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I Was A Fool To Let You Go by Barry Manilow. Arranged by Myles Collins. For big band with male vocal. Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-2257). Taken from Barry Manilow's 1978 album 'Even Now,' this chart is a great lounge ballad with a bluesy feel. Opening with solo piano, the vocal enters backed by just the rhythm section. The saxes add to the build, supported by muted trumpets, and the trombones then lead the bridge. The instrumental break is big and powerful with lush voicings, whilst not being too overpowering. The vocalist re-enters with a half step up modulation into the final chorus and the chart finishes up with a big crescendo, piano solo lick and muted trumpet solo fill to fade. The brass ranges are moderate, and there are no sax doubles. The vocal keys are Ab to A. Ranges: Trumpets 1-4: C#6, Ab5, Ab5, F5 Trombones 1-4: G#4, Eb4, Eb4, Eb4 Vocal Key: Ab modulating to A Male Vocal Range: Bb2 - Eb4 (11 steps, as sung).
$65.00

Instruments: Voice, Vocal
Genres: Adult Contemporary, Swing, Miscellaneous, Jazz & Blues
And Her Tears Flowed Like Wine by Stan Kenton And Anita O'Day. Arranged by Alan Glasscock. For big band with female vocal. Swing. Difficult. Full score and set of parts. Published by Lush Life (JL.LL-2254). This is the Stan Kenton & Anita O'Day version, though it has been modified to play with 8 brass, rather than the original 10. This chart is unusual, in that the band gets to sing the choruses and the female vocalist sings the verses, so it makes for a great performance number. After the triple verse chorus vocals the band rounds the chart off with a big and punchy 14 measure section to bring things to a rousing close. This chart has been graded as difficult due to the need for trumpet 1 to reach high F and trombone 1 to hit high C. Aside from this, the chart is an medium easy. The vocal key is F throughout and there are no sax doubles. Ranges: Trumpets 1-4: F6, C6, Bb5, A5 Trombones 1-4: C5, A4, F4, D4 Vocal key: F Vocal Range: A3 - A4 (1 octave, as sung).
$65.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues
Cheerful Little Earful by Ella Fitzgerald. Arranged by Nelson Riddle, Jon Harpin. For big band with female vocal. Swing. Medium Easy. Full score and set of parts. Published by Lush Life (JL.LL-2247). Once in a while an album is made which simply brims with class. This chart is from such an album - 'Ella Swings Brightly With Nelson' - and it not only oozes class, but swings like crazy too. Nelson Riddle's treatment perfectly balances the showcasing of the vocalist and the talents of the band. The first vocal chorus is backed by a series of call and response figures between the sections, all of which are snappy and pack punch. The insrumental interlude is a development of this theme, with the sax solis answered by the brass, building to a climax before the vocal return for the last chorus and big finish. A class Riddle chart. There are no sax doubles, and the vocal key is Bb throughout. Ranges: Trumpets 1-4: C#6, Bb5, G5, E5 Trombones 1-4: Bb4, G4, F4, D4 Vocal key: Bb Female Vocal Range: A3 - C5 (10 steps as sung).
$65.00

Instruments: Voice, Vocal
Genres: Jazz & Blues, Standards, Swing
Call Me Darling by Ella Fitzgerald. Arranged by Nelson Riddle, Jon Harpin. For big band with female vocal. Swing. Medium Easy. Full score and set of parts. Published by Lush Life (JL.LL-2246). Taken from 'Ella Swings Gently With Nelson,' Call Me Darling is pure Ella at her silky best. This chart has been lovingly transcribed and adapted from the original Nelson Riddle version by Jon Harpin. The strings are now gone, re-scored into the brass, making the chart playable by a regular big band line-up. Altos 1 & 2 are written with flute doubles, though alternate alto parts that don't have the flute lines have been included in case your players don't double. The Bob Cooper tenor solo is also written out, though your player can improvise his/her own from the chords if preferred. The vocal part is written 'as sung' by Ella and the vocal key is C throughout. Ranges: Trumpets 1-4: A5, F#5, D#5, C#5 Trombones 1-4: A4, F4, C#4, B3 Vocal Key: C Vocal Range: G3 - B4 (10 steps, as sung).
$65.00

