All the Things You Aren’t is based on the chord changes of the jazz standard All the Things You Are, but with a few minor variations. The intro plays on the intervallic ideas from Charlie Parker’s famous introduction to All the Things You Are before breaking into a samba-esque feel. The melody is mainly carried by alto sax and trumpet, with the sax section and full ensemble taking their turns at various points. Alto sax then takes a solo, with backgrounds helping the soloist build to a peak at the end of the section. The baton passes to a soli trio of trumpet, alto, and tenor, which leads to an exciting full ensemble section.  The melody recap varies from the beginning, this time with unison trumpet melody interacting with a saxophone section counterline. The melody builds in intensity before winding down for a subdued ending.

 

 

Dusty Shoes is ideally suited for the beginning jazz ensemble. Simple yet swinging rhythms permeate this minor-keyed medium swing chart. The 16-bar melody is originally stated by trombones and low reeds before being passed off to the sax section in 4-part harmony with brass backgrounds. The solo form is an open modal section in D Dorian with the option for any member of the band to solo. After the solo section, saxes and brass trade phrases before joining forces for a brief shout chorus. Sax melody and brass backgrounds then come back, leading to a big finish.

Bass lines and piano voicings are provided along with chord names.

1^st trumpet range: written E (concert D)

1^st trombone range: D

Just Like That maintains a feel-good, relaxed swing throughout and provides opportunities to feature and challenge all sections of your band. After the full ensemble intro sets the stage, the melody is passed around through different parts of the group, supported by a melodic two-feel in the bass. The melody chorus builds in texture and intensity, leading to the solo section. Chord changes are provided for optional solos in Alto 1, Tenor 1, Trumpet 2, Trombone 1, and rhythm section. Soli sections for trombones with bass and then saxophones follow before building to a full ensemble section and a recap of the last half of the melody.

1^st Trumpet range: concert Ab (written Bb)

1^st Trombone range: F

Get on with It has an infectious even-eighth groove and features a tenor sax solo. The melody builds as it gets passed around the band, peaking at the end of the chorus with the full ensemble. A new groove is established to introduce the tenor solo. The solo builds over a vamp before returning to the melody chord changes with backgrounds. New ensemble material is then introduced, first in the lower horns, then moving to higher horns, with all parts then coming together for a full ensemble section before the return of the melody and a climactic finish.

Friday Strut is a relaxed, medium-tempo swing piece. The melody of the A section is carried by the higher horns, with the lower instruments taking the B section. Solos occur in Tenor 1 and Trumpet 2. Soloists have the option of playing a written solo or improvising over the provided chord changes. After the solo section, high and low instruments again alternate phrases before joining forces for the shout section.

The score is written for reduced instrumentation of 3 trumpets and 3 trombones. Optional 4^th trumpet and trombone parts are included but not necessary.

1^st Trumpet range: written E (concert D)

1^st Trombone range: Eb

Geneva is a jazz waltz scored with rich harmonies and exciting ensemble moments. The piece starts with a piano solo backed by the rhythm section. The melody is then passed around from piano to a horn quartet in a tight, four-part harmony, and then to the flugelhorns with saxes providing a countermelody. After a tenor sax solo, a challenging, unison line leads into a short ensemble section and trumpet solo. An impassioned shout chorus leads back into the melody, where the piece winds to an end.

Notes: Alto 1 doubles on soprano sax
All four trumpet parts double on flugelhorn

Rosie and Roy is a lively, medium-up tune, alternating between straight-ahead swing on the A sections and a funky half-time feel on the B section. The melody starts with alto and trumpet taking the lead. The energy builds throughout the melody, as more parts are layered in, ultimately leading to the trombone solo. An angular interlude separates trombone and tenor sax solos. The tenor solo is a slow build, with backgrounds helping build intensity to the end. The shout chorus comes next, culminating in a drum solo, which leads the band back into the melody and a high energy ending.

Sidewalk Flowers is a beautiful feature for alto saxophone. The introduction sets a contemplative mood before the statement of the melody by the alto. The orchestration builds throughout the melody, leading to a double-time section for the alto improvisation. The band settles back into the original tempo at the bridge and the full ensemble builds to a crescendo before an alto cadenza leads the band to its final chord.

The Fog Comes on Little Cat Feet is a ballad feature for trumpet. An ostinato pattern sets a mood
of mystery, and continues as the trumpet adds its melody. The mood then brightens as the
ensemble takes over the B section. A faster tempo emerges for solos by trumpet and guitar,
followed by a sax soli. The original tempo then returns for a final statement of the melody.

Slippy is a hard swinging, medium tempo tune in the tradition of artists such as Gene Harris and Ray Brown. The blues inflected melody is first played by trumpet and alto and then again in a full ensemble setting. The solo section is open over an F blues with changes provided in all parts. A sax soli and shout chorus lead to an exciting ensemble ending.