Flirts by Roland Szentpali. For cello and piano. Jazz. Intermediate. Composed 2010. Duration 8 minutes. Published by Editions BIM (ET.VC21). Flirts is a sweet and light work for cello and piano. It starts with a shy and fragile "Spring" flirt and goes to a hot and intense "Summer" flirt before a warm-hearted and longing "Winter" flirt. No flirts in fall, time for the summer flirts break away.

Groove in Tours by Francois Thuillier. For tuba solo. Jazz. Intermediate / advanced. Composed 2010. Duration 4 minutes 30 seconds. Published by Editions BIM (ET.TU158). "Groove in Turns" is a solo for tuba written in 3 parts.The first part is a cadenced introduction covering all the tuba tessitura.The second is a slow, very expressive choral ending with multiphonics.The third is a wild Funk, which must excite the listeners "rhythmic emotion".Keep the Groove!

Pearls III by Roland Szentpali. For solo tuba and piano with 3 optional tubas. Jazz. Advanced. Composed 2010. Duration 10 minutes 30 seconds. Published by Editions BIM (ET.TU169). The three movements of Pearls III for tuba and piano are taken from the CD "Meet the Beat" featuring Roland Szentpali (Tuba), Aron Romhanyi (Keyboard) and Revolution (Vocals/Beat-box). Written in an inspired jazz style, these tunes take the tuba into a refreshing repertoire.In the continuity of Pearls I and Pearls II for euphonium and piano, Roland Szentpali offers here a lively and pleasant work.

Pearls II by Roland Szentpali. For euphonium and piano. Jazz. Intermediate / advanced. Composed 2007. Duration 11 minutes. Published by Editions BIM (ET.TU160).

Peaceful Thunder by Louie Bellson and Dave Black. Arranged by George Stone. Jazz Ensemble. Jazz Ensemble; Part(s); Score; SmartMusic. Premier Jazz Series. Jazz. Grade 5. 108 pages. Published by Belwin Music (AP.36066). Challenge your group with this swinger including a samba bridge! Features include solo space for tenor and/or optional trumpet, some great drum fill space, a nice sax soli, and lead trumpet to high D with one high E. This is a super concert opener or closer!

Twisted Blues by Wes Montgomery Big Band. Edited by Jeffrey Sultanof. Arranged by Oliver Nelson. For jazz big band (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 4 trombones, guitar, piano, bass, drums). Ranges: Trumpet 1 to Ab6, Trumpet 2 to E6, Trombone 1 to A4. Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8863). This Oliver Nelson arrangement was written for Wes Montgomery's 'Goin' Out of My Head' album of 1965. This is a great guitar showcase and features some very nice supporting ensemble passages. Trumpet 1 gets very high throughout (see the range below). There is an open guitar solo section.

Tempus Fugit by Supersax. Edited by Jeffrey Sultanof. Arranged by Med Flory. For saxophone quintet with trumpet and rhythm (2 alto saxophones, 2 tenor saxophones, baritone saxophone, trumpet, piano, bass, drums). Swing. Advanced. Score and parts. Published by Jazz Lines Publications (JL.JLP-8092). Here is Med Flory's arrangement of Tempus Fugit as recorded on Supersax's 1980 recording 'Dynamite!'. For this one, he harmonized a Bud Powell solo. This also features a trumpet part along with piano, bass, and drums.

Sweet Georgia Brown by Terry Gibbs Dream Band. Edited by Jeffrey Sultanof. Arranged by Manny Albam. For jazz big band (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 3 trombones, vibraphone, piano, bass, drums, optional B-flat solo, optional E-flat solo). Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8484). This Manny Albam arrangement was written for the Terry Gibbs Dream Band and was recorded in 1961 and released on the Main Stem album. This was originally written to feature Terry on vibraphone but we have adapted the arrangement to feature any C, Bb or Eb soloist.

