Got An Issue, Grab A Tissues by James W. Blake & Charles Lawlor. Arranged by Denis Diblasio. For jazz ensemble. DiBlasio Series. Medium Swing. Grade 4. Score and parts. Published by Northeastern Music Publications (NS.DD0002).

Sidewalks of New York by Denis Diblasio. For jazz ensemble. DiBlasio Series. Medium up tempo. Grade 4. Score and parts. Published by Northeastern Music Publications (NS.DD0003).

No Name Jive by Glen Gray. Arranged by Myles Collins. For big band. Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-1032). This is simply a great jump jive number, made famous by the Glen Gray Orchestra, and to the best of out knowledge has never been published before, anywhere. If your band plays to a dance crowd then this arrangement is an absolute must have. No Name Jive is a huge six and a half minutes long, and drives from beginning to end. Technically it's not difficult, though the band needs to be tight and crisp in order to achieve the relaxed feel that makes the number work so well. There are some instrument doubles. Saxes 1,2 and 3 all double Clarinet, and the Baritone doubles Alto. Lead Alto also needs a Soprano if your Alto 2 can't hit high F# anf A. All solos are written out as exact transcriptions of the original, though players may improvise if they wish. The second trumpet takes two solos and both are cross cued on the lead part. The score sample is the first 6 pages of a 35 page score, which we have ring-bound for ease of use.

Jersey Bounce by Benny Goodman. Arranged by Alan Glasscock. For big band. Swing. Medium Difficult. Full score and set of parts. Published by Lush Life (JL.LL-1094). Many bands played Jersey Bounce, and the two most remembered are those from the Miller and Goodman Orchestras. This is the Benny Goodman version, meticulously transcribed by Alan Glasscock. For us it is the more interesting version of the two. Mel Powell's harmonics and phrasing in the piano solo (fully written out, including the super-fast runs) was really ahead of its time. The other three solo spots are all here too, written for Tenor 1, Trombone 2 and of course Solo Clarinet. In this recorded version Goodman had the luxury of a complete sax section of AATTB, plus himself. Therefore our chart offers the same. We recognize that not many bands have six saxes, but rest assured that the chart works equally well played with SAATT. Lastly, the trick with this chart is not to play it too fast!! Enjoy. Trumpets 1-4 D6, B5, A5, F#5 Trombones 1-4 Bb4, G4, E4, E4.

Ol' Man River by Ted Heath. Arranged by Myles Collins. For big band. Swing. Advanced. Full score and set of parts. Published by Lush Life (JL.LL-1207). Transcribed from the original Johnny Keating chart, Ol' Man River is an absolute screamer of a chart, from the time when the Ted Heath band was at its height. Heath recorded two slightly different versions of the chart, the only difference being that the 'Palladium Revisited' chart kicks off in G before modulating to Bb then Ab, whilst the 'Kern for Moderns' version starts in Bb. This is the Palladium version. This is a fast, tough chart, particularly for the brass. Lead trumpet (Bobby Pratt) hits high G, and 2nd trumpet (Bert Courtley) high F. Trombones 3 & 4 need to reach high Bb, with 1 & 2 reaching C. It is not for the faint hearted. The trumpet solo is improvised, and written on the 2nd part. The piano, bass & guitar parts are from chords. Whilst not a long arrangement, it is a showstopper if you can pull it off! There are no sax doubles. Ranges: Trumpets 1-4: G6, F6, C6, A5 Trombones 1-4: C5, C5, Bb4, Bb4.

Lean Baby by Billy May. Arranged by Billy May, Myles Collins. For big band. Swing. Medium Easy. Full score and set of parts. Published by Lush Life (JL.LLM-1221). Lean baby was written by Billy May for his own orchestra, and first recorded in 1951. May then used the chart as the theme tune for the band. The arrangement is transcribed "as played" by the BM orchestra, and the tenor and piano solos have been written out in full, though your players can improvise from the chords if they prefer. The correct articulations in the saxes have been written out to help your players achieve the BM 'scooped' sound in the right places. Like most May charts, it is powerful, punchy, occasionally musically irreverent, but always good to play. There are no sax doubles.

