SKU: M7.BARN-32285000
English.
You won't want to shoot your trombone section after they get a hold of this exceptional rock chart! Features the whole trombone section as it rocks hard from start to finish, great audience pleaser!
SKU: M7.SMP-224
As commissioned (and recorded) by the SWR Big Band of Stuttgart, Germany, this is an extended arrangement based on a gorgeous melody by Pat Metheny. The saxophone players double on flute (sax 1), clarinets (sax 2-4) and bass clarinet (sax 5). There is solo space for piano, tenor sax and trombone, as the chart moves from a rubato ballad, to a bossa feel, to a rock ballad feel, and back to the rubato again. This is a highly, emotionally charged piece which makes a wonderful addition to any program. Limited brass ranges. The chart also includes an interweaving of Metheny's pensive melody Tell Her You Saw Me. The CD on which this piece is recorded is Towednack, Bob Curnow and the SWR Big Band (available from Sierra Music). 5-4-4-4.
SKU: M7.SMP-323
This chart was a staple in the Buddy Rich Big Band library for a long time, spinning off of the incredible excitement of that band. Recorded on the CD Swingin' New Big Band by Buddy, this chart starts off roaring and never quits. Rich used it as an Opener for years. 5-4-4-4.
SKU: M7.SMP-411
This is a great, HOT chart from Maynard's Dream Band book. Beautifully written, with tenor and trumpet solos. This is the one everyone has been asking for! Included in the new Smithsonian recording of big band jazz. Let your band sink their teeth into this one! Full score/parts for 5-4-4-3.
SKU: M7.SMP-958
As recorded on Tonight Show Band, Vol. 2 (Amherst), this chart won a Grammy for best big band arrangement. Holman took this great standard, put it in 3-4, and wrote scintillating counter lines that weave their way through the whole arrangement. Solo space for trumpet, and roaring ensemble passages make this chart something that should be in every big band library in the world. 5-5-4-3.
SKU: M7.SMP-1235
Based on a traditional Native American song, Fred Sturm has created a truly amazing masterpiece capturing the beauty of the melody with the intricacies and creativity of a big band. Set in 15/8, this odd-metered tune features flute up front, with solo space for piano and bass, and plenty of powerful ensemble passages. If your band is up to it, you will not regret performing Pueblo de Taos, and your audiences will be delighted with such a bold, fresh selection. 5-4-4-4Flute/Alto Sax 1 (Solo), Alto Sax 2, Tenor Sax 1, Tenor Sax 2, Baritone Sax, Trumpet/Flugelhorn 1, Trumpet/Flugelhorn 2, Trumpet/Flugelhorn 3, Trumpet/Flugelhorn 4, Trombone 1, Trombone 2, Trombone 3, Bass Trombone 4, Piano (Solo), Guitar, Bass (Solo), Drums.
SKU: M7.SMP-1140
Bill Holman wrote some of the best music played by the Stan Kenton Orchestra and Boop Boo Be Doop is surely one of those charts. The melody is scored for four horns within the big band setting, and those four horns (alto, tenor, trumpet, trombone) are also the featured soloists. As recorded on The Concepts Era - Live!, this chart represents Holman's ability to write swinging, exciting music for big band. 5-5-5-3.
SKU: M7.SMP-1156
Originally arranged for George Roberts and the Stan Kenton Orchestra, Johnny Richards' treatment of the beautiful ballad Yesterdays is a bass trombone feature throughout. In typical Kenton fashion, the ensemble writing is stunning, as it dramatically interplays with the featured soloist. Never having been recorded on a Kenton album, this rare gem is a ballad that will challenge your band and astound your audiences. 5-5-5-4.
SKU: M7.SMP-1194
Short, sweet and swingin'! Willie Maiden's arrangement of I'll Be Seeing You packs a whopper in a tiny box, making this chart perfect as an encoure closer for any set. As recorded by Maynard Ferguson and his orchestra on the album Dancing Sessions, Willie's arrangement makes great use of the trombone section as they carry the melody upfront before passing it around to the rest of the band. There is some space for a short trumpet solo before the band comes roaring in at the end to take it out with a punch! This chart should be in every band's library! 5-4-4-3 (opt. original instrumentation available as 4-4-2-3).
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