not a transcription, and 

includes fully written out muted 4th trumpet solo. There is not a full score with this 

arrangement, though a conductor lead sheet is included. 

LONELY STREET 



This Nestico ballad arrangement features alto saxophone. 

MAGIC FLEA 



This Nestico arrangement is fast swing for advanced bands. 

MEETIN’ TIME 




Suite - the Music of Benny Carter, this is a medium slow Swing with more than a 

tinge of Gospel flavor. The trombone section gets the call and the saxophones 

respond. A delightful, happy chart with solo space for tenor saxophone and trumpet 

(written out solos opt.). Classic Basie! 5-4-3-4 (w/opt. 4th trombone). 

MISS MISSOURI 




Suite - the Music of Benny Carter, this is a medium Shuffle which features solos for 

piano, tenor saxophone and trombone. This melody will stick with you for a long 

time. Benny was the best at creating those tight, soft, Basie ensemble choruses, and 

this one has it all. Classic Basie! 5-4-3-4 (w/opt. 4th trombone). 

MOTEN SWING 

Arranged by Ernie Wilkins 


There have been a lot of published charts on this tune, but this is the original version 

as played by and recorded by the Count Basie Orchestra. This chart should be in 

every jazz band library! Wonderful roaring ensemble passages and soft, soft sections 

which will make your band sparkle. A guaranteed winner. 5-4-4-4 

MOTEN SWING 


Medium $40.00 Cat: 32413010 

This classic blues was a standard of the Count Basie Orchestra for many years, and 

Sammy Nestico’s very playable version for young groups really cooks! 


ONE O’CLOCK JUMP ***NEW*** 


Difficult $50.00 Cat: JEM04019 

This is a transcription of the original arrangement. Meticulously notated with Basie's 

simple but timeless piano solo plus transcribed solos for tenors 1 and 2, trombone, 

trumpet, bass and the mother of all Basie swinging shout choruses. 

ORANGE SHERBET 



This bright chart features trombone ad lib or written solo. 

PASEO PROMENADE 




Suite - the Music of Benny Carter, this is a medium-up Swing chart that everyone will 

love to play. The saxophones get a workout, and there is solo space for tenor 

saxophone, trombone and piano. Soft, exciting ensemble work makes this chart a 

true delight. Classic Basie! 5-4-3-4 (w/opt. 4th trombone). 

PENNIES FROM HEAVEN ***NEW*** [VOCAL] 



Frank Sinatra and Count Basie combined brilliantly on their 1962 album ‘Sinatra- 

Basie,’ featuring arrangements by Neal Hefti. From Basie’s opening intro right to the 

last note this chart was and still is a classic. It has been transcribed here by Jon 

Harpin, and adapted from the original 5 trumpet 3 trombone studio line-up, to a 

more regular 4-4 section, with the bass trombone on 3rd and an optional 4th 

trombone part. The vocal key is Ab and there are no sax doubles. 

PLAIN BROWN WRAPPER 



This chart was recorded by the Count Basie Orchestra on the CD I Told You So. This 

is a rip-roaring, swinging chart. It starts with trombones and rhythm setting the time 

with simple halfnote figures. The saxes and trumpets join in with a swinging, exciting 

series of lines! One of the great shout choruses of all time! Features solo space for 

tenor sax, trombone, piano and drums. A great closer for your programs.5-5-4-4 

POUND CAKE 



Pound Cake is Basie doing what he did best - pumping out swinging blues-based riff 

charts. This chart also features a rarity - a long solo spot for baritone sax, and there 

are other solos for alto 1 (cued on 2), tenor 1 (cued on 2), trumpet 2 and piano. All 

of the solos are written out, the brass ranges are very moderate and there is loads 

of brass fan hat (or plunger) work, so the visual appeal is high too. 

THE QUEEN BEE 


Medium $42.00 Cat: 2460 

This Nestico arrangement was performed by Count Basie. 

RED BANK BOOGIE ***NEW*** 



Red Bank Boogie is a classic Basie piano feature, and the piano part is written out in 

full. This chart evolved over time, as many of Basie’s charts did. The original was 

possibly a little ‘corny’ perhaps, with the piano line being played in typical stride style. 

This later version was played using far fewer notes, with less emphasis on the left 

hand, and it swings all the better for it. However, it is a quick chart and you will still 

need a pretty good pianist to do it justice. There are no sax doubles. 


1-518-587-2325 1-518-587-2325 71


ROLL ‘EM PETE ***NEW*** [VOCAL] 



The Joe Williams/Count Basie partnership was a rich one indeed, and together they 

produced many fine recordings. Roll ‘Em Pete, from the early ‘70s, is one of the best, 

with Williams improvising around the original blues line. The band backings support 

the vocalist all the way, and there is also a 2 chorus solo spot for tenor 1. The 

trombone solo fill-ins behind the first two choruses and the tenor fills after the solo 

have been written out. The vocal sheet is written out as sung, and there are no sax 

doubles. Although the band had 5 trumpets during the recording session, this chart 

has been adapted to 4. The vocal key is B flat. 

ROMPIN’ AT THE RENO 




Suite - the Music of Benny Carter, this is a fast Swinger that will be a lot of fun for 

your band. Tight, rhythmic ensemble passages make this a joy to play and hear. Your 

audiences will really respond to this one. Classic Basie! 5-4-3-4 (w/opt. 4th Trb.). 

SAMANTHA 


Easy $35.00 Cat: 2601 

Ballad, tenor sax feature arranged by Sammy Nestico and performed by Basie. 

SCOOT 



A wonderful chart from the pen of Neal Hefti. Scoot is almost all muted and fluted, 

originally with Frank Wess’flute paired with tightly plugged trumpets (using a mix of 

mutes) to generate a relaxed but closely confined sound. The chart is quite quick 

and will need nimble fingers from your trumpets, but once they get their fingers 

round it the chart will snap into place. The flute solo is ad-lib, and the saxes are on 

flute, alto, 2 tenors & baritone. We have cued the flute solo chords onto the alto 2 

part in case you don’t have a flautist. The chart is playable without the flute lead. 

SHORTY GEORGE 



Shorty George was first recorded by the Count Basie Orchestra in 1938, and 

proved to be one of his early big hits, and has become a ‘must-have’ tune for Basie 

fans. It is up-tempo swing chart which featured Basie and his three big soloists - 

Buck Clayton (trumpet), Lester Young (tenor) and Dicky Wells (trombone). We have 

written out the original solos for you, though your players can improvise on the 

chords provided too. This arrangement is really punchy and powerful, with some 

great sectional interplay and big ensemble passages. We have also written in the licks 

and fills on the drum part. There are no sax doubles. 

SMACK DAB IN THE MIDDLE 


Easy $42.00 Cat: 2605 

This jazz shuffle was arranged by Nestico and performed by Basie. 

SPLANKY 



Splanky is one of the great tracks from the Basie band of the 1950s, and one of a 

series written and arranged for the band by Neal Hefti to be found on The Atomic 

Mr Basie album. This is the original arrangement and not a transcription, and 

includes fully written out tenor and piano solos. There is not a full score with this 

arrangement, though a conductor lead sheet is included. 

SPLANKY 


Medium $45.00 Cat: WBRP2021 

Your band will shine on this medium tempo chart and the ensemble writing will have 

the band sounding just like Basie. Solo space provided for 1st tenor sax, 2nd 

trumpet and 1st trombone, accessible brass ranges, add the Basie-style rhythm 

section fills and you have a superior chart that will stand the test of time. 

72 

72 

STRAIGHT AHEAD 



Arranged by Nestico and performed by Basie. 

STRIKE UP THE BAND 


Advanced $60.00 Cat: 7011065 

From the Basie library, this classic flag-waver from the pen of Sammy Nestico is 

available again! A true tour de force for every section of the band, this monster chart 

features blistering brass, wailing saxes, a tenor solo, and a great full ensemble shout. 

SUNSET GLOW 



As originally recorded by Count Basie on the Roulette LP ‘Kansas City Suite - the 

Music of Benny Carter,’ this is a beautiful ballad, written to feature trombone 

throughout. The middle section features the saxophones in one of Benny’s patented 

sax choruses. 5-4-3-4 (w/opt. 4th trombone). 

SWEET GEORGIA BROWN ***NEW*** 


Difficult $60.00 7011063 

As recorded by Count Basie on ‘Prime Time,’ here is the magnificent Nestico flagwaver 

to end all flag-wavers! Combine a wonderful standard tune with solos for 

piano and tenor along with some of Sammy’s finest ensemble writing ever, and you 

have a highlight for any concert or festival. Classic chart! 

SWINGIN’ THE BLUES 



An up-tempo chart that swings from beginning to end, with solo space for trumpet, 

both tenors, piano and drums. All solos and the piano/bass/guitar parts are chord 

based. A nice punchy chart from the Basie book. 

TEDDY THE TOAD 



This is NOT the Hefti stock chart that was issued many years ago. This is the 

complete Basie version, and a nice trombone sectional feature. The chart is written 

for 2 tenors and 1 bass trombone, with an optional 4th (tenor) trombone part. The 

Basie band only recorded this tune three times, once on the Atomic album, once live 

in 1958 and again live in 1959. The live takes were played quicker! All three versions 

has been drawn from to recreate this swing classic. The piano part has all of the little 

fills and licks written in, as does the drum part, and the trombone parts are written 

as they were played, including the over-emphasised dragged notes and the lovely 

unison trombone ending with the band whisper quiet behind, so that your band will 

be able to recreate the authentic Basie feel. There are no sax doubles. The lead 

trombone hits a high C, hence we have rated the chart as medium. 

THAT WARM FEELING 



This ballad arrangement was performed by Count Basie. 

TICKER 



This chart was recorded by the Count Basie Orchestra on the CD I Told You So. 

Another hip, blues chart from Holman’s Basie LP. Piano, tpt., and tenor sax solos, with 

a very neat saxophone section Soli. Great shout choruses. Well within the abilities of 

any good band. Cond. Score/parts for 5-5-4-4 instrumentation. (condensed score) 

TICKLE TOE 



Tickle Toe is a real tenor sax feature. This chart, with the usual Basie combination of 

flowing sax lines and punchy brass, is written in a minor key, giving it a haunting 

tonality. Quite quick, at 210 bpm, the chart itself is not technically too demanding, 

once your sax players have got their fingers around the tune. All of the solos have 

been written out (tenor, trumpet and piano) and the chords too, should your 

players want to improvise. No sax doubles and the brass ranges are pretty moderate. 


ONLINE!

TOO CLOSE FOR COMFORT 



Count Basie recorded this on the wonderful CD I Told You So. This is a happy, 

cookin’ chart by Holman, with solos for tenor saxophone and piano. It is a guarantee 

that your band will LOVE playing this one, and your audiences will love hearing it. 

The final “shout” chorus is amazing! 5-5-4-4 (4 tpts. works as well) 

TREE FROG 



This chart was recorded by the Count Basie Orchestra on the CD I Told You So. This 

is yet another terrific Holman chart written for that band! A medium-tempo shuffle 

that just swings and swings! There is solo space for a bucket-muted trombone, 

piano and an optional high trumpet part in the shout chorus. Tree Frog is a 

wonderful chart, written for and recorded by the great Basie Band. 5-5-4-4 

TUNE TOWN SHUFFLE 



Here is a fabulous swing dance chart from the Count Basie orchestra of 1941, and 

if you play to a dance crowd, then this chart is a must-have number. After a punchy 

opening, the tune itself is just so bouncy that it makes your feet tap without you 

realizing. The chart also features a wonderful bridge, leading to an ad-lib piano solo, 

then some great brass passages which give ample opportunity for plenty of fan-hat 

waving. The chart is then lifted higher by two chromatic key changes, an ad-lib tenor 

solo and the final short shout chorus to finish. A rare jewel from the Count Basie 

book. There are no sax doubles. 

UNTIL I MET YOU (CORNER POCKET) ***NEW*** 


Easy $35.00 Cat: 7470693 

One of the all-time classic charts from the Count Basie Band is this gem penned by 

long standing guitarist Freddie Green. Available for the first time in an arrangement 

for beginning bands, Michael Sweeney has crafted an authentic-sounding version 

that will work great for festivals or concerts. From the opening strains to the final 

shout chorus, the Basie style shines through. 

UNTIL I MET YOU (CORNER POCKET) ***NEW*** 



One of the classic arrangements from the Count Basie Orchestra is adapted for 

younger bands in this authentic-sounding version by Mark Taylor. The signature 

piano intro is scored for trumpets in mutes and all the familiar ensemble passages are 

included. There are brief solos for trumpet and tenor before the well-known shout 

chorus closes it out. A must for all bands. 

VINE STREET RUMBLE 




Suite - the Music of Benny Carter, this is a medium-up Shuffle feel, with solos for 

tenor saxophone and piano. The sax section plays the tune in unison while the 

brass interject those terrific rhythmic figures that Carter wrote so well. Soft, tight 

ensemble passages swing like crazy and raise the roof when played yet again up an 

octave and very powerfully. Classic Basie! 5-4-3-4 (w/opt. 4th Trb.). 

WHIRLY BIRD 


Advanced $65.00 Cat: LL-2412 

Another beautifully crafted piece from the Basie Band, featured on the Atomic Mr 

Basie album. Written by Neal Hefti, this chart is aptly named. It is a flat-out, driving 

swing chart that features piano and tenor. Basie’s solos are written out, but the 

tenor solo has been left open. This arrangement is advanced, not because of the 

speed of it, but because the trumpets need to play up high. The lead goes to a 

written high F. Originally written for 7 brass, a 4th trombone part has been added. 

The bass trombone is on the 3rd part. There are no sax doubles. 

BASIE/LOUIE BELLSON/LES BROWN 

WHO’S BLUE ***NEW*** 



One of the great Basie recording was ‘The Legend,’ of which all the pieces were 

Benny Carter originals. This chart is from that recording, and it is a wonderfully 

soulful piece, set in a slow swing tempo. There is solo space for piano and trumpet. 

This is a simple, elegant 16-bar tune that Benny sets in his wonderful fashion. This 

bluesy chart will be a favorite with everyone. Very modest brass ranges (1st tpt. high 

Bb only) make this is must for any band. 5/4/4/4 

THE WIGGLE WALK 




Suite - the Music of Benny Carter, this is a medium tempoed Swing chart featuring 

solos for tenor saxophone, trumpet, trombone and piano. There are lots of great 

ensemble passages and rhythmic hits in the brass. And the saxophones have their 

time in the spotlight. Classic Basie! 5-4-3-4 (w/opt. 4th trombone). 

WIND MACHINE 



This up-tempo chart from the Count Basie library features a tenor sax solo. 

YA GOTTA TRY 



Arranged by Sammy Nestico and performed by Basie. 

AS PLAYED BY LOUIE BELLSON 

SKIN DEEP 



A great swing chart from the pen of Louis Bellson, this opens with a big half-time 

fanfare and then breaks into up-tempo swing. The saxes lead the first chorus and 

the brass are loud and punchy. With some great unison runs and trombone passages, 

the drums drive this number. There are four drum solo passages, with the last one 

being as long as you like. It leads the band into a huge climactic finish. 

AS PERFORMED BY LES BROWN 

BIZET HAS HIS DAY 

Arranged by Bob Martin 

Medium Difficult $65.00 Cat: LL-99977 

Made famous by the Les Brown Orchestra, this tune is one in a series of numbers 

where a classical theme is given the swing treatment. From a piano opening phrase, 

echoed by trombones, the lower saxes enter with the fugue, the altos vary it, and 

trumpets are layered on top, to arrive at the tutti swing phrase. Solos for Alto 2, 

Trombone 2 and Piano. Lead alto doubles clarinet, Baritone doubles alto. Lead 

trumpet to high C. A moderately easy chart and really effective in any band library. 

LEAP FROG 



One of the more famous tunes from the Les Brown Orchestra, Leap Frog is one of 

those charts that gets feet tapping and dancers dancing. It simply bounces from 

start to finish. Technically, this is a straightforward chart to perform, and we have 

written out the four sax cameo solos (one each for Alto 1 on Clari, Alto 2 and both 

Tenors) and also the drum part complete with the little fills and licks that help power 

the chart along. There are also two short ad lib drum solos, taken mostly on the 

snare. If you play to a swing dance crowd they will lap this up! 


1-518-587-2325 1-518-587-2325 73

BOBBY DARIN/TOMMY DORSEY 

SENTIMENTAL JOURNEY ***NEW*** [VOCAL] 

As Performed by Doris Day with Les Brown 


Easy $65.00 Cat: LL-2039 

Co-written by Les Brown for his own Orchestra, this was a great hit for Doris Day, 

and this version remains as the definitive standard for the tune. It has to be played 

bluesy, laid back, softly and not too fast! The brass lines at the end of the first chorus 

emphasise the ‘drag’ and the tenor solo behind the vocal re-enforces the lazy feel. 

Key of A, the range is from A below, to B above middle C. Lead alto doubles clarinet. 

74 

74 

AS PERFORMED BY BOBBY DARIN 

BEYOND THE SEA [VOCAL] 



Bobby Darin had a big hit with this tune, and other singers hae also covered it very 

successfully. We have transcribed the Darin chart here, except that there are no 

strings in our version. Instead we have given the relevant lines to the saxes, adapting 

the phrasing to improve the swing. The vocal is as per Bobby Darin’s delivery, and we 

have also included an optional repeat at the end of the chart, to extend the play 

out, plus have written a definite ending, because the recorded version fades, and 

fade-outs are not good for live perfomances! There are no sax doubles. Apart from 

the lead trumpet having to reach a written high D# the brass parts are not 

demanding, and the chart will be a certain crowd pleaser. Vocal key F. 

CLEMENTINE [VOCAL] 


Medium $65.00 Cat: LL-99409 

Clementine is simply great fun. This Bobby Darin version is in a similar style to his 

more well known Mack the Knife, with successive half-step modulations, and a band 

backing that builds and builds to a huge finish. We have accurately notated Bobby’s 

vocal line and phrasing, and written the rhythm parts as-played, where they are 

most important to the feel of the chart. No sax doubles.Vocal Keys: E flat to A flat. 

AS PERFORMED BY TOMMY DORSEY 

BIRMINGHAM BOUNCE [VOCAL] 



This is a post-war chart from Dorsey, featuring the singing and trumpet of Charlie 

Shavers. This is a very good dance chart and it has a lot of nice features - vocal stops, 

hand claps, powerful ensemble passages, a solo spot for tenor and some screaming 

trumpet licks too. As the name suggests, this chart really bounces along. We have 

rated it medium difficult, as the trumpet soloist has a written high F and the 

trombones need to reach Bb. Birmingham Bounce is a refreshing change to the usual 

vocal fare. The key is Eb and would suit a high baritone or an alto. 

EASY DOES IT 



This is another classic but underplayed chart from Dorsey, written by Sy Oliver. This 

chart is a medium tempo swing chart with a 2-beat feel that dancers might describe 

as a Shag. It glides along if taken at the right tempo. The chart features your lead 

trombone and tenor 1. The trombone lead is cross-cued onto the 3rd trumpet part, 

should the range prove too high for your player, and we have transcribed fully the 

original tenor solo, though he/she can improvise. Both altos double clarinets. 

I’M GETTING SENTIMENTAL OVER YOU 


Medium $65.00 Cat: LL-99993 

This is the theme tune for the Dorsey Band, and perhaps the definitive solo vehicle 

for trombone, where the melody brings out the best of the instrument. This 

arrangement is true to the original, with the solo part written on 1st trombone, 

excepting that the sax backings are not taken on full section clarinet doubles 

(including bass clarinet), but have reverted back to standard sax section voicing to 

avoid awkward, and nearly impossibly quick changing of instruments. There is a solo 

trumpet part that is a duplicate of the trombone solo. 

LOOSE LID SPECIAL 


Medium $65.00 Cat: LL-22250 

In many ways this Sy Oliver chart written for Dorsey was ahead of its time, with its 

floating tonality and dissonant voicings. It has an almost ethereal feel to it, with huge 

contrasts in dynamics throughout the chart. All original solos have been written out 

(trombone-Dorsey and trumpet-Elman), and have notated the drum part in full, 

with all the little licks and fills needed to recreate the original. The trombone solo is 

also cross cued onto the 3rd trumpet part, should your player not be able to reach 

a high C. There are no sax doubles and the chart has been re-scored to 8 brass. 

THE MINOR GOES MUGGIN’ ***NEW*** 



The Tommy Dorsey Orchestra is most often remembered for a lush trombone 

sound, the band also produced some extraordinarily powerful swing numbers, and 

not many were better than this one. Written by the great Sy Oliver, this quick minor 

swing chart is raw, raunchy, powerful and full of surprises. It features your lead 

trombone, 2nd alto, 2nd trumpet, 1st tenor and piano. All original solos have been 

written out. The only sax double is 2nd alto on clarinet for the last 2 bars. All 

trumpets hit high C, and all trombones hit high Bb. 

ON THE SUNNY SIDE OF THE STREET 



Made famous by the Tommy Dorsey Orchestra, this instrumental version of Sunny 

Side of the Street is taken from the vocal version. The form and structure is based on 

the original Dorsey version, including the unique intro, where we have written out 

the bass ‘solo’and piano fills too. The lead trumpet range in the last bar goes to a high 

F, but we’ve cued alternative notes which keep the range here to top C#. No sax 

doubles, and the brass ranges are moderate. The saxes take the ‘vocal’chorus, 

backed by trombones and trumpets. Vocal version cat: LL-23223V. 

OPUS ONE 



Another classic from the pen of Sy Oliver, and a famous tune for the Dorsey band, 

though much copied and adapted by other bands. Anita O ’Day recorded a vocal 

version with Gene Krupa, and Ted Heath used it as a stock chart. This is as per the 

original, though it lacks the strings used by Dorsey in the original arrangement. String 

parts can be provided on request. Both alto saxes double clarinet (for the great 

middle passage of clarinets over a pair of muted trumpets), and the lead alto takes 

both clarinet solos, which we have written out. Likewise, the piano solo is written 

out too. This is a medium to advanced chart in terms of difficulty. By far the trickiest 

bit is the semi quaver, semitonal sax run which introduces the key change into the 

last chorus. Nimble fingers are needed! 

SONG OF INDIA 



This Dorsey classic is another great solo spot for trombone. Based on a tune by 

Nikolai Rimsky-Korsakov, the original arrangement was by Tommy Dorsey himself. A 

well known piece, Song of India was originally scored for just 6 brass. We have 

augmented the chart to a full section of 8 brass. The trombone and trumpet solos 

are written out in full, though your 2nd trumpet player can improvise a solo from 

the chords given. This arrangement sounds like the original article, and includes the 

clarinets (altos 1 and 2) scored in the intro. All dynamics and articulations are given, 

and these are particularly important to give the chart its correct feel. We have rated 

this as a medium difficulty chart, though the 1st trombone does go to high C. 

SWANEE RIVER 



This Dorsey classic is based on a 1944 version, when the Dorsey band was at its 

height. The arrangement went on to be used by the later Dorsey band under the 

direction of Warren Covington. It is longer than earlier versions, and also longer than 

the stock chart, with additional solo space for trumpet and tenor sax. The 

backgrounds and fill-ins are complete, as are all of the dynamics and mute/hat 

QUESTIONS? 

indications for the brass. We have included the famous Ziggy Elman trumpet solo 

which forms the first half of the trumpet’s solo space. 

CALL US! 

1-866-995-5782 


ONLINE!

T.D.’S BOOGIE WOOGIE ***NEW*** 



Tommy Dorsey first recorded a version of Clarence Smith’s Boogie Woogie in the late 

1930s. This chart is not it. It’s his much better effort which is known as T.D.’s Boogie 

Woogie, and is an excellent development of the original, featuring piano. The piano 

part has been written out in full, and be warned, it is not easy. We have also written 

out T.D.’s closing trombone solo. This chart takes great sectional and ensemble 

discipline to make it sound right, so your players will need to be on top form. Both 

altos and both tenors double clarinet. 

WELL GET IT 



Sy Oliver wrote a number of memorable charts for the Tommy Dorsey Orchestra, 

such as Opus One and Swanee River. However, Well Get It is one of his finest, and yet 

not best known. A thumping swing chart that features first and second trumpet in 

a great duet near the end, and also including the original (written out) solos for 

trombone, clarinet and tenor. If you play to a jive or jitterbug crowd they will love 

this. Be warned though: it is a tough blow for the trumpets. The lead range is to high 

G and the second to high D. Second alto takes the clarinet double. 

AS PLAYED BY DUKE ELLINGTON 

ALMOST CRIED 

Transcribed by David Berger 

Medium $50.00 Cat: JLCM001 

From the Jazz at Lincoln Center Library collection. This transcription is direct from 

the recordings of Duke Ellington, and they are not only authentic, they are perfect 

for your jazz ensemble. Features information about the original recording, rehearsal 

notes from Jon Faddis and Brent Wallarab, and performance suggestions from 

Wynton Marsalis. Ellington recorded this in 1959 for the film 'Anatomy of a Murder'. 

Trumpet feature written for Shorty Baker. Instrumentation: 2 altos, 2 tenors, baritone, 

2 trumpets, 3 trombones, and bass/drums - no guitar or piano parts. 

BLACK AND TAN FANTASY 


Difficult $50.00 Cat: JLC9801 





Wynton Marsalis. This was recorded by Duke Ellington in 1945. 5/4/3/4 

BLI BLIP 


Difficult $50.00 Cat: JLCM03001 





Wynton Marsalis. This was recorded by Ellington in 1941. Instrumentation: 2 alto 

saxophoes; clarinet; tenor saxophone; baritone saxophone; 3 trumpets; 3 trombones; 

and 4-piece rhythm section. 

BLUE CELLOPHANE 


Advanced $50.00 Cat: JLCM008 


the recordings of Duke Ellington. Features information about the original recording, 

rehearsal notes from Jon Faddis and Brent Wallarab, and performance suggestions 

from Wynton Marsalis. Medium swing. This was written as a trombone feature for 

Lawrence Brown. Instrumentation: 2 altos, 1 tenor, baritone, 3 trumpets, 3 trombones, 

4-piece rhythm section, and orchestra bells. 

TOMMY DORSEY/DUKE ELLINGTON 

BLUE FEELING 







Wynton Marsalis. Ellington recorded this in 1934. Instrumentation: 2 altos, tenor 

sax, baritone sax, 3 trumpets, 3 trombones, 4-piece rhythm, and orchestra bells. 

C JAM BLUES 

Arranged by David Pugh 

Medium Easy $40.00 Cat: JE9834 

The Duke Ellington classic in a straight ahead easy version for developing jazz 

groups. David Pugh is a young writer to watch. His charts over the past two years 

have really been nice. in this classic, David has kept it playable, but has worked in 

some great ensemble work, including a nice sax tutti section. 

C JAM BLUES 


Easy $35.00 Cat: 7470604 

Finally, this Ellington classic is available for even the most inexperienced bands. For 

starters, this version is in Bb rather than C. Rick features the saxes on the melody 

with inventive brass counterlines, and later a marvelous ensemble tutti section that 

starts soft then builds to the end. An absolute must! 

CARAVAN 



Here’s a fresh version of this Ellington classic done in a Latin style that really sizzles. 

Solid and creative writing for the entire ensemble. 

COME SUNDAY 



From Duke Ellington, comes this hauntingly beautiful ballad. Mike’s outstanding 

setting features a lush ensemble sound plus solos for alto and piano. 

COTTON TAIL 







Wynton Marsalis. Recorded by Ellington in 1940. Solos for trumpet, tenor saxophone 

and baritone saxophone. Instrumentation: 2 altos, tenor 1 doubles on clarinet; 

tenor 2, baritone saxophone; 3 trumpets; 3 trombones and 4-piece rhythm section. 

COTTON TAIL 

Transcribed by Mark Taylor 

Medium $50.00 Cat: 7010802 

Here is the classic Ellington swinger in a fabulous version for younger players. The 

drive and excitement of the original is still there as Mark starts out with a small 

combo of 2 tenors and 2 trombones, then gets the full band involved. Includes solos 

for alto and/or trombone and also for trumpet and/or piano. This chart will sound 

great with any band! 

DIMINUENDO AND CRESCENDO IN BLUE 






from Wynton Marsalis. This was originally recorded by Duke Ellington in 1937 and 

helped him re-gain the spotlight following his 1956 appearance at the Newport 

Jazz Festival. During the performance of this tune Paul Gonzalves brought the 

audience to near riot with his legendary 27-chorus solo. Instrumentation: 4/4/3/4 - 

tenor doubles on clarinet. 


1-518-587-2325 1-518-587-2325 75

D U K E E L L I N G T O N 

DO NOTHIN’ TILL [VOCAL] 

YOU HEAR FROM ME 


Medium $40.00 Cat: 7500101 

One of the true gems from the Ellington catalog of great songs, here is a marvelous 

setting for vocal soloist with jazz ensemble. The style is slow swing, and the mood is 

sensuous and lush. Key of Eb. 

DO NOTHIN’ TILL YOU HEAR FROM ME 

Arranged by John Berry 

Easy $35.00 Cat: 7010732 

In this Ellington favorite, John Berry stays true to the original medium slow swing in 

a well crafted arrangement that is very playable by inexperienced bands. Alto sax is 

featured at the top and later the melody is passed off to the trumpet section. Also 

included are written or ad lib. solos for alto sax and trumpet. 

DON’T GET AROUND [VOCAL] 

MUCH ANY MORE 


Medium $40.00 Cat: 30325013 

Key of Ab. 

DON’T GET AROUND [VOCAL] 

MUCH ANYMORE 

Arranged by Dave Wolpe 


This beautiful arrangement is the perfect way to feature your best vocalist. Dave’s 

chart is very sweet. The vocalist gets an opportunity to trade licks with the band 

and even do a little improvisation. Duke Ellington and Dave Wolpe make for a great 

combination! Key of F. 

EIGHTH VEIL 







Wynton Marsalis. This is a trumpet feature, beguine chart. Instrumentation: 5/4/3/2 

- clarinet double. No piano or guitar parts. 

HALF THE FUN 







Wynton Marsalis. This beguine was originally arranged by Billy Strayhorn and recorded 

by Duke Ellington in 1956. Trumpet 1 plays a cowbell. Instrumentation: 2 altos; 

tenor 1 doubles on clarinet; tenor 2; baritone saxophone; 4 trumpets; 3 trombones; 

and 3-piece rhythm section - no guitar. 