Instruments: Voice, Vocal
Genres: Jazz & Blues, Standards, Swing
Pick Yourself Up by Ella Fitzgerald. Arranged by Nelson Riddle, Jon Harpin. For big band with female vocal. Swing. Difficult. Full score and set of parts. Published by Lush Life (JL.LL-2245). Pick Yourself Up has been lovingly transcribed by Jon Harpin from the wonderful album 'Ella Swings Brightly With Nelson', and the chart shows off the best of both vocalist and arranger. The structure of the chart sounds simple - a bold intro, vocal chorus, band interlude with tenor and trumpet solo breaks and a rousing vocal chorus to finish - but the writing in it is simply stunning. The chart opens in the key of C, moves to D then Eb, reverts to C and D for the instrumental sections and back to Eb and C for the last vocal chorus. There is always something happening to catch the ear of the listener, and your band needs to be awake too. The brass is written quite high, with lead trumpet to high F and lead trombone to B. Alto 1 also doubles clarinet. Not an easy chart, but it is a classic. Trumpets 1-4: F6, E6, C6, Ab5 Trombones 1-4: B4, Ab4, F4, E4 Vocal key: C to D to G to C Female Vocal: E3 - C5 (13 steps) as sung.
$65.00

Instruments: Voice, Vocal
Genres: Jazz & Blues, Standards, Swing
I Only Have Eyes For You by Ella Fitzgerald. Arranged by Nelson Riddle, Jon Harpin. For big band with female vocal. Swing. Difficult. Full score and set of parts. Published by Lush Life (JL.LL-2244). Here is the Ella Fizgerald / Nelson Riddle version of I Only Have Eyes For You, transcribed and adapted by Jon Harpin from the "Ella Swings Brightly With Nelson" album. The original version contained strings, which have been scored back into the saxes, making the chart playable by a regular 5/4/4/4 line-up. As you would expect from a Riddle chart, this arrangement is full of punch, contains some great rhythmic and harmonic writing and is full of interest for band and audience alike. It has been rated at the difficult level, mainly because of the brass ranges. Lead trumpet hits high E and lead trombone high C. The 4th trombone is a bass (playable 8va by a tenor). There are no sax doubles, and the vocal key is G throughout. Ranges: Trumpets 1-4: E6, C#5, B5, G5 Trombones 1-4: C5, G4, E4, D4 Vocal key: G Female Vocal Range: D3 - D5 (2 octaves, as sung).
$65.00

Instruments: Voice, Vocal
Genres: Jazz & Blues, Standards, Swing
This Can't Be Love by Natalie Cole. Arranged by Myles Collins. For big band with female vocal. Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-2234). Transcribed from her "Unforgettable" album, here is Natalie Cole's stylish rendition of the Rodgers and Hart tune, This Can't Be Love. This chart swings like crazy from start to finish and moves smoothly from the two beat style of the first vocal chorus, into four beat swing for the instrumental bridge and last vocal passage. The band writing is full of fine tonal colour and supports the vocalist perfectly without ever overpowering proceedings. In her version the reeds were written with Flute and Clarinet doubles. This chart is scored for a regular AATTB sax section with no instrument doubles. The vocal key is Eb throughout.
$65.00

Instruments: Voice, Vocal
Genres: Jazz & Blues, Swing
Help Yourself by Tom Jones. Arranged by Myles Collins. For big band with male vocal. Swing. Medium Easy. Full score and set of parts. Published by Lush Life (JL.LL-2229). This song is another of Tom Jones' most famous hits, and will get any crowd onto the dance floor. It is just one of those great party songs. This arrangement follows the form and structure of the original recording, except that a positive finish to the chart has been written as the studio version ran to a fade out. Also, the string lines have been scored into the saxes to add depth and tonal colour. There are no sax doubles, and the brass ranges are very playable. The vocal key is Eb modulating to E. There are no sax doubles.
$65.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues
The Very Thought Of You by Ella Fitzgerald. Arranged by Nelson Riddle, Jon Harpin. For big band with female vocal. Swing. Medium Easy. Full score and set of parts. Published by Lush Life (JL.LL-2228). The Very Thought of You is the Ella Fitzgerald version. Originally arranged by Nelson Riddle, it has been transcribed and adapted by Jon Harpin. This chart is featured on the 'Ella Swings Gently With Nelson' album. Although the original was scored with strings, those string parts have been written into the band, making the chart playable with a regular 5/4/4/4 line up. Please note that separate string parts are not available. The trombones are written fairly high in the intro, with the lead expected to pick a high C out of the air in the 3rd measure. Therefore the trombone lines have been cued onto the trumpet parts in the intro, to make things a bit easier. The muted trumpet solo is written out 'as played', though your player can improvise a solo from the chords provided too. There are no sax doubles, and the vocal key is Eb. Ranges: Trumpets 1-4: D6, D6, A5, F5 Trombones 1-4: C5, Bb4, G4, Eb4 Vocal key Eb.
$65.00

