In 2004 the number one album Come Away with Me established Norah Jones as one of the year's top performers her smooth jazz stylings and velvet voice topping the charts and winning admirers. Her former choir director Paris Rutherford has tastefully arranged this top single in a vocal jazz setting for SATB mixed choir. Ideal to add some delicate contemporary swing to any choral performance!

Here is an arrangement in the style of the groundbreaking Singers Unlimited that is a WOW! For advanced vocal jazz ensembles but with such a high impact it will be worth the effort.

Three jazz hymns. These jazz arrangements of well-known hymns were written for Andrew Earis and choirs of St Martin-in-the-Fields, London for various services and BBC broadcasts from that church. The setting of Come down, O Love divine supplies some new harmonic moves to Vaughan Williams? lovely tune Down Ampney, gradually adding vocal harmony through the verses, with a short descant section in the final verse. The compound-time arrangement of God is Love, which can also be sung to the supplied words of Charles Wesley?s hymn Love Divine, again adds more of Todd?s iconic jazz harmonies and textures in the vocal parts with each successive verse. The setting of Let all mortal flesh keep silence is structured to gradually build layers over the moody piano chords and the pedal harmony. At the end the music builds to a large climax for ?Lord most high?. The hymns can be performed using the supplied piano part or using the chord symbols above. Double bass may also be used in addition to piano, again following the supplied chord symbols, and parts for optional jazz ensemble are available. Performers of these hymns should feel free to include the congregation or audience in imaginative ways.

De nombreuses chorales, ' Classic répond Jazz ', c'est un thème bienvenu, surtout si un choeur veut apprendre et répéter un répertoire stylistique de grande envergure. Ces arrangements qui reposent sur les oeuvres de Schubert (sérénade ' Leise flehen meine Lieder '), Brahms / Choeur Mixte (SATB) Avec Piano

Arrangement: Zegree. Par SCHMIDT / JONES. Steve Zegree's jazz harmonies in this classic ballad from The Fantasticks simply shimmer in this warm a cappella setting! / Date parution : 2005-07-10/ Répertoire / Voix Mixtes

Purity of line and harmony focus attention on the expressive text of this beautiful ballad. / Voix Mixtes

This unique service opening and closing offers truly fresh and creative options for worship. From the jazz waltz introit to the soothing benedictus, Craig Curry is at his finest! The harmonies are fully supported by the keyboard accompaniment. / Choeur (SATB)

This rich arrangement with well-designed harmonies is equally appropriate for jazz, show, and concert choirs. Certainly one of the best musical theater love songs of all time! / Choeur Mixte (SATB) A Cappella

Who can resist this musical theater standard? The opening piano chords, played at a restrained strut tempo, are instantly recognizable---this is Broadway gold! Add some Fosse-esque staging to bring the house down. / Choeur Mixte (SATB)

This hot '30s swing number is high energy from beginning to end. Featured in the Broadway revue Bubbling Brown Sugar, this chart has great dance potential.

/ Partitions jazz

Novello Voices Choral Suite Arranged by Hywel Davies. Contains: 'Take The 'A' Train 'Satin Doll' 'Lush Life' 'Things Ain't What They Used To Be' and 'Perdido'. Fabulous SATB arrangements of popular modern songs from West End shows and the worlds of jazz and pop.

Blue Moon written by Richard Rodgers and Lorenz Hart in 1934 has had many treatments over the decades. Mel Tormé made a smooth hit version in the 1940s Elvis Presley put it on his first album in 1956 and The Marcels had a doo-wop hit with it in 1961 but ?An American Werewolf in London? was the first movie to associate this most romantic of songs with lycanthropy.This brand new arrangement by Simon Foxley & Christopher Hussey for SATB choir makes the evocative standard a welcome addition to the Novello Choral Pops series. The juxtaposition of melancholy and melodic creates a bittersweet atmosphere of love and lust perfect for a classicallyromantic addition to your choir's repertoire. Your choir's own interpretation of this standard will thrill audiences invigorating the already-long list of cover versions.

The wistful atmosphere evoked by this classic song from the 1960s offers a wonderful opportunity for beginning and developing Jazz/Pop Choirs to build intonation and style through the Choral Explorations jazz series.