Easy To Love (Edited) by Cole Porter. Arranged by Bill Holman. For jazz ensemble. Swing. Grade 4. Score and set of parts. Published by Sierra Music (S1.SMP-1048). Bill Holman's arrangement, from the Maynard Ferguson Band "Boy With Lots Of Brass" recording, is a wonderful medium-swing tune with solo space for piano, alto, and trumpet. This chart spans the spectrum of dynamics, from the easy-going beginning with the melody in the trombones to the high-powered tutti section towards the end (with lots of brass! ). This edited version is created from the original parts, but Maynard's solo and lead parts are written into the standard trumpet section.

Brilliant Corners by The Thelonious Monk Big Band. Edited by Jeffrey Sultanof. Arranged by Oliver Nelson. For Big Band. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8363). Background: Thelonious Monk had gone from a quirky pianist/composer to international star, in many ways thanks to a Columbia Records recording contract that began in 1962. Like fellow jazz artists on the label such as Dave Brubeck and Miles Davis, worldwide distribution of his recordings resulted in important engagements and tours all over the globe. By 1968 however, Columbia Records was changing its focus with regard to jazz and popular music. The home of Tony Bennett, Andy Williams and Johnny Mathis as well as Brubeck and Davis was now the home of Janis Joplin, Simon and Garfunkel, The Byrds and Paul Revere and the Raiders, so Bennett, Mathis and company were now encouraged to modernize. Miles Davis was going in that direction anyway, so he would have little problem at the label in the years to come. Mathis and Williams went pop/rock by choosing their songs carefully and were quite successful. Bennett refused to be something he wasn't, and finished out his contract with no support from the label (one of the albums he made during this period was one of his finest, arranged and conducted by Robert Farnon; it was barely released in the U.S.). Brubeck just left the label. Thelonious Monk was in an unusual position at that time. He'd completed a problematic but successful international tour with an all-star octet/nonet, which was inexcusably not recorded by Columbia (some recordings from this tour are available on unauthorized CDs). He wasn't composing much new material, and Columbia wanted him to record songs written by the Beatles. His days were clearly numbered, but Columbia ended his contract with a bang: he made an album of his songs with big band. If anyone was a good fit to arrange the music of Thelonious Monk, (besides Hall Overton, arranger for Monk's appearances at Town Hall and Philharmonic Hall), it was Oliver Nelson. By 1968, Nelson was a resident of Los Angeles after spending many years as part of the New York jazz scene. A saxophonist who had a very wide musical range, from rhythm and blues to hard bop and concert music for chamber groups and symphonic orchestra, he continued to write for singers, tour with his own small and large ensembles, and was now writing for television and motion pictures. He must have been delighted to work with Monk, but it was clear that this album was to be done quickly. Nelson's arrangements are very straightforward (theme, solos, out-chorus), written for four reeds, six brass, guitar, bass, drums, and Monk. The album was recorded in three three-hour sessions, two of which were done in one day. The album itself received little publicity, and did not last long in the catalog. Notes to the Conductor: As stated above, these arrangements are not complex and can be easily prepared for concerts and competitions. They can be opened up for any and all soloists, not just piano, trumpet and tenor sax. We have chosen to leave the instrumentation the way Nelson had it (4 reeds, 3 trumpets, 3 trombones, guitar, piano, bass, drums); no optional parts have been added. When Nelson arranged these pieces, there were no lead sheets, so Monk played them for the arranger, who took them down. Several years ago, publisher Don Sickler prepared a folio of Monk lead sheets published by Thelonious Music and distributed by Hal Leonard; I was one of the editors who worked with Don. All melodies in these big band settings conform to the authorized versions of the compositions as published in the Monk fakebook. This arrangement is based on Oliver Nelson's original autograph score - this is not a transcription. Jeffrey Sultanof -February 2010.