Instruments: Voice, Vocal
Genres: Jazz & Blues, Standards, Swing
Dream A Little Dream Of Me by Helen O'Connell. Arranged by Hal Mooney, Myles Collins. For big band with female vocal. Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-2224). Here is another original Helen O'Connell chart as played by her on her many concert tours. This is not a transcription. To the best of our knowledge this cart was not commercially recorded, hence there is no audio sample. The arrangement is written in a very laid back, bluesy style, and the short intro sets the tone perfectly. This is a true vocal feature, and there are no instrumental solos or tutti passages. Everything supports the singer. The lead brass voices are writen quite high in a couple of places: Trumpet 1 hits high Eb in measure 1, but only reaches B after that. Dropping Trumpets 1& 2 down an octave in measure 1 works well too. Trombone 1 reaches high C# in one backing passage, but is only to Ab elsewhere. This high phrase is cross-cued onto the Trumpets. The vocal key is Db throughout, and there are no sax doubles.
$65.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues
Arthur Murray (Taught Me Dancing In A Hurry) by Helen O'Connell. Arranged by Hal Mooney, Myles Collins. For big band with female vocal. Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-2210). Arthur Murray was originally a hit for Helen O'Connell in her time with the Jimmy Dorsey Orchestra. This version is from her 1951 Capitol Records recording session and is not a transcription, but a re-score of the Hal Mooney manuscript. The only change is to augment the brass up to 8 voices from the original 7, and to score the vocal chart 'as sung' by Helen. Everything is here, from the rubato opening, colla voce verse and the pick up into the up-tempo body of the chart, where the rhythms alternate between mambo and swing. This arrangement makes a great vocal concert feature and if your singer is looking for something a bit different, this is it. There are no sax doubles and the vocal key is G throughout.
$20.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues
Hound Dog arranged by Andy Firth. For big band with male vocal. Swing. Medium Easy. Full score and set of parts. Published by Lush Life (JL.LL-2208). 'Hound Dog' is firmly associated with Elvis, and Clapton did a good cover of it too. However, this version is not really rock 'n' roll. It opens in a slight funk/Latin groove in C minor, moving to C major for the vocal entry, but maintains the Latin feel. After the first vocal chorus the brass takes a beautifully-crafted descending minor phrygian bridge which the saxes then pick up to modulate into the instrumental chorus, followed by a ripping tenor sax solo. The vocalist re-enters in the original key and the chart switches to a rock feel for the final chorus. This arrangement is wonderfully conceived and is a totally refreshing approach which works extremely well. The vocal key is C, and there are no sax doubles. Sorry, there is no sound sample at this time, but we aim to provide one in the near future.
$65.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues
Bye, Bye Blackbird by Dean Martin. Arranged by Myles Collins. For big band with male vocal. Swing. Medium Easy. Full score and set of parts. Published by Lush Life (JL.LL-2190). This is a great Dean Martin number, transcribed from the original recording and augmented up to full big band voicings. The original band was 3 saxes (C/A, A, T), trumpet, trombone and rhythm The chart has been written so that it will sound as per the original when only played with these instruments, giving you a choice of a full or small band performance. The vocal chart is written 'as sung' by Dean Martin, and the trombone solo is transcribed 'as played', though your player can improvise from the chords if preferred. Lead alto doubles clarinet and the vocal keys are Eb (1st chorus) and F (2nd chorus).
$65.00