HAPPY-GO-LUCKY LOCAL 



This transcription is direct from the recordings of Duke Ellington. Features information 

about the original recording, rehearsal notes from Jon Faddis and Brent Wallarab, 

and performance suggestions from Wynton Marsalis. This movin' shuffle arrangement 

starts with a piano-bass into. Following that duo, an alto solo enters (this was 

written). The arrangement is meant to evoke the sound and feel of a train. 

Instrumentation: 5/5/3/3 - tenor saxophone 2 doubles on clarinet. 

76 

76 

HARLEM AIRSHAFT 







Wynton Marsalis. Instrumentation: 5/3/3/4 

I LET A SONG GO OUT OF MY HEART 



This transcription is direct from the recordings of Duke Ellington. Features information 

about the original recording, rehearsal notes from Jon Faddis and Brent Wallarab, 

and performance suggestions from Wynton Marsalis. Ellington recorded this in 

1938 for the Brunswick label. Instrumentation: 2 altos, tenor (doubles on clarinet), 

baritone, 3 trumpets, 3 trombones, and 4-piece rhythm. 




Classic Ellington swinger! Gordon’s medium tempo chart features the saxes at the 

start and them lets the ensemble carry it and build to the alto solo. This one goes 

down smooth. 



Difficult $45.00 Cat: 32609020 

I’M BEGINNING TO SEE THE LIGHT [VOCAL] 


Medium $40.00 Cat: 7500027 

This Ellington classic is one of the best swing tunes. This makes an outstanding vocal 

feature, yet your band will have a great time with it as well. Key: C to E flat. 

I’M JUST A LUCKY SO AND SO ***NEW*** 


Medium $50.00 Cat: 0-JLCM05006 

This classic Ellington vocal ballad starts features an eight bar alto solo leading into 

the vocal. The trombone solo at the end features nice sax backgrounds. Key of G. 

I’M JUST A LUCKY SO AND SO 



The trombones get first crack at the melody in this great Ellington shuffle tune 

before the entire band joins in. Written in a medium tempo and featuring nicely 

scored ensemble writing, solos are included for tenor sax and trumpet. 

I’VE JUST SEEN HER 







Wynton Marsalis. This was recorded in 1962 by Ellington. This ballad features tenor 

saxophone. Instrumentation: 5/4/3/2 - no piano or guitar parts. 


Arranged by Paul Cook 

Easy $30.00 Cat: JE9548 

This great song (from the all-time great, Duke Ellington) is arranged here for beginning 

groups. Written for six brass and five saxes, it can be played by three saxes and three 

brass. Ranges are controlled for young players and the rhythms move vertically for 

easy performance. Guaranteed success with this chart. 




Mike Tomaro has beautifully adapted this well-known Ellington classic to feature 

tenor saxophone. With flowing melodies and a lush orchestration this is the perfect 

ballad for contests or festivals. 


ONLINE!




This is an outstanding easy setting of one of Ellington’s best-known ballads. Nicely 

scored for an effective performance by inexperienced bands. 

ISFAHAN 



The songwriting team of Ellington and Strayhorn is legendary. This is one of their 

lesser known tunes, but certainly not less in effectiveness in the able hands of Frank 

Mantooth. Alto and flugelhorn are featured off the top in this medium swing chart, 

then the rest of the ensemble joins in with some very effective scoring textures. The 

open solo section gives this chart added flexibility. 









Wynton Marsalis. Features vocalist - key of F minor. Instrumentation: 3/3/2/4 - 

Saxophones: alto/baritone; alto; tenor/clarinet. 

IT DON’T MEAN A THING 



Easy $35.00 Cat: 7470508 

Introduce the music of the Duke to your beginning groups with this great sounding 

easy version. The rhythms have been simplified but the style is authentic. 



Arranged by Jerry Nowak 

Medium $40.00 Cat: 7500039 

Comfortable for just about any singer, Jerry’s swingin’ chart on this classy jazz 

standard is a perfect addition to any program. Key of Cm (E flat). 





This arrangement is done in a salsa style and features tenor saxophone and a 

vocalist. Vocal key: Bb. 





More Duke Ellington magic! This chart sells itself... the vocal group is just the frosting 

on the cake. The voice leadings are good and the band cooks along well. 

JACK THE BEAR 







Wynton Marsalis. This was recorded by Ellington in 1940. Instrumentation: 5/3/3/4 

- saxophone 3 doubles on clarinet. 


JUMP FOR JOY [VOCAL] 







Wynton Marsalis. Medium-fast swing. Vocals begin halfway through the tune. Key of 

Eb goes to Bb during vocals. Instrumentation: 5/4/3/4 plus vocalist. 

KINDA DUKISH/ROCKIN’ IN RHYTHM 







Wynton Marsalis. The rhythm section begins with the tune Kinda Dukish then the 

full band begins with the familiar standard Rockin in Rhythm. Instrumentation: 5/4/ 

3/4 - comes with optional guitar part. 

KO-KO 


Medium Difficult $50.00 Cat: JLCM02001 





Wynton Marsalis. This was recorded in 1940 by Ellington. Minor blues. 

Instrumentation: 5/3/3/4 

LAUNCHING PAD 







Wynton Marsalis. 

MAIN STREET 








MOOD INDIGO 


Easy $35.00 Cat: 7470556 

What better way to introduce the magic of Duke Ellington to your beginning 

players than with this very easy version of one of the Duke’s most revered standards. 

The style of the original version is preserved with the opening small group statement 

(alto, tenor, 2 trumpets, and trombone). From there the tune is passed alternately to 

the full ensemble, sax section, brass section, and finally back to the small group. 

MOOD INDIGO 









1-518-587-2325 1-518-587-2325 77


MOOD INDIGO 



Combine the music of the legendary Duke Ellington with the contemporary arranging 

genius of John Clayton, and get ready to hear Mood Indigo like you’ve never heard it 

before! Written in a slow swing style, this smooth chart is written with harmonic 

sophistication and emotional depth. From the velvety soft passages to the powerful 

full band hits, this is an impressive setting. Includes solos for trombone and tenor. 

NEVER NO LAMENT/ 

DON’T GET AROUND MUCH ANYMORE 







Wynton Marsalis. This was recorded by Duke Ellington in 1940. Features solos for 

alto saxophone and trumpet. Instrumentation: 5/3/3/4 

OCLUPACA 


Medium $50.00 Cat: JLC9901 





Wynton Marsalis. Recorded by Duke Ellington in 1968. This Latin chart features a 

tenor solo. Instrumentation: 5/(alto saxophone 2 doubles on clarinet) 4/3/3 

PERDIDO 

Transcribed by Klauss Lessmann 

Easy $65.00 Cat: LL-1158 

Perdido was one of Duke Ellington’s early big hits. Many arrangements have been 

made of this chart over the years - lots of them at a flat out tempo. The Duke’s 

version is a very laid-back swinger that chugs along in a steady groove. The chart 

opens with a cameo piano solo, the baritone saxophone picks up the tune and 

improvises on the repeat, with the brass plunger figures pulsing away behind it. The 

middle 8 is taken as a Trumpet solo (written out) and on it goes! This chart is a solo 

feature for tenor 2 and trumpet, as both have improvised solos, and there is a lovely 

example in the last chorus of the sort of instrumental voicings for which the 

Ellington band was later so famous. Tenor 1 doubles clarinet and there are no other 

sax doubles. 

PORTRAIT OF LOUIS ARMSTRONG 







Wynton Marsalis. Recorded in 1970, this tune is from the New Orleans Suite. As the 

title would suggest, it is a trumpet feature. 5/5/3/3. Trumpet range to high C. 

PRELUDE TO A KISS 


Medium $50.00 Cat: JEM03005 

A superb feature for baritone saxophone, this is one of Ellington’s more beautiful 

melodies and another winning chart from master arranger Dave Wolpe. The perfect 

ballad showcase for your baritone player with plenty of melodic soloing and no 

improvisation. A swingin’ double time section offers a nice contrast in this lush ballad. 

This chart is perfect for festival, concert and even a dance gig. 

78 

78 

PYRAMID 






from Wynton Marsalis. This transcription is from the 1962 recording (it was originally 

written in 1938). Instrumentation: 2 altos, clarinet, tenor, baritone, 4 trumpets, 3 

trombones, bass/drums - no piano or guitar parts. 

RAINCHECK 






from Wynton Marsalis. This is fast swing. Solos for trombone, tenor, and a sax soli 

section. Instrumentation: 5/3/3/4 - includes clarinet double. 

RHAPSODY IN BLUE 






from Wynton Marsalis. This was arranged by Billy Strayhorn and recorded by Duke 

Ellington in 1962. Instrumentation: 5/4/3/3 - tenor doubles on clarinet. 

ROCKS IN MY BED [VOCAL] 







Wynton Marsalis. This was written for the 1941 musical Jump for Joy. Includes part 

for female vocalist. Key of Bb. Vocal range: F below middle C to 3rd line Bb. 

Instrumentation: 2 altos, clarinet, tenor, baritone, 3 trumpets, 3 trombones, vocalist, 

4-part rhythm section. 

RUMPUS IN RICHMOND 







Wynton Marsalis. Recorded in 1940 by Duke Ellington. Features solo space for 

trumpet and clarinet. Instrumentation: 2 altos, clarinet, tenor, baritone, 3 trumpets, 3 

trombones, 4-piece rhythm section. 

SATIN DOLL 


Medium $35.00 Cat: 7010740 

Beginning jazz ensembles will sound great with this solid swing arrangement by 

Michael Sweeney. Featuring tutti scoring and easy rhythms, this is a perfect chart to 

teach the basics of style. 

SATIN DOLL 



From the Count Basie library, this Nestico classic features solos for tenor and piano. 

SATIN DOLL [VOCAL] 



One of the Duke’s most loved melodies in an easy setting for vocal soloist. Skillfully 

handled by Jerry Nowak. Key of Bb. 


ONLINE!

SOLITUDE 


Easy $35.00 Cat: 7470528 

Here is the perfect opportunity to introduce your beginning band to one of the 

legends of jazz. John Berry uses limited ranges and easy rhythms in this swing ballad 

style arrangement. 

SOLITUDE 


Difficult $50.00 Cat: JE9717 





Wynton Marsalis. As recorded by Duke Ellington and His Orchestra in 1934. Features 

clarinet, muted trumpet and a trombone soli. Scored for clarinet, alto, alto/soprano, 

tenor, baritone, 3 trumpets, 3 trombones, and 4 rhythm. 

SOPHISTICATED LADY 







Wynton Marsalis. This ballad is presented here as recorded in 1957. This is a 

baritone feature. Scored for 5 saxes; 4 trumpets; 3 trombones; piano/bass/drums. 

SOPHISTICATED LADY [VOCAL] 


Medium $42.00 Cat: 115 

Features vocal or optional tenor saxophone. Key of E flat. 

STAR-CROSSED LOVERS 


Medium Difficult $50.00 Cat: JLC2007 

This classic Strayhorn ballad is presented here as part of the Jazz at Lincoln Center 

Series. This is a wonderful alto feature for your band. Scored for 5 saxes (tenor 

doubles on clarinet), 3 trumpets, 2 trombones, and piano/bass/drums. 

STOMPY JONES 







Wynton Marsalis. This was recorded by the Duke Ellington Orchestra in 1934. 

Instrumentation: 2 alto saxophones; clarinet; baritone/alto saxophone; 3 trumpets; 

3 trombones; 4-piece rhythm section. 

SUGAR RUM CHERRY 

[FROM NUTCRACKER SUITE] 







Wynton Marsalis. This was recorded in 1960 and is from the Nutcracker Suite. 

Instrumentation: 5/4/3/2 no piano or guitar parts. Saxophone 3 doubles on clarinet. 

SULTRY SUNSET 







Wynton Marsalis. Recorded in 1946. Alto feature, originally for alto-great Johnny 

Hodges. Instrumentation: 5 saxes, 4 trumpets, 3 trombones, 4-piece rhythm section. 




Medium $65.00 Cat: LL-22416 

This is the 1966 Ellington version of Strayhorn’s great tune, with Cootie Williams’ 

trumpet solo (written on the 4th part) transcribed in full. This version also features 

an extended ending, giving more trumpet solo time. Originally written for four saxes 

and seven brass, this version is scored for full sections. An excellent job of transcription 

by Jon Harpin, and a worthy addition to any library. 



Medium $45.00 Cat: 7210740 

This great arrangement from the pen of master Sammy Nestico features standard 

instrumentation of 5/4/4/4. 



Difficult $50.00 Cat: 34909016 

This historic publication is an exact transcription of the 1941 version recorded by 

Duke Ellington. David Berger’s expertise is evident in the completely voiced out 

rhythm parts and written out solos. This classic belongs in every library. 

THINGS AIN’T WHAT THEY USED TO BE 


Difficult $50.00 Cat: 34320010 

Ellington’s famous blues is arranged here as a shuffle. Great final chorus plenty of 

blowing space. 

THINGS AIN’T WHAT THEY USED TO BE 

Transcribed by Duke Ellington 






Wynton Marsalis. Features alto sax. Instrumentation: 5/4/3/3 

TUTTI FOR COOTIE 







Wynton Marsalis. This version was recorded in 1963. Medium shuffle - trumpet 

feature. Instrumentation: 5 saxes, 5 trumpets, 3 trombones, piano/bass/drums.. 

ZWEET ZURZDAY 







Wynton Marsalis. This is the 3rd movement from Suite Thursday, which was performed 

in 1960 at the Monterey Jazz Festival. The opening piano solo has been written out 

(includes chord changes). Instrumentation: 5/4/3/3 - no guitar. 


1-518-587-2325 1-518-587-2325 79

MAYNARD FERGUSON 

80 

80 

AS PERFORMED BY MAYNARD FERGUSON 


Arranged by Michael Abene 


The Maynard Ferguson Band performed a lot of Abene’s charts over the years. This 

chart is an excellent example of Abene’s very musical approach to a great jazz 

standard. Very reasonable ranges throughout. Features tenor sax, trumpet and 

trombone solos. Destined to be a best-seller! Printed as originally scored (4-4-2-3), 

but including extra parts for a standard 5-4-4-4 instrumentation. This one burns! 

BLUES FOR KAPP 

Arranged by Marty Paich 


This doesn’t need to be “higher-louder-faster” to be a wonderfully effective chart. It 

is set in a medium slow tempo and has solo space for alto saxophone, 2 trumpets 

and baritone saxophone. This one will become a staple in jazz libraries throughout 

the world. If you’re looking for a comparison, this chart might remind you of Ernie 

Wilkin’s arrangement of ‘Moten Swing,’ except it is even easier to play. Printed as 

originally scored (4-4-2-3), but includes extra parts for a 5-4-4-3 instrumentation. 

A COUNTRY BOY 



This is another lost treasure from Maynard Ferguson’s Birdland Dream Band Library. 

This starts out with a lazy trombone solo on the written melody and swings along 

from there. Recorded on the “Come Blow Your Horn” LP. Printed as originally scored 

(4-4-2-3), but including extra parts for a standard 5-4-4-4 instrumentation. 

DANCING NITELY 



Bill titles this one after the signs which used to be in the old-time dance halls around 

the country. Written in the ‘50s for Maynard’s Birdland Dream Band, this chart is a 

laid back, swinging tune, with a roaring ensemble section near the end. Blowing space 

for trombone and tenor. (full score incl.) 

DANNY BOY 

Arranged by by Don Sebesky 

Medium Difficult 42.00 Cat: SMP-401 

If you’ve ever heard Maynard’s recording of this world famous melody (“Londonderry 

Air”), you probably never forgot it! Sebesky’s chart is superb, and this publication 

includes practical alternate choices for the trumpet feature. The piece is very playable, 

and will serve to showcase your “hot” trumpet soloist. 

FAN IT, JANET 



Also part of the ‘Message from Newport’ album, this chart features tenor, trombone, 

and great contrapuntal writing, great changes and a terrific straight-ahead, swinging 

feeling. Nothing but the best from Sebesky, one of the greatest writers in jazz. 

FOUR 

Arranged by Willie Maiden 

Medium Difficult 52.00 Cat: SMP-407 

This is from Maynard’s Birdland Dream Band Library. Willie scored this Miles Davis 

classic to feature four different saxophone players. A typical chart for that time, it 

covers the whole dynamic range with exciting, swinging music. Printed as originally 

scored (4-4-2-3), but including extra parts for a standard 5-4-4-4 instrumentation. 

FOX HUNT 



Another great chart from Maynard Ferguson’s Birdland Dream Band Library. If you 

want to feature 2 trumpets, it doesn’t get any better than this! Printed as originally 

scored (4-4-2-3), but including extra parts for a standard 5-4-4-4 instrumentation. 

GRAVY WALTZ 



This chart is a blast! It is one of the more popular charts from the Birdland Dream 

Band of Maynard’s. It is a high-energy chart which features baritone sax, as well as 

trumpet.You need a lot of “horses” in the trumpet section for this one, but it is well 

worth it. 5-4-4-4 (or use orig. instrumentation only). 

GROOVE 



Oliver Nelson wrote this one for the Maynard Ferguson Band Library. Recorded on 

the “Come Blow Your Horn” LP. Features a great tune and trumpet throughout. 

Printed as originally scored (4-4-2-3), but including extra parts for a standard 5-4- 

4-4 instrumentation. 

HEY THERE 



As recorded on “Maynard Ferguson Plays Jazz For Dancing” (Roulette), this may be 

the prettiest chart that Willie did for Maynard’s band. It is a great standard tune, and 

the chart features trumpet throughout. The band parts are not too difficult. The 

solo part comes with 2 versions ...... a transcription of what Maynard plays on the 

record, and another part for mortals. 5-4-4-4 (or use orig. instrumentation only). 

HIT AND RUN 

Arranged by Dennis DiBlasio 


Talk about a Flag-Waver!!! The Maynard Ferguson Band recorded this on their 

Footpath Cafe CD. The chart asks every player in the band to wail through a very 

hip and challenging be-bop line in unison. There are ensemble breaks here and there 

for very dramatic effects, and plenty of “blowing” space on the “rhythm” changes. 

You’ll love doing this chart because you can really show off your band. 5-4-4-3. 

HUMBUG 



This chart starts out in a blaze of excitement and never eases off. It features tenor 

sax and trombone on the melody, with solo space for alto and trumpet as well. This 

was featured on the famous ‘Message from Newport’ album which Maynard’s band 

recorded for Roulette in the late ‘50s. 

KNARF 



Another great chart from Maynard Ferguson’s Birdland Dream Band Library. It 

features baritone sax (written for Frank Hittner) and trumpet solos. A nice, easy 

swing with a great harmonic scheme. Printed as originally scored (4-4-2-3), but 

including extra parts for a standard 5-4-4-4 instrumentation. 

THE LAMP IS LOW 

Arranged by Ernie Wilkins 


Ernie Wilkins has created a swinging version of this great classic tune. Features alto 

sax, trumpet, piano and trombone solos. There is a wonderful ‘Basie-ish’ shout 

chorus, with very neat dynamics. Very playable by most bands. Full score included. 




This absolutely beautiful arrangement features trombone and tenor sax solos, along 

with the primary solo by the trumpet player. There are two solo trumpet parts 

included...Maynard’s version and one for mere mortals. This works very well with 

most bands (the band parts are quite easy). Full score included. 

ON GREEN DOLPHIN STREET 



This is a great, hot chart from Maynard’s Dream Band book. Beautifully written, with 

tenor and trumpet solos. This is the one everyone has been asking for! Let your 

band sink their teeth into this one! Full score/parts for 5/4/4/3. 


ONLINE!

PEOPLE 



Here is another fantastic trumpet feature for a fantastic trumpet player. A great 

ballad standard in a gorgeous setting! There are two solo parts provided, Maynard’s 

version and one for mere mortals. As usual, the band parts are not too difficult, but 

the alto sax plays flute (quite necessary) and there is a tuba part. There is also solo 

space for tenor saxophone (a la Willie Maiden). This was recorded on the “New 

Sounds of Maynard Ferguson” album. 4-4-2-3 or standard instrumentation. 

SLIDE’S DERANGEMENT 

Arranged by Slide Hampton 


Undoubtedly one of the best big band charts ever written! This was recorded by 

Maynard’s incredible band on the Message from Newport LP. It is the blues, both 

minor and major changes, lots of solo space, exciting ensemble passages...an amazing 

chart...over eight minutes of sensational big band excitement! (full score incl.) 

STARFIRE 

Arranged by Benny Golson 


One of Maynard’s most beautiful ballads from the Dream Band period. Created by 

a young Benny Golson. The highest trumpet solo note is a written B. This chart is 

quite easy to play and makes a wonderful concert or dance book addition. Trumpet 

featured throughout. Full Score/parts for 5/4/4/4. 

SWEETIE PIE (EDITED) 


Medium Difficult 42.00 SMP-403 

This wonderful, quiet, ‘Li’l Darlin’-ish’ chart was recorded by Maynard as ‘Easy Chair.’ 


version has been edited to exclude any woodwind doubles and high trumpet parts. 

SWEETIE PIE (PRO VERSION) 


Advanced $42.00 Cat: SMP-403 

This wonderful, quiet, ‘Li’l Darlin-ish’ chart was recorded by Maynard as ‘Easy Chair.’ 


version is the original version, with flute and clarinet doubles and roaring trumpets. 

WHISPER NOT 



The Maynard Ferguson Band recorded this on their ‘Come Blow Your Horn’ LP. The 

chart is an excellent example of Abene’s very musical approach to this great Benny 

Golson jazz standard. Very reasonable ranges throughout. Destined to be a bestseller!! 

Printed as originally scored (4-4-2-3), but including extra parts for a standard 

5-4-4-4 instrumentation. 

AS PERFORMED BY ELLA FITZGERALD 

A TISKET, A TASKET [VOCAL] 

Arranged by Klaus Lessman 

Easy $65.00 Cat: LL-2032 

A Tisket A Tasket was a hit for Ella Fitzgerald during her time with the Chick Webb 

band, and remains one of her most memorable charts. Klaus Lessmann has produced 

a classy transcription of this chart and had adapted it for a full band line-up. 

Everything is here, including the band answer-back vocals. Both the sax and the 

brass sections get to have a go! All articulations are clearly marked and the vocal 

sheet is as per Ella’s performance. Key of A flat. 

MAYNARD FERGUSON/ELLA FITZGERALD 

I SAID NO ***NEW*** [VOCAL] 

Arranged by Jon Harpin 


This version is from Ella Fitzgerald’s 1966 album ‘Whisper Not,’ with the original 

arrangements all by Marty Paich. Opening with a short Colla Voce, the chart moves 

smoothly into a relaxed balladic swing, with subtle backings from the band throughout. 

A rhythmically interesting bridge leads to the half-step up modulation with muted 

trumpet infills. A change to a more bluesy feel follows and the swing increases, with 

the bass now walking and the drummer using sticks. The improvised muted trumpet 

backings continue through the second half of the chart, which builds to punchy 

climax. We have written out the vocal lines in full, and the piano part contains all of 

the important licks and fills too. The vocal keys are G and Ab. 

I’VE GOT MY LOVE TO [VOCAL] 

KEEP ME WARM 



A classic from Ella Fitzgerald, this chart is a faithful transcription of her version, and 

is nothing at all like the Les Brown / Skippy Martin instrumental version. We have 

even written out Ella’s vocal line so your singer can reproduce the timing and 

phrasing if she wants. This chart is also a Trumpet feature, and the original solo is fully 

notated on the 2nd part. There are no sax doubles. Key of B flat. 

NIGHT AND DAY [VOCAL] 


Easy $65.00 Cat: LL-99970 

A classic Cole Porter song from 1932, Night and Day was a must-have number for 

the great big bands of the era. This version is based on that used by Ella Fitzgerald, 

and is a good example how to score the band to best support the vocalist. The 

arrangement includes the vocal verse, backed by a solo tom-tom, leading into the 

tutti chorus. This is very easy to play, though this in no way detracts from its 

effectiveness in performance. If you have a pianist who has a light touch, then added 

fills behind the vocalist really set this number off. Vocal key: Ab 

THAT OLD BLACK MAGIC 



Here is her finest version, from the 1960 Billy May collaboration album ‘Sings the 

Harold Arlen Songbook.’ This chart is just great all the way through, from the almost 

Phrygian opening into the relatively reserved first chorus, the blasting band chorus 

(including the fully written out tenor solo), Ella’s more fluid second vocal chorus 

(also written out in full), the implied repeat to fade and the punch finish. This chart 

is simply a must have for any big band library. The vocal key is Bb. 

TIME AFTER TIME 


Easy $65.00 Cat: LL-2110 

This version was originally arranged by Marty Paich and recorded by Ella Fitzgerald 

on her Whisper Not album. This version is a transcription of this version, including 

the short verse intro and Ella’s vocal line in full. The chart is an easy yet rewarding 

one for the band to play, and a chance to show off your girl vocalist’s skills. The brass 

ranges are very moderate, with lead tumpet only getting to top line F, though your 

pianist will need to improvise some fills behind the vocal. The middle chorus Tenor 

solo is improvised, and we have written in the melody lead line and chords onto the 

part. The vocal keys are G and Ab. No sax doubles. The 4th trombone is Bass. 


1-518-587-2325 1-518-587-2325 81

B E N N Y G O O D M A N 

82 

82 

AS PERFORMED BY BENNY GOODMAN 

AMAPOLA [VOCAL] 


Medium $65.00 Cat: LL-94440 

This is the Benny Goodman version of Amapola, with Helen Forrest taking the vocal. 

A delightful tune, well delivered, and of course with a clarinet solo from the great 

man himself. This chart is as per the original version, and we have scored the saxes 

AATT plus a clarinet solo part. The trick with this chart is not to play it too fast. It 

just chugs along and swings all the way. Vocal Key: F 

AND THE ANGELS SING [VOCAL] 


Medium $65.00 Cat: LL-99979 

Another classic from the Goodman Orchestra, written by trumpeter Ziggy Elman. In 

the original arrangement the vocal chorus led to a typical Goodman ‘Yiddish’ 

trumpet chorus. In our arrangement this is replaced by a more conventional trumpet 

solo chorus and ‘middle 8’, with the vocal returning to close. The ending is as per the 

original, with a trumpet solo leading the band to a rousing finale. Vocal Key: Bb 

BEI MIR BIST DU SCHOEN 


Easy $65.00 Cat: LL-1007 

The Goodman orchestra performed a similar vocal version of this chart at the 

Carnegie Hall concert, with Martha Tilton the featured vocalist. This is an instrumental 

version of the chart offered in our vocals section, but with more punch and swing 

to the second chorus. Lead alto doubles clarinet. Also available as VOCAL. 

BIG JOHN’S SPECIAL 



This is a romping swing chart from the early years of the Goodman Orchestra, when 

much of his success came courtesy of Fletcher Henderson’s arrangements. The chart 

has been expanded to 8 brass, and because the chart is not a clarinet feature (it 

only has an 8 measure solo) the saxes have been scored for a regular AATTB section, 

with alto 2 doubling the clarinet solo. The trumpet solos have been written out and 

the piano solo in stride style. 

CHRISTOPHER COLUMBUS ***NEW*** 



The Goodman original has been adapted here to suit an 8 brass line-up, and all of 

the original solos have been transcribed (clarinet, trombone & trumpet), though 

your players can improvise. The brass ranges are fairly moderate, making the chart 

playable by bands of all abilities. The saxes are scored for clarinet, 2 altos & 2 tenors. 

CLARINADE ***NEW*** 



The chart is full of rich, flowing texture and has a superb harmonic structure, yet is 

still a thumping swing number. Aside from an 8 measure piano solo, the chart is an 

out and out clarinet feature. However, it is not easy. Your clarinet player will need to 

be very nimble fingered to get it right, as playing in the keys of E and F# at 240 bpm 

is quite a challenge, and the band will need to be tight and have good intonation too. 

The arrangement is scored for 8 brass and 5 reeds (clarinet, alto, 2 tenors and 

baritone). Tenor 1 doubles clarinet. 

CLARINET A LA KING 



A fabulous chart from the Goodman band of the early ‘40s, and, quite naturally, a 

clarinet feature. The chart is harmonically very innovative, and shows glimpses of the 

sort of writing that Eddie Sauter produced later on in. This is quite a hard chart to 

play, but very rewarding once your players have it right, and a fine addition to the 

Goodman corner of your band library. The clarinet and piano solos are written out 

in full, and all dynamics and articulations have been included on all the parts, because 

this is one chart that simply won’t work if played at the same volume throughout! 

We have augmented the brass to 4 + 4 and the reeds are scored C/A/T/T/B. There 

are a couple of quick sax doubles - baritone on alto and 2nd alto on on clarinet. 

DON’T BE THAT WAY 



One of the all-time classic charts from the Benny Goodman book. The original has 

been modified to suit 8 brass, and have written out the original clarinet, trumpet & 

trombone solos in full, as well as including an optional trumpet soli instead of just the 

trumpet solo, should you want to show off the section a bit. Reeds are scored for 

clarinet, 2 altos and 2 tenors, and there are no sax doubles. 

DOWN SOUTH CAMP MEETING ***NEW*** 

Transcribed by Douglas Rust 


Based on the Benny Goodman 1936 version of this jumpin’ Fletcher Henderson 

tune, this authentic edition features swingin’ choruses for every section, a transcription 

of Benny’s clarinet solo, and the distinctive 5 clarinet chorus at the end (opt. sax 

substitutions included). A true classic from the big band era, this up tempo swinger 

builds with intensity from beginning to end! 

GOODBYE 



Goodbye was Benny Goodman’s closing theme. A slow, hauntingly beautiful 

composition from Gordon Jenkins, rich in musical colour and tonality and a fine 

testament to Benny. We have faithfully reproduced the original here, though have 

expanded the brass to a full 4/4 section to suit a standard big band line-up. The 

chart features clarinet and 2nd trumpet, with some cameo spots for baritone & 

guitar and plenty of flowing piano runs. The reeds are scored for clarinet, alto, 2 

tenors and baritone. Not a difficult chart to play, but plenty of dynamic discipline is 

required to make it sound right. 

JAM SESSION ***NEW*** 



Written by Jimmy Mundy for the Benny Goodman Orchestra shortly after he joined 

as a staff arranger, Jam Session is an up-tempo swing chart with solo space for tenor, 

clarinet and trumpet. The arrangement starts in two beat style for the first chorus, 

and then switches to four beat swing to the end of the piece. This chart has been 

adapted to 8 brass from the original 5, and because it is not a clarinet feature the 

saxes have been scored AAATT, with the 2nd alto taking the clarinet solo. All solos 

are fully transcribed, though your players can improvise from the chords provided. 