Clair De Lune by Harry James. Edited by Jeffrey Sultanof. Arranged by Jack Matthias. For Big Band. Swing. Medium. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8760). When Harry James decided to follow the lead of fellow bandleader Artie Shaw and add a string section, he had to build a book quickly. Besides originals, new pop songs and older songs (one of which, You Made Me Love You, would make his ensemble one of the most popular in the country), his book included arrangements of classical or concert music, three of which were piano pieces that James particularly liked: Arabesque, Golliwogs Cakewalk, and Clair de Lune.The Music: Debussy wrote Clair de Lune as early as 1890, but was published in 1905 as part of Suite Bergamasque. It is possible that the piece was slightly revised by Debussy between its original composition and publication. By 1941, it had become quite a popular piece among piano students and soloists, and James felt it would be recognizable enough to be added to the dance book. The late James Maher often reminded me that big bands during this era played all styles of music for dancing. Even bands led by Fletcher Henderson and Benny Goodman played tangos and waltzes if they were requested; Sy Oliver told me that there were waltzes in the Jimmie Lunceford book, one of the hottest swing bands of the era. So a waltz was hardly a novelty for a big band, particularly one with a string section. It appears that chief arranger Jack Matthias arranged this title, along with Debussy's Arabesque. The original score of Clair de Lune exists, and was used to prepare this edition; unfortunately, there is no name on the score, and no extant parts. The score is filled with note errors, suggesting that the arrangement was prepared in a hurry; perhaps it was one of the first batch of scores created when the string section was added to the James band. Notes to the Conductor: This score was never recorded and there are no airchecks available, so the editor must make a number of decisions so that it can be played. The obvious first step is to find any wrong notes and correct them. The second is to determine the tempo, which is missing; it is not unusual for tempo markings to be missing on music for big bands from any era (Ive examined far too many scores where the tempo must be guessed at, using available information and many years of experience studying and directing this music). Because any score written for a big band was fair game to be recorded (and Arabesque was, but not released until many years later), Ive determined the tempo to be quarter note between 132-148 bpm. There is little more than a verbal sketch for the drum part, so I suggest that the part be played by brushes as subtly as possible (this is hardly a Viennese-style waltz). Dynamics and articulation have been added to all parts (elements all-too-often missing, as such information was communicated during rehearsal). Doubles: The reed section features 3 clarinets and 1 bass clarinet throughout.

Disapproachment by The Duke Pearson Big Band. Edited by Jeffrey Sultanof. Arranged by Frank Foster. For Big Band. Swing. Advanced. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8150). (From the forward by Jeffrey Sultanof) Frank Foster is still best known for his many years as saxophonist/arranger for Count Basie. By the early sixties, he began to be heavily influenced by John Coltrane, and Basie gave him less and less solo space. By 1964, he was a freelance musician and led his own big band in New York. He shared solo space with Lew Tabackin as a member of Duke Pearson's band, and brought some of his original music to add to Pearson's book. "Disapproachment" is in Rob McConnell's words, a 'blister,' a piece that burns from beginning to end, and since little of Foster's music from this era is currently available, is wonderful to have. The keys to a great performance are mastery of the musical figures at such a fast tempo, observation of the dynamic markings (not everything is loud) and a strong rhythm section that can keep the tempo steady. It is a great concert opener and can be opened up for more solos. Ranges: Trumpet 1: to E6; Trombone 1: Bb4.

Flying Home by The Terry Gibbs Dream Band. Edited by Jeffrey Sultanof. Arranged by Med Flory. For Big Band. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8184). Here is Med Flory's great arrangement of the Benny Goodman/Lionel Hampton standard as recorded by the Terry Gibbs Dream band. This was written to feature vibraphonist Terry Gibbs but it also features a trumpet solo. We have also included vibraphone cues on the piano part so in the event that you don't have access to vibes this may be played as a piano feature instead.

