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  • (our) Love Is Here To Stay

    AUGMENTED BIG BAND GIRL VOCAL. Full strings included. Ella Fitzgerald recorded this arrangement on her Gershwin Songbook album of 1959. Featured is a solo for trumpet 2. We have included an optional synth part so that it may be played without the strings. This has been published directly from the original score and parts. Contents Full Score Vocal 2 Alto Saxophones 2 Tenor Saxophones Baritone Saxophone 4 Trumpets 4 Trombones (4th is Bass) 3 Violins Viola 3 Cello Guitar Piano Bass Drums Synthesizer (optional) Learn More
  • A Foggy Day

    This swinging studio orchestra arrangement was written by Billy Byers in May of 1970 for a concert that Sinatra gave at Royal Festival Hall in November of that same year. This is classic Sinatra/Byers - swinging reed figures and punchy brass with string support. We have included a synth part that may be used in the event that your ensemble doesn't have access to string players. This is not a difficult arrangement (except for the brass ranges) and would be fairly easy to work up for a concert. Also, we have included the vocal line as written by Byers. Key of D flat. Learn More
  • A Kiss From You

    This enchanting melody originated in a score Carter wrote for television's 'Chrysler Theater' in 1963. It was known as 'Lydia' until Johnny Mercer added a lyric. At a 1973 concert at Princeton University Carter offered the big band version which was recorded in 1986 by the American Jazz Orchestra. Learn More
  • All the Things You Are

    If you are looking for a flagwaver that'll set the audience on the edge of their seats, look no further! Learn More
  • Anthropology

    Series: Professional Editions-Jazz Ens In the skilled hands of Mark Taylor, this uptempo bebop classic becomes a showstopper! Listen for the masterful “Bird” sax soli as well as tight ensemble sounds, all at a brisk pace. If your band is ready for something they can sink their teeth into, this may be the perfect chart. Please note: this item will be printed at the time of ordering and will ship as soon as possible. Learn More
  • Anthropology

    Anthropology was written by Charlie Parker and Dizzy Gillespie. Evans arranged the line in 1947, and it was recorded for Columbia Records and for radio transcriptions. The instrumentation calls for 5 saxophones doubling clarinet, 3 trumpets, 2 trombones, 2 French horns, tuba, guitar, piano, bass, and drums. For this publication, the French horn and tuba parts alternately may be played by a 4th trumpet and trombones 3 and 4 as follows: Learn More
  • Anything Goes

    Here's Nelson Riddle's famous arrangement from Frank Sinatra's classic record 'Song for Swingin' Lovers,' recorded in 1956. The arrangement opens with the guitar playing a little syncopated figure and alto 1 on flute. Trombones are on cup mutes for the vocal entrance. Unlike other Riddle/Sinatra charts from this period, there isn't any instrumental section in this arrangement - there are vocals throughout. This isn't really that difficult of an arrangement, but just a really great showcase for your male vocalist. Alto 1 doubles on flute. Learn More
  • ARAB DANCE

    This has been published directly from the original manuscript, edited by Jeffrey Sultanof. This master edition comes with complete background and performance notes. This concert arrangement is scored for 7 reeds, 3 trumpets, 2 French horns, 2 trombones, guitar, piano, bass, and drums. See below for complete instrumentation including information on reed doubling. The two French horns have been scored into trumpet 4 and trombone 3 parts, so this piece may be played without them. Approximately 4:30 in length. Learn More
  • Attitude Dance

    Celebrating more than 40 years of Funk and Soul, the unmistakable sound of Tower of Power still sounds as fresh and impressive as ever.This hot tune features blazing Horn lines and driving groove of the original. Learn More
  • Bloomdido

    Here is Med Flory's arrangement of 'Bloomdido' as recorded by Supersax. Charlie Parker's original solo was transcribed in full by Med Flory and then harmonized to be played by a standard big band sax section (2 altos, 2 tenors and 1 baritone) with a trumpet and rhythm section (piano, bass, and drums). This is not a transcription. The original, hand-written manuscript has been used to produce this arrangement. This has been published with the authorization of Med Flory. This arrangement, built around a B flat blues, features an open solo section. Learn More
  • Blue Moon