Springsville by Miles Davis. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For jazz orchestra (solo trumpet/flugelhorn, alto saxophone, clarinet, 2 bass clarinets, 5 trumpets, 2 horns in F, 4 trombones, tuba, piano, bass, drums). Swing. Advanced. Score and parts. Published by Jazz Lines Publications (JL.JLP-8282). When George Avakian signed Miles Davis to Columbia Records, he wanted the artist to make an album with a big band. There were two arrangers whom he had in mind to write the music: Gunther Schuller and Gil Evans. Miles instantly chose Evans. Gil had for all intents and purposes been missing from the national music scene for several years, although in 1956 he wrote Jambangle for an album featuring Hal McKusick. The reunion of Davis and Evans on record was a major event, and the album Miles Ahead began a new chapter not only for both men, but for soloist and big band albums. The Music: Springsville was composed in 1956 by John Carisi, who'd written Israel for the Miles Davis Nonet in 1949. Carisi recorded Springsville for the RCA Jazz Workshop series, but the album was never released; it was also recorded that same year by Urbie Green for ABC-Paramount. Evans liked the tune well enough to make it the first track on "Miles Ahead," and it turns out to be the perfect opener for the album. Legend has it that Evans called Carisi years later and tell him how much he still loved the tune and the arrangement he'd made for Davis. There is no question that it is a classic. This version utilizes the original manuscript score from that session. Jazz Lines Publicaitons has restored the improvised piano solo that was changed to trumpet for the recording (this was originally to be played by Wynton Kelly). Notes to the Conductor: There is no way to get around the fact that Springsville is one of the most difficult pieces ever written for a jazz orchestra. Even though Carisi did not envision the tune played this fast, Evans' setting simply does not work at a slower tempo, and this will pose challenges even for the most experienced musicians.

Soft Eyes by Terry Gibbs Dream Band. Edited by Jeffrey Sultanof. Arranged by Bill Holman. For jazz big band (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 3 trombones, vibraphone, piano, bass, drums, optional B-flat solo, optional E-flat solo). Swing/Ballad. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8278). This Bill Holman arrangement was written for the Terry Gibbs Dream Band and was recorded in 1962 and released on the Big Cat album. This was originally written to feature Terry on vibraphone but we have adapted the arrangement to feature any C, Bb or Eb soloist.

Slittin' Sam (The Shaychet Man) by Terry Gibbs Dream Band. Edited by Jeffrey Sultanof. Arranged by Manny Albam. For jazz big band (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 4 trombones, vibraphone, guitar, piano, bass, drums). Ranges: Trumpet 1 to D6, Trombone 1 to B4. Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8247). The tune Slittin' Sam (The Shaychet Man) was written by baritone saxophonist Al Epstein (shaychet is the Yiddish word for a Kosher butcher). Manny Albam took the tune and crafted a great arrangement that was first recorded on Gibbs's 1956 EmArcy record titled 'Swingin' with the Terry Gibbs Orchestra.' The Dream Band later recorded it in 1959. Unlike most of the Dream Band charts this one has parts for guitar and a 4th trombone. Alternate soloist parts have been included so that this may be played with any featured instrumentalist.

Scootin' by Charlie Parker with Strings. Edited by Jeffrey Sultanof. Arranged by John Lewis. For jazz studio ensemble with alto saxophone solo (alto saxophone, oboe, 3 violins, viola, cello, piano, bass, drums). Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8038). This John Lewis arrangement was written for Charlie Parker in 1950. The arrangement was never recorded, and from the look of the original parts, it was never played. This arrangement is unlike the commercial-sounding arrangements in the Bird with Strings book. Lewis was breaking ground with this arrangement and the style is very much in a Tristano vein. We have included a midi sound sample of the arrangement (without the alto, piano, and drums). This will give you an idea of the arrangement.

Our Delight edited by Jeffrey Sultanof. Arranged by Tadd Dameron. For jazz big band (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 4 trombones, guitar, piano, bass, drums). Ranges: Trumpet 1 to C#6, Trombone 1 to A5. Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8853). Dameron arranged Our Delight for the Billy Eckstine Orchestra, and when that ensemble folded, Dizzy Gillespie added the setting to his book, playing it frequently. When he recorded The Magic Touch for Riverside Records, he made a new setting of the tune. In 1962, publisher Bregman, Vocco & Conn asked Dameron to arrange this for big band publication, as well as other titles that he'd composed over the years that they owned. This version of Our Delight is the same as the arrangement Dameron wrote for The Magic Touch LP, only re-scored for traditional big band with some modifications. All of the BVC publications had numerous errors in pitch, rhythm and transposition. This publication has been newly edited and corrected. One such error occurs at Letter E; on the Riverside recording, French horn virtuoso Julius Watkins played the solo; in the original BVC publication, no solo was indicated. I have corrected this so that the solo is now played by Trombone 1.