Instruments: Voice, Vocal
Genres: Pop, Swing, Jazz & Blues
Come Rain Or Come Shine by Helen O'Connell. Arranged by Marion Evans, Myles Collins. For big band with female vocal. Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-2186). Here is the Helen O'Connell version of the Johnny Mercer classic "Come Rain or Come Shine". This is her original chart, and to the best of our knowledge was never commercially recorded by her. This is not a transcription - the original handwritten Marion Evans arrangement has been used and adapted. It is a piece of American musical heritage and we are proud to be able to offer it here. This chart is a "2-in-1", in that the parts come double-sided, for versions with and without strings. In the without-strings version both altos double flutes and both tenors double clarinets. In the with-strings version there are no sax doubles, so please use this one if your players don't double. Both versions feature an alto sax solo. There are two conductor scores in the pack, with and without strings. The string sction is Violins ABC, Viola and Cello. The chart was scored for 6 brass and we have expanded it to 8, but have retained the original voicings, ie the 4th voices are optional and the chart works well with 6 brass. The chart runs at 3 minutes long, and is structured as intro, vocal chorus, tutti with Alto sax solo, final half chorus. The vocal key is Bb.
$65.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues
I Can't Believe That You're In Love With Me by Helen O'Connell. Arranged by Marion Evans. For big band with female vocal. Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-2166). This is the original Helen O'Connell version from her 'Here's Helen' album, as recorded with the Marion Evans Orchestra. This chart is not a transcription - the original manuscript was used. The arrangement opens at a slow, bluesy tempo with muted brass over clarinets, and the first vocal chorus maintains the tempo and feel. The chart then kicks into double time for a punchy, up-tempo final chorus one step up from the first. The reeds were originally scored for 3 clarinets (AAT) and 2 bass clarinets (TB). However, recognizing that having two players doubling bass clarinets is not something that many bands will be able to cope with, alternate sax parts have been included on the reverse of the pages which leave ATTB on saxes, and the lead alto doubling clarinet. The vocal key is Eb modulating to F.
$20.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues
Saturday Night (Is The Loneliest Night Of The Week) by Helen O'Connell. Arranged by Marion Evans, Myles Collins. For big band with female vocal. Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-2164). This is the original Helen O'Connell version of Saturday Night from her "Here's Helen" album, as recorded with the Marion Evans Orchestra. Please note that this is not a transcription, it's the real deal, and a fine piece of American musical history. The chart is a high quality up-tempo swinger that highlights both the vocalist and the band. The reeds are written AATTB, with no sax doubles. The vocal key is Bb throughout.
$65.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues
I've Got A Feelin' You're Foolin' by Helen O'Connell. Arranged by Marion Evans. For big band with female vocal. Swing. Difficult. Full score and set of parts. Published by Lush Life (JL.LL-2163). This is the actual Helen O'Connell version from her "Here's Helen" album, as recorded with the Marion Evans Orchestra. This chart is not a transcription and has been recreated from the original manuscripts. It is an up-tempo swinger opening in the key of C and modulating to Db and D for the instrumental passages, with the vocalist returning in D and moving to Eb for the shout. The band parts, whilst not hard, do need to be played with good sectional discipline in order to pack the punch that the arrangement demands. The chart is written for 5/4/4/4 with no Sax doubles. The vocal keys are C modulating to D and Eb. Trumpets 1-4: Eb6, C6, A5, A5 Trombones 1-4: Bb4, Ab4, G4, G4 Vocal key: C to D to Eb Female Vocal Range: G3 - C5 (11 steps) as sung.
$20.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues
Just You, Just Me by Helen O'Connell. Arranged by Marion Evans, Myles Collins. For big band with female vocal. Swing. Difficult. Full score and set of parts. Published by Lush Life (JL.LL-2161). This is the original Helen O'Connell version of 'Just You, Just Me,' from her album 'Here's Helen,' as recorded with the Marion Evans Orchestra. It is not a transcription. The chart is an up tempo swinger that calls for some precision playing in the brass, particularly in the unison licks in the intro, instrumental bridge and closing, where split notes will stick out like a sore thumb! There are no sax doubles and the vocal key is Ab throughout. Ranges: Trumpets 1-4: D6, B5, Bb5, Bb5 Trombones 1-4: C5, A4, Ab4, Ab4 Vocal key: Ab Vocal Ab3 - Bb4 (9 steps, as sung).
$65.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues
Volare arranged by Myles Collins. For big band with male vocal. Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-2159). This is an up-tempo, hard swinging female vocal version of Volare, and not a meek Latin rendition. The chart was transcribed and adapted from a version done by the German singer and actress Yvonne Catterfeld, and the original can be found on YouTube. After a big intro (scored optional 8va for the trumpets - great if they can handle the range) the first chorus is all vocal, lightly backed by the band. Then comes a 16 measure bridge (which is the opening verse as written originally by Domenico Modungo) followed by the second chorus, with the band backings building in intensity to the modulation (up one whole step). A final half chorus leads to a false fade-out and big finish. There are no sax doubles, and the Baritone is written to low A. The vocal keys are F modulationg to G. Ranges: Trumpets 1-4: C6, G#5, G5, E5 Trombones 1-4 Bb4, G4, F4, F4 Vocal key: F-G Vocal Range: C4 - C5 (8 steps).
$65.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues
The Tender Trap by Frank Sinatra With Count Basie. Arranged by Neal Hefti, Jon Harpin. For big band with male vocal. Swing. Medium Easy. Full score and set of parts. Published by Lush Life (JL.LL-2158). Transcribed from the original Neal Hefti chart written for Sinatra's sessions with the Count Basie orchestra, The Tender Trap is a fine example of powerful writing which supports Sinatra's crooning vocal at every turn. The band parts are not hard, and the lead trumpet only goes to top C. The two little muted 2nd Trumpet fills have been written out as played, and the correct articulation and dynamics have been given on all of the parts, so your band can give an authentic Basie performance. There are no sax doubles. Vocal key F [Male Vocal C3 - F4 (11 steps) as sung].
$65.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues
In The Cool, Cool, Cool Of The Evening by Dean Martin. Arranged by Myles Collins. For big band with female vocal. Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-2156). In the Cool, Cool, Cool of the Evening is another fine song from the pens of Mercer & Carmichael, and this version is a full transcription of the Dean Martin version. The only change from the original is that the clarinet doubles in the sax section (for the little flicks behind the opening vocal phrase) have not been included. The vocal key is F, modulating to C for the middle instrumental chorus, and returning to F for the last vocal chorus. There are no sax doubles. This chart is also in the vocal range of a female alto voice.
$65.00

