Par YOUMANS VINCENT. Although composed in the 1920's, this popular melody has been a favorite with jazz artists ranging from Art Tatum to Ella Fitzgerald. Arranged here in a slow Basie swing style, Mark's version is a great study for full ensemble playing and mastering this important style. / Date parution : 2022-10-25/ Répertoire / Jazz Ensemble

Composed in the 40s and originally recorded by the Andrew Sisters Christmas Island has been recorded countless times since then notably by Ella Fitzgerald and also by Leon Redbone (used in the movie Elf). PaulMurthas version is setin a medium swing style with great-sounding voicings for young ensembles.

Jazz Ensemble Library – Grade 4One of the highlights from Miles Davis' landmark recording “Birth of the Cool” is this medium swing composition by Gerry Mulligan. Skillfully adapted for full jazz ensemblefrom the original this arrangement features solos for trumpet and baritone sax (opt. tenor) as well as stellar ensemble writing. A classic!

Featuring a quartet of alto trumpet guitar and vibes at the top Marks stellar treatment of this George Shearing classic swings hard from beginning to end. The intricate bebop lines are skillfully woven throughout and there are solo spots fortrumpet and alto. Also included is an unaccompanied brass statement and ample opportunities for the saxes to shine.

Gordon Goodwin's stellar reputation as a writer is well deserved. A funky half-time shuffle groove for big band, Gordon's clever opening melody statement is played by altos and trumpets with solo space provided for piano, alto, or tenor sax. The burnin' shout chorus will make this an all time favorite chart for every library. Percussion part included. As recorded on Gordon Goodwin's Big Phat Band: Swingin' for the Fences. This chart grooves!

Recorded in 1964 by Martha Reeves and the Vandellas this moderate tempo rock hit became a signature tune of the Motown sound. John Wasson's soulful version for jazz ensemble stays true to the original feel while adding a bit of contemporary flare.

In Tempo, sur l'album du big band Lumière Yesternow était la deuxième partie d'un arrangement que j'avais écrit sur un thème signé Miles Davis, Tout de suite. J'ai eu par la suite le désir de faire cette partie une pièce autonome. C'est ainsi qu'elle est devenue In Tempo. Elle est presque entièrement écrite. Le conducteur est ainsi pratiquement une partie de piano dont il est difficile de s'éloigner, de même qu'il l'est de juxtaposer plusieurs instruments harmoniques. J'ai employé ici une technique de composition que j'utilise rarement, en tout cas de façon aussi systématique. La trame harmonique consiste en une suite d'accords de trois ou quatre sons à basse étrangère, qui s'enchaînent le plus souvent de façon arbitraire. On ne trouvera donc aucune logique tonale ou modale. Le solo (par Philippe Sellam au saxophone alto sur Yesternow et Flavio Boltro sur In Tempo) est rendu assez ardu par ce système. C'est pourquoi la partie de soliste reproduit purement et simplement le conducteur. Il ne faut surtout pas essayer de coller à chaque accord, mais tâcher de jouer le plus librement possible sur ces fonds un peu complexes. (Laurent Cugny) / Big Band / Partition