JERSEY BOUNCE 



Many bands played Jersey Bounce, and the two versions most remembered are 

those from the Miller and Goodman Orchestras. This is the Benny Goodman version, 

meticulously transcribed by Alan Glasscock. For us it is the more interesting version 

of the two. Mel Powell’s harmonics and phrasing in the piano solo (fully written out, 

including the super-fast runs) were really ahead of their time. The other three solo 

spots are all here too, written for tenor 1, trombone 2 and of course solo clarinet. In 

this recorded version Goodman had the luxury of a complete sax section of AATTB, 

plus Goodman himself. We recognize that not many bands have six saxes, but rest 

assured that the chart works equally well played with CAATT. Not too fast! 

KING PORTER STOMP 



Here is the rousing King Porter Stomp, the Fletcher Henderson arrangement for 

Benny Goodman, featuring solos for trumpet, trombone and clarinet. All original 

solos have been written out, including Benny’s extended clarinet solo, though the 

chords are included for improvisation. This chart is written for clarinet, 2 altos, 2 

tenors and is has been augmented up to 8 brass, from the original 5. This is a fine 

chart from the time when the Goodman band regularly topped the polls and Benny 

was ‘King of Swing’. Technically not too demanding for the band but precision with 

the articulations and phrasing is needed if you wish to reproduce the authentic feel. 

LET’S DANCE 


Medium $65.00 Cat: LL-99971 

Benny Goodman’s famous opening number has been faithfully re-created by Bob 

Martin and comes complete with the original clarinet and alto solos fully written out. 

This arrangement is scored for 8 brass, though we have included an optional 5th 

trumpet part too. The saxes are scored for 2 altos, 2 tenors and the clarinet lead. 


ONLINE!

LIFE GOES TO A PARTY ***NEW*** 



Co-written by Benny Goodman & Harry James, this is a pulsating, energetic and 

quick minor swing chart. The Goodman band recorded this tune on several occasions, 

the first in 1937, then again in 1938. The ’37 chart was used as the model for this 

arrangement. A couple of small modifications have been made: the brass has been 

augmented to 8 voices and the tempo indication has been slowed to 240 (from 

280) to match the tempo of the ’38 chart. The solos are written out in full (clarinet, 

trumpet, tenor and piano) and the saxes are scored for CAATT. 

PAGANINI CAPRICE XXIV ***NEW*** 



In 1941 Skippy Martin took the 24th of Niccolo Paganini’s caprices for solo violin, 

and turned it into a big swinging chart for Benny Goodman. The original has been 

adapted and expanded, scoring it for a regular AATTB sax team, and 8 Brass. Your 

alto 2 player doubles clarinet, and has the entire Benny Goodman solo written out. 

Tenor 1 takes the Vido Musso solo, and the Mel Powell piano solo is also fully scored. 

This is a VERY rare chart from the Goodman era, and a fine addition to any library. 

ROLL ‘EM 



Roll ‘Em was a hugely popular number for the Goodman band, and its infectious 

boogie feel will have dancers flocking to the the floor. Our version is true to the 

Goodman original, with a couple of modifiactions. The brass has been augmented up 

to 8 and the piano solo passage has been written in conventional 12-bar form, 

rather than a mix of 12 and 10 found in the original. Whilst the piano solo is ad-lib, 

the other solos (clarinet & trumpet) are fully written out, though your players can 

improvise from the chords provided if they prefer. Alan Glasscock has done a teriffic 

job with this chart, and the articulations and phrasing marks on the parts will enable 

your players to produce an authentic sound. The reeds are written for clarinet, 2 

altos & 2 tenors, with no sax doubles. 

SING SING SING (PART 1) 



Possibly the most famous number from the Benny Goodman Orchestra, this recreation 

is true to the original, in the original key and with all of the original licks. The only 

concession that we have made is to augment the brass from 5 to 8. The saxes are 

scored for clarinet, 2 altos and 2 tenors. This chart makes a stunning opening 

number, or a great drum feature for all aspiring Krupas. 

SOFT WINDS 



This jazz classic adapts perfectly for young players. The tempo is moderate and the 

swing figures are easy to play. The blues form makes it easy for inexperienced 

improvisers and sample solos are included for alto, tenor, trumpet, and piano. 

STEALIN’ APPLES 



An absolutely storming chart from the Benny Goodman Orchestra. Goodman made 

several takes of this tune, before deciding on which version to issue on record. The 

chart was rather lengthy in its original form, and had to be pared down in order to 

fit onto one side of a 78-rpm record. Alan Glasscock has reconstructed the chart 

with all of the intended choruses intact, as originally scored by Fletcher Henderson. 

All of the solos are written out (piano-a full 32 bars, trumpet and clarinet) and the 

dynamics and articulations are meticulously accurate. The saxes are scored for 

clarinet, 2 altos, 2 tenors and the brass goes from the original 5 to a full section of 8. 

STOMPIN’ AT THE SAVOY 



Here is Benny Goodman’s timeless classic in all its glory. Many bands performed 

versions of this song, but the Goodman Orchestra’s rendition remains the standard 

by which all others are judged. The saxes are scored for clarinet, 2 altos & 2 tenors. 

We have augmented the brass up to a full 8 from the original 5. All of the original 

solos (clarinet, tenor & trombone) are fully transcribed, though your players can 

improvise from the chords if they prefer. The piano part is written on 4 beat style 

and the drum part is notated as per the original, though you may prefer to have him 

play a more swingy hi-hat style if you wish to push the feel a little. 

GOODMAN/GLEN GRAY/TED HEATH 

WHY DON’T YOU DO RIGHT ***NEW***[VOCAL] 



This version was recorded in 1942 by Peggy Lee during her stay with the Benny 

Goodman band. Goodman’s chart has been faithfully transcribed here, including all 

of the clarinet licks and solos, but the brass has been expanded from the original 6 

up to 8. The sax parts are written for solo clarinet, alto, 2 tenors & baritone though 

an an extra alto sax part (the tenor 1 part, written for alto) is included to give you 

a bit more flexibility in the section. The brass ranges are very moderate, and aside 

from the clarinet solos there are no surprises, so the chart is very playable. 

AS PLAYED BY GLEN GRAY 

NO NAME JIVE 



This is simply a great up-tempo jump jive number, made famous by Glen Gray, and to 

the best of our knowledge has never been published before, anywhere. If your band 

plays to a dance crowd then this arrangement is an absolute must have. No Name 

Jive is a huge six and a half minutes long, and drives from beginning to end. Technically 

it’s not difficult, though the band needs to be tight and crisp in order to achieve the 

relaxed feel that makes the number work so well. There are some instrument 

doubles: saxes 1, 2 and 3 all double clarinet, and the baritone doubles alto. Lead alto 

also needs a soprano if your alto 2 can’t hit high F# and A. All solos are written out 

as exact transcriptions of the original, though players may improvise if they wish. The 

second trumpet takes two solos and both are cross-cued on the lead part. 

AS PERFORMED BY TED HEATH 

12TH STREET RAG ***NEW*** 



12th Street Rag as you never imagined! This chart was written for the Ted Heath 

band, and goes way way beyond the original Bowman concept. The chart opens by 

imitating traffic along 12th Street, in a series of dissonant hoots before the band 

kicks in with the real intro. The chart is full of contrasting elements and color, and 

uses a dixie band-in-band on 3 occasions, each section being in a different historical 

style - ‘20s, ‘40s and ‘60s. Interspersed whith these are some blasting tutti passages, 

some deliberately corny solo work in street busker style and a screaming finale. The 

whole piece goes through 5 modulations, building all the time. This is a very challenging 

chart with some tough asks in all sections. Both altos and tenors double clarinet, and 

the bari doubles alto for the solo (can be played on bari instead). If your band is 

brave enough to take on the challenge they will not be disappointed. 

AUTUMN LEAVES ***NEW*** 



A superb example of ensemble playing from the Ted Heath book. This version is not 

written as a slow ballad, but is a grooving mid-tempo swing chart that packs plenty 

of punch. The chart relies on some tight section work from the brass, and strict 

adherance to the written dynamics in order to deliver the right feel. At just over 2 

minutes it is not a long chart, but it is certainly a memorable one. There are no sax 

doubles, and apart from trumpets 1 and 2 reaching high E, the ranges are fine. 

DARKTOWN STRUTTERS BALL 



This version is a transcription of the Ken Moule chart which was written for the Ted 

Heath Orchestra. It is two minutes of pure joy, featuring some great tutti passages, 

and a dixieland chorus too. The Dixie trio is ad-lib, and is written for your 1st 

trumpet, 1st trombone and clarinet. The clarinet also features with a solo following 

the Dixie passage. The sax section has a slightly unusual make-up, being written for 

clarinet, soprano, alto, tenor and baritone, though also included is an extra tenor 

part (a transposition of the alto part) to give you more flexibility. 


1-518-587-2325 1-518-587-2325 83

TED HEATH/WOODY HERMAN 

HEADING NORTH 



A rare and unusual song from the Ted Heath book, Heading North is a 1957 

composition and is a medium tempo (at 130 bpm) minor blues chart. It kicks off with 

a solo piano 12 bar lick (written), joined after by unison bones with sax answerbacks. 

Saxes then take the soli, answered by the trombones leading to a 24 bar muted 

trumpet solo (chord-based scored on all 4 trumpet parts) with sax and bone 

backing figures. Piano comes back in and the chart finishes off with a big tutti shout 

chorus. This is a fairly straightforward chart to play. Other than that the ranges are 

moderate and the chart is very playable. No sax doubles. 

HOT TODDY ***NEW*** 


Medium Easy $65.00 LL-1227 

This wonderful version is from the Ted Heath band, and features your baritone 

player and second trumpet. The chart opens with a rumbling bari line backed by 

hand claps from the band. The trombone section takes the first soli, the saxes join 

for the second, backed by the trumpets who then give a run-up to the muted 

trumpet solo. This trumpet solo is written out as originally played, though your 

player can improvise. The chart builds from here, with glissing trombones against a 

unison sax repeat of the melody riff leading into a big brass soli, and finishing up with 

a fading trombone soli down to pianissimo, and a band blast to finish. Great fun and 

a real crowd pleaser too. 

JA-DA 



Bob Carleton penned a little 16-bar tune in 1918, whilst still a club pianinst in Illinois. 

The tune was briefly famous, then spent 35 years in obscurity until Sonny Rollins ‘reinvented 

it’ using the Ja-Da chords for his composition ‘Doxy’ in 1954, and the jazz 

world took to it. In 1958 Ted Heath’s orchestra recorded the arrangement of Ja-Da 

that we offer here, transcribed from the original Ken Moule chart. The rhythm parts 

are all chord based, the improvised solo is written on tenor 1 and there are no sax 

doubles. We have graded it as difficult, not because the chart is hard, but because 

the lead trumpet has to hit high E (and optional high G). 

LINCOLNSHIRE POACHER 



This is a traditional English song, given the full swing treatment by the Ted Heath 

band. This chart is up, bouncy and always a crowd pleaser. The chart itself is very 

straight ahead, though the lead trombone does go up to high C briefly. There is a 

solo spot for tenor sax (chords also cued on the tenor 2 part). No sax doubles. 


Transcribed by Mogens Hobel 


This chart has been transcribed from the Ted Heath book by Mogens Hobel. The 

original Reg Owen arrangement was one of Heath’s most requested tunes, and as 

well as containing some lovely ensemble writing it gives solo opportunities to your 

pianist and lead tenor. The chart is typical of many of Heath’s numbers - a mix of 

subtlety and raw power, light and shade. An excellent tune for dancing or for 

concert work. Both altos double clarinet, and trumpets 1 & 2 reach a brief high D, 

though the chart is not generally demanding on your brass players’ chops. 

MANHATTAN SPIRITUAL 



This is a wonderfully uplifting swing chart, as its name might suggest. Originally 

scored in the late ‘50s by Reg Owen, this chart was also a feature for Owen’s own 

outfit, and that of Jack Parnell too. The arrangement starts and ends with a choralestyle 

fanfare, and swings like crazy in between. Plenty of hand claps from all sections 

of the band add to the rousing nature. We have scored this chart for a regular big 

band and a timpanist, though the timp notes are cued onto the piano and drum 

parts and the chart works equally well without the kettles. The last few bars are a 

bit of a scream for the trumpets (with lead up to high F and second to high D) but 

the section can be taken down an octave if need be. Both altos double clarinets. 

84 

84 

MEMORIES OF YOU 



Once in a while there comes along a chart which just makes you want to listen and 

weep with joy. This Ted Heath version of Memories of You is one of them. A fabulous 

feature for two trumpets, the arrangement is full of lush backings and builds from a 

relatively quiet opening, through two key changes to a flat out finale which soars 

ever higher and higher. Simply stunning. We have rated this chart as advanced 

because of the demands on the trumpet soloists. The 2nd is written to high F, and 

the 1st to high G. Apart from that, the other band parts are straightforward. Lead 

alto doubles clarinet, and there are no other sax doubles. 

OL’ MAN RIVER ***NEW*** 



Transcribed from the original Johnny Keating chart, this is an absolute screamer of 

a chart, from the time when the Ted Heath band was at its height. Heath recorded 

two slightly different versions of the chart, the only difference being that the 

‘Palladium Revisited’ chart kicks off in G before modulating to Bb then Ab, whilst the 

‘Kern for Moderns’ version starts in Bb. This is the Palladium version. This is a fast, 

tough chart, particularly for the brass. Lead trumpet (Bobby Pratt) hits high G, and 

2nd trumpet high F. Trombones 3 & 4 need to reach high Bb, with 1 & 2 reaching C. 

It is not for the faint hearted. The trumpet solo is improvised, and written on the 

2nd part. The piano, bass & guitar parts are from chords. It is a showstopper if you 

can pull it off! There are no sax doubles. 

STAR DUST 


Medium $65.00 Cat: LL-22411 

Star Dust is one of the great Hoagy Carmichael tunes, and deserves a place in the 

library of every band. Bob Martin has done a truly excellent job of transcription and 

modification of this Ted Heath version, which is a two-trumpet feature from start to 

finish. The key change in the middle of the piece has been brought down a fourth 

from the original, bringing it into the range of most players. A rich, big chart. 

SWINGIN’ SHEPHERD BLUES 



This version of Swingin’Shepherd Blues is transcribed from a Ted Heath recording. 

Unusual for a swing chart the tempo is pretty slow, but very effective nonetheless. 

This chart is a real contrast of dynamics, because it alternates from one or two reeds 

plus rhythm, to tutti fortissimo and back again. This arrangement makes a great 

concert piece and is equally suitable for strict tempo dancing. Lead alto is on 

soprano sax throughout, and 2nd alto is on clarinet throughout. 

AS PERFORMED BY WOODY HERMAN 

FOUR BROTHERS ***NEW*** 

Arranged by Jimmy Guiffre 

Medium Difficult $45.00 Cat:7009276 

Here is the famous Woody Herman signature tune. This fabulous chart features the 

entire saxophone section. Woody Herman’s clarinet solo has been written out here, 

though your clarinet player can improvise his/her own solo. 

HALLELUJAH TIME 



This is a great up-tempo swinger. It starts with a solo hi-hat opening with off-beat 

tutti accompanying phrases, leading into the first chorus of saxes voiced in thirds, a 

brass middle 8, and re-statement of the sax theme. From then on it is a rip-roaring 

two saxophone (alto 2 and tenor 1) solo chase with occasional punchy brass 

figures backing the soloists. The solo space gets ever compacted, going from 16 to 8, 

4 and then 2 bar interchange sequences, until just when it feels that they will collide, 

the band is back with the opening chorus, into a frenzied coda and finish. Needless to say, 

if you have a couple of sax players to show off, this is the vehicle. This piece is advanced 

not because of the tempo or the difficulty of the notes (both are quite straightforward once 

the band has the feel of the arrangement) it is because it depends heavily on having 

2 good sax soloists who are comfortable at speed, and who can work off each other. 


ONLINE!

HAPPINESS IS A ***NEW*** [VOCAL] 

THING CALLED JOE 



Transcribed from Ralph Burns’ original chart written for Frances Wayne / Woody 

Herman, Happiness is a Thing Called Joe is a lush swing ballad for female vocal. The 

chart has been adapted to suit a standard line-up with a regular sax section, though 

Woody’s clarinet line is taken by alto 1 on clarinet throughout. The other saxes are 

ATTB. There is a fair bit of unison muted trumpet work in this chart, so intonation 

needs to be good. Also the 1st trumpet is written to high G in the bridge, but this is 

cross-cued onto the clarinet part if your lead can’t reach this high.The short piano 

solo intro is written out, as is the vocal line sung by Frances Wayne. The vocal key is G. 

THE JAZZ ME BLUES 



This is pure Woody Herman, and a great transcription by Bob Martin of the original 

Nat Pierce chart. The Jazz Me Blues is an old Dixieland tune of the 1920s, and this 

arrangement lifts it into a new sphere altogether. Written in the Four Brothers style, 

it is scored for three tenors, baritone and clarinet (though we include duplicate 

parts for alto sax, making it playable by a standard section line-up), with solos for 

clarinet, tenor and trombone. 

THAT’S WHERE IT IS 



A ripsnorter of a number, based on the original Woody Herman version. A brief 

punchy start introduces a piano solo - a real opportunity for your pianist to show 

off a little. The sequence is repeated, and then the band’s in, with saxes taking the 

tune and brass backing. Solos for tenor and trumpet, followed by a very fluid and yet 

punchy tutti passage, leading to a re-statement of the theme and tight ending. Bob’s 

chart is written for 5 trumpets, but is equally playable with 4. Although it is a fast 

number it’s not that hard, once you’ve got your fingers round it! 

WOODCHOPPER’S BALL 



Here is the great Woodchopper’s Ball. Co-written and first performed by Woody 

Herman, this chart became a mainstay in the repertoire of all Herman’s bands. Our 

version is based on Woody’s, though re-scored for regular sections (saxes AATTB, 8 

brass). This arrangement features solo space for clarinet (on 1st alto part), tenor, 

trumpet and trombone, and has that characteristic chromatic set of key changes at 

the end that gives the whole chart a thumping climax. 

AS PERFORMED BY HARRY JAMES 

B-19 ***NEW*** 


Difficult $65.00 Cat:1204 

B-19 is a driving swing number, clearly taking some influences from tunes such as 

Sing Sing Sing and Bizet Has His Day. The chart has a raw and angry feel about it, as 

one might expect from a tune whose name is that of a famous aircraft. Being a Harry 

James chart there is naturally a big solo spot for trumpet (James’ chorus is fully 

written out on the 2nd trumpet part), and the tenor solo has been transcribed as 

well. The original was recorded by James with a string section. However, the 

arrangement has been modified; the string part has been written back into the 

saxes, and given a solo spot to 1st trombone. This maintains the integrity of the 

original and makes for a more readily playable chart. The ranges for the other brass 

are moderate. There are no sax doubles. 

CHERRY 



Cherry is a classic from the Harry James Orchestra and a great chart for showcasing 

one of your trumpet players. The original arrangement was done with strings, but 

we have replaced the string lines with saxes, to make the chart playable by a regular 

line-up. All of the solos (for trumpet, trombone and alto) are fully written out, 

though we have included the chords should your players wish to improvise. This is 

a very rare chart, and we are delighted to offer it to you. There are no sax doubles. 

The trumpet solo is on the 2nd part & the trombone solo is on the 2nd part. 

WOODY HERMAN/HARRY JAMES 

CIRIBIRIBIN ***NEW*** 


Advanced $65.00 LL-1198 

Ciribiribin is perhaps the solo trumpet chart by which all others are measured. It is 

certainly a very challenging piece for your soloist, though can also be used as a solo 

vehicle for clarinet or soprano sax instead. We have reproduced James’ 1939 classic 

for you in full, from the classically inspired intro, the Mediterranean waltz section, the 

little Baroque bridge, the trumpet cadenza and the fast swing second half. We have 

adapted the original to suit 8 brass (solo trumpet, trumpets 1,2,3 & 4 trombones) 

and 5 saxes (AATTB). The solo trumpet part is exactly as played by James along with 

all articulations and phrasings. Aside from the difficulty of the trumpet part, the 

chart is reasonably straightforward for the rest of the band. 

DONCHA GO ‘WAY MAD ***NEW*** [VOCAL] 



Harry James and The Skylarks vocal group briefly joined forces in 1949-50, and came 

up with this gem of a chart. Don’cha Go ‘Way Mad is all about a guy begging 

forgiveness for cheating on his girlfriend - quite a risky choice of a song for the times. 

The band and singers gel really well in this song, and the chart itself is not too 

demanding. Whilst the Skylarks were a 5-piece vocal outfit, we have modified the 

vocals to make it suitable for a more regular 4-piece (SATB) group. There are no Sax 

doubles in this chart. Another fine work from the pen of Alan Glasscock. 

I HAD THE CRAZIEST DREAM [VOCAL] 



I Had The Craziest Dream was another big hit for the Harry James Orchestra, in his 

‘band that swings with strings’ period. It is a romantic, floaty ballad, sung by Helen 

Forrest, and which also features James’ trademark trumpet solo. This chart was 

originally recorded with big band plus string section, and some additional orchestral 

backing. We have modified the arrangement by removing the strings and extra 

instruments, to make it suitable for a standard line-up. Therefore both alto saxes 

double clarinet, and the French horn solo lines have been re-assigned to trombone 

1, with an upper range of high C. Harry James’ solo is written out in full. Vocal key Ab. 

I’VE HEARD 

THAT SONG BEFORE ***NEW*** [VOCAL] 



Originally written for the film ‘Youth on Parade’ by Jule Styne & Sammy Cahn, this 

tune became a huge hit for Helen Forrest and the Harry James Orchestra. James 

recorded the chart in 1942 and 1955. This arrangement is a fusion of these two, 

mostly drawn drawn the ’42, with touches of the ’55. James’ 1st chorus solo is 

written out in full (on the 1st trumpet part) and the string lines behind the vocal 

chorus have been given to the sax section. Helen Forrest’s vocal is written out assung, 

and the vocal key is G. 

IT’S BEEN A LONG, LONG TIME [VOCAL] 



A beautiful vocal ballad from the great co-operative writing team of Sammy Cahn & 

Jule Styne, this chart was made famous by Harry James and features your lead 

trumpet, lead alto and naturally your singer too. We have written out James’ solo 

and Willie Smith’s alto solo in full, and have kept the chart true to the James original, 

with the exception of re-scoring the string lines back into the saxes. The chart has 

been graded as medium though the lead bone has to hit a high C. Other than this, 

it’s not that hard to play. The vocal key is C and there are no sax doubles. 

JAMES SESSION ***NEW*** 



Written by Jack Mattias (of Trumpet Blues & Cantabile fame), this is a big swing 

chart that features trumpet, drums, trombone and alto sax. James recorded this 

chart in ‘42 and again in ‘55. The later version is presented here, though the 

trombone solo from the ‘42 recording is featured. Also the final trumpet cadenza has 

been shortened and the ending from the earlier version has been added in to bring 

the chart to a positive close. James’ lead line and Willie Smith’s alto solos are fully written 

out, as are the first 100 measures of the cadenza as played by James. This is a raw, energy 

packed piece, great for dancing or concert work. There are no sax doubles. 


1-518-587-2325 1-518-587-2325 85

HARRY JAMES/STAN KENTON 

LUSH LIFE 



This version is an out-and-out trumpet feature from the Harry James book. It is as 

the name suggests, lush, rich, full of wonderful tone and color - and it makes the hair 

on the back of your neck stand up. The horns are written as three trumpets and 

solo trumpet, and the solo part would suit a player with a big fat tone. The lead alto 

doubles clarinet for just a couple of bars, the 1st trumpet reaches a high Db briefly 

on a couple of occasions, and the 1st trombone gets to high C, though we’ve cued 

the 3rd trumpet just in case. 

MUSIC MAKERS ***NEW*** 



Harry James recorded a couple of versions of this tune, first in 1941 and again in 

1955. This is the later version which packs more punch. The chart is at heart a 

trumpet section feature with three snorting passages of play, though not at the 

difficulty level of ‘Trumpet Blues & Cantabile.’ The tenor solo is written in full and is 

best played as originally written, though your player can improvise from the chords 

if preferred. The lead trumpet is written to a high F in the closing run, but the line can 

be taken down an octave without detracting from the finish, which then makes the 

required lead range a top Eb (in the second of the sectional passages). 

SEPTEMBER SONG 



Here is a really unusual arrangement of this jazz standard from the Harry James 

Orchestra. Slow, bluesy and laid back, the chart opens with the baritone and bass in 

unison, with tightly muted trumpets over, then the saxes layer in with a smooth 

contrapuntal line, then the unison trombones pick up the melody over the same 

underlying bari/bass figures. There follows a truly inventive bridge, a tutti chorus in 

swing time and then Harry’s soaring solo which we have written out in full. Nimble 

fingers needed. Then everything calms down and returns to the opening theme at 

the end. There are no sax doubles. 

SLEEPY LAGOON 



Although composed originally as a waltz, this version from the Harry James orchestra 

is firmly in 4/4 time. Alan Glasscock has transcribed this chart beautifully, and has rescored 

the string lines into the band, making this chart playable as with a standard 

5/4/4/4 line up. The arrangement features trumpet, as you might expect with a 

James chart, and also a solo spot for trombone. This is a really lush, fat tune, full of 

dynamic contrast and soaring modulations. Your pianist will need to be nimble and 

smooth in the intro, to make the rolling arpeggio figures flow like the waves lapping 

on a tropical shore. There are some sax doubles too: both altos use clarinets, 

baritone doubles alto and lead alto has a toot of flute in the intro. 

STRUTTIN’ WITH SOME BARBECUE 



This tune was written by Louis Armstrong and used by him as his theme tune for a 

number of years. This version is from the Harry James book, and is not only a great 

trumpet feature, but a really rare chart too. It has a lilting two-beat feel that swings 

like crazy from start to finish. The 1st trumpet has the solo lead, the solo is written 

out in full and there is a ripping sax soli where your players need to stand up and 

show themselves off a bit. There are no sax doubles. 

TRUMPET BLUES & CANTABILE 



A great swing chart from the James book. Trumpet Blues opens with a short band 

fanfare in half time, and then breaks into a driving swing boogie. The middle half-time 

Cantabile provides the contrast, but breaks back into swing boogie for the last 

choruses. A feature for your trumpet section, but be warned that they will need a 

few minutes to recover afterwards. You will need a good trumpet section to play this 

arrangement. It is in the original key of Bb, and modulates to D for the end choruses. 

86 

86 

TWO O’CLOCK JUMP 



This version of Two O’Clock Jump is from the James band of the 1950s, and has a 

much more relaxed and laid back feel then the original version. This number is great 

for swing dancing and grooves from start to finish. The opening piano and trumpet 

solos are written out for you, and the 12 bar piano solo is from chords. This chart 

is graded medium/advanced mainly because of the high trumpet triplet runs which 

go from high Eb on the 2nd part, with the 8va option written onto the other 3 

parts too. There are no sax doubles. 

AS PERFORMED BY STAN KENTON 

23°N 82°W 

Arranged by Bill Russo 


This is one of the most creative, important big band compositions ever written by 

anyone! It is also a chart which has been in demand for many years. We publish this 

in the memory of the passing of Mr. Russo in 2003. He was a dynamic force in all of 

music, and this particular piece was his most requested work. This is exactly as it was 

recorded by the Stan Kenton Orchestra on the New Concepts of Artistry in 

Rhythm CD. If you have the “horses” this will be a big hit for your band. Solos for 

alto sax and trombone. 5-5-5-4 

ABSTRACTION 

Arranged by Pete Rugolo 


From the Kenton Encores LP. Recorded in 1947, Abstraction (the 3rd Movement of 

the Prologue Suite) is an excellent example of the far-reaching compositional styles 

which the band was doing in the late ‘40’s. Rugolo was a real pioneer in this respect. 

Solos for alto, tenor and piano. 

ADESTE FIDELES 

Arranged by Stan Kenton 


The 1961 Capitol Records recording of Christmas music was a smash hit for 

Kenton. This particular arrangement is more traditional in scope, but it is filled with 

wonderful, lush harmonies and the Kenton style of arranging. The original 

arrangements were written for 4 trumpets, 4 mellophoniums, 4 trombones, tuba, 

keyboard, bass, drums and auxiliary percussion. These are the charts we sell, but 

we’ve also included saxophone parts which take the place of the mellophonium 

parts. They work quite well! From Kenton’s Merry Christmas recording. 

ALL AT ONCE YOU LOVE HER ***NEW*** 



Lennie Niehaus wrote a series of terrific arrangements for the Stan Kenton Orchestra 

(this was recorded on the ‘Stage Door Swings’). This chart is a medium-swing 

version of a great Rodgers & Hammerstein tune. It features solo space for tenor 

saxophone and a short solo for bass. Ranges are quite modest for a Kenton chart, 

and this could also be played with only 8 brass. 5/5/5/3 




The lush trombone section sound of the Kenton Orchestra on a gorgeous ballad. 

Rescored to be played without the mellophoniums. A wonderful concert or dance 

book addition. Recorded on the Romantic Approach LP. 


Arranged by Gerry Mulligan 


One of those mystery charts that hardly anyone knows about, this chart is a beauty. 

Mulligan was a master at creating moods and using wonderful chord substitutions, 

as he did in this medium ballad. The arrangement features trumpet throughout 

(written to feature Buddy Childers), and it was played very often by the Kenton 

Band. The brass ranges and rhythms for all are very reasonable (written Bb above 

the staff for Trumpet). This is a VERY impressive chart that is easy to play. 5-5-5-4 


ONLINE!

ALMOST LIKE BEING IN LOVE 



As recorded by the Stan Kenton Orchestra on ‘Adventures in Standards,’ this is a 

medium, swing chart on a great tune. Lennie uses a very clever countermelody 

throughout the arrangement. There is solo space for Tenor Sax and terrific ensemble 

writing in the Kenton tradition. 5-5-5-3 (can be played with 8 brass). 

ALONE 



The Stan Kenton Orchestra was always ahead of its time! This chart was based on 

the music of Blood Sweat & Tears. It is a trombone feature throughout and is a wild 

and very exciting rock/fusion chart in a brand-new edition. Recorded on the Stan 

Kenton Plays Chicago CD. 

