This original shuffle is solidly scored with a Benny Golson/Quincy Jones flavor. The saxes are featured on the head with the solo in the first tenor part. The bridge features a two sax/two trumpet ensemble with a tasty pyramid background that is fun to play. Ken has gone to great lengths to write extensive rhythm section parts assuring that even the most inexperienced players can make this one sound smooth.

This chart joins rock and fusion elements with ingenious harmonies to make music that is sure to please. The rhythmic feel changes from straight eighths to a funky half-time groove while the melody is traded throughout different parts of the ensemble. Some great auxiliary percussion keeps your students involved while adding some creative color to this unique composition.

Sinfonia Comatica is a composition by Judith Weir which is scored for flexible ensemble meaning music directors are able to make use of a variety of instruments tailoring the parts to their choseninstrumentation. A truly innovative idea this piece lasts around 1 and a half minutes and includes the Score and Parts. Originally commissioned by Contemporary Music for All (CoMA) it was also premiered bythem on the 25th of October 2014 at St John's Smith Square in London. As for the scoring a chart is included which detailed the range of each part and suggested instruments but the list can be expanded creatively to produceinnovative and unique performances of this work.

From the author of last year's festival favorite Otra Vez here is a hot little latin number to warm up your concert crowd. The solo spots are written in the lead alto and 2nd trumpet part with lots of supporting backgrounds written into the other voices. Limited ranges make this an easy number to put together. The lead trumpet only needs a written G.

Count Basie’s arrangers would often take a minimalist approach to their writing. The essential elements were a riff-based melody and a shout chorus interspersed with creative soloists. Back Bay Breeze makes use of that formula in an easygoing happily swinging way. A shout chorus with a Basie-style tag makes the perfect ending to this gem from Bryan Kidd former chief arranger with the D.C. Navy Band.

POD-Dans og Tegn i Luft for Ensemble was composed by Niels Rosing-Schow in 2015-16. Scored for Flute Clarinet Bassoon Harp Piano Violin Viola and Violoncello. Commissioned by The Danish Chamber Players for their 25-year Anniversary.Programme Note: A scenario from a park in Shanghai: a group of people dances to the crackling music from a ghetto blaster. Next to then a man is drawing Chinese characters on the street with a large brush dipped in water. The sound of the music comes and goes while the calligraphy soon evaporates in the warm air. Time hardly passes and makes itself present in analmost palpable way. The noise from the surrounding city threatens every now and then to destroy the poetic moment. At the appearance of a couple of guards the scene dissolves as from a magic touch as if nothing had happened. - Was this real at all? The music tries to reconstruct the memory of this imagery by putting together sound fragments of the scenario. But will the futile image appear? Or is it just the slight touch of melancholy from the memory which is left until it dissolves as signs in the air. Niels Rosing-Schow April 2016

This screamin’ arrangement features a blending of an eight-to-the-bar boogie woogie and Rumba in a classic big band setting. The saxes take the melody with some gritty plunger work in the brass to really give this chart some character. A hot tenor sax solo is followed by a swingin’ shout chorus that is sure to bring down the house! The showtime-style ending makes this the perfect chart to close your holiday concert. This one is hot!