Louis Armstrong - Live in Australia 1964 by Louis Armstrong. Live/DVD. DVD. MVD #MPI001-9. Published by MVD (HL.321267). This rare jewel, including such hits as “Blueberry Hill”, “High Society”, “Mack The Knife”, and many more captures the genius in all his glory. Outstanding! Louis Armstrong's virtuosity and stunning technique made him one of the most influential artists of the century. This recording is a testament to his unparalleled talent. Recorded in 1964.

Whistle Blues by Benny Goodman. Edited by Jeffrey Sultanof. Arranged by Mary Lou Williams. For big band (5/3/3/4). Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8889). Williams wrote Camel Hop and Roll 'Em for Benny Goodman while she was still with Andy Kirk’s band, and in late 1946, Williams started writing for him again. At the time, he had his own radio show with pianist Victor Borge, and in 1947, he would begin a new recording contract with Capitol Records. Goodman recorded Williams's Lonely Moments and Whistle Blues, a novelty that was recorded a few times during 1946 and 1947. Although the original parts exist for the Goodman version of Whistle Blues, we have decided to issue the stock arrangement of this piece instead. It is very similar to the recording made by Milt Orent’s orchestra for Moe Asch’s Disc label (Asch would later create the legendary Folkways label), and is a more interesting treatment of the material. The original publication has a bit of history. In 1947, Goodman’s publishing company Harman Music issued both Lonely Moments and Whistle Blues as octavo-sized stock arrangements with Goodman’s image on the cover. The copyright notices on both are credited to Harman, but this was an error. It is believed that Goodman thought that he was buying the copyrights themselves and released the stocks with that understanding, but Williams refused to sell them to him. Both publications were promptly withdrawn. I was fortunate to obtain copies of both from Gene Goodman, who ran Goodman’s publishing company (the actual owner of the company was Harry Goodman, who'd played bass for Benny during the thirties).

Where Or When by Frank Sinatra. Edited by Jeffrey Sultanof. Arranged by Billy Byers. For big band (vocal with 5/4/4/4). Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-9085). Here is Billy Byers's great arrangement as recorded by Frank Sinatra with Count Basie at the Sands Hotel in 1966. This has been engraved from the original score - this is not a transcription. There are no saxophone doubles.

Skyliner by Charlie Barnet. Edited by Jeffrey Sultanof. Arranged by Billy Moore, Jr.. For big band (6/4/4/4). Swing. Medium-difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8284). Here is the definitive arrangement of Skyliner from the original published parts. This is not a transcription. This arrangement, written by Billy Moore, Jr. and recorded in 1944 by Charlie Barnet, features a tenor saxophone soloist that doubles on soprano (this was Barnet's part). In addition to that tenor/soprano part, there is a standard reed section of 2 altos, 2 tenors, and a baritone. The arrangement featured a written introductory piano solo. We have retained this solo but have included chord changes in the event that your pianist wishes to improvise. The soprano sax part can certainly be played on the clarinet.

Royal Garden Blues by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For big band (5/3/2/4). Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8457). Here is Gil Evans's arrangement of the Clarence and Spencer Williams classic blues standard Royal Garden Blues. This chart was written as a piano feature for Claude Thornhill. The reeds are arranged as: clarinet; alto saxophone/clarinet; tenor saxophone; tenor saxophone/bass clarinet; and baritone saxophone. The Horn in F part, arranged for two horns, is unison throughout. We have included trumpet 4 and trombone 3 parts that may serve as alternates for the horn part.

Opus One by Terry Gibbs Dream Band. Arranged by Marty Paich. For big band (5/4/3/3 with vibraphone). Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8398). Here is Marty Paich's arrangement for the Dream Band, as written and recorded in 1959. This was written to feature vibraphone but we have added optional Bb or Eb soloist parts.

Jump Caprice by Mary Lou Williams. Edited by Jeffrey Sultanof. Arranged by Mary Lou Williams. For big band (Clarinet Soloist, 2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 4 Trumpets, 3 Trombones, Guitar, Piano, Bass, Drums). Written for Benny Goodman. Swing, Jazz. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8820). Williams wrote Camel Hop and Roll 'Em for Benny Goodman while she was still with Andy Kirk's band, and in late 1946, Williams started writing for him again. At the time, he had his own radio show with pianist Victor Borge, and in 1947, he would begin a new recording contract with Capitol Records. Goodman recorded Williams's Lonely Moments and Whistle Blues . She also wrote this arrangement of Jump Caprice ; however, it was not played. It is probable that this piece was a bit too hip for him, although by 1948, Mary Lou would write several boppish arrangements for a Goodman small group with Benny and Stan Hasselgard (the group also included tenor saxophonist Wardell Gray). This is a straight forward blues with lots of altered harmonies typical of the bop style of the forties. It can be opened up for solos.

Heads Or Tails by Terry Gibbs Dream Band. Edited by Jeffrey Sultanof. Arranged by Ernie Wilkins. For big band (5/4/3/3 with vibraphone). Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8264). This arrangement was written by Ernie Wilkins for Terry Gibbs's 1956 EmArcy record titled 'Swingin' with the Terry Gibbs Orchestra.' This arrangement was originally written for four trombones; it was adapted to the current instrumentation of 3 trombones when it entered the Dream Band book. Alternate soloist parts have been included so that this may be played with any featured instrumentalist.

Begin The Beguine by Sammy Davis, Jr.. Edited by Jeffrey Sultanof. Arranged by Marty Paich. For big band with vocal. Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-9092). This Marty Paich arrangement was recorded by Sammy Davis Jr. with a big band. This swinging arrangement is a great spotlight for the singer. There are no solos and no saxophone doubles.

Begin The Beguine by Sammy Davis, Jr.. Edited by Jeffrey Sultanof. Arranged by Marty Paich. For jazz orchestra. Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-9067). This Marty Paich arrangement was recorded by Sammy Davis Jr. with a big band and later expanded to include horn in F, strings, harp, and percussion/tympani. This swinging arrangement is a great spotlight for the singer. There are no solos and no saxophone doubles. Vocal, 5/4/4/4 with horn in F, 3 violins, viola, cello, harp, and percussion.