Lush Life Music

Items 41 to 60 of 377 total

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  • Begin the Beguine

    This Artie Shaw classic plays down just like the original ans is a "must have"  for any library.  Parts for CAATTB reeds are available on request should your band ever feature a Solo Clarinet player. Learn More
  • Bei Mir Bist Du Schoen

    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. Duration: 3'10".   Learn More
  • Between the Devil and the Deep Blue Sea

    This tune was recorded by Ella for her Harold Arlen songbook album, with the original arrangement scored by Billy May. We have adapted the chart to a full 5444 line-up (from the original 5114) though have kept the feel and flavor true to the original. Billy May chose an innovative set of chord changes for his chart which are significantly different from Harold Arlen's concept. The result is that the chart is cool yet progressive and, whilst the band notes are easy, it will need to be sung very confidently, as the vocal line doesn't immediately sit very naturally against the band backings. It will require a bit of practice. We have written Ella's vocal line "as sung", including the scat passage towards the close of the chart. The vocal key is Bb throughout, and there are no sax doubles. The original Vibe solo is replaced by Piano ad-lib. Learn More
  • Big John's Special

    Big John's Special is a romping swing chart from the early years of the Benny Goodman Orchestra, when much of his success came courtesy of Fletcher Henderson's arrangements. We have expanded the chart up to 8 brass, & because the chart is not a Clarinet feature - it only has an 8 measure solo - we have scored the Saxes for a regular AATTB section, with Alto 2 doubling the Clarinet solo. We have also written out the Trumpet solos & the Piano solo in "stride" style. This tune makes an excellent choice for the swing dance crowd, & it is heaps of fun to play. Learn More
  • Big Spender (Peggy Lee)

    Big Spender was written by Cy Coleman & Dorothy Fields for the 1966 musical "Sweet Charity". Peggy Lee's version was the original "pop" version of the tune and set the standard that other artists, such as Shirley Bassey, would follow. Our chart is based on Dave Grusin's orogonal and is scored for a regular 5444 big band line-up. The 4th Trombone is a Bass, there are no sax doubles and the vocal line is written "as sung" by Ms Lee. The vocal key is Bbm. Learn More
  • Big Time

    From the opening Sing Sing style drum solo this fast, punchy and very powerful chart will just knock your socks off. The reeds are scored CATTB, though we have included an extra Alto part - a transposition of Tenor 1 - which allows your section to be CAATB, giving you flexibility as to who plays the Clarinet line. Duration 3'40". Learn More
  • Birmingham Bounce

    Birmingham Bounce is a postwar chart from the Tommy Dorsey Orchestra, featuring the singing & fiery Trumpet of Charlie Shavers. This is a very good dance chart & has a lot of nice features in the arrangement - Vocal stops, hand claps, powerful ensemble passages, a solo spot for Tenor & some screaming Trumpet licks too. As the name suggests, this chart really bounces along.  The Trumpet soloist has a written high F & the Trombones need to reach Bb. The key is Eb and would suit a high Baritone or an Alto. Learn More
  • Bizet Has His Day

    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, & trumpets are layered on top, to arrive at the full swing phrase. Solos for Alto 2, Trombone 2 & Piano. Lead alto doubles clarinet, Baritone doubles Alto. Learn More
  • 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
  • Blacksmith Blues

    Written for Ella Morse, this song was originally the flipside to Love me or Leave Me, issued in 1952 and it became her biggest hit..  Whilst the original rcording has a fade out at the end, we have writen a definite ending as outside of a studio  fadeouts just don't work. 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

    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 Glenn 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
  • 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

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