Instruments: Voice, Vocal
Genres: Pop, Swing, Jazz & Blues
Green Eyes by Helen O'Connell. Arranged by Marion Evans, Myles Collins. For big band with female vocal. Mambo/Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-2155). This is the original Helen O'Connell version of Green Eyes, from her 1957 album of the same name, as recorded with the Marion Evans Orchestra. The original manuscript was used, it is not a transcription. However, it has been slightly modified by the addition of the 'as-played' phrasing in the rhythm parts during the intro, and the 'as-played' dynamic markings in the brass. This arrangement is completely different to her earler duet chart that she used with the Jimmy Dorsey orchestra in that the first half of the arrangement is taken at a gentle pace in mambo latin style with the vocalist accompanied only by the rhythm section. At the end of the vocal chorus the band enters with a real kick, taking the tempo up and changing to a swing feel. This gives the chart a whole new lift, and it swings hard right to the end. The vocal key is Ab throughout, and there are no sax doubles.
$65.00

Instruments: Voice, Vocal
Genres: Swing, Mambo, Jazz & Blues, Latin
Tangerine by Helen O'Connell. Arranged by Hal Mooney, Myles Collins. For big band with female vocal. Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-2154). Tangerine was originally a vocal duet hit for Helen O'Connell in her time with the Jimmy Dorsey Orchestra. This version is from her 1951 Capitol Records sessions, though not in the end recorded and released. It is not a transcription, but a re-score of the Hal Mooney manuscript. The only change is to augment the brass up to 8 voices from the original 7, and to score the vocal chart 'as sung' by Helen and Peter Marshall, including Helen's signature lyric changes - "with mascara'd eye and chapeau by Dache..." . This is a boy / girl duet, with the boy taking the slow first chorus and the girl the second, up tempo chorus. The style and structure of the arrangement is based around the earlier Dorsey version, though without the instrumental tutti passage in the middle. The little alto sax solo which leads to the girl vocal is improvised. There are no sax doubles and the vocal keys are F (male) and C (female).
$20.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues
Time Was by Helen O'Connell. Arranged by Marion Evans, Myles Collins. For big band with female vocal. Swing. Medium Easy. Full score and set of parts. Published by Lush Life (JL.LL-2152). This is the original Helen O'Connell version of Time Was, from her 1957 album 'Green Eyes,' as recorded with the Marion Evans Orchestra, and it opens as a beautifully scored lush ballad which switches into a double-time swing feel halfway through the chart. The reeds are written AATTB, with AATT all expected to double clarinet, and the baritone to double bass clarinet. However, recognizing that not every sax team can cope with this, alternate sax parts which do not have any required instrument doubles have been included. These parts are printed on the reverse of the original sax parts. The vocal key is Bb throughout. Also, this is not a transcription - the original handwritten Marion Evans arrangement has been used and adapted.
$65.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues