(Corner Pocket)-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 ensemblepassages are included. There are brief solos for trumpet and tenor before the well-known shout chorus closes it out. A must for all bands.

Mike Tomaro's tasteful rendering of this classic ballad from Alec Wilder features subtle reharmonizations and a lush orchestration. Includes solo space for trumpet and piano.

Written for the Ellington orchestra by saxophonist Johnny Hodges this catchy riff-based tune swings hard from beginning to end. After the hard-hitting opening solos are exchanged by tenor trombone trumpet and piano. In typicalClayton-Hamilton fashion the piece roars to an exhilarating full tilt finish!

Featuring a freewheeling New Orleans style street beat alternating with straight-ahead swing here is a Monk favorite in a unique and creative setting. Trumpet and tenor share the melody and solo space is included for trombone and piano.

You don't normally think of this great tune as an up-tempo burner but Mark Taylor's creative chart is a real eye opener! Features solos for Trumpet Tenor and Piano.

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!

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 buildsto the end. Just hard-hitting swing as only Mark Taylor can deliver.

Die Combo-Serie von Peer im kleinen Comboformat besteht aus Doppelnummern - 2 Stücke je Ausgabe - in Arrangements für Combo in folgender Besetzung: Piano/Gesang (mit Text) C-Stimme Rhythmusgitarre mit Melodie 1./2. Violine 1./2. Stimme in Bb 3. Stimme in Eb 4. Stimme in Eb + Bb Schlagzeug/Melodie Bass. Hier die Doppelnummer mit La vie en rose/Schau' mich bitte nicht so an (Louiguy) und C'est si bon (H. Betti).

With a tip of the hat to the swing ballad stylings of Mr. Basie here is a marvelous original from the pen of Steve Allee. With a beautiful sense of pacing and full band orchestrations this chart makes it easy for your group tosound great! Also featured are a trumpet solo and tasty piano fills (naturally).

Feature the vibes (or piano) with this creatively arranged standard that was written specifically for vibes legend Milt Jackson (heard on this excerpt). The melody is bookended by plaintive statements for solo alto sax and theensemble provides a lush accompaniment throughout.

Note from the composer: Little Lucas is dedicated to my 2 year-old son. It is a happy medium swinger that captures his mischievous nature with the deceptively difficult movement of major 7th chords in the A sections. The melodynotes are for the most part the 7th of each chord and these notes follow a diminished scale sequence--going up a half-step and then down a major third repetitively. The B section features a 2 five sequence that moves in majorthirds. Originally I wrote this tune for a quartet date. For this arrangement I added a line played by the bass and piano at the end of each A section and voiced out the horns in open drop 2 voicings for a clear and cheerysound.

Scored for 3 horns with flexible instrumentation plus rhythm section this set of combo arrangements features written out piano voicings and bass lines as well as drum part suggestions and horn backgrounds for solos. Includes: Sonny's Mood (Sonny Clark) Grant's Tune (Grant Green) Nice and Easy (Johnny Griffin) In Walked Horace (J.J. Johnson) Al's Mist (Al Grey) and The Clan (Curtis Fuller).

Ce morceau, destiné à alimenter le répertoire du 1er Orchestre National de Jazz, fut composé en novembre 1985. Les influences africaines que l'on peut repérer à son écoute sont indéniables, surtout lorsque l'on sait qu'il a été composé à partir de chants pygmées. Kalimba est d'ailleurs l'un des noms que l'on donne en Afrique de l'Ouest à un petit instrument à lamelles métalliques et caisse de résonance généralement en bois, le piano à pouce.Enchevêtrement de petits motifs mélodiques, permettant une grande diversité dans l'instrumentation, liberté dans l'organisation de la forme, succession de différentes signatures rythmiques, travail sur l'harmonisation des motifs, tel a été le schéma directeur de cette composition.Je souhaite que vous ayez plaisir à le jouer. (François Jeanneau) / Big Band

This Latin-rock original by Ralph Ford has a distinct Santana flavor. With a fresh sounding melody that could easily be a pop hit, Ralph has scored this one to sound full - even with reduced instrumentation - and the younger players will definitely hook into this tune. Written-out solos for piano and trombone are provided and the brass ranges are very accessible. This is a winner! This title is available through SmartMusic.

Enregistré par Chick Corea et l'origine sur le CD and ldquo - changement, and rdquo - Chick rend hommage à l'ère du hard bop et Miles Davis en particulier avec ce blues modale tempo modéré. Version de Mark Taylor pour les jeunes joueurs commence par un petit groupe jouant la tête avant le saxes reprendre sur le second refrain. Y compris l'espace solo pour piano et aussi un solo flexible article avec des échantillons écrits pour tous les joueurs, ce graphique bien écrit fera toute bande sonore polie. / Saxophone Alto, Saxophone Tenor, Saxophone Baryton, Trompette, Trombone, Guitare, Piano, Contrebasse, Percussions, Tambours Congas, Vibraphone Et Flûte Traversière En Partition