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  • Black Coffee

    This tune has been performed by many artists over the years, & is a 'must-have' standard in any repertoire. This particular version was done by Julie London & it oozes class. The vocal is sultry, moody, & tells a story of woe. The vocalist is backed sympathetically by the band, & the overall mood is helped by a sleazy Alto solo that winds in & out during the chart. The Trombones are scored for 3 Tenors & a Bass, & the Bass is vital to the arrangement.  There are no Sax doubles, the brass ranges are very moderate & the vocal key is A. Learn More
  • Blues in the Night

    Billy May wrote many outstanding charts for the Miller band, and this is one of his finest. The writing is moody, sometimes dark, but harmonically rich and full. It contains little of the trademark Miller syrup sax sweetness, yet is full of tension and emotional energy. The chart is scored for boy & girl vocal with a 4 piece vocal backing group and it won't work without them. Both Altos double Clarinet, and the solo Trumpet fill-ins are written out in full too. This not an easy chart to get right, but if your band has the talent to do it, your audience will really appreciate the result. The vocal key is F throughout. Learn More
  • Blues On The Double

    Blues on the Double is a very rare Count Basie chart. Written by Buck Clayton & generally more associated with the Ellington band, this Basie version swings harder & offers more solo opportunities for Alto, Trumpet & Tenor. Perhaps unusually for a Basie chart there is no solo spot for Piano, though you could swap for a Sax solo if you wished. The chart is as per the recording sample, except that the Trumpet solo is swapped for a Clarinet solo instead. There are no written sax doubles. This is a driving up-temp swing dance chart. Learn More
  • Bolero

    This arrangement of Ravel's Bolero is somewhat quirky, yet is an interesting swing take on a classical tune. Goodman recorded this chart in 1939 with a band that contained a 6-piece brass section, and we have augmented it to a full 8-piece section. Aside from the solo Clarinet lines, the chart has no other instrument solos. Reeds are scored CAATT, with all saxes required to double on Clarinet. The Goodman solos are written out in full, as played by BG. Learn More
  • Boogie Blues

    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 & the rhythm section backing the singer. The band comes back with the boogie & into a big shout chorus to finish. Baritone sax on Alto throughout. Alto & Trumpet solos written out. Learn More
  • Boogie Woogie Bugle Boy

    ANDREW SISTERS BIG BAND GIRL VOCAL CHART. The Andrews Sisters produced a huge number of hits, & Boogie Woogie Bugle Boy is one of their finest. Alan Glasscock has scored a cracking version here, & has notated the Vocal Trio parts with exceptional skill. There were a couple of key versions of this song. One was the Decca release & the other done for the movie Buck Pirates. The Decca chart used a small backing band, the movie a full big band. Our version fuses the two & takes the best from both. Although this is a Vocal Trio, we have also included a Solo Vocal part. Learn More
  • Boom Shot

    Boom Shot is a rare gem of a chart from the Glen Miller book, co-written by Mr. Miller himself. It swings with a lift (if not played too fast) and features your 2nd Trumpet as well as solos (written) for 1st Alto & Trombone, & space for some background improvised Piano too. The song itself is unusual, being not much more than an 8 bar melody, but the orchestration is superb & the series of modulations that run through the chart give the whole thing a series of constant kicks that keep it fresh & moving. Baritone doubles Alto. Learn More
  • Boulder Buff

    Fred Norman wrote and arranged this tune for the Miller band, and we have transcribed this chart from Miller's 1941 Hollywood recording.  The opening Piano solo and later Trumpet and Tenor solos are fully written out, and all dynamics and articulations are notated on the chart, allowing you to re-create the authentic Miller sound. Technically this is not a difficult chart to play, providing that you maintain good sectional discipline and don't rushy the tempo!  There are no sax doubles. Learn More
  • Broadway

    A timeless classic swing chart from the Basie band that sits in the groove from start to finish. The chart features solos for Tenor, Trumpets 2 & 3 and Piano. All solos are written out in full "as played", though your players can improvise their own from the chords provided, if preferred. All of Basie's solos and fills are written out too, for extra authenticity. The Brass ranges are modest, with lead Trumpet only up to B and lead Trombone to Gb, making the chart playable by bands of all abilities. Learn More
  • Bugle Call Rag

    This arrangement of Bugle Call Rag, originally scored for the band by Jimmy Mundy, was one of the charts that helped launch the Benny Goodman Orchestra into the swing era that fateful August day at the Palomar Ballroom in 1935.  This is a transcription of the 1936 studio recording, but adapted up to 8 brass whilst maintaining the feel and flair of the original chart. All of the solos are written out in full - Clarinet, Trombone, Tenor & Trumpet - plus Gene Krupa's little drum licks behind the solo breaks too. The reeds are scored for CAATT, and both Altos double on Clarinet. This is a fast challenging chart, and highly rewarding to play. Duration 3'00". Learn More
  • Careless Love