    This swinging Nelson Riddle arrangement comes from Frank Sinatra's "Swingin' Session and More" record. In typical Riddle fashion, the chart begins with a memorable introduction and then the vocals enter with great rhythmic figures in the sax section and a familiar baritone sax line. Then the brass enter for the second A section and the chart really gets going. There is a tenor sax solo (over the first two A sections) that has been written out in full. The chord changes have been included as well in the event that your player wants to improvise instead. There are no sax doubles. Learn More
  • Blue Star

    These compositions and arrangements were originally recorded for Impulse on the albums Further Definitions (1961), and Additions to Further Definitions (1966), and for the Musical Heritage Society on Over the Rainbow (1989). These arrangements are not very difficult to play and they provide a lot of solo space for your players. This arrangement of Blue Star is a lovely ballad featuring a solo section for alto 1. Unlike the other arrangements in this series, this one features 2 altos and 2 tenors with rhythm section. There is no baritone saxophone in this arrangement. Learn More
  • Blues For Alice

    Here is the Supersax version of 'Blues for Alice' as recorded on the 1980 'Dynamite' record. Like the other Supersax arrangements that we publish this is not a transcription. The original, hand-written manuscript has been used to produce this arrangement. This has been published with the authorization and full support of Med Flory. This is a very advanced chart exactly as-recorded by Supersax. This arrangement did feature a trumpet solo by Conte Candoli. There is no trumpet part however, he improvised over the changes. An open solo section is included. Learn More
  • Blues For Pablo

    Originally written for Hal McKusick for inclusion on his Jazz Workshop LP recorded in 1956 for RCA Victor Records (this album also included Jambangle, which was later re-orchestrated and expanded for Evans' Big Stuff LP for Prestige Records). Evans mixes an idea in minor that has two influences (a theme from de Falla's ballet El Sombrero de Tres Picos and a Mexican folk song) with a blues in major, and the effect is pure Gil Evans. His treatment of this piece for Davis is identical in form to McKusick version, but is in a different key, and of course is set for a larger ensemble. Learn More
  • Boogie Stop Shuffle

    BIG BAND. CHARLIE MINGUS. The third track on the album Mingus Ah Um. 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 use ! Solos are for Sax, Piano and Drums. Learn More
  • BOP BOUNCE [AKA HARLEQUIN BOUNCE]

    This brilliant bebop arrangement was written by Benny in 1948 for a broadcast on Armed Forces Radio. The big band featured tenor saxophonist Dexter Gordon. This arrangement is much in the syle of the charts that were recorded by the bebop big bands of Dizzy Gillespie and Billy Eckstine. Sometime after it was recorded Benny changed the title to Harlequin Bounce. It was then recorded in part for a video short, put together with Carter's arrangement of Congero. The reeds are featured playing the melody with the brass providing punching accents. This chart showcases some intricate unison lines in both reeds and brass. These sections will take a considerable amount of work to get it right. If your band can put it together this would make a great festival or concert piece. Solos are for piano, trombone, tenor saxophone, and the solo alto. Learn More
  • Boplicity

    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 (bari.), Miles Davis (tpt.) and John Lewis (piano). Learn More
  • Brilliant Corners

    This arrangement is not complex and can be easily prepared for concerts and competitions. They can be opened up for any and all soloists, not just piano, trumpet and tenor sax. We have chosen to leave the instrumentation the way Nelson had it (4 reeds, 3 trumpets, 3 trombones, guitar, piano, bass, drums); no optional parts have been added. Learn More
  • BUSTER'S LAST STAND

    Buster's Last Stand is one of the few fast swing pieces that the Thornhill band played. They recorded it for Columbia Records in 1942 shortly before a ban on recording was imposed by the music union, and it remained in the book when the Thornhill ensemble was re-formed in 1946. We have included optional 4th trumpet and 3rd trombone parts that are alternates for the two horn in F parts. But, you should only use them if you don"t have the horn players available. Both alto saxophones double clarinet. And, the 6th reed is an optional clarinet part. Learn More
  • Can't We Be Friends?

    BIG BAND VOCAL. Recorded in 1962 and featured on the record "Sammy Davis Jr. Sings What Kind of Fool Am I and Other Show Stoppers", this Marty Paich arrangement is simple but swinging. There are 8-bar solos for alto sax and trumpet 2. Both of the recorded solos have been written out (chord changes have been included for improvisation). There were no guitar or piano in the original recording; however, optional parts have been included for both instruments. The vocals begin in D flat and modulate to E flat towards the end. There are no sax doubles. Learn More

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