AN AMERICAN TRILOGY 



A dramatic setting of three American songs.... from the National Anthems of the 

World LP. Ends with a glorious rendition of America the Beautiful. 

ANGELS WE HAVE HEARD ON HIGH 

Arranged by Ralph Carmichael 



Kenton. It contained arrangements by Kenton and (mostly) Ralph Carmichael of 

traditional Christmas music. This particular arrangement is one of the more traditional 

of the ten we have in print. It does have a swinging section, and it works very well! 

The original arrangements were written for 4 trumpets, 4 mellophoniums, 4 trombones, 

tuba, keyboard, bass, drums and auxiliary percussion. These are the charts we sell, 

but we’ve also included saxophone parts which take the place of the mellophonium 


ARTEMIS & APOLLO 



This is a newly re-arranged version of the magnificent melody recorded on the 

Adventures In Time CD. BOB eliminated the mellophonium parts, used a standard 

saxophone section and changed the key to make it more accessible to most bands. 

(10 brass optional) 

ARTISTRY IN PERCUSSION 



Written to feature Shelly Manne. A great drum feature. It also contains a nice 

trombone solo. Very showy piece. Great for an historical look back on any Kenton 

tribute concert. One of the most fascinating drum set features ever written. From 

the exciting and innovative 1946 recordings. Recorded on the MAMA Back To 

Balboa CD set. 

ARTISTRY IN RHYTHM (SHORT VERSION) 



There have been many requests for a stand alone version of Kenton’s theme song. 

This is the short version which was played by Stan’s band in the later years. 

ARTISTRY JUMPS 



Exactly as recorded on the Kenton/CapitolRetrospective CD (and the original 

Milestones LP). This was Stan’s first long version of the theme Artistry in Rhythm and 

is a great piece to program. Features piano and tenor saxophone solos. A classic, wild 

and bright chart which should be a part of any Kenton Tribute concert. 

BALI HAI 



This was recorded by the Stan Kenton Orchestra on ‘Stage Door Swings,’ and it is 

one of Lennie’s wonderful charts on a great Broadway standard tune. It has very 

reasonable ranges for all. This shifts between Latin and Swing Feels. Solo for tenor 

sax. 5-5-5-3 (can be played with 8 brass). 

S T A N K E N T O N 

BEELINE EAST 

Arranged by Ken Hanna 


A later composition of Hanna’s, Beeline has a wonderful Latin feel to it and all of the 

great Hanna harmonies and voicings.Recorded on the Live at Butler University CD. 

(condensed score) 




As recorded by the Stan Kenton Orchestra on ‘Adventures In Standards,’ this is a 

medium-swing chart on a great tune. 


Arranged by Johnny Richards 


As recorded by the Stan Kenton Orchestra on Back To Balboa (Capitol), Richards 

takes this great standard and turns it into a 6/8 Latin and swinging screamer. This is 

a magnificent chart, very much in the style of the Cuban Fire pieces that Johnny 

wrote for Kenton. Solos for alto, tenor, trumpet and drums. 5-5-5-3 

BERNIE’S TUNE 

Arranged by Gene Roland 


This was recorded on the Stan Kenton Orchestra CD “Live at the Tropicana. It may 

be the best chart Gene Roland ever did for Stan. Although it opens with a bass solo, 

there is also solo space for alto and tenor saxophones. The ensemble writing will 

knock your socks off! 5-5-5-3 

BETWEEN THE DEVIL 

AND THE DEEP BLUE SEA 



As performed by the Stan Kenton Orchestra, here is one of the “hippest” charts 

from the Kenton book. It was a favorite with the band and audiences alike, and it 

swings like crazy. There is a nice, long trombone solo space. (It was played by Dee 

Barton when recorded). A wonderful melody and a sensational chart! 5-5-5-3 (can 

be played with 8 brass) 

BUT BEAUTIFUL 



When Lennie arranged for the Stan Kenton Orchestra, he created the most beautiful 

big band dance book ever written. Begins with a lush, warm trombone soli. Solo 

space for alto sax. Recorded on the Sophisticated Approach LP. This chart has 

wonderful trombone and sax solis. A marvelous addition to any jazz and/or dance 

library. (edited to be played with 8 brass instead of 10 if you should choose, and 

without mellophoniums) 

CARL 



When Bill Holman writes a feature for a player, especially in the Kenton Band, you 

know it will be wonderful. He wrote this one to feature the amazing trombonist Carl 

Fontana. Carl is a terrific melody, scored in the inimitable, swinging way of Holman. 

The demands on the brass sections are not too bad, so the piece is very playable. 5- 

5-5-3 (can be played with 8 brass) 

CHIAPAS ***NEW*** 

Arranged by Hank Levy 


This was the first of many ‘time charts’ that Hank wrote for the Kenton Band. This 

is as exactly recorded on the ‘Live at Redlands University’ CD. The piece in written 

mostly in 5/4 and features solo space for alto sax and trumpet. This is a remarkable 

composition which should be in every big band library, not only because it is an 

historically important work, but also because it’s simply a lot of fun to play. 5/5/5/3 


1-518-587-2325 1-518-587-2325 87


CHRISTMAS MEDLEY 



As recorded by Kenton on ‘Merry Christmas,’ this chart has optional saxophone 

parts which nicely cover the french horn parts (originally written for only brass and 

rhythm section). This completes the publication by Sierra of all of the charts on this 

album. The medley contains six carols. Instrumentation is 5 horns, 4 trumpets, 4 

trombones, tuba, piano, bass, drums and opt. chimes. Solo for piano only. 

COLLABORATION 



This historically important piece opens with a rubato piano solo and then moves to 

a terrific Rugolo trombone feature (originally recorded by Kai Winding). A strong, 

gorgeous melody, backed by the power and beauty of Rugolo’s writing. 

CONCERTO TO END ALL CONCERTOS 



One of Kenton’s most important compositions. It moves through a series of moods, 

tempos, and styles, and features each section in a way that best describes the 

Kenton Sound of the 1940s and beyond. A must-have chart for any big band 

historian. No Kenton tribute is complete without a performance of this exquisite 

1946 composition. This piece set the music world on its ear! A great composition! 

CUBAJAZZ 



Rarely does a piece turn up like this one. Although written for Stan Kenton (the mid- 

1950s), the chart never was recorded by the band (Holman doesn’t know why), 

and it was lost for years. It is a sensational piece, combining Afro-Cuban rhythm 

(Latin) and Swing, and featuring solo space for tenor sax, trumpet and drums. It 

utilizes counterpoint between the wind sections over a latin vamp and explores the 

perfect balance between counterpoint and dynamic ensemble writing in the Swing 

sections. This is Holman at his very best! 

DANCING IN THE DARK 



One of the few charts Mulligan contributed to the Kenton library. Solos for piano 

and trumpet. 

DAY DREAM [VOCAL] 



As recorded by the Stan Kenton Orchestra and Jean Turner, this is a superb Ellington 

ballad that will make you want to hear it over and over again. The lyrics and the 

orchestration are exceptional. This is a great vehicle for your female or male vocalist, 

arranged by the best! 5-5-5-3 and vocal 

DECOUPAGE 



Hank contributed so much to the Kenton book in the ‘70s, and this chart is one of 

the best of the bunch. A lovely, melodic, easy-flowing piece in 5/4 which is a great 

vehicle for getting into odd-meter music. Alto sax and trpt. solos, and all ranges are 

very reasonable. Exactly as recorded on the Kenton ’76 CD. 

DON’T WORRY ‘BOUT ME 

Arranged by Bob Graettinger 


Graettinger arranged this standard in his most unusual way, using dissonance offset 

with the beauty of this gorgeous melody. It is a trombone solo pretty much 

throughout the entire ballad. Great writing for the soloist and the trombone 

section as well. This is something quite different and quite wonderful. 5-5-5-2 

88 

88 

DYNAFLOW 

Arranged by Stan Kenton and Art Pepper 


A true Kenton Classic. Alto saxophone, piano and bass are featured on this one-ofa-kind 

piece. The piece was recorded in the early 1950s by Stan Kenton, became a 

huge hit and found its way onto many albums, most notably Popular Favorites by 

Stan Kenton. If you need a Kenton chart that doesn’t demand a great deal of hard, 

high blowing, this is the one. 

EL CONGO VALIENTE (VALIANT CONGO) 



The 2nd movement of Richards’ amazing Cuban Fire Suite. This movement roars 

from the top. A great melody with chances to feature alto sax, trumpet, tenor sax 

and trombone solos. The original score of Richards’ was the source for this and all 

the movements of this suite. Full score and parts for the original instrumentation of 

4/5/5/4 plus, 2 horn parts and 6 perc. parts. This really is a marvelous chart! Recorded 

on the Cuban Fire CD. 

EL MANISERO (PEANUT VENDOR)***NEW*** 



Adapted from the 1956 recording, El Manisero (the Peanut Vendor) remains one of 

Stan Kenton’s most enduring hits, and is a feature chart for lead trombone (who 

solos for the first minute of the chart), the trumpet section with their screaming 

dissonances and for the pianist. This arrangement is essentially the same as Kenton’s 

‘Peanut Vendor,’ but transposed down a major 3rd and with a shortened piano solo. 

To add more interest and to build the rhythm backing to the chart, rhythm indications 

have been written on all the brass parts (except trombone 1) from the opening of 

the chart, so bring some wood blocks, claves, cabasas and cuicas along. The trumpet 

lines are not hard, but they are fairly high, with 1 & 2 reaching high C and 3 reaching 

A. If you want to play the genuine Kenton version with the complete piano solo and 

have trumpets who can reach high D and E please order the ‘Peanut Vendor - LL- 

1297’ chart. There are no sax doubles, and the 4th trombone is bass. 

EL MANISERO (PEANUT VENDOR) ***NEW*** 



Transcribed from the 1956 recording, the Peanut Vendor remains one of Stan 

Kenton’s most enduring hits, and is a feature chart for lead trombone (who solos for 

the first minute of the chart), the trumpet section with their screaming dissonances 

and for the pianist. The Kenton piano solo has been written out in full and the solo 

itself is a work of art, showing us what can be done when improvising over just a 

couple of chords. To add more interest and to build the rhythm backing to the chart, 

rhythm indications have been written on all the brass parts (except trombone 1) 

from the opening of the chart, so bring some wood blocks, claves, cabasas and cuicas 

along. The trumpet lines are not hard, but they are high, with 1 & 2 reaching high E 

and 3 & 4 reaching high D. If your players don’t have this range, please order the ‘El 

Manisero - LL-1229’ chart. (It is essentially the same chart transposed down a major 

3rd with a shortened piano solo, so the trumpet ranges are limited to high C). There 

are no sax doubles, the 4th trombone is bass (optional 5th trumpet & trombone 

parts have been included). 

ELEGY FOR ALTO 



From the Progressive Jazz period in the 1940s, this piece focused on the alto 

saxophone (originally played by George Weidler). 

THE END OF A LOVE AFFAIR 



A magnificent alto saxophone feature. Lennie also solos on his chart on the Live 

from the Tropicana CD. This is a superb arrangement, using all of the textures and 

power and sensitivity of the Kenton Orchestra. (opt. 10 brass) 

EVERYTIME WE SAY GOODBYE 



As recorded by the Stan Kenton Orchestra on Stage Door Swings, this is a lovely 

ballad scored in the incomparable Kenton style. Niehaus uses the saxophone section 

to great effect. Limited ranges make this a very playable chart for most any band. 

There is solo space for trumpet. 5-5-5-3 (can be played with 8 brass) 


ONLINE!

FANFARE FOR THE NEW 

Arranged by Hugo Montenegro 


One of the great pieces written for the Los Angeles Neophonic Orchestra, founded 

and conducted by Stan. Four french horns are essential, along with 4 trumpets, 5 

trombones and woodwinds. Exciting and challenging music. Recorded on the L.A. 

Neophonic Orchestra LP. Woodwinds require 2 piccolo, 2 clarinets and bass 

saxophone (baritone saxophone opt. part included). 

FASCINATING RHYTHM 



Russo always created wonderfully interesting (and challenging) arrangements of 

standard tunes. He explores unusual instrumentation and exciting new 

harmonizations. Recorded on the Kenton Sketches on Standards LP. (This music is 

available from Mosaic Records in their Russo/Holman CD set.) 

FEARLESS FINLAY 



There were a few Holman charts that were written for the Stan Kenton Orchestra 

which had disappeared over the years, seemingly lost forever. This was one of them. 

This is one of those incomparable, swinging charts from the ‘50s. Absolutely the best! 

Recorded on the Kenton Showcase LP. (This music is available from Mosaic Records 

in their Russo/Holman CD set.) 

FIRST CHILD 



One of the loveliest ballads ever recorded by the Kenton Band. Recorded on the 

Stan Kenton Plays Chicago CD. This is one of 2 original pieces by Bob Curnow from 

this album. This Kenton arrangement is finally available. Features a 3-horn melodic 

line in a flowing, richly-harmonized texture. No improvised solos, and reasonable 

ranges. (opt. 10 brass as recorded) 

A FOGGY DAY 



This is one of the many wonderful charts arranged by Lennie for the Stan Kenton 

Orchestra. He was able to capture the Kenton sound without a lot of high-range 

problems or difficult concerns for the players. Solo space for baritone sax and 

trumpet. A great addition to any jazz and/or dance library. This chart swings like 

crazy! 

FRANK SPEAKING 



The Stan Kenton Orchestra was always an ideal showcase for the outstanding 

soloists within its ranks. This piece was written to feature Frank Rosolino on trombone. 

Absolutely the best! A trombone feature throughout. Recorded on the Kenton 

New Concepts of Artistry in Rhythm CD. 

FUEGO CUBANO (CUBAN FIRE) 



Movement I (of 7) of the Cuban Fire Suite. Finally, the definitive version of this 

magnificent music. The original score of Richards’ was the source for this and all the 

movements of this suite. Full parts for original instrumentation of four saxes, 5 

trumpets, 2 French horns, 4 trombones, tuba, piano, guitar, bass, drum set, timpani 

and 6 additional percussionists. For the first time, a full score is included. Recorded 

on the Cuban Fire CD. 

GET OUT OF TOWN 



Johnny Richards at his best! A very playable chart without a lot of range concerns 

for brass. A bass trombone feature from beginning to end, in a Latin and a Swing feel. 

This chart is recorded on the Back To Balboa recording by the Stan Kenton Orchestra. 


GIRL TALK 



Stan Kenton had a certain touch in his arranging that stood out. He took a simple, 

slow-swinging approach to this great Neal Hefti tune, and it was one of the most 

popular charts played by the band in the 1970s. Piano takes the melody, while the 

trombones set the harmonic and rhythmic groove. This is a wonderful piece to 

program, because it is so different than most things. 5-5-5-3 

GOD REST YE, MERRY GENTLEMEN 





traditional Christmas music. This particular arrangement is one of the jazzier ones 

on the album. It swings like crazy! The original arrangements were written for 4 

trumpets, 4 mellophoniums, 4 trombones, tuba, keyboard, bass, drums and auxiliary 

percussion. These are the charts we sell, but we’ve also included saxophone parts 

which take the place of the mellophonium parts. They work quite well! From 

Kenton’s Merry Christmas recording. 

GOOD KING WENCESLAS 











HAPPY BIRTHDAY TO YOU 



A fun-filled, exciting chart on the old tune. Commissioned as a surprise birthday 

present for Stan. Trumpet and trombone solos, and a very clever Holmanesque 

treatment. Every jazz library should have this chart for that special occasion. 

Recorded on the Birthday in Britain CD. 

HERE’S THAT RAINY DAY 

Arranged by Dee Barton 


This is the original, quintessential arrangement by the great Dee Barton. Recorded 

on the Live at Redlands University CD. 

THE HOLLY AND THE IVY 





traditional Christmas music. This particular arrangement is a great deal of fun to play. 

It moves through different keys, and it has a lot of interesting variations in it. A terrific 

chart! The original arrangements were written for 4 trumpets, 4 mellophoniums, 4 

trombones, tuba, keyboard, bass, drums and auxiliary percussion. These are the 

charts we sell, but we’ve also included saxophone parts which take the place of the 

mellophonium parts. They work quite well! From Kenton’s Merry Christmas recording. 

HOW DO I LOOK IN BLUE 



This is another of the many wonderful charts arranged by Lennie Niehaus for the 

Stan Kenton Orchestra. Features the lush Kenton trombone sound and gorgeous 

full ensembles. As recorded on the Sophisticated Approach LP. A great addition to 

any library. 5-5-5-3 (can be played with 8 brass or 10) 


1-518-587-2325 1-518-587-2325 89


I CONCENTRATE ON YOU 



This was recorded by the Stan Kenton Orchestra on “Back To Balboa”, and it is a 

highly original, exciting chart (Latin/swing) on a great standard tune. Johnny Richards 

wrote for Kenton as well as anyone. Solos for alto sax, baritone sax, trumpet and 

trombone. 5-5-5-3 (can be played with 8 brass) 

I LOVE PARIS 



When Lennie arranged for the Stan Kenton Orchestra, he was able to capture the 

Kenton sound without a lot of high-range problems or difficult concerns for the 

players. Solo space for trombone. Recorded on the Stage Door Swings LP. This chart 

has a great unison sax soli. A marvelous addition to any jazz and/or dance library. 5- 

5-5-3 (parts also supplied for 8 brass instead of 10) 

I REMEMBER YOU 



This is one of those superb Holman charts written for Kenton in the early ‘50s that 

just swings like crazy. It starts off very soft and easy, with clever linear writing. It then 

roars into an alto sax solo, to be followed by a trumpet solo. A key change brings the 

chart to a great shout section before returning to the soft opening for a moment. 

This chart requires 1 alto, 2 tenor and 2 baritone saxophones (condensed score). 

I’M GLAD THERE IS YOU 



This is a rich, warm chart as arranged by Stan. Features the lush Kenton trombone 

sound and gorgeous full ensembles. Stan used this as an opener for years. As 

recorded on the Romantic Approach LP. A magnificent melody and a great addition 

to any jazz or dance library. 5-5-5-3 (edited to be played without mellophoniums 

and can be played with only 4 trombones instead of 5) 

ILL WIND 

Arranged by Bill Mathieu 


Bill Mathieu’s arrangements, done for the Stan Kenton Orchestra were some of the 

most beautiful pieces ever recorded by that band. This is a splendid rendition of a 

great standard. It contains all of the elements so associated with the Kenton band 

- wonderfully inventive writing. Trombone solo throughout. This chart is on the new 

Standards in Silhouette CD. 

IMPRESSIONISM 



Another amazingly futuristic piece from Rugolo’s great mind. An outstanding example 

of the classical side of the late ‘40s Kenton bands written in 1947. A great (unusual) 

addition to any Kenton program. 

IN LIGHTER VEIN 



Recorded in 1954 for the recording Kenton Showcase , this chart is an alto saxophone 

feature throughout. It was originally recorded by Lee Konitz. Yet another wonderful 

Holman feature chart. (condensed score) 

INDIANA 



Here is another chart written for Stan Kenton (in the mid-1950s), that was never 

recorded by the band. It is a sensational piece, a real flag-waver which features alto 

saxophone from top to bottom. Great ensemble figures propel the soloist ever 

onward. This up-tempo swing chart is refreshing, with band vs soloist, great 

background figures, a very hip key change and excitement throughout. A wonderful 

feature for your hot alto saxophonist. Typical, great Holman. 

90 

90 

INDRA 



This was one of Hank’s early charts for Kenton. It is recorded on the Live at Butler 

University CD. It opens with bass setting the tempo and meter in 9/4. The trombone 

solo begins things, and it also features saxophone and trumpet. A superb look into 

the odd-meter world. Not too difficult to play. 5-5-5-4 (condensed score) 

INNER CRISIS 



Exactly as recorded on Stan Kenton Plays Chicago, this chart is a great feature for 

alto saxophone set in a big band fusion style. Every reed player plays flute in the 

intro, and the chart just screams from there! Lots of exciting, strong, no-doubt-it’s- 

Kenton music! Curnow’s chart really works great! 

INTERLUDE 



Recorded in 1947 and included on the Milestones LP, this piece is a gorgeous melody 

(one of Pete’s best known). It features piano throughout (and it is all written out), 

with wonderful, warm, lush 5-trombone backgrounds. Perfect for the Kenton Tribute 

concert, because it gives your other players a rest (especially the trumpets!). 

INTERMISSION RIFF 

Arranged by Various 


Finally, the up-to-date version that the Kenton Band played right up until the end. 

This chart has all of the solo space and all of the background figures and lines, and 

it differs from the 1947 version quite a bit. No Kenton Tribute concert would be 

complete without this chart. Solo space is very flexible, as is all of the background 

material. A true Kenton classic! 5-5-5-3 

INTERMISSION RIFF 

Arranged by Ray Wetzel 


This is the original version of the tune recorded in 1946, and also included in the 

Milestones LP. This was transcribed by Bob Curnow for Gunther Schuller’s Smithsonian 

Jazz Orchestra concerts. Tenor and alto saxophone solos. 5-5-4-4 (note only 4 

trombones). 

INVENTION FOR GUITAR AND TRUMPET 



Once used in the Blackboard Jungle movie, this piece is one of Holman’s earliest 

compositions to be recorded by Kenton. It was written for Maynard Ferguson and 

Sal Salvador and recorded in 1952. Recorded on the Kenton New Concepts of 

Artistry in Rhythm CD. 




As recorded by the Stan Kenton Orchestra on Adventures In Standards, this is a 

wonderful, swinging chart on a great tune. As usual, Lennie does a great job arranging 

it, with terrific section work and limited ranges for the brass (written high D for 1st 

tpt). There is a nice, lengthy solo for baritone sax. 5-5-5-3 (can be played with 8 brass) 

IT’S ALL RIGHT WITH ME 



Here is another terrific chart as recorded by the Stan Kenton Orchestra on 

“Adventures In Standards.” Lennie sets the chart at a very fast, swinging pace, using 

countermelodies, a 6-horn group in places, and lots of solo space for alto sax. A 

wonderful recurring pattern ties the whole chart together. Lennie out-did himself 

with this one! 5-5-5-3 (can be played with 8 brass) 


ONLINE!

I’VE GOT YOU UNDER MY SKIN 



This may be the all-time greatest jazz arrangement of a standard tune. Recorded on 

the Contemporary Concepts LP, this great standard is turned into a marvelous 

vehicle for solo statements from alto, tenor, 2 different trumpets and baritone 

saxophone. No big band jazz library can be complete without this superb arrangement. 

I’VE NEVER BEEN IN LOVE BEFORE 



A lovely Broadway tune as scored for Kenton’s dance book. This chart features the 

great sound of the trombone section. A wonderful concert or dance book addition. 

Exactly as recorded on the Stage Door Swings LP. Full score and parts for 5/5/5/3 

instrumentation. (Can be played with 8 brass) 

KINGFISH 



This is one of Holman’s best loved (and most often played) charts. Written for the 

Showcase album, it is a light, well-paced blues, featuring bass, tenor, trumpet and alto. 

Holman’s well known linear writing makes this a special chart. Fairly easy to play. 

LA GUERA BAILA (THE FAIR ONE DANCES) 



Movement V (of 7) of the Cuban Fire Suite. From Richards’ magnificent suite written 

in 1956. The original score of Richards’ was the source for this and all the movements 

of this suite. Features an absolutely exquisite trombone solo. Full set of parts for 

complete, original instrumentation. Recorded on the Cuban Fire CD. Parts for 5 

auxiliary Latin players included. 

LA SUERTE DE LOS TONTOS 

(FORTUNE OF FOOLS) 



Movement VI (of 7) of the Cuban Fire Suite. From Richards’ magnificent suite 

written in 1956. Fire is probably the best way to describe this piece. A fantastic, 

dramatic opening (used for years by marching band and drum corps) leads to a 

rollicking, latin feel. Solos are on the alto sax and trumpet parts. The original score of 

Richards’ was the source for this and all the movements of this suite. Probably the 

best known and well-liked movement of the whole suite. Recorded on the Cuban 

Fire CD. Parts for 5 auxiliary latin players included. 

LAURA 



As arranged for and performed by the Stan Kenton Orchestra, this is a wonderful 

setting that features the saxophone section and solos for trumpet and trombone. 

Very reasonable brass ranges make this an extremely playable chart. This is the lush, 

gorgeous sound of the Kenton Band without the higher, louder brass parts. 5-5-5- 

3 (can be played with 8 brass) 




This is another of the many wonderful charts arranged by Holman for the Stan 

Kenton Orchestra. He is the master at creating exciting, up-tempo flag-wavers. Solos 

for alto, trumpet and tenor. Recorded on the Adventures in Jazz CD. Your rhythm 

section can burn on this one! A great addition to any library. 5-5-5-3 (edited to be 

played without mellophoniums) 

LIMELIGHT 



Another terrific chart from Kenton’s Contemporary Concepts LP. Features trombone 

throughout this fast-paced, Cool Bop chart in the unmistakable style of the late, 

great Gerry Mulligan. Use this with 3 other Sierra publications to do a Mulligan 

Tribute at your next concert. Full Score/parts for 5-5-5-4 


A LITTLE MINOR BOOZE 



This is arguably Willie’s best known chart - a swinging, happy chart which allows for 

lots of blowing space.Great ensemble sections throughout. This chart has been 

played by bands all over the world. Essential to any jazz library. 5-5-5-3 (condensed score). 

LIVE AND LET DIE 



A great arrangement of the great tune written by Paul McCartney. This chart was 

the reason for the great success of recording 7.5 on the Richter Scale. Melody 

stated by alto, trumpet and trombone and the chart roars on! If you’re looking for 

a contemporary chart, written for this great band and based on a well known tune, 

this is the one. We get a lot of requests for this arrangement. 

LONELY WOMAN 

Arrange by Bill Mathieu 


As recorded on the “Standards in Silhouette” CD, this is yet another of Bill Mathieu’s 

classic arrangements of a great jazz standard ballad. Trombone and tenor saxophone 

are featured on this brilliant, highly original orchestration of a beautiful and haunting 

melody. Trumpet ranges are quite high, but, if you have the players, this is one ballad 

you’ll want to play over and over again. 5-5-5-4 

LONG AGO AND FAR AWAY 



Not every Niehaus dance chart was recorded by the Kenton Band, but this chart 

was played all the time by the band. A wonderful medium tempo setting of a great 

jazz standard. Features the saxophone section and a baritone saxophone solo. 

Terrific writing! 5-4-4-3 (10 brass optional) 

LOT OF LIVIN’ TO DO [VOCAL] 



As recorded by the Stan Kenton Orchestra and Jean Turner, this chart used to be 

Jean’s opener when she sang with the Kenton Band. Holman sets the mood right 

from the top, and things swing on from there. This is a wonderful vocal chart for 

either female or male vocalist. It’s a happy, up-beat way for your vocalist to get out 

there in front of the big band. 5-5-5-3 and vocal. 

LOVE FOR SALE 



Kenton had many hits over the years, and this very creative arrangement by Pete 

was one of them. A great Latin setting with that unforgettable trombone lick in the 

shout chorus. There is room at the end of the chart for your drummer to stretch 

out if you wish. 

LOVE STORY 



As recorded by the Stan Kenton Orchestra on “Live at Brigham Young University”, 

this may well be Willie’s best chart done for Stan. Maiden uses a latin feel, the lush 

sound of the trombones and saxophones and the exciting energy of the trumpets 

and rhythm section to create a superb arrangement of this very special melody. 

Solos for piano, trombone, and alto saxophone. 5-5-5-3 




This is another of the many wonderful charts arranged by Niehaus for the Stan 

Kenton Orchestra. A splendid rendition of a great standard, and it swings like crazy! 

It contains all of the elements so associated with the Kenton band. Wonderfully 

inventive writing which at first states the melody with a small band. 5-5-5-3 (edited 

to be played without mellophoniums and can be played with 8 brass or 10) 


1-518-587-2325 1-518-587-2325 91


LOVER MAN 



As recorded by the Stan Kenton Orchestra on Sketches on Standards, this is a 

superb alto saxophone ballad feature, as arranged by Russo for Lee Konitz. Russo 

employs a dark, brooding, beautiful setting for Konitz’s soaring saxophone. Included 

is a transcription of Lee’s amazing solo. 5-5-5-3 




Lennie wrote a magnificent dance book for Stan in the early ‘60s. This chart was 

from that period, and it is a full blown jazz chart that really cooks! It has been edited 

so that it can be played by a standard big band with a normal saxophone section. 

There is solo space for alto saxophone and trumpet. This can be played with 8 brass. 

5-4-4-3 (opt. 10 brass) 

LULLABY OF BROADWAY 



This is another of the many wonderful charts arranged by Lennie for the Stan 

Kenton Orchestra. He is able to capture the Kenton sound without a lot of highrange 

problems or difficult concerns for the players. Solo space for trombone. 

Recorded on the Stage Door Swings LP. A great addition to any library. 

MACHITO 



This is one of the early, fantastic Latin charts recorded by the Kenton Band and 

played for years and years. A great chart from the late ‘40s. This chart requires 1 alto, 

2 tenor and 2 baritone saxophones. 

MALAGA 



Absolutely one of the all-time great big band charts! Tenor sax, drums and trumpet 

solos, interspersed with fabulous ensemble writing. Latin to the hilt! As recorded on 

the Live at Brigham Young University CD. A completely new edition with full score 

and parts for 5-5-5-3 instrumentation. 

MALAGUENA ***NEW*** 


Difficult $67.00 Cat: Cat: SMP-601 

This is a new edition (Finale computer notation) of the original arrangement, with 

no editing. Instrumentation requires 1 alto, 2 tenors, baritone and bass saxophone, 

5 trumpets, 4 horns in F, 4 trombones, tuba, piano, bass and drums. This is exactly as 

recorded on the ‘Adventures in Jazz’ CD. There is solo space for trombone (written) 

and tenor saxophone (improvised). 

MALAGUENA [EDITED] ***NEW*** 

Arranged by Bill Holman, Edited by Bob Curnow 

Difficult $67.00 Cat: Cat: SMP-743 

This is a new edition (Finale computer notation) of the original arrangement, edited 

to be played with the following instrumentation: 2 altos, 2 tenors, baritone saxophone, 

5 trumpets, 5 trombones, piano, bass and drums. The original version of this is 

recorded on the ‘Adventures in Jazz’ CD. The instrumentation has been converted 

to a standard big band, and the horn lines have been written into other parts. There 

is solo space for trombone (written) and tenor saxophone (improvised). 