Shaw 'Nuff by Supersax. Arranged by Med Flory. For jazz ensemble - dectet [7 horns with rhythm section]. Swing. Advanced. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8091). Recorded on the 1977 record 'Chasing the Bird' here is Supersax's incredible arrangement of 'Shaw 'Nuff.' This piece is very difficult to play due to the tempo - moving along at 150 beats per half note. The arrangement features trumpet and trombone on the introduction but they drop out when the head comes in. There is an open solo section in the middle before a return to the head and then the intro is used as an outro. This is a very difficult arrangement but well worth the effort - guaranteed to turn heads and ears!

Donna Lee by Art Pepper. Arranged by Marty Paich. For Little Big Band. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8404). In 1959 Art Pepper recorded 12 tunes backed by an 11-piece 'little big band.' The Marty Paich charts focused on 'Modern Jazz Classics' including this arrangement of the Charlie Parker composition 'Donna Lee.' This arrangement features both altos and trumpet 2 playing the first half of the head in unison with just rhythm. The rest of the ensemble joins in for the second half of the head. Solos are for the lead alto saxophone and tenor saxophone. An alternate part for the Horn in F (trombone 3) is included.

A Swingin' Holiday (Featuring: We Three Kings / Silent Night / Jolly Old St. Nicholas). Arranged by Ralph Ford. Orchestra. For full (Marimba, Bells, timp, Suspended Cymbal,Snare Drum, Bass Drum,opt. Drumset, sleigh bells, pno). Full Orchestra; Part(s); Score. Belwin Concert Full Orchestra. Form: Medley; Waltz. Christmas; Jazz; Light Concert; Sacred; Secular; Swing; Winter. Grade 3. 126 pages. Published by Belwin Music (AP.35942). Three holiday favorites are staged in an enjoyable easy-swing style. Including "We Three Kings," "Silent Night," and "Jolly Old St. Nicholas," this medley will steal your show. A great concert closer!Closer.

The Current Occupant by Doug Beach and George Shutack. For jazz ensemble. Doug Beach Jazz Foundations Series. Medium Swing. Very Easy. Score and Set of Parts. Duration 4:24. Published by Kendor Music Inc (KN.41825). It is essential that beginning jazz players gain an understanding of the swing idiom. This very easy original provides rich opportunities for teaching fundamental swing figures and also includes a spot for developing improvisational skills over the approachable minor harmonies. Optional parts are included for Flute, Clarinet, and Horn in F. This chart can be played by as few as 4 horns plus rhythm section, and is expandable to a full jazz ensemble. Duration 4:24.

Ghost Writer by George Shutack. For jazz ensemble. Doug Beach First Edition Series. Swing. Easy. Score and parts. Duration 3:54. Published by Kendor Music Inc (KN.42150). Great ensemble work, solid voicings and a strong melody all combine to make this swing chart a perfect choice for easy level groups. An open solo section with accessible chord changes further enhances the educational opportunities, along with optional parts for flute, clarinet, horn in f, tuba, and vibes. Duration 3:54.

Bone Appetit by Bob Curnow. Arranged by Bob Curnow. Jazz Ensemble / Jazz Band. The Bob Curnow Big Band Series. Trombone Section Feature / Swing. Grade 4. Score and set of parts. Published by Sierra Music (S1.SMP-344). West Chester University (PA ...... Bob's alma mater) commissioned this new piece to feature the trombone section (and individual players) of the "Criterions", and that is what happens with this chart. It has quickly become a favorite with audiences, and it has a free-swinging medium-up tempo feel to it. Ranges are quite modest, and the piece should be playable by most bands. 5-4-4-4 with Optional 5th tpt. and trb. parts. (on Demo CD 111).