    This version of Careless Love was recorded in 1959 by members of the Benny Goodman Orchestra. The chart is very much in the Goodman style and features solo spots by Clarinet (on Alto 1), Tenor and Piano. The Clarinet and Tenor solos are written out in full, though your players can improvise from the chords if preferred. The Piano solo is ad-lib, but we have written out the final 2 measure modulation phrase which leads into the final shout chorus. Although not a hard chart to play, the brass gets quite high in the shout chorus, with lead Trumpet to high Eb and lead Trombone to Bb. Hence we have graded it at the Medium Advanced level. The reeds are scored AATTB with Alto 1 taking the Clarinet solo lines. Learn More
  • Caribbean Clipper

    This up-temp 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 wonderfully middle passage of two trumpet pairs playing counterbalancing lines, one set open, one pair with wah-wah plungers, & both backed by glissing trombones & fill-phrased saxes is quite unique. A must for anyone's library. Sax doubles: 1st Alto to Clarinet. 1st Tenor to Clarinet. Baritone to Alto. Learn More
  • Carioca

    This is one of Artie Shaw's most memorable charts, and simply a joy to play. Opening with a short 6 measure half time statement, the drums then double the tempo and away we go.  The arragement has great sectional interplay, plenty of plunger action in the brass, and several rousing shout choruses at the end, culminating in a final Clarinet flourish. The Shaw & Pastor solos (for Clarinet & Tenor) are written out in full, and there are no sax doubles. The reeds are scored for CAATT. Included is an extra Baritone part, making the section CAATB and giving you more flexibility in deciding which player takes the Clarinet solo line. Duration 3'10". Learn More
  • Cerezo Rosa (Cherry Pink)

    Cerezo Rosa, or Cherry Pink & Apple Blossom White as it is otherwise known, is probably Perez Prado's most well known piece. In essence, it's a Trumpet solo with big band backing, & is instantly recognisable for the valved & lipped slur/scoop at the start of the soloists phrase. We have written the solo part for the 4th Trumpet. All of the rhythm parts are written out in full, though your Pianist & Guitarist are equally free to play their own interpretation from the chords provided. The lead Trumpet has to reach a high E once, & some high D's with an option to scream to high F.  No sax doubles. Learn More
  • Cheek to Cheek

    Ella Fitzgerald Big Band Vocal Chart. This a transcription of the original Paul Weston chart. The vocal part is written "as sung" by Ella Fitzgerald. Learn More
  • Cherokee

    Cherokee was the first big hit for Charlie Barnet & his Orchestra, though when Billy May arrived for the 1939 recording session & handed out the parts nobody seemed that impressed with it! This is a good Tenor feature, & a straight forward chart to play. The arrangement is full of interest. Glissing Trombones, Trumpets with wah-wah plungers, & some rich voicings in the Saxes & ensemble sections. This chart is the one that set the standard for all subsequent arrangements of this Ray Noble chart. There are no sax doubles. Learn More
  • Cherry

    Cherry is a classic from the Harry James Orchestra & 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 & Alto) are fully written out, though we have included the chords should your players wish to improvise. This is a very rare chart, & 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. Learn More
  • Chicago

    Here is Benny Goodman's 1947 hard swinging version of Fred Fisher's enduring classic. (Please don't confuse it with the earlier, and more predictable, 1934 Henderson chart). This later version, whilst still very Goodman in style, has more clearly defined sectional work, is less reliant on background riffs to maintain the pulse, and gives more solo space to your players. It features solos for Piano, Clarinet, Alto, Trumpet and your Trombone section. Whilst the brass is scored for 8 voices, the chart is playable if you only have 3 Trombones in the band. Saxes are written for AATTB, with the Clarinet solos on Alto1. The Trumpet solo is written on the second part and cued on 1,3 & 4 too. Learn More
  • Chicago

    A Tommy Dorsey/Sy Oliver classic, beautifully transcribed by Alan Glasscock from the 1945 Dorsey/Oliver/Sentimentalists recording. This chart features Trombone, Trumpet, Clarinet, Tenor & of course your male vocalist and backing group, although it is perfectly singable with just a solo vocal instead. We have noted the chart "as played" by the Dorsey band, the brass ranges are fairly high Trumpets 123 to at least Bb, with option to high D, & 1st Trombone to high C. Alto 2 is written to double Clarinet & takes the solos. The Tenor solo is written on Tenor 1, & trumpet solos on Trumpet 2.   Learn More
  • Chicken Reel

    This is a rare chart from the Glenn Miller Band, which fills and builds to a rousing cliax.  A great little chart trhats good for dancers too. Learn More

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