THE MEANING OF THE BLUES 



An absolutely gorgeous Bobby Troup ballad which features trumpet and tenor sax. 

Beautiful use of the warm sax and trombone sounds so typical of Kenton. As 

recorded on the Standards in Silhouette CD. 

92 

92 

MISTY 



This was recorded by the Stan Kenton Orchestra on “Adventures in Jazz.” The solo 

may be played with any one of various instruments, or this could be used as a vocal 

chart. It was originally played by Ray Starling on mellophonium. A gorgeous ballad 

with an equally beautiful arrangement. 

MODERN OPUS 



If you’re looking for something very different for a jazz history concert, this is it! 

Graettinger was a Third Stream composer in jazz long before the term was invented. 

This was recorded on the Kenton Era and has been recently released on the City of 

Glass CD on Capitol. 5-5-5-4 plus 2 French horns. 

MY OLD FLAME 

Arranged by Marty Paich 


Although this has been in the catalog for a while, it is now notated in 

Finale, and the new edition comes with a full score for the first time. 

Marty’s arrangement stands alone in the category of Kenton ballads. This is 

truly a classic, one-of-a-kind piece. 5-5-5-4 (can be played by 8 brass). 

MY ONE AND ONLY LOVE 



This is another of the many wonderful charts arranged by Niehaus for the Stan 

Kenton Orchestra. A more beautiful ballad has not been written, and this one 

features a trombone and a tenor sax solo. As recorded on the Sophisticated Approach 

LP. Published in memory of Bob Fitz Fitzpatrick. 5-5-5-3 (edited to be played 

without mellophoniums and can be played with only 4 trombones instead of 5). 

NO HARMFUL SLIDE EFFECTS 



This is Willie Maiden at his most playful. A great chart from the early ‘70s (1973), 

recorded on the Birthday in Britain CD. Solos for trombone and tenor saxophone. 

5-5-5-3 (condensed score). 

O HOLY NIGHT 





traditional Christmas music. This particular arrangement is more traditional in scope, 

but it is filled with wonderful, lush harmonies and the Kenton style of arranging. The 

original arrangements were written for 4 trumpets, 4 mellophoniums, 4 trombones, 

tuba, keyboard, bass, drums and auxiliary percussion. These are the charts we sell, 

but we’ve also included saxophone parts which take the place of the mellophonium 


O, TANNENBAUM 





traditional Christmas music. This particular arrangement is one of the simpler charts, 

but it is beautiful. Very playable! The original arrangements were written for 4 





OF ALL THINGS 



Holman originally wrote this chart to feature Charlie Parker with the Kenton Band 

in the early ‘50s. Based on the changes to the ever-popular All the Things You Are, it 

features alto saxophone throughout (can be done with trumpet also), and the 

chart has all of the wonderful creativity for which Holman is so well known with his 

feature charts. It doesn’t get any better than this! 5-4-4-3 (10 brass optional) 


ONLINE!

OF SPACE AND TIME 



Hank Levy wrote this wonderful 5/4 chart in the early ‘70s (1973), and it was 

recorded on the Birthday in Britain CD. Solos for bass and alto saxophone. 5-5-5- 

3 (condensed score) 

ON THE STREET WHERE YOU LIVE 



The album Stage Door Swings, by the Stan Kenton Band, was one of the most 

popular recordings done by Kenton. All of the arrangements were done by Lennie 

Niehaus, and this is one of the best of the tunes on the album. It features a short 

harmon-muted trumpet solo, but most of the chart is ensemble or section oriented. 

A medium-up Swing tempo gives your band a chance to shine on this very familiar 

standard tune. 

ONCE IN ROYAL DAVID’S CITY 





traditional Christmas music. This particular arrangement is very much in the brass 

tradition, but it has very hip harmonies and lines. The original arrangements were 

written for 4 trumpets, 4 mellophoniums, 4 trombones, tuba, keyboard, bass, drums 

and auxiliary percussion. These are the charts we sell, but we’ve also included 

saxophone parts which take the place of the mellophonium parts. They work quite 

well! From Kenton’s Merry Christmas recording. 

THE OPENER 



There are a few charts from this library which are very playable by any reasonably 

well developed jazz ensemble. This surely is one of the best! Holman created a 

beautifully layered piece, based on the Rhythm changes. This is one of the most 

popular charts in the entire Kenton Library. Solo space for alto, tenor, trombone and 

trumpet. Recorded on ‘Showcase’ in 1954. 5-5-5-3 (condensed score) 

OPENING 



Here is a great, free-swingin’ opener, also written for Stan Kenton. Although it was 

never recorded commercially by the band, it was played a great deal in live 

performances throughout the country. It cooks from beginning to end, and features 

solo space for trumpet and tenor saxophone and one of those patented Holman 

ensemble shout choruses that just swings like crazy! 

OPUS IN PASTELS 



The all-time, classic saxophone section feature. Originally recorded for the first time 

in 1940, it has been recorded many, many times since (the latest recording was Stan 

Kenton in London on Decca Records from 1972. 5 saxes-3 rhythm 




Holman wrote this to feature Bill Perkins in the mid ‘50s. It is a tenor saxophone 

feature throughout and a wonderful chart. Lots of blowing space and the usual 

swinging ensemble sections for which Holman is so well known. This chart requires 

1 alto, 2 tenor and 2 baritone saxophones. 

OVER THE RAINBOW 

Arranged by William Russo 


In 1953, Kenton recorded an album titled Sketches on Standards. It was a great 

recording containing the arrangements of Russo and Kenton. The piece has a 

wonderful trombone solo in it (as originally recorded by Bob Burgess) and can be 

used as a feature for that instrument. A lovely, adventurous chart on a classic tune. 


THE PARTY’S OVER 



This is one of the many wonderful charts arranged by Lennie for the Stan Kenton 

Orchestra. He is able to capture the Kenton sound without a lot of high-range 

problems or difficult concerns for the players. Solo space for trumpet and a bit of 

piano. Recorded on the Stage Door Swings LP. A great addition to any jazz and/or 

dance library, and a wonderful closer for any musical event. 

THE PEANUT VENDOR 

Arranged by Stan Kenton and Pete Rugolo 


The original chart as played by the Stan Kenton Orchestra. No holds barred on this 

one, no watered-down version. This allows for cued sections, exactly how the band 

played it. This is the real thing as recorded so many times over Kenton’s career. 

PEGASUS ***NEW*** 


Medium Difficult $ 52.00 Cat: Cat: SMP-626 

This piece is one of the most popular Levy charts that he did for the Stan Kenton 

Orchestra. This is a new edition (Finale computer notated) and is available with a 

full score for the first time. This is recorded on the ‘Journey Into Capricorn’ CD by 

the Kenton band. The meter is 6/8 throughout, and the piece swings like crazy. 

There is solo space for alto sax and trumpet. A great melody and Hank’s accessible 

rhythms make this chart very playable. 5/5/5/3 

PENNIES FROM HEAVEN 



This was the first chart arranged by Lennie to be recorded by Stan’s band. It is a 

great arrangement of a wonderful tune, and it features space for a trumpet solo 

(originally recorded by Conte Candoli). This is a great addition to any jazz band 

library. Recorded on the Sketches on Standards album. 

POLKA DOTS AND MOONBEAMS 



Arranged by Holman for Carl Fontana with the Stan Kenton Orchestra in the mid 

50s. This chart is wonderful in its simplicity and melodic content. A striking melody 

and an exquisite arrangement. Solo for trombone throughout. Very reasonable brass 

ranges and overall rhythmic content. If you’ve got a good trombonist looking for a 

feature ballad, this is it! And the band parts are not very demanding. 

PORTRAIT OF A COUNT 



The Stan Kenton Orchestra was always an ideal showcase for the outstanding 

soloists within its ranks. This piece was written to feature Conte Candoli on trumpet. 

Absolutely the best! A trumpet feature throughout. Slow, Fast, Slow. Recorded on 

the Kenton New Concepts of Artistry in Rhythm CD. 

QUIEN SABE? (WHO KNOWS?) 



Movement IV (of 7) of the Cuban Fire Suite. Finally ... the definitive version of this 

magnificent music. The fourth of seven movements published by Sierra Music. The 

original score of Richards’ was the source for this and all the movements of this suite. 

Full parts for original instrumentation of 4 saxes, 5 trumpets, 2 French horns, 4 

trombones, tuba, piano, guitar, bass, drum set, timpani and 6 additional percussionists. 

For the first time, a full score is included. Recorded on the Cuban Fire CD. 

QUINTESSENCE 



Of all the pieces Hank wrote for Kenton, this is arguably the best one. This is 

recorded on the University of N Texas One O’Clock Lab Band 2005 CD. It is a melodious 

work, set in 5/4 throughout. There is a long, wonderful section for trumpet (or 

flugelhorn) solo. The middle Baroque sounding contrapuntal section is a masterpiece. 

The trumpet range is very reasonable. 5-5-5-3 (can be played by only 8 brass) 


1-518-587-2325 1-518-587-2325 93


RECUERDOS 



Movement III (of 7) of the Cuban Fire Suite. Finally ... the definitive version of this 

magnificent music. The third of seven movements published by Sierra Music. The 


Full parts for original instrumentation of 4 saxes, 5 trumpets, 2 french horns, 4 

trombones, tuba, piano guitar, bass, drum set, timpani and 6 additional percussionists. 


REED RAPTURE 



We are proud to publish another one of Stan Kenton’s ground-breaking saxophone 

section features. Opus in Pastels is already in print, but this piece actually pre-dates 

Opus in Pastels and was included in the Kenton Era collection of recordings. The 

piece perfectly demonstrates the thinking of the young Stan Kenton. Written for 

saxophones and rhythm only. 

RENDEZVOUS AT SUNSET 



One of the things Johnny Richards did best was write gorgeous melodies (many just 

think of him as bombastic and obsessed with odd-meter things). This is one of those 

melodies, as recorded on the Back to Balboa LP. There are trumpet, tenor and 

trombone solos. The chart has been edited so it can be played with a standard big 

band. 5-5-5-4 with an optional french horn part. 




As recorded by the Stan Kenton Orchestra on “Live at Brigham Young University”, 

this is a rare baritone saxophone solo feature throughout. The arrangement by 

Holman is marvelous, opening and closing with a slow statement of the theme, and 

roaring in an up-tempo setting in the middle of the chart. This is a very exciting 

arrangement of Gershwin’s unforgettable piece. 5-5-5-3 

THE RISE AND FALL OF A SHORT FUGUE 



The Stan Kenton Orchestra was always ahead of its time! This chart was recorded 

on the Stan Kenton Plays Chicago CD. It was one of two originals on the album. Stan 

asked Bob to write something which could be performed differently every night. The 

fugue is an interesting tone row style jazz line which leads into a free-form section 

which is cued by the conductor in any manner so chosen. A great piece! 

ROUND ROBIN 

Arranged by Shorty Rogers 


This amazing chart was recorded by the Stan Kenton Orchestra and released on 

the By Request-Volume One album. It is one of those stunning charts by Shorty 

which took full advantage of the talents of the likes of Maynard Ferguson, Bud 

Shank, Milt Bernhart and Shelly Manne. This requires an accomplished tpt. section 

with lots of chops. Solos for alto sax, tenor sax and trumpet. 5-5-5-3 

ROYAL BLUE 



Bill Holman’s compositions in the library of the Stan Kenton Orchestra were some of 

the most exciting pieces ever conceived for jazz orchestra. This is an up- tempo 

romp through the blues, major and minor. It contains all of the elements so associated 

with the Kenton band-excitement, energy and wonderfully inventive writing. This 

chart was recorded on the Back To Balboa LP. 5-5-5-3 (w/opt. french horn parts) 

94 

94 

SAMBA SIETE 



A samba in 7/4 ...... only Hank could make that work! This is a tough chart, but well 

worth the effort. Exactly as recorded on the Live at Butler University CD. Trumpet, 

alto saxophone and drums are featured on this extremely exciting Latin piece. Levy 

at his best ! This chart requires 1 alto, 2 tenors and 2 baritones. (condensed score) 

SEPTEMBER SONG 



The Kenton Band had many hits over the years, and a couple of them involved the 

whole band singing. This was one of those charts. Now, if your band isn’t into singing 

(maybe they should be), then this is the perfect vehicle for your vocalist. Pitched in 

Ab. Trumpets get a breather and the trombones and saxophones shine as section. 

A wonderfully relaxing, lush chart. 

A SMITH NAMED GREG 



This is a wonderful feature for baritone saxophone! It was recorded by the Stan 

Kenton Orchestra on the Kenton ’76 CD. It opens with a slow, pensive melody (bass 

and soloist only) and continues with backgrounds through the rest of the melody. 

The soloist then sets a brighter tempo with a 4-bar break, and the soloist and 

rhythm section continue for a while until the band is cued in. Limited ranges (except 

for one measure in 1st tpt.) make this a very accessible chart for most bands. Hurray 

for Hank Levy! 

SOLO FOR BUDDY 



Buddy Childers, that is! Willis wrote this for Buddy in 1954, and it is recorded on the 

Kenton Showcase album. A terrific feature for your stellar trumpet player. 5-5-5-4 

(condensed score) 

SPEAK LOW 



Recorded on the Back To Balboa LP by the Stan Kenton Orchestra, this is a typical 

Richards chart in that it contains exciting ensemble blowing and lots of solo space 

for trombone, tenor sax, trumpet and alto sax. It is set in a Latin feel and has very 

reasonable brass ranges. A must for your library! 

SPRING IS HERE 



This is another one of those absolutely wonderful charts that Lennie did for Stan 

Kenton for what was known as the dance book. It was the hippest dance book ever! 

A medium-swing tempo sets this great standard in a framework that is very musical 

and very exciting. Trumpet and bass are featured. Limited ranges (tpt. written high 

D). This one will be a real favorite. 

STAIRWAY TO THE STARS 



Another terrific feature chart by Bill Holman. This one was written to feature Gabe 

Baltazar (alto saxophone) and was recorded on the Adventures in Jazz album. It 

opens with a slow setting, moves into a fast tempo and returns to the pensive, 

beautiful, slow setting which opened the chart. Exquisite writing! Edited to be 

played without mellophoniums. Standard sax section. 5-4-4-3 (10 brass optional) 

STAN KENTON “HITS” MEDLEY 



Four wonderful tunes.... Eager Beaver, Dynaflow, Opus in Chartreuse and Artistry in 

Rhythm are included in this medley. Curnow put on paper what the band used to 

play to close most concerts or dances in the later years. Perfect for a kenton Tribute 

Concert when you want to end with the best loved hits of this band. Fairly easy to 

play for most bands. In fact, the idea was to rest the trumpet section for a while. 


ONLINE!

STAR SPANGLED BANNER 



There have been SO many requests for the ORIGINAL arrangement as recorded 

by the Stan Kenton Orchestra, that Curnow has made it available for the first time. 

Here is the national anthem, as recorded by Kenton in 1972 on “National Anthems 

of the World.” Here is a respectful, beautiful, powerful arrangement in the Kenton 

tradition. (alto, 2 tenors, 2 baritones; 5 trpts.; 4 trbs.; tuba, piano, bass drum set and 

timpani). 




This is the bass trombone solo, as recorded (The Kenton Era) by George Roberts 

with the Stan Kenton Orchestra. Folks have been waiting for this one for a long time. 

Johnny Richards sets this wonderful ballad in his typically adventurous and exciting 

manner. There is also a trumpet solo. Reasonable ranges make this piece very playable. 

A classic chart on a classic melody. 5-5-5-3 (can be played with 8 brass) 




A great alto saxophone feature. From the incomparable Contemporary Concepts 

album (1955). It begins with a soft, lovely statement of the melody and ends that 

way, with a roaring up-tempo middle section. This is one of Holman’s most often 

played features. 

A STEP BEYOND 



Live at Brigham Young University was the CD on which this chart was recorded. It 

is written in 5/4 and has solos for baritone saxophone and trumpet. A terrific chart 

by the incomparable Hank Levy. 5-5-5-3 (condensed score) 

STOMPIN’ AT THE SAVOY 



If there is one chart which seems to capture the essence of Stan’s mid-fifties bands, 

this is the one! The chart swings like mad from downbeat to the end. This is one of 

Holman’s best early charts, and he turned everyone on their ear with it. Great 

ensemble sections, and great solo spaces for guitar (or piano), bass, trumpet and 

tenor saxophone. This is very sophisticated music on maybe the best album the 

Kenton Band ever did. Recorded on the Contemporary Concepts album. 

STREET OF DREAMS 



Stan had a very definite style of arranging which, of course, was the basis of most of 

the music for his early bands. This chart is very simple but extremely effective. It 

begins with quiet trombones (5 parts), then piano, then the whole band at full 

volume, then an alto saxophone solo, then the sax section is featured, and then 

there is a quiet, wonderful ending with alto and rhythm alone. This chart was 

recorded many times, but it was first included in the Portraits on Standards album 

(featuring Art Pepper on the solo). A beautiful ballad and a real arranging masterpiece! 

STREET SCENE ***NEW*** 



This is the exact arrangement as played on the ‘Live at the Tropicana’ by the Stan 

Kenton Orchestra. It is a lovely, moody chart, with lush, warm harmonies and 

orchestration. Solos are in the tenor sax, trumpet, trombone and piano parts. Very 

moderate ranges (one isolated high D in tpt. 1) make this a most playable chart. Your 

band will love playing this. 5/5/5/3 (needs 10 brass) 

STRING OF PEARLS ***NEW*** 



This is NOT the Glenn Miller version of this tune. Gene Roland arranged this for the 

Kenton Band (recorded on the ‘Live at the Tropicana’ CD), and it swings like crazy! 

There is a nifty pattern created in the rhythm section which underlies the theme 

stated by trombones. You’ll find this to be a refreshing and take on this old standard. 

There is solo space for alto saxophone. 5/5/5/3 - can be played with just 8 brass. 


SUNSET TOWER 



This is one of the amazing stories of finding what was thought to be a long-lost 

chart. After extensive research, it turned up as an untitled set of parts in the North 

Texas Kenton archives. We are proud to bring you this unedited Kenton original, 

computer notated (as are most of our charts) from the original parts. This is a 

wonderful piece which features a trombone solo (Carl Fontana’s transcribed solo is 

included). Reasonable ranges. 

SWING HOUSE 



Mulligan’s writing for the Kenton Band was fairly minimal in quantity but extraordinary 

in quality. He had a profound effect on the band and the writers to follow him. This 

composition was recorded in 1952 and is on the New Concepts CD. There is solo 

space for trombone, alto tenor and trumpet. A classic which should be in every jazz library. 

TAKING A CHANCE ON LOVE ***NEW*** 



This is one of those marvelous dance charts that Lennie Niehaus wrote for Stan 

Kenton. Of course, all of Lennie’s charts are extremely hip, and this is no exception. 

Saxophones lay down a nifty little counter melody which occurs throughout the 

chart, and trumpets state the wonderful melody. There is solo space for trumpet 

and a neat saxophone soli. This has very moderate brass ranges (high D for tpt. 1) 

and will be a great addition to any jazz library. 5/4/4/3 (opt. 10 brass parts) 

THEME AND VARIATIONS 



Recorded in 1953 on the Kenton Showcase album, this is a medium tempo swing 

chart which was (and still is) very different and fresh. There is no improvisation in it! 

It opens with unison trombones playing a simple melody, and then the different 

sections join in one at a time to create the many variations in the piece. Holman 

demonstates his classical knowledge, but never at the expense of swinging. 

THERE’S A SMALL HOTEL 



As recorded by the Stan Kenton Orchestra on “Sketches on Standards”, this is 

a wonderful, creative arrangement of a great standard. Russo had a wonderful 

way with chord substitutions and used them a lot in this chart. There is a 

solo for alto sax (the transcribed solo of Lee Konitz is included) and 

piano. This will make a great addition to any jazz and/or dance library. 

All the ranges are reasonable. 5-5-5-4 

THREE THOUGHTS 



What a dynamic chart this is! It is included on the CD recording The Jazz Compositions of Dee 

Barton (1967). It opens with a dramatic, rubato ensemble at a slow tempo (while 

the bass and drums are swinging at a bright tempo) and then it moves into a fastpaced 

setting. Lots of solo space for bass and drums and alto saxophone and trumpet. The 

piece ends the way it begins. A wonderful composition by an extraordinary composer. 

This chart requires 1 alto, 2 tenor and 2 baritone saxophones. 5-5-5-3 (condensed score) 

THE THRILL IS GONE 



Many think that Standards in Silhouette was the most beautiful ballad album ever 

recorded by the Kenton Band. This chart is the fourth one (along with Ill Wind, The 

Meaning of the Blues and Willow Weep for Me) which is now in print. Bill Mathieu is 

an extremely creative arranger who has reinvented these gorgeous ballads. 


1-518-587-2325 1-518-587-2325 95


TIARE 

Arranged by Ken Hanna 


This is arguably the most beautiful piece ever written by Ken Hanna. One flute 

double and all 10 brass are required (with tuba). If you’re looking for that exotic, 

romantic, gorgeous ballad for your band, this is the one! Recorded on the Live from 

Redlands University CD. 

TIME FOR A CHANGE ***NEW*** 



This is a new edition (Finale computer notation) of this wonderful composition. It 

is available with a full score for the first time. Exactly as recorded by the Stan Kenton 

Orchestra on the ‘Kenton ’76’ CD, this is, unquestionably, one of the best things 

Hank ever wrote for Kenton. Once you get by the 9/8 meter (not too difficult), the 

reasonable ranges (1st tpt. high D only) make this a very playable chart. The melody 

is absolutely lovely, and there is solo space for alto, tenor and trumpet. 5/5/5/3 (can 

be played with only 8 brass). 

A TIME FOR LOVE 



This is another one of those charts which did not get commercially (or legally) 

recorded by the band. Hank wrote it in the later years. It features the lush 5-way 

trombone sound for which the band was so well known. There is a short (written) 

piano solo, a strong ensemble (trumpets do not play very high at all) and a quiet 

ending. Another masterful chart by Hank Levy. 5-5-5-3 

TRES CORAZONES 



Movement VII (of 7) of the Cuban Fire Suite. Finally ... the definitive version of this 

magnificent music. This is the lost movement, which we were fortunate to find. The 


Full parts for original instrumentation of 4 saxes, 5 trumpets, 2 French horns, 4 

trombones, tuba, piano, guitar, bass, drum set, timpani and 6 additional percussionists. 


TURTLE TALK 



There are quite a few charts in the Kenton Library that stand out because of their 

extreme originality. This is one of them. It is also a very demanding and exciting chart. 

The melody and harmonic structures are based for the most part on the whole 

tone scales (as is Waltz of the Prophets). This piece has not been converted to 

computer notation, and the parts and score (a very poor visual quality full score) 

are exactly as played by the band. This is fast, screaming big band jazz at its wildest! 

This chart requires 1 alto, 2 tenor and 2 baritone saxophones. 

THE TWELVE DAYS OF CHRISTMAS 





traditional Christmas music. This particular arrangement is one of the more complex 

charts on the album. It goes through a series of meters and textures and ends up 

with a no-holds-barred swinging section at the end. A great chart! The original 


keyboard, bass, drums and auxiliary percussion. These are the charts we sell, but 

we’ve also included saxophone parts which take the place of the mellophonium 


TWO SHADES OF AUTUMN 

Arranged by Joe Coccia 


This is a beautiful ballad, exactly as recorded on the Rendezvous with Kenton 

album. It features solos for alto and tenor saxophones. This is a gorgeous theme in 

a lovely setting. 

96 

96 

UNISON RIFF 



This chart has appeared on a couple of different albums over the years (Kenton 

Classics and Hits). It is typical, swinging Rugolo as he was writing in the late ‘40s. 

Solos for trumpet, alto, bass and trombone. 

WALKIN’ SHOES 



This is one of those charts that can be played by any reasonably accomplished big 

band (including high school players). It is Mulligan’s own chart on his famous tune. 

The only recorded version of it, oddly enough, is the one on Road Show, and it was 

used as a vehicle for June Christy and the Four Freshmen to sing. They simply sing 

the instrumental lines which are in the chart. However, when the band takes over, it 

is obvious what a great chart this is. Easy swinging and wonderful music. (condensed score) 

WALTZ OF THE PROPHETS 



There are quite a few charts in the Kenton Library that stand out because of their 

extreme originality. This is one of them. It is also a very demanding and exciting chart. 

The melody and harmonic structures are based for the most part on the whole 

tone scales (as is Turtle Talk). There is space for tenor and trumpet solos. This was 

one of the more popular charts that the band played throughout the 1960s. It is 

recorded on the Adventures in Jazz CD. This piece has not been converted to 

computer notation, and the parts (no score) are exactly as played by the band. This 

chart requires 1 alto, 2 tenor, 1 baritone and 1 bass saxophone. (no score) 












WE’LL BE TOGETHER AGAIN 



Written by Stan in the late 50s, this chart is wonderful in its simplicity and melodic 

content. A more beautiful ballad has not been written, and Kenton’s arrangement 

really focuses on that beauty. Solos for trumpet and piano (written out). Recorded 

on the Ballad Style of Stan Kenton CD. 

WHAT’S NEW? 



This may be the all-time greatest jazz arrangement of a standard tune. Also from the 

Contemporary Concepts LP (1955). This great standard is turned into a marvelous 

vehicle for solo statements from alto, tenor trumpet and trombone. No big band 

jazz library can be complete without this superb arrangement. 

WHATEVER LOLA WANTS 



As recorded by the Stan Kenton Orchestra on Stage Door Swings, this medium-up 

swing chart comes roaring out of the chute with a brass pop and leads into the 

piano stating the melody. There is additional solo space for baritone sax and a neat 

unison enesemble passage that takes this happy, swinging chart to the end. 5-5-5- 

4 (can be played by only 8 brass). 

WHERE OR WHEN 



Mulligan contributed only a few charts to the Kenton Library, and they are all classics. This 

arrangement is no exception. Although originally arranged for Stan’s dance book in the ’50s, 

this is much more than a dance chart. The saxophone section is featured, and the 

chart finishes with Mulligan’s marvelous creative touch. Solo for piano. 5-5-5-4 


ONLINE!

WILLOW WEEP FOR ME 



Bill Mathieu’s arrangements, done for the Stan Kenton Orchestra, were some of the 

most beautiful pieces ever recorded by that band. This is a splendid rendition of a 

great standard. It contains all of the elements so associated with the Kenton band 

- wonderfully inventive writing. Trumpet, tenor and trombone solos. This chart is on 

the new Standards in Silhouette CD. 

WORKS 



Here is a terrific medium swing chart, also written for Stan Kenton in the ‘50s. 

Although it was never recorded commercially by the band, it was played a great deal 

in live performances throughout the country and is on a number of transcription 

recordings. It cooks from beginning to end, and features solo space for trumpet and 

tenor sax, and one of those patented Holman ensemble shout choruses that just 

swings like crazy! 

YESTERDAYS 



This is a wonderful feature for tenor saxophone (as recorded by Bill Perkins). Bill 

says that people ask him about this recording more than any other he has done 

(and that’s a LOT!). Holman uses the essence of this beautiful ballad, stays out of the 

way of the soloist, and creates one of the most successful feature ballads ever 

arranged. This is very sophisticated music on maybe the best album the Kenton 

Band ever did. Recorded on the Contemporary Concepts album. 

YOU GO TO MY HEAD 



It is hard to explain the characterisitic of this arrangement except to say that, even 

though Graettinger writes some very adventurous and futuristic textures and lines, 

you always know where and what the melody is. This is just wonderful writing! If 

you’re looking for something to program which demonstrates the contributions of 

Graettinger to the Kenton aura, but does not get as weird (not a good word) as 

other things he wrote, this really fits the bill. Included on the City of Glass CD. 

YOUNG BLOOD 



Mulligan’s writing for the Kenton Band was fairly minimal in quantity but extraordinary 

in quality. He had a profound effect on the band and the writers to follow him. This 

composition was recorded in 1952 and is on the New Concepts CD. There is solo 

space for alto, tenor and trumpet. A classic which should be in every jazz library. 5- 

5-5-4 (This music is available from Mosaic Records in their Russo/Holman CD set.) 

YOUNGER THAN SPRINGTIME ***NEW*** 


Medium Difficult $55.00 Cat: Cat: SMP-742 

Lennie Niehaus wrote a series of terrific arrangements for the Stan Kenton Orchestra 

(this was recorded on the ‘Stage Door Swings’ CD). This chart is a medium-swing 

version of a great Rodgers & Hammerstein tune. It features solo space for trumpet. 

Ranges are quite moderate (a couple of high E’s for tpt. 1) for a Kenton chart. This 

swings like mad, and your band will surely love playing it. 5/5/5/3 

ZOOT 



Holman wrote this to feature (of course) Zoot Sims on tenor saxophone. This is a 

feature throughout the chart and is a typical swinger in the Holman style of the 

early 1950s. The only recording is on the Kenton Era collection. (This recording is 

also available from Mosaic Records in their Russo/Holman CD set.) The parts are 

hand copied, not computer notated. (condensed score) 

STAN KENTON/GENE KRUPA 

AS PERFORMED BY GENE KRUPA 

BOOGIE BLUES [VOCAL] 


Medium $65.00 Cat: LL-99504 

A hit for Anita O’Day during her second spell with the Gene Krupa Orchestra, this 

chart is taken from the album Let Me Off Uptown on Columbia/Legacy (CK 

65625). The opening Boogie, followed by an Alto solo (written) leads in to the vocal 

chorus. There’s just a muted trumpet and the rhythm section backing the singer. The 

band comes back with the boogie and into a big shout chorus to finish. Baritone sax 

on alto throughout. The alto and trumpet solos are written out. Vocal Key: Eb 

DISC JOCKEY JUMP 



This chart is very clever in its concept, as it is both big band and an 8-piece bebop 

all rolled into one. The front line is a quartet of alto, tenor, trumpet and trombone 

taking the unison melody line, with the rest of the blowers providing the backing 

support. Each of the quartet have solos. This chart in a way reflects its time in history, 

with the shift from the big band format of the ‘40s to much smaller outfits in the ‘50s. 

This is not a demanding piece to play, and also sounds good at reduced tempo. 

LEAVE US LEAP 



Made popular by the Gene Krupa Orchestra, Leave Us Leap is a full-blooded uptempo 

swing chart in which dynamics are everything. The first chorus is taken by the 

saxes, with punchy brass backing. Solos for trumpet, trombone, tenor and piano 

follow, with a cameo alto solo introducing a big shout chorus at the end. The 

drummer is then left to his own devices for a solo spot, which could last from a few 

seconds to several minutes. Some bands leave the stage at this point and let him get 

on with it! The shout chorus is repeated to end things off. 