On a Misty Night by Benny Goodman. Edited by Jeffrey Sultanof. Arranged by Tadd Dameron. For jazz big band (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 3 trombones, guitar, piano, bass, drums). Ranges: Trumpet 1 to E6, Trombone 3 to Cb5. Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8824). Tadd Dameron wrote this arrangement for Benny Goodman in 1962 for his tour of Russia (it wasn't recorded). He based it on the arrangement that he had recently written for his Magic Touch record. This arrangement is very close to the one from the Magic Touch album. The main difference is that for this arrangement he added a clarinet part (a solo part for Goodman), which was just the tenor saxophone part from his earlier arrangement. We have restored the tenor feature and removed the clarinet part so that it resembles the arrangement that was recorded on the Magic Touch album. This may be played by a standard big band of 5/4/3/4. Since there isn't a recording of this particular arrangement (as written for Goodman), we have included a sample of the arrangement that was recorded on the Magic Touch album, which will give you an idea of the feel of the chart.

Naptown Blues by Wes Montgomery Big Band. Edited by Jeffrey Sultanof. Arranged by Oliver Nelson. For jazz big band (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 4 trombones, guitar, piano, bass, drums). Ranges: Trumpet 1 to F6, Trombone 1 to A4. Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8876). This Oliver Nelson arrangement was written for Wes Montgomery's 'Goin' Out of My Head' album of 1965. This is a great guitar showcase and features some very nice supporting ensemble passages. Trumpet 1 gets very high throughout (see the range below). There is an open guitar solo section. This would make a great festival piece to show off your guitarist.

Movin' Wes (Part 2) by Wes Montgomery Big Band. Edited by Jeffrey Sultanof. Arranged by Johnny Pate. For jazz big band (flute, 3 trumpets, 3 trombones, tuba (or bass trombone), guitar, piano, bass, drums). Swing. Easy. Score and parts. Published by Jazz Lines Publications (JL.JLP-8868). This arrangement by Johnny Pate was recorded by Wes Montgomery on his 1964 Verve album 'Movin' Wes.' This is a pretty easy arrangement for the ensemble, but you need to have a capable guitarist. For most of this arrangement the guitar is featured. The tuba part may be played by a bass trombone.

Ja-Da by Terry Gibbs Dream Band. Edited by Jeffrey Sultanof. Arranged by Bill Holman. For jazz big band (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 3 trombones, vibraphone, piano, bass, drums, optional B-flat solo, optional E-flat solo). Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8274). This Bill Holman arrangement was written for the Terry Gibbs Dream Band and was recorded in 1961 and released on the Main Stem album. This was originally written to feature Terry on vibraphone but we have adapted the arrangement to feature any C, Bb or Eb soloist.

It Might as Well Be Swing by Terry Gibbs Dream Band. Edited by Jeffrey Sultanof. Arranged by Bill Holman. For jazz big band (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 3 trombones, vibraphone, guitar, piano, bass, drums). Ranges: Trumpet 1 to D6, Trombone 1 to B5. Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8394). Bill Holman wrote this arrangement for the Terry Gibbs Dream Band in 1959. This is a straight forward swing arrangement featuring solos for vibes. This is not very difficult to play. We have included optional Bb and Eb solo parts so that this arrangement is playable with any featured soloist (not just vibraphone).

Godchild by Chubby Jackson. Edited by Jeffrey Sultanof. Arranged by Norman 'Tiny' Kahn. For jazz big band (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 3 trumpets, 3 trombones, guitar, piano, bass, drums). Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8699). This version of Godchild is the stock arrangement issued in 1949 that was based on the arrangement that was written for Chubby Jackson's big band. This is a great swing tune featuring solos for alto sax, trumpet, trombone, and piano. The sound sample is courtesy of Terry Gibbs, who performed this exact arrangement in May of 2010 during a tribute concert to Tiny Kahn.

