SKU: JL.LL-1174
A rare and beautiful chart from the Glenn Miller Orchestra, this chart was originally scored by Bill Finegan and is his iterpretation of Tschaikovsky's Piano Concerto No. 1. The arrangement is full of tonal and dynamic contrast, with a mix of raw brass energy and muted sectional playing, with some lush scoring in all the sections and of course the famous Miller reed sound with plunger brass figures behind the reed section. The piano has a couple of solo spots, but the chart is not a piano feature. The brass ranges are not too demanding, the second alto doubles clarinet, and baritone doubles alto. As with all Miller charts, precision and sectional discipline is required.
SKU: M7.SMP-1131
English.
This is another great Oliver Nelson chart (it swings like crazy!). It starts in 3/4 and then goes to 4/4 and has a wonderful feel and flow as it moves through the different sections. The piece has very limited brass ranges with some optional octave writing in the trumpet 1 part. There is solo space for alto saxophone, trumpet, piano and drums. This big band arrangement was adapted by Bob Curnow from the original small band version as recorded on Oliver Nelson Plays Michelle (Impulse). 5-4-4-4.
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-931
This is a wonderful chart, an old tune in a new dress, as only Bill Holman can do it. It's the exact chart as recorded by the terrific Charlie Barnet Big Band. The tempo is bright, a swinging excursion into the clever writing of Holman. Solo space for piano, alto, tenor, trumpet, and drums. There is a great sax section soli and the usual, wonderful, roaring ensemble shout choruses. A big finish ends an amazing chart. 5-5-4-4 (4 tpts. work just as well).
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-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-388
As recorded on the brilliant CD Afrique, by the Count Basie Orchestra, and also (in another form) by the Buddy Rich Band on the CD Swingin' New Big Band. This chart is an up-tempo swing tune which just roars from beginning to end. Solos for piano (a la Basie), trumpet and tenor saxophone. a flagwaver ... the perfect opening number ... as the original liner notes stated. 5-4-4-3.
SKU: M7.SMP-352
A monumental piece of big band jazz. This was written for Les' fantastic Chicago band. It is an extensive work (about 12 minutes) which features trumpet (or flugelhorn) throughout in various settings and styles, based on one of the most beautiful melodies Les has ever written. There are also piano solos. Woodwind players must be good doublers and it is well worth the effort. This is certainly one of Hooper's most dynamic and interesting creations (among a great many)! As recorded on the Dorian Blue LP. 5-4-4-3.
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-932
This chart is not for the faint-of-heart. It moves at a fast, swinging pace, and it captures the spirit of Parker's classic bebop tune, including the humor. As recorded on the new CD The Bill Holman Band Live, this chart allows for solos by tenor sax, trombone and piano. This is the whole package ..... outstanding ensemble writing and lots of solo space. This should be in every big band library. Flute doubles (short passages) on alto and tenor 1 parts. 5-4-4-4.
SKU: M7.SMP-311
As written for and performed by the Buddy Rich Big Band, here is the long-missing chart that Holman wrote to feature The Great One..... Buddy Rich. It is a terrific, swinging chart with solo space, not only for drums, but also for tenor sax, trumpet and trombone. This is another superb chart by Holman, who has contributed to virtually every big band library on the jazz scene. This is a wonderful piece! 5-4-4-4.
SKU: M7.SMP-332
Bill Holman's Great Big Band was a sensational ensemble! That album has just been re-issued on Mosaic Records. This chart is an example of Bill's talent for investing old material with brilliant new ideas. It originally featured Bill Perkins on tenor sax and Conte Candoli on trumpet solos. An exciting, amazingly fresh, inventive chart. Recorded on the Bill Holman's Great Big Band CD. 5-4-4-3.
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-322
This is one of the most original big band rock/fusion charts ever written. The Buddy Rich Big Band recorded this as a Closer on the CD Buddy and Soul. Tenor solo and lots of exciting counterpoint. Red-hot ensemble passages prevail! Played on the Tonight Show many times when Buddy would be a guest. This is a terrific crowd-pleaser. 5-4-4-4.
SKU: M7.SMP-207
The chart everyone has been waiting for!! Eight minutes of amazing, dynamic, exciting sounds! This arrangement was commissioned and recorded by the SWR Big Band of Stuttgart, Germany. It is, of course, based on the centerpiece of the wildly popular show. Everytime this chart was performed in live concerts in Germany (and elsewhere), the audience just erupted with applause and standing ovations. This isn't an easy chart to play, but it is well worth the effort (similar to The First Circle in that respect). All ranges are fairly reasonable, with the 1st Tpt. part topping out at a written high E. This is recorded on the highly acclaimed CD Towednack, Bob Curnow and the SWR Big Band (available from Sierra Music). 5-4-4-4.
SKU: M7.SMP-923
This is surely one of Gershwin's most beautiful melodies, and Potts arranged it to feature trumpet throughout (as recorded on the 1959 album The Jazz Soul of Porgy and Bess, featuring the Bill Potts Big Band) . Lush orchestration, rich harmonies, reasonable ranges and a touching ending make this chart a great choice for festival programming. This should be in every big band book. 5-5-5-4.
SKU: M7.SMP-1232
Bill Holman's music never disappoints, and 'Introduction to an Ending' is no exception! Originally written for and recorded on the Charlie Barnet Big Band 1967 album, this straight-ahead blues tune features the saxophone section with a long, wonderful soli that grows for over 70 bars before ripping into the solo section. There is solo space for alto saxophone, trumpet, trombone, piano, and drums. Filled with energy and excitement, the shout chorus comes roaring in to take the tune out with a bang. This is a great addition to any program! 5-4-4-3.
SKU: M7.SMP-1260
Every once in a while a melody is written that words cannot convey and only the soul understands. Master-of-melodies, Pat Metheny, did just that in his composition of Tell Her You Saw Me, and Bob Curnow magnificently transformed it into a majestic big band arrangement. A ballad throughout that slowly builds in intensity; this piece utilizes woodwind doubles and flugelhorns with a short, written-out piano solo up front. If you are looking to provide a moving ballad for your audiences, then this is it. 5-4-4-4.
SKU: M7.SMP-395
Also known as Patterns For Orchestra (as recorded on the Verve jazz masters 48 CD), this is one of Nelson's very interesting charts. It has a very angular, exciting melody in a brisk swing tempo, and lots of solo space for trombone (as recorded by J.J. Johnson). The solo space could be filled by piano or any other instrument as well. The instrumentation has been converted to 5-4-4-4, a standard big band.
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