LET ME OFF UPTOWN [VOCAL] 



This was a huge hit for the Krupa band, featuring Anita O’Day and Roy Eldridge. The 

chart is a medium tempo swing duet between the two and has some lovely spoken 

interplay between them. We realize than not many bands have trumpet players who 

also sing, so we have written both vocal lines on one part, and cross-cued the male 

vocal onto the 2nd trumpet part just in case. This chart is also a trumpet feature, 

with the 2nd trumpet taking a screaming solo when the vocals are over. Eldridge’s 

original version (which we have written out in full) goes up to a super G, though we 

have provided chords should your player wish to improvise. All 3 other trumpets are 

written to high Eb during a unison run up to the T2 solo, but 3 & 4 can be dropped 

an octave if they can’t reach the range. This chart would be a medium if the soloist 

improvises and T3&4 drop the octave. There are no sax doubles. Vocal Key: Db 

OPUS ONE [VOCAL] 



This is the vocal version that Anita O’Day recorded with Gene Krupa, and is a mix 

of powerhouse swing that you would expect from Krupa’s band, and a laid-back, 

slightly humourous vocal chorus from O’Day. It features a blasting trumpet solo 

near the end, and a wonderfully conceived modulation into the vocal chorus. The 

trumpet solo has been written out, and the little piano fill-in solo in the intro also. 

This is a medium to advanced chart in terms of difficulty, because the trumpet solo 

screams up to a high E, and 1st and 2nd trombones have to pick a top D out of the 

air at one point. No sax doubles. Vocal Key: D 

STOP! THE RED LIGHT’S ON ***NEW*** [VOCAL] 



This is another well known up-tempo swing chart from Anita O’Day and the Gene 

Krupa Orchestra. The arrangement (transcribed from the Elton Hill original) not 

only features your vocalist and your band shouting ‘Stop!’, but also your Trumpet 2. 

Gene Krupa often featured Anita O’Day and Roy Eldridge together in the same 

arrangements. Let Me Off Uptown and North Carolina are other examples. This is 

a fine swinger from the height of the Krupa band. The vocal key is Bb. 


1-518-587-2325 1-518-587-2325 97

KRUPA/LEE/MARTIN/MILLER 

SYMPHONY IN RIFFS ***NEW*** 

Arranged by Myles Collins and Alan Glasscock 


Benny Carter wrote this piece and recorded it with his band in 1933, and it became 

one of the defining swing charts of the era. He later scored this arrangement for 

Gene Krupa, and it is arguably even better than the original. The only changes from 

this classic was to score the chart for 8 brass and 5 saxes (originally 6 & 4 respectively). 

There are solo spots for tenors 1 & 2, trumpet 2, trombone 1 and drums, and all of 

the solos are written out in full, except the drum solo where the the first 4 (of 16) 

measures have been written out in Krupa style. This chart skips in a relaxed righton-the-beat 

swing style, and is great for the dancers. There are no sax doubles. 

TUXEDO JUNCTION 



More bluesey than the Miller version, this arrangement from the Gene Krupa 

Orchestra makes a refreshing addition to any library. The chart features some lovely 

guitar and alto solo cameos and a solo spot for clarinet (1st tenor), plus some 

flowing brass choruses. Whilst the Miller-style trombone plunger figures are nowhere 

to be found, the brass sections do have the chance to wave their rubber near the 

end of the chart, and the trombones round the piece off with pedal note doo-wops. 

The saxes are scored for 3 altos & 2 tenors, and 1st tenor doubles clarinet. The 

guitar solos are cued onto the piano part should you lack a guitarist. The brass 

ranges are very moderate and we have graded the piece as medium easy, as the 

clarinet solo (as written) gets a bit busy in one bar. 

98 

98 

AS PERFORMED BY PEGGY LEE 

THAT’S MY STYLE [VOCAL] 



This is the late, great Peggy Lee at her laid back best. This tune is so relaxed it is 

almost horizontal, yet the band’s support of the vocalist is just perfect. Loud and 

snappy where it needs to be, yet in places as laconic as the vocal itself. The tempo is 

moderate and the brass ranges not overly demanding, though the band needs to be 

tight to do the chart justice. No sax doubles. Vocal range: G3 -A4; Vocal Key: F 

WHY DON’T YOU DO RIGHT [VOCAL] 



This version was recorded in 1942 by Peggy Lee during her stay with the Benny 

Goodman band and Peggy made this song her own. Goodman’s chart has been 

faithfully transcribed, including all of the clarinet licks and solos, but have expanded 

the brass from the original 6 up to 8. The sax parts are written for solo clarinet, alto, 

2 tenors & baritone though an extra alto sax part has been included (the tenor 1 

part, written for alto) to give you a bit more flexibility in the section. The brass 

ranges are very moderate, and aside from the clarinet solo there are no surprises, so 

the chart is very playable. Female vocal range: A3-D5 (10 steps); Vocal key: F 

AS PERFORMED BY DEAN MARTIN 

AIN’T THAT A KICK ***NEW*** [VOCAL] 

IN THE HEAD 


Medium $65.00 LL-2112 

This tune was a huge hit for Dean Martin, and the same version was more recently 

covered by Robbie Williams on his ‘Swing When You’re Winning’ album. The original 

chart has been transcribed here, and it will be a complete show-stopper for your 

band, whether your singer wants to be Dean or Robbie. There are no sax doubles, 

the 4th trombone is written for a bass, and the vocal key is D. 

AS PERFORMED BY GLENN MILLER 

ADIOS 


Medium $65.00 Cat: LL-99962 

A hauntingly beautiful number from the Glenn Miller book. This is a faithful 

reproduction of the original arrangement, with correct Miller-voiced saxes throughout. 

Lead trumpet takes the solo line, and lead trombone has the muted middle solo. This 

chart is all about dynamics and blending of instruments, in order to achieve the right 

feel and expression. The notes are easy, but the band must be tight. Sax doubles: alto 

1 on clarinet throughout; baritone on alto. 

AMERICAN PATROL 


Medium $65.00 Cat: LL-22406 

There are many bands using a stock dance band arrangement of American Patrol, 

originally written for 5 saxes and 5 brass, and possibly then adapted for a bigger 

band. The problem is that it’s wrong on a number of counts, not least of which is 

that the correct key is Bb. The stock was in Ab and made many sectional passages 

lumpy and tricky to play. We have faithfully reproduced the original for you here, 

scored the instruments properly and tidied up the wrong notes and chord 

progressions. All of the expressions and dynamics are in place and easy to read. This 

is a really good value for money chart and will give your band the authentic Miller 

sound when you play it. Lead alto doubles clarinet, baritone sax doubles alto. 

Trumpet solo written for 2nd part, and cued on lead part. 

ANVIL CHORUS 



Originally from Verdi’s Il Trovatore, Anvil Chorus was a big hit for the Glenn Miller 

band, thanks to the fabulous arrangement by Jerry Gray. This is faithfully restored to 

the original version, complete with fully written out solos for tenor and trumpet. The 

saxes are voiced AAATT throughout, as per the original, and all dynamics are 

marked. This is great in performance, and at 240 bpm you will need nimble fingers. 

AT LAST [VOCAL] 



Here is Miller’s beautiful vocal ballad. The Miller band had several versions of this 

chart, and this is drawn from the version in the film Orchestra Wives. Whilst it is not 

the complete film version (i.e., not with both male and female vocal), it has the same 

dramatic opening with the trumpet solo, then into the sax soli, followed by a 

trombone soli in even time, accompanied by piano obligato. Then follows the 

modulation into the vocal chorus (in the key of A) and final band flourish. Lead alto 

is on clarinet throughout, and baritone doubles alto. The trumpet ranges are very 

moderate, but because the lead trombone reaches a high C it is medium. 

BOOM SHOT 



Boom Shot is a rare gem of a chart from the Glenn Miller book, co-written by Mr. 

Miller himself. It swings with a lilt (if not played too fast) and features your 2nd 

trumpet as well as solos (written) for 1st alto and trombone, and space for some 

background improvised piano too. The song itself is unusual, being not much more 

that an 8 bar melody, but the orchestration is superb and the series of modulations 

that run through the chart give the whole thing a series of constant kicks that keep 

it fresh and moving. Baritone doubles on alto. 

CARIBBEAN CLIPPER 



From the pen of Jerry Gray for the Glenn Miller Orchestra, this up-tempo swing 

chart features the piano (originally Mel Powell) as well as the drums in the shout 

chorus. A classic Miller technique is used to propel this number: unison saxes with 

brass punches providing rhythmic support, with the melody inverted later on to the 

brass, with sax figures backing. A wonderful middle passage of two trumpet pairs 

playing counterbalancing lines, one set open, one pair with wah-wah plungers, and 

both backed by glissing trombones and fill-phrased saxes is quite unique. Sax 

doubles: 1st alto to clarinet; 1st tenor to clarinet; baritone to alto. 


ONLINE!

CHATTANOOGA CHOO CHOO 



Here is Glenn Miller’s Chattanooga Choo Choo, adapted from the version in the film 

Sun Valley Serenade. Essentially this is the same structure as vocal version, except 

that the chart has been modified to go straight from the instrumental chorus to the 

surprise key change into the final shout chorus. This chart is therefore only two and 

a half minutes long, but perfectly suited. The film soundtrack as well as the film itself 

was used in order to study the players’ fingerings and therefore get things right. Sax 

doubles: alto 1 & tenor 1 double clarinets; baritone doubles alto. Please note that 

the vocal version (see vocals section) doesn’t work as an instrumental as the band 

modulates from Db to C for the vocal, but from Db to F for the final chorus. 

DANNY BOY 



Here is the lush and lovely Danny Boy (a.k.a. Londonderry Air) as played by the 

Miller Band. This chart features Miller-voiced saxes, beautifully balanced muted brass 

and some delicate piano work which is written out for your pianist in the places that 

matter. Though short, at just over two minutes, this chart is perfect for those gentler 

moments in a set, or for a late night closer. The lead trombone is the cameo-featured 

solo instrument and its range goes quite high - to top C#, hence we have graded this 

as a medium piece. Lead alto is on clarinet throughout. Second alto doubles clarinet 

and the baritone doubles bass clarinet, though we have also cued the passage with 

notes for the bari in case a bass clarinet is unavailable. 

DON’T SIT UNDER THE APPLE TREE 



This is Glenn Miller’s version that was originally performed by the Modernaires vocal 

group, except that we have turned it into an instrumental, whilst keeping the form 

true to the original. The band intro is there, as are the correct modulations and fills 

behind the melody lines. The trombones are written quite high in places (lead to 

high Db). We also offer this chart as a vocal version (see the vocals section). 

GLEN ISLAND SPECIAL 



Glen Island Special is a very quick swing chart written by Eddie Durham for the 

Glenn Miller band, and on first hearing it you could be forgiven for thinking it to be 

a Basie chart. At 240 beats per minute this chart rips from start to finish. It features 

ad-lib solos for 2nd trumpet and 1st tenor and has plenty of visual appeal too, with 

much plunger/hat work in the brass. The saxes are scored for 3 altos and 2 tenors. 

The trumpet ranges are very moderate, with lead only reaching a G. The sax parts 

do require very nimble fingers. 

I KNOW WHY 


Medium $65.00 Cat: LL-99506 

This version of I Know Why is adapted from the vocal version and is from the film 

Sun Valley Serenade. It includes an additional instrumental chorus not found in the 

earlier Miller recorded version. A lovely ballad, this conversion from the SATB vocal 

is true to the original in its structure, and naturally features Miller-scored reeds. Lead 

alto is on clarinet throughout and baritone doubles alto. 

IN THE MOOD 


Medium $65.00 Cat: LL-22406 

For the first time ever, here is an authentic version. There is no definitive version of 

this Miller tune because it evolved over time, from civilian band, Air Force band, the 

film version (Sun Valley Serenade) and so on. This is a fusion of the civilian band and 

SVS version. The saxes are re-voiced to AAATT, so the 1st tenor player now has 

playable fingerings and the note-doubling in the stock has gone. The rhythm lines 

are now right, so the chart doesn’t come to a grinding halt in the middle 8 and 

trumpet solo. The sax solos are now for two tenors, as they should be. The backing 

behind the trumpet solo is correct, with no trombones here at all. The last fade-out 

chorus contains the quasi-bass solo, with saxes only playing the top note of the riff. 

The trumpet run-up at the end is now right and this chart has all of the articulations 

and dynamics needed to reproduce the authentic feel. 

G L E N N M I L L E R 

IT MUST BE JELLY 



Co-written by Chummy MacGregor (Miller’s pianist) and George “The Silver Fox” 

Williams (who wrote extensively for Ray Anthony) this Glenn Miller chart is both an 

excellent swing chart, as well as being a lot of fun. Opening in half-time the chart 

picks up into a lively swing tempo with the piano taking the first (improvised solo) 

chorus. Then the whole brass section gets their chance to sing the tune. There are 

solos for 1st tenor, 2nd trumpet and 1st alto (all written out in full), followed by a 

ripping sax soli. The chart plays out in true Miller style, building and building to a 

thundering climax which just swings like crazy. Baritone doubles alto. 

JOHNSON RAG 



Here is Glenn Miller’s version of Johnson Rag, transcribed from the original Bill 

Finegan chart with all of the solos (both tenors, trombone 1 and trumpet 2) written 

out. This tune features many of Miller’s trademarks, such as the steady build and 

overlayering of sections to increase the depth of sound and to establish the tune 

firmly in the mind, plenty of trumpet plunger figures, sudden changes of dynamics 

and rich ensemble scoring. The brass ranges are generally moderate, though the 

trombone solo does hit a high Db. Trombone solo has been re-scored onto the 4th 

trumpet part should your player not feel comfortable with the range. No sax doubles. 

(I’VE GOT A GAL IN) [VOCAL] 

KALAMAZOO 

Arranged by Myles Collins and Alan Glasscock 


Here is the extended version of I’ve Got a Gal in Kalamazoo, made famous by the 

Glenn Miller Orchestra in the film Orchestra Wives. This chart differs significantly 

from the studio recorded version, and has a full chorus band intro, an interlude 

leading to the vocals, an extra band bridge into a vocal reprise, plus an added 24 bar 

band section to close. At five and a half minutes long, it’s a showstopper. The 

arrangement is scored for male vocalist plus a backing group of 5 - ideally girl, 3 

tenors and baritone, and in the Saxes Alto 2 and Tenor 1 both double Clarinets. The 

Tenor solo is written on the 2nd Tenor part and also cross-cued on the male vocal 

part. The vocal whistling in the interlude is cued on the Piano part, and we have 

written out the opening Trumpet solo in full. Vocal keys D flat to G flat. 

LITTLE BROWN JUG 


Medium $65.00 Cat: LL-22408 

Little Brown Jug was an early classic for the Miller band, first recorded in 1939, with 

the original arrangement done by Bill Finegan. This is an accurate transcription of 

that version, complete with fully written out tenor, trumpet and trombone solos. 

Many bands have a stock version of this chart in their libraries, but the problem with 

the stock arrangements is that the solos aren’t scored, the trombone solo is missing 

entirely, and there are numerous other errors, such as the sax section should be 

AAATT, there are incorrect voicings in the bridge, lack of backing behind the tenor 

solo and so on. This chart will recreate the authentic sound of the Miller band. 

LONG TALL MAMA 



Long Tall Mama is a solid swing chart written for the Glenn Miller band by Billy May, 

though credited to his wife Arletta for fiscal reasons at the time. Miller recorded this 

with his civilian and USAAF bands, and there were subtle differences between the 

two. This is the later version, and features solo spots for alto, clarinet (on the alto 2 

part), tenor and trumpet. We have written out all of the solos, though your players 

can improvise on the chords if they prefer. This chart would make a fine addition to 

your Miller collection, and is not that tricky to play. Alto 2 doubles clarinet. 


1-518-587-2325 1-518-587-2325 99

G L E N N M I L L E R 

MISSION TO MOSCOW 



This song was written by Mel Powell when he was pianist with the Goodman 

orchestra, and it was a hit in 1942. Glenn Miller, whilst in charge of the US Army Air 

Force Training Command Band, used it as a vehicle for showing the clarinet skills of 

Peanuts Hucko. It also fit well into a series of numbers that were patriotic and 

supported the war effort - tunes such as Keep ‘Em Flying, Tail End Charlie and Jeep 

Jockey Jump. This is a great punchy swing chart, and you will need a good clarinet 

player to do it justice. Lead alto doubles clarinet, baritone doubles alto. 

MOONLIGHT SERENADE 


Medium $35.00 Cat: TBS0026 

Moonlight Serenade is the Glenn Miller theme tune, and one of the best known big 

band tunes of all time. This is the original arrangement, transcribed by Jeff Hest, and 

is a completely faithful reproduction. Saxes are scored for clarinet, 2 altos and 2 

tenors. The clarinet solo is fully written out and the arrangement comes with 

rehearsal/performance notes for the bandleader. 

MOONLIGHT SONATA 



A much underrated chart from the Glenn Miller book but one that makes the hair 

stand up on the back of your neck. The arrangement builds on Beethoven’s work for 

solo piano, and adds layers of rich texture and voicing in the way that only the Miller 

band could. We have written out the piano part in full, and the solo in the lead tenor 

part too, plus all of the dynamics and articulations needed to enable you to recreate 

the original sound. Apart from the piano part, this is not a difficult piece to perform. 

The brass ranges are moderate, the lead trumpet only reaching a B, but there are a 

number of sax doubles: altos and tenors all double clarinets and the baritone 

doubles alto sax and bass clarinet, although we have cued in notes for baritone at 

the appropriate places, should your baritone player not have a bass clarinet available. 

A wonderful concert piece or late-night closer. 

THE NEARNESS OF YOU [VOCAL] 

Tramscribed by Alan Glasscock 


Here is the lovely ballad as performed by Glenn Miller, with vocal by Ray Eberly. 

Another lush ballad with the trademark Miller sax sound of clarinet lead over 2 altos 

and 2 tenors, with restrained brass backings. We have rated this medium as the lead 

trombone goes up to to a high C and 2nd to an Ab (otherwise it would be easy). 

The trombone phrases have been cross-cued onto the trumpet parts in case your 

trombone players are not comfortable with the range. This chart is also very singable 

as a female vocal, as the range is from C to D one ocave higher. Also included is a solo 

trombone part, so it can beplayed as an instrumental. .Sax doubles: baritone on alto 

throughout, and 2nd alto doubles clarinet. Vocal key: F 

PENNSYLVANIA 6-5000 


Medium Difficult $40.00 Cat: TBS0035 

This is another timeless Glenn Miller classic and must-have standard. This is a Jeff 

Hest transcription of the original song and includes fully written out solos for tenor 

and trumpet and cues for the band shouts. 

PERFIDIA 


Medium $65.00 Cat: LL-99959 

Originally entitled Tonight, Perfidia came into its own when given the Glenn Miller 

treatment, as a fabulous vocal showcase for the Modernaires. This arrangement is 

true to the original, except that we give the vocal chorus to the trombone section 

as a feature. This chart has the correct Miller voiced saxes, the surprise key change, 

the blend from brass to reed behind the cameo bass solo near the end, and all the 

written dynamics to help create the authentic sound. 

100 100 

100 




This transcription is of the Miller version of Gershwin’s famous work. All of the solos 

have been written out (1st trumpet, 1st tenor, guitar and bass) and all the parts are 

accurately notated and articulated to give the real Miller feel. Both altos double 

clarinet, and baritone doubles alto. The trombones go up quite high (lead to high 

Db), though the parts are cross-cued onto the trumpet parts, making things a bit 

more versatile for bands with range limitations. 

ST. LOUIS BLUES MARCH 



This is the version performed by Miller’s US Army Air Force band, and features 

trumpet and tenor solos. The fill-in alto solos are there too, as is a fully notated drum 

part. This is the definitive St. Louis Blues. This chart is a huge improvement over the 

stock chart published many years ago and is a must-have for all lovers of Miller. 

SERENADE IN BLUE [VOCAL] 



Serenade In Blue is another classic from the Glenn Miller Orchestra with the 

Modernaires, and Alan Glasscock’s transcription is a true reflection of the original.The 

chart is written for male vocalist with a 4-piece backing group. Perhaps the trickiest 

part of the chart is Billy May’s unique opening passage which needs to be played 

with confidence and a relaxed feel. The saxes have a number of instrument doubles: 

altos 1 & 2 on clarinets, tenor 2 on bass clarinet (in the intro), though this may be 

taken on tenor if needs be, and baritone on alto. The trumpet solo in the intro is 

meticulously written out too. All articulations and dynamics are indicated, enabling 

your band to reproduce one of Millers’ best known tunes. Vocal key: Eb 

SKYLARK [VOCAL] 


Medium $65.00 Cat: LL-99401 

This is a lush male vocal ballad from the Miller Orchestra, and it naturally makes use 

of Miller-voiced saxes. The voicings and harmonic structure of this arrangement are 

simply stunning, and completely complement the crooning vocal line. This is another 

quite superb transcription from Alan Glasscock which faithfully reproduces the 

original chart. Lead alto is on clarinet throughout, alto 2 doubles clarinet and 

baritone doubles alto. The trumpet ranges are very modest, with the lead only 

reaching Bb, making this chart playable by even moderate players. Vocal key: Db 

SONG OF THE VOLGA BOATMEN 



Written by Bill Finegan for the Glenn Miller Orchestra, this number is a great 

example of the arranger’s art. He took a simplistic tune (Yo Ho Heave Ho) and 

turned it into a memorable piece, famous for its central passage of unison trombones 

followed four bars later by unison trumpets repeating the same phrase, both getting 

ever higher in their ranges, and leading to a huge tutti finish, embellished with a 

cameo written ad-lib solo trumpet. A true reproduction of the original. 

THE SPIRIT IS WILLING 



A gentle, somewhat quirky chart from the Glenn Miller band of 1941 written by 

Jerry Gray as a two trumpet feature. This tune grows on you, has an easy tempo and 

is really smooth. The ‘hook’ is is in the harmonic structure - a rising and falling 

sequence up and down the scale chords of D, and the bouncy sax riff will leave you 

humming the thing. We have written out all of the trumpet solos, with mute indications 

and articulations, and have included the little piano fills near the end of the piece, 

and the drum licks too. There are no sax doubles. An easy chart, aside from a couple 

of trumpet high notes (1st & 2nd to written top C), which plays really well. 

STORY OF A STARRY NIGHT [VOCAL] 


Easy $65.00 Cat: LL-2417 

Straight from the Miller book, the Story of a Starry Night was originally arranged for 

the Miller band by Bill Finegan, and has been re-created by John Ferguson. Based on 

Tchaikovsky’s Pathetique Symphony #6, this arrangement is one of a number of 

classical pieces given the big band treatment. Scored for Miller-voiced saxes 

throughout, this arrangement shimmers and shines. The vocal (in Ab) is beautifully 

supported by just the right amount of band backings, the brass ranges are very 

moderate, and the whole chart is lush and rich. Fabulous. 


ONLINE!

STRING OF PEARLS 


Medium $65.00 Cat: LL-99965 

There are many bands using a stock dance band arrangement originally written for 

5 saxes and 5 brass, and possibly then adapted for a bigger band. The problem is 

that it’s wrong on a number of counts. This is a faithful reproduction of the original, 

and have scored the saxes properly (AATTA) including the two tenor chase solo, 

voiced the brass correctly, written out the piano solo and fills and tidied up the 

wrong notes and chord progressions. All of the expressions and dynamics are in 

place and easy to read. This will give your band the authentic Miller sound when you 

play it. Baritone sax on alto throughout; trumpet solo written for 2nd part, and 

cued on lead part; second tenor portion of sax duet cued on 2nd alto part. 

SUN VALLEY JUMP 



Another Glenn Miller classic, this was one of a long line of hits written by Jerry Gray. 

The original chart has been reproduced here, complete with the trumpet, tenor and 

clarinet solos, all of which are written out. This chart has a nice bounce feel to it, and 

plays at about the same tempo as In the Mood. It has been rated medium, mainly due 

to the range of the trumpet 2 solo (up to high E). Apart from that it is an medium 

easy chart. The clarinet solo is written on the alto 2 part, no other sax doubles. 

SUNRISE SERENADE ***NEW*** 



Originally released in 1939 on the RCA Bluebird label as the flipside to Moonlight 

Serenade, and the record became a huge hit for the Miller band. The original Miller 

chart was by Bill Finegan, first written for only 6 brass and later adapted for 8. This 

transcription is full of typical Miller color, with a pair of Clarinets carrying the melody 

in thirds, echoed by two tenors an octave below, all backed by wah wah brass. The 

original Tex Beneke sax solo is fully written out, as is the solo piano fill at the end of 

the chart. Saxes are written for 3 altos (1 & 2 doubling clarinet) and 2 tenors. 

SWING LOW, SWEET CHARIOT ***NEW*** 



Bill Finegan wrote the original version of this arrangement for Glenn Miller’s civilain 

band, and adapted it for Miller’s USAAF band. This is the version that we offer here. 

Transcribed beautifully by Alan Glasscock, this rousing chart has instant appeal is a 

worth addition to your Miller collection. There are no sax doubles. 

TAIL END CHARLIE 



Another Bill Finegan masterpiece, Tail End Charlie was made famous by Miller’s Army 

Air Force Training Command Band. The Tail-end Charlie was the rear gunner in a 

bomber - often the first line of defense - and probably the most exposed position 

of any crewmember. This mid-tempo swing chart has unison saxes carrying the 

theme, backed by muted brass figures, building into a key-change bridge to introduce 

the baritone solo. The whole number reaches a peak with a written-to-sound-adlib 

trumpet solo, before the theme returns, repeating to a fade-out (a well-tried 

Miller effect), with final tutti crescendo to end with. 

TUXEDO JUNCTION 


Easy $65.00 Cat: LL-99983 

This is the true Glenn Miller version, complete with written out trumpet solos for 

2nd and 3rd trumpets. The solos are cross-cued to the 1st and 4th parts too, giving 

your other players the chance to play them too. The transcription is accurate, right 

down to the little cameo piano & drum solo breaks. All dynamics are clearly marked, 

so your band can achieve the authentic Miller sound. This is a straightforward chart 

to play. This sounds best if the band is relaxed and doesn’t rush the tempo! 

WE’LL MEET AGAIN [VOCAL] 


Easy $65.00 Cat: LL-2068 

Another nostalgic song from the early WWII years, We’ll Meet Again remains as 

popular as ever. It is a particularly good closing number for a nostalgia gig or concert 

as it is not a long arrangement, though a very effective one. The saxes are Millervoiced 

with clarinet lead and baritone on alto throughout. In Eb, the vocal range is 

A below to Bb above middle C, and is well within the range of most male and female 

vocalists. Lead trumpet to top C#. Vocal Key: Eb 

GLENN MILLER/MINGUS BIG BAND 

WHEN JOHNNY COME [VOCAL] 

MARCHING HOME 



This patriotic wartime tune was originally done by Glenn Miller with Tex Beneke and 

Marion Hutton and the Modernaires supplying the vocals.This is a medium swing 

tempo chart that kicks. This has been scored for male & female vocalist with a 4piece 

backing group, though the arrangement works well as a boy girl duet or as a 

solo vocal (we have included a solo vocal sheet in the pack). The tenor sax line that 

would have been missing when Beneke took the vocal is scored back in, thereby 

keeping your section complete. This chart is true to the Bill Finegan original, and 

there are no sax doubles. Trumpets 2,3 & 4 need to be able to reach high C for the 

unison passage before the tenor solo in the last chorus. Vocal Key: G 

AS PLAYED BY THE MINGUS BIG BAND 

CHILDREN’S HOUR OF DREAM 

Arranged by Sy Johnson 

Advanced $60.00 Cat: 7010957 

The unique genius and originality of Charles Mingus is nowhere more apparent 

than in this symphonic masterpiece adapted for big band by Sy Johnson. Involving 

no improvisation but rather a series of through-composed colors and changing 

moods, the Mingus Big Band has been amazing audiences for years with this impressive 

concert piece. Stunningly effective and different! 

GOODBYE PORK PIE HAT 



This is probably Charles Mingus’ best-known composition. Sy Johnson’s updated 

chart is the authentic version from the latest CD by the Mingus Big Band, Blues and Politics. 

GUNSLINGING BIRD 

Arranged by Steve Slagle 


The opening cut from the Mingus Big Band CD Gunslinging Birds is this raucous and 

blistering jazz waltz. Mingus wrote this piece as a tribute to Charlie ‘Bird’ Parker with 

the subtitle ‘If Charlie Parker were a gunslinger there’d be a whole lot of dead 

copycats’. This chart doesn’t hold anything back! 

HAITIAN FIGHT SONG 



The Mingus Big Band recorded this on the Blues and Politics CD. This minor blues 

has a bass solo opening. Includes ample solo space. 5/3/3/3 

MOANIN’ 



The bartione saxophone player get the opening vamp. Ample open solo space and 

fantastic ensemble sections. 5/3/3/3 

NOSTALGIA IN TIMES SQUARE 

Arranged by Ronnie Cuber 


This medium tempo swing chart is the lead-off cut from the CD Mingus Big Band 93. 

Featured is a distinctive melody, a stop-time solo section, and a great swing groove 

throughout. 

TIJUANA GIFT SHOP 

Arranged by Michael Philip Mossman 


This was recorded by the Mingus Big Band on the Que Viva Mingus CD. Features 

great Latin sounds and textures mingled with swing sections. 5/3/3/3 Saxes doubles: 

2 flutes, soprano sax, and tuba. Percussion parts. 


1-518-587-2325 1-518-587-2325 101

BUDDY MORROW/BUDDY RICH 

102 102 

102 

AS PERFORMED BY BUDDY MORROW 

NIGHT TRAIN 



Here is Buddy Morrow’s thundering rendition of Night Train. What is unusual is the 

speed of the chart - a slowish 85 bpm - and, as a result, the arrangement has a solid, 

rumbling momentum that carries all before it. The melody and solo is taken by the 

lead (solo) trombone. Alan Glasscock has scored the chart meticulously, so your 

band can capture the feel and get the phrasing absolutely right in order to recreate 

what is one of Morrow’s finest performances. There are no sax doubles. 