Father Knickerbopper by Chubby Jackson. Edited by Jeffrey Sultanof. Arranged by Norman 'Tiny' Kahn. For jazz big band (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 3 trumpets, 3 trombones, guitar, piano, bass, drums). Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8698). This version of Father Knickerbopper is the stock arrangement issued in 1949; the key is different than the Jackson version and was written so that it is playable by a smaller ensemble. It was adapted for full big band instrumentation and recorded by the Ted Heath Orchestra when Heath tried to introduce the current modern jazz styles into his repertoire. This attempt was a failure, and the arrangement didn't remain in the active book for long. I believe the arranger who adapted this for Heath is none other than John Dankworth, whom Heath repeatedly asked to join his ensemble full time. At the time, Dankworth was playing saxophone on British cruise ships so he could get to New York and listen to the modern jazz being played on 52nd Street. It would have been easy for him to obtain this stock and then fill it out for Heath. The stock was probably not available in England at the time. If you listen to both the Jackson (1949 and 1957) and Heath versions, it is evident that both a medium and a very fast tempo work for this piece. But the one thing you don't want is for the piece to sound sloppy. Also resist the temptation for the band to ‘go wild' in terms of dynamics; constant loud playing is not appropriate here. It is a great, up-tempo swing tune featuring solos for piano, baritone sax, alto sax, tenor sax, and trumpet. Feel free to open up for solos; the changes are great to improvise on. The sound sample is courtesy of Terry Gibbs, who performed this exact arrangement in May of 2010 during a tribute concert to Tiny Kahn.

Easy to Love by Charlie Parker with Strings. Edited by Jeffrey Sultanof. Arranged by Jimmy Mundy. For jazz studio ensemble with alto saxophone solo (alto saxophone, oboe, 3 violins, viola, cello, harp, piano, bass, drums). Beguine/Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8297). This arrangement of Easy to Love was written by Jimmy Mundy for Charlie Parker with Strings, and performed live on several occasions from 1950-1952.

Buster's Last Stand by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For jazz big band (2 alto saxophones (double clarinet), 2 tenor saxophones, baritone saxophone, clarinet (optional), 4 trumpets (4th alternate for horn 1), 2 horns in F, 3 trombones (3rd alternate for horn 2), guitar, piano, bass, drums, 2 trombones). Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8138). Background: In the mid 1930s, Gil Evans was leading a Benny Goodman-styled big band on the west coast. Surviving airchecks of this ensemble show it to be an impressive unit that certainly had the potential to become quite successful. However, vocalist Skinnay Ennis of the Hal Kemp Orchestra was going out on his own, and Evans's agency decided that Ennis should take Evans's orchestra. Along with Ennis came pianist/arranger Claude Thornhill, and the two arrangers became fast friends. When Thornhill formed his own orchestra, Evans came with him, although he continued to write for the Ennis ensemble. The Music: Buster's Last Stand is one of the few fast swing pieces that the Thornhill band played. They recorded it for Columbia Records in 1942 shortly before a ban on recording was imposed by the music union, and it remained in the book when the Thornhill ensemble was re-formed in 1946. This edition of Buster's Last Stand comes from photocopies of the original parts except for the reeds, which were recopied years later for a performance by the American Jazz Orchestra (the original parts appear to be in very rough shape). There are some differences between the Columbia recording and this version, suggesting the Evans continued to refine and tinker with the piece after the war. A sixth reed was present at the original recording session, and this part seems to be missing. It is reconstructed here, although it is optional. Notes to the Conductor: During the big band era, this sort of devilishly-fast composition was called a flagwaver, used to end a set as a set-up for big applause. Although it was not their norm, Thornhill's ensemble proved that it could handle such a piece, as the performance of this tricky music is played near flawlessly for the Columbia recording. Since Thornhill and Evans were very particular about how their music was played, there must have been a lot of rehearsal to get this piece just right. We have included optional 4th trumpet and 3rd trombone parts that are alternates for the two horn in F parts. But, you should only use them if you don't have the horn players available. Both alto saxophones double clarinet. And, the 6th reed is an optional clarinet part.

Billie's Bouce by Terry Gibbs Dream Band. Edited by Jeffrey Sultanof. Arranged by Bill Holman. For jazz big band (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 3 trombones, vibraphone, piano, bass, drums, optional B-flat solo, optional E-flat solo). Ranges: Trumpet 1 to Eb6, Trombone 1 to Bb4. Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8390). This Bill Holman arrangement was written for the Terry Gibbs Dream Band and was recorded in 1962 and released on the Big Cat album. This was originally written to feature Terry on vibraphone but we have adapted the arrangement to feature any C, Bb or Eb soloist.

Big Bad Bob by Terry Gibbs Dream Band. Edited by Jeffrey Sultanof. Arranged by Manny Albam. For jazz big band (2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 3 trombones, vibraphone, piano, bass, drums, optional B-flat solo, optional E-flat solo). Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8388). This Manny Albam arrangement was written for the Terry Gibbs Dream Band and was recorded in 1962 and released on the Big Cat album. This was originally written to feature Terry on vibraphone but we have adapted the arrangement to feature any C, Bb or Eb soloist.