AS PERFORMED BY BUDDY RICH 

ACID TRUTH 


Medium Difficult $65.00 Cat: W-51425 

Another great chart excatly as recorded by the Buddy Rich Big Band on Mercy, 

Mercy. 7 brass: 4 trumpets and 3 bones. 

BIG SWING FACE 



This is the real thing, as written for and recorded by the Buddy Rich Band on the Big 

Swing Face CD. It is a medium-up swing chart that provides plenty of solo space for 

alto sax (a la Ernie Watts), piano (a la Ray Starling) and trumpet (a la Bobby Shew). 

Features a terrific saxophone section soli. Big band swing at its best! 5-4-4-4 

CHANNEL ONE SUITE 

Arranged by Tom Davis 

Difficult $55.00 Cat: JE9741 

We’re proud to bring you the Buddy Rich jazz classic CHANNEL ONE SUITE. This 

piece was one of Buddy’s signature tunes, and it is now in print for the first time ever. 

Tom Davis has faithfully transcribed this chart from the original recording. It’s a real 

challenge, but one your students will love. In order to make this chart more accessible 

to most bands, we have provided alternate trumpet parts that have been rewritten 

to omit some of the extreme upper register passages. This is a piece of jazz history, 

and either way you play it, this chart is a winner! 

GROOVIN’ HARD 



No descripton needed. One of the all-time greatest charts recorded by the Buddy 

Rich Big Band on Burning For Buddy Vol 2. 

KEEP THE CUSTOMER SATISFIED 



From the CD Keep the Customer Satisfied. Who will ever be able to forget the 

dynamic Buddy Rich Band? This chart was a staple in that library for a long time, 

spinning off of the ‘60s-’70s look at more contemporary music sources (rock, folk, 

etc.). It is a LOT of fun for any band to get into this chart. Space for alto saxophone, 

trombone and, or course, drum solos. 

LOOSE 



Written for and recorded by the Buddy Rich Band on the Big Swing Face CD, this 

wonderful chart features trumpet (a la Bobby Shew on the CD) and alto saxophone 

(a la Quinn Davis on the CD). Alto sax 2 and tenor sax 2 double on flute. This is a 

wonderful, relaxed, kind of loose feeling chart at a medium-up tempo. 5/4/4/4 

LOVE FOR SALE 

Arranged by Pete Myers 


A sensational arrangement of a great tune in an up-tempo setting. This is recorded 

on the Big Swing Face CD. Solo space for alto sax, trumpet, tenor sax and, of course, 

some wonderful drum breaks. This is in-your-face, outrageous, exciting music, exactly 

as written for, and recorded by Buddy Rich. 

MERCY MERCY MERCY 



Well, here it is, the great Joseph Zawinul composition, as played by the Buddy Rich 

band. This chart features drums (naturally), solo space for tenor sax and guitar (or 

piano) and is a thunderously rousing arrangement. Quite long, at 5 and a half 

minutes, this chart is a TOUGH blow for your lead and 2nd brass players. The lead 

trumpet range is up to a high F#, 2nd to high E and the lead trombone to high C#. 

So, as long as you have the players, you will not regret buying this chart. 

NORWEGIAN WOOD 



This is the real thing, as written for and recorded by the Buddy Rich Band on the Big 

Swing Face CD. It is perhaps one of Holman’s best known charts ever. A scintillating 

jazz waltz, full of excitement and energy, it features solos for alto saxophone (a la 

Ernie Watts on the CD) and trombone (a la Jim Trimble on the CD). Lots of raw 

power and blistering figures make this the ideal opener or closer for your concerts. 

Your audiences will love it! 

RUTH 



From the CD Buddy and Soul. This is one of the most original big band rock/fusion 

charts ever written. The Buddy Rich Big Band recorded this as a closer on the CD 

Buddy & Soul. Tenor solo and lots of exciting counterpoint. Red-hot ensemble 

passages prevail! Played on the Tonight Show many times when Buddy would be a 

guest. This is a terrific crowd-pleaser. 

STRAIGHT, NO CHASER 



Never before published, we are proud to offer Buddy Rich’s famous version of this 

Thelonious Monk jazz classic arranged by John La Barbera. Newly edited and 

professionally prepared, this edition belongs in the library of every serious jazz 

ensemble. The tempo for this recording is a bit slower than Buddy’s and more in 

keeping with the arranger’s original intent. 

TIME CHECK 



No description needed. As recorded by the Buddy Rich Orchestra on Burning For 

Buddy Vol 2. 

WALK ON THE WILD SIDE 



Buddy Rich fans will instantly recognize this staple of the famed drummer’s live 

performances. Although Buddy never recorded this monster chart, John La Barbera 

has featured it on his new big band recording ‘On the Wild Side.’ An impressive multistyled 

tour de force for mature ensembles! 

WAVE 

Arranged by John LaBarbera 


Buddy Rich played this chart constantly! Features a great bass trombone solo on 

the tune. Flute doubles required on all saxophone parts. Here is a rare chance to 

feature the bottom of the trombone section with a beautiful Jobim melody. Full 

score/parts. 


ONLINE!

WINNING THE WEST 



As written for and performed by the Buddy Rich Big Band, here is the long-missing 

chart that Holman wrote to feature Buddy on drums and Pat LaBarbera on tenor 

sax. What a great chart! It is set in a quasi Rock Feel which shifts to swing and back 

again. This is a very high-energy, exciting chart, and Buddy played it all the time! Your 

band will eat this one up. 5/4/4/3 

AS PERFORMED BY SHORTY ROGERS 

BASIE EYES 



A wonderful, easy, swinging chart which is the centerpiece of the CD Tribute to 

Count Basie. This piece has brief solo sections for the bass and piano, and longer 

solos for baritone sax, trumpet and tenor sax . Very reasonable brass ranges. Shorty 

was always able to compose very memorable melodies, and this is one of them. 

BLUES EXPRESS 



As recorded on The Big Shorty Rogers Express, this is a terrific romp through a fast 

swing, featuring solos by alto sax, tenor sax, bari. sax, trumpet, trombone and piano. 

Shorty uses modulating 2-5 turnarounds to spice up this already exciting blues 

chart. There is lots of solo space and exciting ensemble passages. Reasonable ranges 

for all make this quite playable. 5/4/4/3 

BLUEZIES 



As recorded on Portrait of Shorty (including the best of West Coast jazz musicians 

such as Herb Geller, Bill Holman, Jack Montrose, Frank Rosolino, Conrad Gozzo, 

Conte Candoli and others), this is a great, up-tempo, swinging chart with lots of solo 

space for alto, tenor and baritone saxophones, trumpet, trombone, piano and 

drums. The tune is typical Shorty Rogers, swinging and melodious. There are lots of 

exciting, powerful ensemble passages and still plenty of room for all the soloists. 276 

bars of swinging happiness! 

GRAND SLAM ***NEW*** 



Here is another terrific chart from Shorty Rogers (as recorded on the ‘Portrait of 

Shorty’ album). Shorty always had a way of creating wonderful melodies and exciting 

arrangements for big band. This chart is no exception. This is an up-tempo swing 

chart which has solo space for alto, tenor, trumpet, bass and drums. The piece is 218 

measures long, and it swings from top to bottom. Brass ranges are exceptionally 

reasonable (tpt. to high C only). 5/4/4/3 

JUST A FEW 



Bob Curnow has arranged one of Shorty Rogers’ hippest tunes. The melody is 

stated by alto and trumpet, and the whole chart has that wonderful West Coast feel 

to it. There is a neat section which features flugelhorn and saxophones in a long soli. 

There is also solo space for alto sax, trumpet and piano. 

LINEBACKER 



As recorded on Portrait of Shorty (including the best of West Coast jazz musicians 

such as Herb Geller, Bill Holman, Jack Montrose, Frank Rosolino, Conrad Gozzo, 

Conte Candoli and others), this is a great, up-tempo, swinging chart with lots of solo 

space for alto and tenor saxophones, trumpet, trombone, bass and drums. The tune 

is typical Rogers, swinging and melodious. There are lots of exciting, powerful ensemble 

passages and still plenty of room for all the soloists. 200 bars of swinging happiness! 

PAY THE PIPER 



As recorded on The Big Shorty Rogers Express, this is a wonderful West Coast chart 

which features optional clarinet with trumpet on the melody for a neat sound. The 

chart has a very unique, catchy sound to it. There is solo space for alto sax, tenor sax, 

trumpet, trombone and drums. 5-4-4-3 

SHORTY ROGERS/ARTIE SHAW 

PINK SQUIRREL 



As recorded on Blues Express, this is a wonderful West Coast chart which features 

unison saxophones on the melody, solo space for alto sax, trumpet, and trombone 

and a short solo for bass. Shorty’s melodies are memorable and very attractive. This 

laid-back style is great fun for the band. Reasonable ranges make it very playable. 

PIROUETTE (NONET) ***NEW*** 



Shorty Rogers was very well known for his nonet charts (6 horns, 3 rhythm), and 

this was one of his best-loved compositions. Set in an easy, slow swing, ‘Pirouette’ has 

a lilting melody, along with a lovely counter-melody. This is a great chart to do on a 

big band concert to rest the band and feature your soloists. There is solo space for 

alto, tenor, flugelhorn, trombone and piano. (alto, tenor, barit. saxes, 2 flugelhorns, 

trombone, piano bass, drums). 

RED DOG PLAY 



As recorded on Portrait of Shorty, this is a medium-tempo swing chart that has a 

very unique, catchy sound to it. There is solo space for alto, tenor and baritone 

saxophones, trumpet, trombone, piano, bass and drums. Once again Shorty writes a 

superb chart for big band. Over 200 bars of enjoyment! 

WALK, DON’T RUN 



Here is a wonderful, easy, swinging chart which is on the CD Shorty Rogers Courts 

the Count, a terrific big band tribute to Basie. This piece has a very delightful sound, 

and it’s very easy for even the youngest bands to play. The pros will love it too! It 

features optional clarinet with trumpet on the melody. Lots of solo space. 5-4-4-3 

AS PERFORMED BY ARTIE SHAW 

AT SUNDOWN ***NEW*** 



This is Artie Shaw’s 1939 version from the time when his first band was at its height. 

Apart from the clarinet solo, the chart is not too hard, and swings freely with good 

solid bounce. The arrangement has been adapted from the original 3 trumpet 3 

trombone line-up, to a regular 4/4 brass section, and the reeds are scored for 

clarinet, 2 altos and 2 tenors. Shaw’s Clarinet solo has been written out, along with 

the tenor and trumpet solos, but the piano solo has been left as an improvisation. All 

the soloists have the chords on their parts should they wish to do their own solo. 

This is a fun chart, quite quick but a full four minutes long. There are no sax doubles. 

BACK BAY SHUFFLE 



Back Bay Shuffle is a jump tempo swing chart from the great Artie Shaw orchestra, 

perfect for dancing. This has been transcribed as per the original, though expanding 

it to 8 brass in the process. All solos (clarinet, trumpet, trombone, tenor and piano) 

are written out in full, as are the correct drum patterns. The reeds are scored for 

solo clarinet, 2 altos & 2 tenors. Everything is here: correct sax voicings, dynamic 

markings & phrasing indications so that your band can recreate that Shaw sound. 




This is a truly authentic transcription of Artie Shaw’s classic version of Begin the 

Beguine. Jeff Hest has meticulously notated every detail of this famous chart. Since it 

was such an important song in the genre, this arrangement creates a great opportunity 

to teach your students about the history of the big band. 


1-518-587-2325 1-518-587-2325 103

ARTIE SHAW/FRANK SINATRA 

CONCERTO FOR CLARINET (PART 1) 



Here is part 1 of Artie Shaw’s stunning Concerto for Clarinet, written by the great 

man himself. Following a big tutti opening comes a stylish clarinet cadenza intro, with 

band backing and solo piano infills. The piano then picks up into 8-beat boogie style 

with a 24 bar solo, answered by the clarinet. Solos are for trumpet, trombone, alto 

and tenor with a final clarinet solo flourish. This is Shaw’s defining work for solo 

clarinet and big band, but be warned: you will need a very good pianist and clarinet 

player to carry this off. At nearly 4 and a half minutes this is only the half of it. The 

whole piece is scored for clarinet, 2 altos, 2 tenors, 8 brass and 4 rhythm. All solos are 

fully written out, though naturally your players can improvise if they wish. 

CONCERTO FOR CLARINET (PART 2) 



Here is part 2 of Artie Shaw’s stunning Concerto for Clarinet. The chart opens with 

four stylish clarinet cadenzas, after which the drummer picks up the tempo with a 

floor-tom solo, joined by solo clarinet for 40 measures. Briefly into 3/4 time for band 

chord stabs, the clarinet & drum solo continues. Another time shift for more stabs, 

then three tutti swing choruses to a false finish. The clarinet solo wraps things up 

with a further four cadenza passages. This is a very challenging work for solo clarinet, 

and will need a great player to pull it off. The saxes are scored for 2 altos and 2 

tenors. The clarinet range is up to super C. 

FRENESI 



Frenesi was a tune popularized and played by many of the well known bands of the 

late ‘30s and early ‘40s. This version is an adaptation of the Artie Shaw version, but 

re-scored for a regular big band line-up, as Shaw’s chart made heavy use of strings, 

and had an orchestral flavour to it. We have kept the structure of the original, and 

have transcribed all of the solos (clarinet, tenor, trumpet & piano). The re-voicing of 

the chart means that the saxes (written C,A,T,T,B) have plenty of doubles. The alto 

doubles clarinet & flute, both tenors double clarinet and the bari doubles alto. The 

chart floats between swing and rhumba, your players will need to be alert! 

INDIAN LOVE CALL 



This version of Indian Love Call is a variation on the vocal version that we offer and 

is a clarinet feature. (see the vocals section for a more complete description). The 

structure is the same as the vocal, true to Shaw’s original, except that we have 

changed the vocal chorus to an ad-lib clarinet solo, and have written some punchy 

yet supportive backings coming from the band. After the opening drum & clarinet 

solo passage, the band is still scored with the falsetto singing, so no excuses for the 

brass not to get involved. The saxes are scored for solo clarinet, 2 altos and 2 tenors. 

All the saxes double clarinets (mainly unison passages) though it won’t really matter 

if the alto 2 (your baritone player) doesn’t play any clarinet parts. We have scored 

his lines as the lowest voice in the harmonized clarinet passages. 

NON-STOP FLIGHT 



Non-Stop Flight is a really bouncy swing chart and is perfect for dancing to. The 

pulse is infectious and will really get the feet tapping. Written by Artie Shaw, it 

naturally features the clarinet, and also tenor sax. All of the solos have been written 

out, including the solo licks and fills, plus the obligato clarinet solo that floats over 

the rest of the band in the last chorus. Your clarinet player will need to be dextrous, 

as some pretty nimble fingerwork will be needed. The brass ranges are moderate, and 

it’s not a tough blow for them. The saxes are scored for solo clarinet, 2 altos and 2 

tenors. The original 6 brass has been expanded up to 8. If you are looking for a good 

dance chart, or a stunning concert piece, you’ve just found it! 

104 104 

104 

SOFTLY AS IN A MORNING SUNRISE 



One of Artie Shaw’s most endearing charts, this was scored as a mid-tempo swing 

chart by Jerry Gray, later of Glenn Miller fame. The chart has been transcribed and 

scored for a full band line-up of 5 reeds & 8 brass. The saxes are written for solo 

clarinet, 2 altos and 2 tenors. The 2nd tenor takes the solo (written out) and Shaw’s 

solos are also notated in full. Alto 1 and tenor 1 double clarinets, and there is an 

optional clarinet double on the alto 2 part. The trombone solo, also written, is on the 

1st part. A good concert piece or equally suitable for dancing. The brass ranges are 

moderate and the only tricky bit is the final clarinet run-up which goes to a high A. 

TRAFFIC JAM 



Artie Shaw had many great swing charts to his name, but few were as punchy and 

as powerful as Traffic Jam. It fairly rips along at a quick 240 beats a minute, yet it 

never sounds forced or rushed. The original has been transcribed, including all the 

solos (drums, clarinet, tenor, trombone & piano), and expanded the chart to a full 8 

brass. The saxes are scored for clarinet, 2 altos and 2 tenors. The chart kicks off with 

a 4 bar drum solo leading into a rising chromatic dimished passage, then the main 

chorus with the clarinet flying over the top of the band. A quick tenor solo follows, 

then back to the band blasting away. There is then a wonderful bell-tone bridge 

leading to alternating clarinet and trombone solos over just bass and drums, more 

band choruses, a piano solo and a couple of huge shout choruses to end. The band 

parts are not hard, despite the speed of the chart. It’s only Mr. Shaw’s bits that need 

nimble fingers, though your clarinet player can always improvise over the chords 

instead. This is a real beauty of a chart, and a must-have in any book. 

AS PERFORMED BY FRANK SINATRA 

COME FLY WITH ME [VOCAL] 



This is Frank Sinatra at his best. This chart is a transcription of Sinatra with the 

Count Basie Band, taken from Sinatra at the Sands. It features the original band 

intro giving you time for a big introduction to your vocalist. The chart is also marked 

with an optional start point, just before the vocal, should you wish to shorten things. 

Some muted trumpet fills have been removed to keep things cleaner. There are some 

sax doubles: altos go to clarinets and tenors to flutes. The vocal is in Bb, with a range 

from Bb to D (one octave and 3 tones) and has been written out to give your 

vocalist a good feel of Sinatra’s phrasing. All in all this chart is exceptional. 

I GET A KICK OUT OF YOU [VOCAL] 



Taken down from Sinatra’s 1962 Reprise recording, I Get a Kick Out of You has 

become a Sinatra classic and a much requested tune. The original arrangement was 

done by Neal Hefti (a familiar name to Count Basie fans) and his style is clearly 

apparent throughout the chart. Jon Harpin has produced a superb recreation of 

the original, and it swings from start to finish. Sinatra’s vocal line has been written 

out, for those of you who wish to emulate the master. The chart is technically not 

that difficult, but needs crispness and precision to make it come alive. The trombones 

are scored for 3 tenors and bass, and there are no sax doubles. Vocal key: Db, D 

I’VE GOT YOU UNDER MY SKIN [VOCAL] 

Transcribed by Myles Collins & Patrick Gazard 


This chart is a transcription of Sinatra with the Count Basie Band, taken from 

Sinatra at the Sands. Everything has been included, from the rumbling baritone sax 

line, the big trombone build after the first vocal chorus, the wailing trombone solo 

and even the little piano fills and tinkles. We have re-scored the saxes to a regular 

AATTB section and have removed the clarinet & bass clarinet doubles from the 

original, as we recognize that not all bands have a bass clarinet at hand. All dynamics 

are clearly written, and the vocal part replicates Sinatra’s performance. The brass 

ranges are moderate other than the trombone solo which is up to high Db, though 

your player can always improvise on the chords provided. Key of Db. 


ONLINE!

THE LADY IS A TRAMP ***NEW*** [VOCAL] 



This chart is a transcription of the Billy Byers chart as performed by Frank backed 

by Woody Herman at Madison Square Garden in 1974. The opening is thunderingly 

brassy and establishes a great contrast to the quiet start of the vocal. The first vocal 

chorus is backed mainly by Saxes and Trombone licks, but builds in intensity to the 

half-step modulation. From here the arrangement powers its way to the finish line, 

and swings like crazy all the way. The vocal keys are Bb and B. 

LUCK BE A LADY [VOCAL] 



Adapted from the original Billy May arrangement of Sinatra’s Reprise recording, this 

kicks off with the slow, almost colla voce intro, which picks up into a thumping swing chart. 

Everything is here: dynamics, articulations, phrasing, modulations, the works. Strings 

were used in the original recording, those have been re-scored into the band, to 

make the chart suitable for a 5/4/4/4 line-up. At 5 minutes 15 seconds this is a long 

chart, and makes for a great vocal feature. Lead alto doubles clarinet. Keys: Db, D, Eb. 

MY KIND OF TOWN [VOCAL] 



This tune was originally written for the Rat Pack-esque film Robin and the Seven 

Hoods. Wonderfully melodic and visually exciting in concert, it was Sinatra’s theme 

tune for some 15 years, his show-stopper and frequent show-ender. This version is 

transcribed from Billy May’s version from Sinatra at the Sands with the Basie Band. 

It’s all here: the creamy opening verse with the lush brass voicings leading into the 

punchy swing of the main vocal, with the successive modulations from F to G to Ab 

and the powerhouse modal riffs to finish. The lead alto doubles flute. Keys: F/G/Ab 

NEW YORK, NEW YORK [VOCAL] 



One of Sinatra’s most enduring hits, the theme from New York, New York is also one 

of his most memorable, and will be immediately familiar to all audiences from the 

moment that the band kicks off the signature opening. Transcribed beautifully by 

Jon Harpin from the original Don Costa chart, this arrangement has all the elements 

- the slick key change, the shifts in tempo and Sinatra’s vocal line in full - making this 

chart an absolute must-have tune. The vocal keys are D to Eb and no sax doubles. 

PENNIES FROM HEAVEN ***NEW*** [VOCAL] 



Frank Sinatra and Count Basie combined brilliantly on their 1962 album ‘Sinatra- 

Basie,’ featuring arrangements by Neal Hefti. From Basie’s opening intro right to the 

last note this chart was and still is a classic. It has been transcribed here by Jon 

Harpin, and adapted from the original 5 trumpet 3 trombone studio line-up, to a 

more regular 4-4 section, with the bass trombone on 3rd and an optional 4th 

trombone part. The vocal key is Ab and there are no sax doubles. 

SATURDAY NIGHT IS THE [VOCAL] 

LONELIEST NIGHT OF THE WEEK 

Transcribed by John Ferguson 


Sinatra recorded this song a number of times during his career, but the most 

swinging version was the Billy May arrangement that John Ferguson has transcribed 

here. In typical May style, it is punchy, crisp and offers a great balance between the 

vocal passages and some fine ensemble work. Not too long, at a shade over 2 

minutes, this is a memorable chart and a must for all Sinatra lovers. There are no sax 

doubles in this chart and the vocal key is C. 

THAT’S LIFE [VOCAL] 



Another great tune from Frank Sinatra’s Reprise days. The original version of this 

chart featured female backing vocals and a Leslie-style organ. We appreciate that 

this limits the playability of such an arrangement, so Jon Harpin has creatively 

transcribed and re-scored for a standard big band line-up. The backing vocals are 

shared between a quartet of 2 saxes, trumpet & trombone, and the opening organ 

solo has also been scored into the sax parts should your pianist not have the 

appropriate bag of tricks to make a nice organ noise. There are no sax doubles and 

the brass ranges are moderate to low. Vocal key: G, Ab 

FRANK SINATRA/MISC. 

YOU MAKE ME FEEL SO YOUNG [VOCAL] 



This version of You Make Me Feel So Young is the one performed by Frank Sinatra 

with the Count Basie Orchestra on the “Sinatra at the Sands” album, later re-issued 

on the Reprise collection, and it is arguably one of Sinatra’s finest numbers. The 

original Quincy Jones chart has been wonderfully transcribed and adapted (for 8 

brass) by Jon Harpin, and includes the muted trumpet solo written out, and all of 

the little licks and fills on the drum part which add so much punch. The vocal keys 

are G and Ab, and there are no sax doubles. 

ZING! WENT 

THE STRINGS OF MY HEART [VOCAL] 

Arranged by Dick Burlant 

Easy $65.00 Cat: LL-2012 

This was recorded by Frank Sinatra in December 1960 for the Ring-a-Ding album, 

but remained unreleased until 1990 when the master tapes of the original recording 

were rediscovered. This chart is a Sinatra gem, and even includes the rarely-heard 

opening verse. Beautifully transcribed and adapted by Jon Harpin from the original 

Johnny Mandel arrangement, to incorporate the strings back into a regular big band 

line-up, this chart is unique and deserves a place in everyone’s library. Lead alto 

doubles clarinet briefly. Vocal key: Db 

MISC. INSTRUMENTALS 

CHUCHO 



Chu Cho is a wonderful Latin number, from the pen of the great Paquito D’Rivera, 

written for Mario Bauza and his Afro-Cuban Orchestra. This tune simply oozes style, 

and also offers a chance to show off the improvisation skills of your lead alto (or 

tenor), baritone and lead trombone. 

ONE NOTE SAMBA 

Arranged by Wally Menard 


One Note Samba has been done many a time, usually in a straight-ahead, slightly dull, 

gentle Latin feel. Not this version! Wally Menard has pulled off a really creative job of 

writing to give this chart a totally unique signature. It kicks off with a trumpet/ 

trombone answer-back intro, followed by unison saxes, and trumpets to establish 

the tune, all the while with backings building up throughout the first chorus. Then 

comes a complete change of feel and form in the middle of the chart. Unison 

trombones, baritone and rhythm, overlaid with saxes and screaming trumpet figures 

build and build until, with a tangible feeling of relief, the chart collapses back into a 

gentle Latin feel. 

PICK UP THE PIECES 


Medium $65.00 Cat: LL-99998 

A big band version of the Average White Band hit, following the same structure as 

the original. This number is just a real laid-back groove. The saxes take the main riff 

with trombones and guitar backing. The chart really needs an electric bass, especially 

a bassist who can slap. There’s solo space for anyone in the sax or brass sections, and 

the vocal line of ‘Pick Up the Pieces’ is cued in too! 

POR UNA CABEZA 


Easy $65.00 Cat: LL-2099 

Por Una Cabeza is the famous Argentinian Tango from the film ‘Scent of a Woman’. 

Our arrangement is very easy to play, with low brass ranges, yet makes for great 

Tango. The verse is played by flute, 2 clarinets, a muted trumpet & rhythm section, 

with the whole band entering for the Tango ‘chorus’. This chart will make a useful 

addition to any library, for those rare occasions when someone asks you to play a 

Tango. The saxes are scored as flute, 2 clarinets, tenor & baritone. 


1-518-587-2325 1-518-587-2325 105

Featured HOLIDAY Videos ARRANGEMENTS 


(OH COME ALL YE FAITHFUL) 

Arranged by Dave Aaberg 


A driving shuffle groove a la Killer Joe makes this traditional Christmas tune really 

come to life. Features alto sax and keyboard solos in high-energy settings. Also has a 

brief out section. Lead trumpet to written G5. Recorded on the Trilogy Big Band 

Does Christmas. 






traditional Christmas music. This particular arrangement is more traditional in scope, 

but it is filled with wonderful, lush harmonies and the Kenton style of arranging. The 


tuba, keyboard, bass, drums and auxiliary percussion. Also included are saxophone 

parts which take the place of the mellophonium parts. They work quite well! From 


ANGELS WE HAVE HEARD ON HIGH 





traditional Christmas music. This particular arrangement is one of the more traditional 

of the Kenton holiday charts. It does have a swinging section, and it works very well! 

The original arrangements were written for 4 trumpets, 4 mellophoniums, 4 trombones, 


parts which take the place of the mellophonium parts. They work quite well! From 





This is a great trumpet feature. This starts out as a pretty rock ballad and ends on 

a high note so to speak. Again the lead trumpet player can play the really high stuff 

down an octave. This is a great chart to bring in the new year! Recorded by the Tom 

Kubis Big Band on A Jazz Musician’s Christmas. 


Arranged by by Bob Florence 


A touching treatment of a song that works at any time of the year. An a cappella 

trombone soli states the melody, then the baritone sax is featured as the rhythm 

section accompanies with some lovely substitution chords. Some sax doubles. 



Medium $38.00 Cat: 62532 

You can’t play a New Year’s gig without it, and this version swings with a little room 

to stretch and a great out-chorus. Lead trumpet to written D above staff with 

optional high G. 




Hold on to your elfs! An up-tempo jazz waltz featuring the tenor sax or soprano 

sax. Recorded by the Tom Kubis Big Band on A Jazz Musician’s Christmas. 




This brass-only arrangement is written for 4 trumpets, 4 trombones, and 2 horns. It 

is in a traditional style brass chorale. The chords are lush and rich. No rhythm or 

sax parts. French horn parts are necessary. Score included. Recorded by Rob 

McConnell and the Boss Brass on Big Band Christmas. 

106 106 

106 

BABY IT’S COLD OUTSIDE (DUET) [VOCAL] 


Easy $65.00 Cat: LL-99768 

Ours is the great Johnny Mercer & Margaret Whiting version of this classic vocal 

duet. The chart itself relies on the interplay and chemistry between your two 

vocalists. The band backings are easy and add just the right amount of punch when 

needed. In this arrangement the saxes are all written to play clarinets, but recognizing 

that not all sax players double clarinets all of the sax parts are double-sided, so that 

one side is as written and the reverse side is scored for a regular sax section: this way 

you will have more flexibility. The brass ranges are moderate and the chart is very 

playable and makes a great vocal feature. Female Vocal Range: Ab3 -Bb4; male vocal 

range: Ab2 -Eb43 -B4; Vocal key: Db 

BETHLEHEM AND JOY 

[O LITTLE TOWN OF BETHLEHEM/ 

JOY TO THE WORLD] 



O Little Town of Bethlehem begins with a rubato chorale with flugelhorn lead. 4 

flutes and 2nd tenor has clarinet double. First time through is acappella. Second 

verse is a trombone solo with piano accompaniment for 12 bars. The whole chart 

has no other rhythm section. Joy to the World has trumpet lead. Straight forward 

acappella is cut time. Broadens into 4 at the end. 5/4/4 and piano. Score included. 

Recorded by Rob McConnell and the Boss Brass on Big Band Christmas. 

CHRISTMAS CLASSICS VOL. 1 

Arranged by Peter Blair 

Medium $48.00 Cat: HERTM60/1086H 

This collection includes four complete arrangements in contrasting styles. They are 

designed to sound great using a minimum of rehearsal time. The tunes are: We Three 

Kings; The First Noel; Silent Night; and God Rest Ye Merry Gentlemen. 

CHRISTMAS MEDLEY 



As recorded by the Stan Kenton Orchestra on Merry Christmas, this chart has 

optional saxophone parts which nicely cover the french horn parts (originally 

written for only brass and rhythm section). The medley contains six carols. 

Instrumentation is 5 horns, 4 tpts , 4 tbns, tuba, piano, bass, drums and opt. chimes. 

Solo for piano only. 

CHRISTMAS SONG 

Arranged by Bob Lowden 

Easy $35.00 Cat: 805184 

This is one of the best-loved holiday favorites, here arranged as a ballad. 

CHRISTMAS SONG [VOCAL] 


Medium $40.00 Cat: 7500377 

This holiday favorite is a must to feature on your holiday concert! This begins in A 

flat and modulates to B flat. 

CHRISTMASTIME IS HERE [VOCAL] 



The touching and beautiful ballad from A Charlie Brown Christmas makes a wonderful 

addition to your holiday concert featuring a vocal soloist. Key of C. 




This is yet another Samba full of the Christmas spirit. Recorded by the Tom Kubis 

Big Band on A Jazz Musician’s Christmas. 


Arranged by Ted Blumenthal 


This creative arrangement of the popular Welsh Air is featured on The Adventures 

In Jazz Orchestra Celebrates Christmas CD. The holiday classic has been arranged 

in the funk style for jazz band. As Ted puts it, Deck The Halls is a party song, and the 

party has a rockin’ big band! This is one party you won’t want to miss! 


ONLINE!


Arranged by Mike Crotty 


Slow bluesy feel. Duet for bass trombone and bass. Solo for trombone 3. Alto sax 1, 

tenor sax 1 and 2 double clarinet. Recorded by the U.S.A.F. Airmen of Note. 

THE FIRST NOEL 



Curnow has adapted the amazing vocal arrangements of David Maddux for the 

jazz ensemble. This arrangement moves through many variations of this most lovely 

of melodies. The music is not difficult to play, and it has a very hip, sophisticated, lush 

harmonic sound. 

FROSTY THE SNOW MAN 


Easy $35.00 Cat: 8721405 

Be sure to bring the hip side of Frosty to your next holiday event with this swingin’ 

version for beginning groups. Including short solos for trumpet that can also be 

played as section features, this chart is easy to learn and fun to play. 

GOD REST YE MERRY GENTLEMEN 



The 1961 Capitol Records recording of Christmas music was a hit for Kenton. It 

contained arrangements by Kenton and (mostly) Ralph Carmichael of traditional 

Christmas music. This particular arrangement is one of the jazzier ones on the album. 

It swings like crazy! The original arrangements were written for 4 trumpets, 4 

mellophoniums, 4 trombones, tuba, keyboard, bass, drums and auxiliary percussion. 

Also included are saxophone parts which take the place of the mellophonium parts. 




Up-tempo jazz 3/4 featuring flugelhorn solo. Alto sax 1 doubles clarinet and soprano, 

alto 2 doubles flute, tenor sax 1 doubles flute, tenor 2 doubles clarinet, and baritone 

sax doubles bass clarinet. Recorded by the U.S.A.F. Airmen of Note. 




Traditional Christmas tune treated as a groovy up-tempo swing. G minor solo 

section is open for soloists. Well-written backgrounds superimpose We Three Kings 

over this chord progression. Optional clarinet, vibes, and French horn parts included. 

GOD REST YE MERRY TROMBONES 



This one will warm up the old yule log! This up-tempo jazz chart features the 

trombone section and a lot of great ensemble. Recorded by the Tom Kubis Big Band. 




A swinging up-tempo version of a familiar old Christmas tune. This often humorous 

arrangement features a trumpet and baritone duet playing the head, a trumpet solo, 

and lots of ensemble playing with drum solos interspersed throughout. 




This arrangement is from Kenton’s Merry Christmas album. It swings like crazy! The 



parts which take the place of the mellophonium parts. 




Arranger Mark Taylor has put great touches on this holiday classic. 

HOLIDAY ARRANGEMENTS 

GREENSLEEVES 

Arranged by Dave Metzger 


Tasteful jazz waltz treatment featuring your pianist (optional solo parts are included 

for trumpet/flugelhorn, alto sax, and trombone which work equally well). Chart 

works anytime during the year, as well as on your winter/Christmas concert (subtitled 

What Child Is This). Recorded by the Kicks Band on Alive and Kickin’. 

HARK THE HERALD 



This is a pretty rock ballad that features the lead trumpet. The real high trumpet 

stuff at the end may be played down an octave. Recorded by the Tom Kubis Big 


HERE COMES SANTA CLAUS/ [VOCAL] 

SANTA CLAUS IS COMING TO TOWN 



This is a tough, storming swing chart from the talented Linda Eder. The arrangement 

is a medley of Here Comes Santa Claus and Santa Claus is Coming to Town. The 

opening is memorable, there is a solo spot for lead alto and a surprise change of feel 

in the middle taken from Sing Sing Sing and Oh Tannenbaum which leads into the 

second half of the medley. This is a huge chart. If your band can pull it off it will be 

a showstopper. Both altos double flutes, both tenors double clarinets and the 

baritone doubles bass clarinet, though we have also cued this passage with notes for 

the baritone in case a bass clarinet is unavailable. Vocal range: F3 -Eb5; keys: Db, Bb, C 

HERE COMES SANTA CLAUS 

(RIGHT DOWN SANTA CLAUS LANE) 

Arranged by Paul Lavender 


One of the all-time holiday favorites, this lively and happy song is perfect for your 

band’s first winter concert. Arranged to sound full and with every section given a 

chance to play the melody, this will quickly become a favorite! 

HERE WE COME A WASSELING! 



Look out-we’ve never wasseled like this before! This one is difficult. Very good high 

school or very good college with lots of meter changes but wow what a burner! 

Tenor feature, high trumpet F. Very fast 3/4 jazz in a 1 feel! Well worth the effort! This 

is from the third Christmas CD from the Tom Kubis Big Band. 

THE HOLLY AND THE IVY 



This arrangement, from Kenton’s Merry Christmas album (1961) is a great deal of 

fun to play. It moves through different keys, and it has a lot of interesting variations 

in it. A terrific chart! The original arrangements were written for 4 trumpets, 4 

mellophoniums, 4 trombones, tuba, keyboard, bass, drums and auxiliary percussion. 


HOME FOR THE HOLIDAYS [VOCAL] 



Home for the Holidays is a seasonal vocal chart, written for a boy/girl duet, though 

equally suitable as a solo vocal feature. This classy arrangement from Alan Glasscock 

moves along with a punchy swing feel, and modulates up chromatically from concert 

Bb to C. At 2 minutes 20 secs it is not a long chart, but is as long as it needs to be. 

A fun and festive chart which everyone will enjoy. The vocal keys are Bb to B to C, 

and there are no sax doubles. The 4th trombone is bass. 




This is a solo flugelhorn 3/4 ballad nicely reharmonized with lush chords and 

backgrounds. A bit on the bluesy side! Recorded by the Tom Kubis Big Band. 


1-518-587-2325 1-518-587-2325 107



Arranged by John Labarbera 


John says in his score notes that directors should think Basie with just a touch of 

Bach and the chart will play itself. Piano interjects solo material in several places, 

including a pair of straight-8th interludes for stylistic contrast. 


Arranged by Steve Herold 


A Basie-style medium swing that features the full ensemble. Solos are for flute (on 

tenor 1) and trombone. Tenor 1 doubles on flute. Lead trumpet is demanding. 

JINGLE BELLS [VOCAL] 



Here’s a bit of Christmas cheer, courtesy of Bing Crosby and the inimitable Andrews 

Sisters. This chart is just happy and fun from start to finish. Written for a male vocal 

and female vocal trio, it is equally well suited to a male/female duo. Full of quirky little 

fills and backings from the band which complement rather than outshine the 

vocalists, plus a cameo baritone sax solo, this chart is perfect for injecting a little 

festive cheer. Both altos are on clarinets, the brass ranges are very moderate (lead 

trumpet only up to an A) and the vocal ranges are not challenging. Vocal key: Eb 

JINGLE BELLS 


Medium $52.00 Cat: 62534 

Bass trombone feature on this old Christmas standard. This is a medium swing 

version featuring the bass trombone all the way through the chart. The ensemble 

and bass trombone trade off throughout the chart. Lead trumpet to high E. 

JINGLE BELLS 



A funk version of this Christmas favorite. It features EVI Wind controller (substitute 

Bb part included), and electric bass. Alto sax 1 doubles piccolo, and tenor 1 doubles flute. 

JOY TO THE WORLD 



A rousing Samba and a great tune to open a Christmas concert with! 

LET IT SNOW! LET IT SNOW! [VOCAL] 

LET IT SNOW! 


Medium $40.00 Cat: 8721720 

Medium-swing arrangement for vocal soloist. 




This medium-swing chart starts with piano and moves into a harmon trumpet solo. 

As always, plenty of great ensemble to get you into that great yule spirit! 




This is a ballad feature for the bass. Time shifts from 3/4 to 4/4 and back. Horn and 

rhythm parts are easy. Sax doubles: 2 flutes, 2 clarinets, 1 oboe (includes an opt. 

soprano sax part as substitute for the oboe). 

O COME ALL YE FAITHFUL/ 

O LITTLE TOWN OF BETHLEHEM 



A two-trumpet feature playing these two great Christmas standards in a ballad 

style. Recorded by the Tom Kubis Big Band on A Jazz Musician’s Christmas. 

108 108 

108 

O COME, O COME, EMMANUEL 

Arranged by Chuck Tumlinson 


This haunting melody is given a modern poly-chordal and mixed meter treatment. 

Lead alto doubles on soprano (with optional English horn), other saxes double on 

flute and clarinet. Solos for soprano (lead) sax and piano. 

O HOLY NIGHT 



This arrangement is more traditional in scope, but it is filled with wonderful, lush 

harmonies and the Kenton style of arranging. The original arrangements were written 

for 4 trumpets, 4 mellophoniums, 4 trombones, tuba, keyboard, bass, drums and 

auxiliary percussion. Also included are saxophone parts which take the place of the 

mellophonium parts. From Kenton’s Merry Christmas recording. 

O HOLY NIGHT 



This is a high note, first trumpet feature. A very thrilling and exciting vehicle for the 

lead trumpet. High parts may be played down an octave. 

O HOLY NIGHT 



Progressive jazz waltz with extensive trombone solo. The opening and closing 

feature a free piano solo. Alto sax doubles clarinet and soprano, tenor 1 doubles 

flute, and baritone doubles bass clarinet. Recorded by the Trilogy Big Band. 

O, TANNENBAUM 



This arrangement is one of the simpler charts, but it is beautiful. The original 


keyboard, bass, drums and auxiliary percussion. Also included are saxophone parts 

which take the place of the mellophonium parts. From Kenton’s Merry Christmas. 

SANTA BABY [VOCAL] 


Easy $65.00 Cat: LL-2015 

A cheeky and fun vocal number, originally by Eartha Kitt, though later covered by 

Madonna. This arrangement draws inspiration from both, without losing any of the 

essence. Whilst predominantly used as a Christmas song, this chart is good in any set, 

any time of the year! There are some sax doubles: altos 1 & 2 and the baritone are 

on clarinets throughout, with both tenors staying on tenor. Baritone players are not 

famous for clarinet skills, so an extra sax 4 part (turning the baritone into the 2nd 

tenor part) has been included so that one of your tenor players can take the 

clarinet part instead. Female vocal range: Ab3-Ab4; Vocal Key: Db 

SANTA CLAUS IS COMING TO TOWN [VOCAL] 


Medium Difficult $40.00 Cat: SS9001 

You’d better watch out, because Dave Wolpe’s up-tempo arrangement of this 

holiday favorite really brings Santa to town! This one features the vocalist in a 

special way and includes a tenor sax solo part which can be substituted for the 

vocal part. Key of G. 

SANTA CLAUS IS COMING TO TOWN 


Medium Easy $40.00 Cat: JEM03011 

Mike Lewis has taken this tune and placed it at the ability level of the young jazz 

player. Logical swing figures, written out or ad-libbed solos for tenor sax and piano, 

along with lots of ensemble make this chart essential. Toss in a few modulations and 

you have the perfect holiday swing chart that is accessible. 

SILENT AND MIDNIGHT 



This chart begins with a cappella brass, later joined by 4 flutes and a bass clarinet. 

Written out lead in alto 2. Silent Night is where the rhythm section joins in with a 

jazz waltz feel. Guitar has solo fills and a solo section. Recorded by Rob McConnell. 


ONLINE!

SILENT NIGHT 



This powerful and pretty ballad features the lead trumpet player. The extreme high 

notes on the solo part towards the end may be played down an octave. 

SILENT NIGHT 



Ballad feature for flugel with double time solo section. Alto sax 1 and 2 double clari, 

tenor 1 doubles flute and clarinet, tenor 2 doubles clarinet, bari doubles bass clari. 

SILENT NIGHT [VOCAL] 



This arrangement moves through many variations of this most lovely of melodies. 

This is not difficult to play, and it has a very hip, sophisticated, lush harmonic sound. 

SILENT NIGHT 


Medium $40.00 Cat: 30925113 

Outstanding holiday programming! This setting is both reverent and contemporary. 

SILVER BELLS 


Medium $40.00 Cat: 7010070 

Here’s a great sounding Latin treatment of one of the best holiday songs ever 

written. This chart features creative harmonies and very reasonable technical demands. 

SLEIGH RIDE 



Mike has used a rhythm section pedal note pattern behind the melody, giving this 

classic a brand new life. This chart moves along at a bright swing tempo, yet the brass 

demands are very reasonable with 1st trumpet to D and lead trombone up to A. A 

big shout chorus and no jazz solos-just ensemble and section work galore keeps 

your band thinking, playing and swinging together throughout this exciting chart. 

SUGAR RUM CHERRY 

[FROM NUTCRACKER SUITE] 







Wynton Marsalis. This was recorded in 1960 and is from the Nutcracker Suite. 

Instrumentation: 5/4/3/2 - no piano or guitar parts. Saxophone 3 doubles on 

clarinet. 

TWELVE DAYS OF CHRISTMAS 



This arrangement is one of the more complex charts on Kenton’s Christmas album. 

It goes through a series of meters and textures and ends up with a no-holds-barred 

swinging section at the end. A great chart! The original arrangements were written 

for 4 tpts, 4 mellophoniums, 4 tbns, tuba, keyboard, bass, drums and aux. percussion. 





This is a hard and fast Jazz waltz. Recorded by the Tom Kubis Big Band. 




This arrangement swings like crazy! The original arrangements were written for 4 

trumpets, 4 mellophoniums, 4 trombones, tuba, keyboard, bass, drums and percussion. 






Straight-ahead 3/4 featuring the ensemble. Solos are for guitar and trombone. Alto 

1 doubles soprano, clarinet, and piccolo; alto 2 doubles clarinet; tenor 1 doubles 

flute and alto flute; tenor 2 doubles clarinet; and baritone doubles bass clarinet. 

WHAT ARE YOU DOING NEW YEAR’S EVE [VOCAL] 


Easy $65.00 Cat: LL-2105 

This lovely ballad arrangement features lush band voicings, with muted brass throughout. 

The 4th trumpet is really a solo obligato part, behind the vocal where appropriate. 

The 1st alto had a couple of bars of clarinet double in the intro, but apart from that 

there are no other sax doubles. The brass ranges are very moderate, and the vocal 

would suit most male or female vocalists. The vocal key is Eb to E. 

WHAT CHILD IS THIS (GREENSLEEVES) 



Tremendous feature for guitar. Rubato opening and closing for 1 or 2 guitars. Tempo 

changes from easy groove to jazz waltz. Solos are for guitar & alto. No doubles. 

WHAT CHILD IS THIS? (GREENSLEEVES) 



This is a very fast swing. The tempo should be as fast as possible. Arrangement 

centers around the alto and tenor soloists. Each soloist gets an extended section by 

themselves, then they trade 16s, 8s, etc. Solo section can be easily altered to feature 

only one soloist. Strong soloists and rhythm section are a must. 

WHITE CHRISTMAS [VOCAL] 


Medium $40.00 Cat: 7500043 

You can’t go wrong with one of the best holiday songs ever written. This chart will 

bring out the best in your vocalist, and will bring smiles to your audience. Key: B flat. 

WHITE CHRISTMAS 


Medium $40.00 Cat: 30925091 

Enhance any holiday concert with Mark’s smooth light bossa treatment. 

WINTER WONDERLAND 



This chart includes solos for tbn, tpt, & tenor. The ensemble writing is superb. It 

sounds a lot harder than it plays, and it will come together with little rehearsal time. 

YO, TANNENBAUM 



From the pretty opening chorale, to the Basiesque statement of the theme, to the 

fast bebop variations and a cappela horn solis, this chart will showcase precise 

ensemble work. Some sax doubles. 


1-518-587-2325 1-518-587-2325 109

DAVE PELL OCTET ARRANGEMENTS 

TITLE ARRANGER CAT # 

42ND STREET ARRANGED BY SHORTY ROGERS DP-1080 

ACROSS THE ALLEY FROM THE ALAMO ARRANGED BY BILL HOLMAN DP-1108 

ALL THIS AND HEAVEN TOO ARRANGED BY JACK MONTROSE DP-1067 

ANGEL EYES ARRANGED BY MARTY PAICH DP-1017 

AREN’T YOU GLAD YOU’RE YOU ARRANGED BY WES HENSEL DP-1066 

ARKANSAS ARRANGED BY BILL HOLMAN DP-1109 

BALLIN’ THE JACK ARRANGED BY HARRY BETTS DP-1037 

BETTER LUCK NEXT TIME ARRANGED BY SHORTY ROGERS DP-1077 

BEWITCHED ARRANGED BY ANDRE PREVIN DP-1110 

BLUE ROOM ARRANGED BY SHORTY ROGERS DP-1056 

BLUES MY NAUGHTY SWEETIE GAVE ME ARRANGED BY BOB FLORENCE DP-1041 

BOPLICITY ARRANGED BY BILL EVANS DP-1141 

BY THE RIVER SAINT MARIE ARRANGED BY JOHN WILLIAMS DP-1081 

CAMPTOWN RACES ARRANGED BY JERRY FIELDING DP-1111 

CAN’T WE BE FRIENDS ARRANGED BY MARTY PAICH DP-1028 

CAST YOUR FATE TO THE WIND ARRANGED BY BOB FLORENCE DP-1090 

CAYUGA’S WATERS ARRANGED BY MARTY PAICH DP-1112 

CHANGE PARTNERS ARRANGED BY JERRY FIELDING DP-1071 

CHEEK TO CHEEK ARRANGED BY MARTY PAICH DP-1050 

CHEERFUL LITTLE EARFUL ARRANGED BY MARTY PAICH DP-1083 

CONTINENTAL, THE ARRANGED BY JIM EMERSON DP-1046 

CRESCENDO DATE ARRANGED BY MARTY PAICH DP-1012 

DANCE FOR DADDY ARRANGED BY MARTY PAICH DP-1047 

DAYS OF WINE AND ROSES, THE ARRANGED BY BOB FLORENCE DP-1099 

DEEP IN THE HEART O’ TEXAS ARRANGED BY JACK MONTROSE DP-1107 

DESAFINADO ARRANGED BY HARRY BETTS DP-1092 

EAST OF THE SUN ARRANGED BY JACK MONTROSE DP-1044 

EYES OF TEXAS ARRANGED BY MARTY PAICH DP-1113 

FIGHT ON (USC) ARRANGED BY JOHN WILLIAMS DP-1114 

FLY ME TO THE MOON ARRANGED BY BOB FLORENCE DP-1095 

G TUNE ARRANGED BY PAUL MOER DP-1033 

GAL FROM GALICO ARRANGED BY MED FLORY DP-1115 

GO YOU NORTHWESTERN ARRANGED BY MED FLORY DP-1116 

GREY FLANNEL ARRANGED BY MARTY PAICH DP-1025 

HAIL PURDUE ARRANGED BY BILL HOLMAN DP-1117 

HAVE YOU MET MISS JONES ARRANGED BY MARTY PAICH DP-1019 

HE AIN’T GOT RHYTHM ARRANGED BY SHORTY ROGERS DP-1079 

HOW ARE THINGS IN GLOCCA MORRA? ARRANGED BY MARTY PAICH DP-1100 

I FOUND A NEW BABY ARRANGED BY JOHNNY MANDEL DP-1022 

I HAD THE CRAZIEST DREAM ARRANGED BY ANDRE PREVIN DP-1002 

I KNOW WHY (AND SO DO YOU) ARRANGED BY BILL HOLMAN DP-1021 

I USED TO BE COLOR BLIND ARRANGED BY BILL HOLMAN DP-1075 

I WANNA BE AROUND ARRANGED BY HARRY BETTS DP-1098 

IDA SWEET AS APPLE CIDER ARRANGED BY MARTY PAICH DP-1043 

IF I COULD BE WITH YOU ARRANGED BY JACK MONTROSE DP-1118 

IF I HAD YOU ARRANGED BY MARTY PAICH DP-1049 

I’LL STRING ALONG WITHOUT YOU ARRANGED BY MARTY PAICH DP-1086 

ILLINOIS LOYALTY ARRANGED BY MED FLORY DP-1119 

I’M AN OLD COWHAND ARRANGED BY SHORTY ROGERS DP-1120 

I’M PUTTING ALL MY EGGS IN ONE BASKET ARRANGED BY SHORTY ROGERS DP-1070 

IMAGINATION ARRANGED BY SHORTY ROGERS DP-1069 

INDIANA OUR INDIANA ARRANGED BY MED FLORY DP-1121 

IOWA CORN SONG ARRANGED BY JOHN WILLIAMS DP-1122 

IT NEVER ENTERED MY MIND ARRANGED BY MARTY PAICH DP-1059 

I’VE GOT A CRUSH ON YOU ARRANGED BY JIM EMERSON DP-1123 

I’VE GOT A FEELING I’M FALLING ARRANGED BY MARTY PAICH DP-1124 

I’VE GOT FIVE DOLLARS ARRANGED BY SHORTY ROGERS DP-1057 

JAVA JUNCTION ARRANGED BY MARTY PAICH DP-1015 

JAZZ GOES TO SIWASH ARRANGED BY BILL HOLMAN DP-1024 

JAZZ ME BLUES ARRANGED BY HARRY BETTS DP-1039 

JAZZ WAGNER ARRANGED BY SHORTY ROGERS DP-1001 

JUST MY LUCK ARRANGED BY MED FLORY DP-1068 

KATE ARRANGED BY WES HENSEL DP-1073 

KLUMP JUMP ARRANGED BY MARTY PAICH DP-1006 

LADY IS A TRAMP, THE ARRANGED BY MARTY PAICH DP-1060 

LET’S DO IT ARRANGED BY SHORTY ROGERS DP-1125 

LET’S FACE THE MUSIC AND DANCE ARRANGED BY MARTY PAICH DP-1051 

LET’S HAVE ANOTHER CUP OF COFFEE ARRANGED BY SHORTY ROGERS DP-1076 

LITTLE BIRD ARRANGED BY HARRY BETTS DP-1096 

LONDON IN JULY ARRANGED BY SHORTY ROGERS DP-1104 

LOVE AND THE WEATHER ARRANGED BY SHORTY ROGERS DP-1072 

110 110 

110 

- NOTES ON THE DAVE PELL 

OCTET ARRANGEMENTS - 

We are very pleased to be able to offer 

these historic, classic Dave Pell Octet 

arrangements. These charts are reproductions 

of the actual ones that were 

used on his famous recordings. 

All arrangements feature the classic 

Dave Pell Octet instrumentation of: 

- Tenor Saxophone 

- Baritone Saxophone 

- Trumpet 

- Trombone 

- Piano 

- Bass 

- Drums 

- Guitar 

Arrangers include: Shorty Rogers, Jack 

Montrose, Marty Paich, Johnny Mandel, 

Andre Previn, Bill Holman, Harry Betts, 

Bob Florence, Wes Hensel, and others. 

Please note that these are self-produced 

by Dave Pell himself and are photocopies 

of the originals. 

ALL DAVE PELL 

ARRANGEMENTS: 

$25.00 


ONLINE!

TITLE ARRANGER CAT # 

LOVE FOR SALE ARRANGED BY BOB FLORENCE DP-1094 

LOVE IS THE SWEETEST THING ARRANGED BY MARTY PAICH DP-1126 

LOVE ME OR LEAVE ME ARRANGED BY MARTY PAICH DP-1014 

LULU’S BACK IN TOWN ARRANGED BY MED FLORY DP-1085 

MANHATTAN ARRANGED BY JOHN WILLIAMS DP-1042 

MEDITATION ARRANGED BY HARRY BETTS DP-1089 

MEMPHIS IN JUNE ARRANGED BY MARTY PAICH DP-1102 

MIKE’S PEAK ARRANGED BY SHORTY ROGERS DP-1003 

MINNESOTA ROUSER ARRANGED BY BOB ENEVOLDSEN DP-1127 

MOUNTAIN GREENERY ARRANGED BY MARTY PAICH DP-1031 

MY HEART BELONGS TO DADDY ARRANGED BY MARTY PAICH DP-1007 

MY HEART IS A HOBO ARRANGED BY BILL HOLMAN DP-1063 

NAP’S DREAM ARRANGED BY MARTY PAICH DP-1010 

NAVY BLUE & GOLD ARRANGED BY BILL HOLMAN DP-1128 

NOTRE DAME ARRANGED BY BOB ENEVOLDSEN DP-1129 

OH, DIDN’T HE RAMBLE ARRANGED BY BILL HOLMAN DP-1040 

OKLAHOMA HILLS ARRANGED BY JACK MONTROSE DP-1130 

ON A SLOW BOAT TO CHINA ARRANGED BY SHORTY ROGERS DP-1101 

ON THE GOOD SHIP LOLLIPOP ARRANGED BY WES HENSEL DP-1008 

ON THE ISLE CAPRI ARRANGED BY WES HENSEL DP-1105 

ON WISCONSIN ARRANGED BY BILL HOLMAN DP-1131 

ONE MORE CHANCE ARRANGED BY MARTY PAICH DP-1132 

ONE NOTE SAMBA ARRANGED BY BOB FLORENCE DP-1093 

OUR DAY WILL COME ARRANGED BY BOB FLORENCE DP-1097 

PAPER DOLL ARRANGED BY MED FLORY DP-1038 

PARIS IN THE SPRING ARRANGED BY SHORTY ROGERS DP-1103 

PEOPLE IN LOVE ARRANGED BY MARTY PAICH DP-1013 

POOPSIE ARRANGED BY SHORTY ROGERS DP-1004 

PROM TO PROM ARRANGED BY MARTY PAICH DP-1027 

RAMBLIN’ WRECK FROM GEORGIA TECH ARRANGED BY MARTY PAICH DP-1133 

REMEMBER ME ARRANGED BY MARTY PAICH DP-1087 

SANDY SHOES ARRANGED BY MARTY PAICH DP-1032 

SAY IT WITH MUSIC ARRANGED BY SHORTY ROGERS DP-1074 

SHI MA SHA WABBLE ARRANGED BY MED FLORY DP-1034 

SHIP WITHOUT A SAIL, A ARRANGED BY SHORTY ROGERS DP-1055 

SHUFFLE OFF TO BUFFALO ARRANGED BY SHORTY ROGERS DP-1134 

SIGMA CHI ARRANGED BY BOB ENEVOLDSEN DP-1135 

SING FOR YOUR SUPPER ARRANGED BY SHORTY ROGERS DP-1058 

SOMEONE IN LOVE ARRANGED BY BOB ENEVOLDSEN DP-1064 

SOUTH OF THE BORDER ARRANGED BY MARTY PAICH DP-1136 

SPRING IS HERE ARRANGED BY WES HENSEL DP-1061 

STAR EYES ARRANGED BY JACK MONTROSE DP-1005 

SUDDENLY IT’S SPRING ARRANGED BY MARTY PAICH DP-1030 

SUGAR FOOT STRUT ARRANGED BY BILL HOLMAN DP-1036 

SUMMER NIGHT ARRANGED BY MARTY PAICH DP-1088 

SUNDAY IN SAVANNAH ARRANGED BY WES HENSEL DP-1106 

SUZE BLUZE ARRANGED BY MARTY PAICH DP-1023 

TEN CENTS A DANCE ARRANGED BY SHORTY ROGERS DP-1062 

THE VICTORS ARRANGED BY MARTY PAICH DP-1137 

THEM THERE EYES ARRANGED BY BILL HOLMAN DP-1020 

THERE’LL BE SOME CHANGES MADE ARRANGED BY MARTY PAICH DP-1029 

THIS YEAR’S CROP OF KISSES ARRANGED BY WES HENSEL DP-1078 

TIME AFTER TIME ARRANGED BY BILL HOLMAN DP-1011 

TISHOMINGO BLUES ARRANGED BY JOHN WILLIAMS DP-1026 

WALK RIGHT IN ARRANGED BY BOB FLORENCE DP-1091 

WALKIN’ MY BABY BACK HOME ARRANGED BY BILL HOLMAN DP-1052 

WALKIN’ SHOES (TENTET) ARRANGED BY GERRY MULLIGAN DP-1138 

WAVE THE FLAG ARRANGED BY BILL HOLMAN DP-1139 

WAY YOU LOOK TONIGHT, THE ARRANGED BY BILL HOLMAN DP-1009 

WE’RE IN THE MONEY ARRANGED BY BILL HOLMAN DP-1082 

WHAT DOES IT TAKE ARRANGED BY SHORTY ROGERS DP-1065 

WHEN I TAKE MY SUGAR TO TEA ARRANGED BY JERRY FIELDING DP-1048 

WHEN THE SAINTS GO MARCHING IN ARRANGED BY MARTY PAICH DP-1035 

WHITE CLIFFS OF DOVER, THE ARRANGED BY JOHNNY MANDEL DP-1018 

WHO WALKS IN ARRANGED BY JACK MONTROSE DP-1140 

WHY DO YOU SUPPOSE ARRANGED BY MARTY PAICH DP-1053 

WOOL OVER MY EYES ARRANGED BY MARTY PAICH DP-1141 

WOULD YOU LIKE TO TAKE A WALK ARRANGED BY SHORTY ROGERS DP-1084 

YOU ARE TOO BEAUTIFUL ARRANGED BY WES HENSEL DP-1054 

YOUNG AND HEALTHY ARRANGED BY BILL HOLMAN DP-1045 

YOU’RE MY EVERYTHING ARRANGED BY MARTY PAICH DP-1016 

DAVE PELL OCTET ARRANGEMENTS 


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CUSTOMER SERVICE 

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112 

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1-518-587-1102 

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descriptions, sound samples, and score samples for the items listed in this catalog. 

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To use our 24-hour fax order line, just complete the order form, including payment 

information, and fax it to us. There is no need to phone us to confirm your order. If 

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arrangements are either imports or are self-produced by the arranger. Due to this, 

shipping times for some items may depend on the availability and/or travel schedule 

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there may be a delay in re-stocking their arrangements. If there will be a significant 

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WHAT IF I WANT SOMETHING THAT I 

DON’T SEE LISTED ANYWHERE, OR 

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