Four by Miles Davis. Arranged by Willie Maiden. Jazz Ensemble / Jazz Band. The Maynard Ferguson Big Band Series. Mod Swing. Grade 4-5. Score and set of parts. Published by Sierra Music (S1.SMP-407). Sierra continues to find the lost "treasures" from Maynard Ferguson's Birdland Dream Band Library. Willie scored this Miles Davis classic to feature four different saxophone players. A typical chart for that time, it covers the whole dynamic range with exciting, swinging music. Printed as originally scored (4-4-2-3), but including extra parts for a standard 5-4-4-4 instrumentation. (on Demo CD 107).

The Lamp Is Low by DeRose & Shefter. Arranged by Michael Abene. Jazz Ensemble / Jazz Band. The Maynard Ferguson Big Band Series. Swing. Grade 3-4. Score and set of parts. Published by Sierra Music (S1.SMP-408). Ernie Wilkins has created a swinging version of this great classic tune. Features alto sax, trumpet, piano and trombone solos. There is a wonderful "Basie-ish" shout chorus, with very neat dynamic variations. Very playable by most bands. Full score included. (on Demo CD 105).

Aura by Bill Holman. Arranged by Bill Holman. Jazz Ensemble / Jazz Band. The Bill Holman Big Band Series. From The Holman CD "In A Jazz Orbit". Swing. Grade 4-5. Score and set of parts. Published by Sierra Music (S1.SMP-168). This wonderful chart features a "front line" of tenor sax and trumpet stating the melody. There is solo space for alto, two tenors, trumpet and drums. A rip-roaring shout chorus highlights the marvelous writing of Holman. 1st trumpet only to a written E. (on Demo CD 105).

Just Friends by Davies, Klenner & Lewis. Arranged by Bill Holman. Jazz Ensemble / Jazz Band. The Bill Holman Big Band Series. From the JVC CD "The Bill Holman Band". Fast Swing. Grade 5-6. Score and set of parts. Published by Sierra Music (S1.SMP-155). This an absolutely amazing chart, demanding and exciting beyond belief! The chart is extensive in length and packed full of the great writing for which Bill is known. (on Demo CD 104).

Stealin' Apples by Benny Goodman. Arranged by Alan Glasscock. For big band. Swing. Advanced. Full score and set of parts. Published by Lush Life (JL.LL-1017). An absolutely storming chart from the Benny Goodman orchestra. Goodman made several takes of this tune, before deciding on which version to issue on record. The chart was rather lengthy in its original form, and had to be pared down in order to fit onto one side of a 78-rpm record. Alan Glasscock has reconstructed the chart with all of the intended choruses intact, as originally scored by Fletcher Henderson. Hence our arrangement differs a little from the mp3. All of the solos are written out (Piano - a full 32 bars, Trumpet and Clarinet) and the dynamics and articulations are meticulously accurate. The saxes are scored for Clarinet, 2 Altos, 2 Tenors and we have expanded the brass from the original 5 to a full section of 8. This chart is a work of art.Swing @ 170 b.p.m. Ranges: Trumpets 1-4: Eb6, C6, G5, F5 Trombones 1-4: C54, A4, F4, Eb4.

Night Train by Buddy Morrow. Arranged by Dick Rhodes, Alan Glasscock. For big band. Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-1033). Here is Buddy Morrow's thundering rendition of Night Train. What is unusual is the speed of the chart - a slowish 85 bpm - and as a result the arrangement has a solid, rumbling momentum that carries all before it. The melody and solo is taken by the lead (solo) Trombone. Alan Glasscock has scored the chart meticulously, so your band can capture the feel and get the phrasing absolutely right in order to recreate what is one of Morrow's finest performances. There are no sax doubles. Ranges: Trumpets 1-4: E6, Db6, Db6, Db6 Trombones 1-4: C5, Ab4, Eb4, C4.

Cherry by Harry James. Arranged by Alan Glasscock. For big band. Swing. Medium Difficult. Full score and set of parts. Published by Lush Life (JL.LL-1096). Cherry is a classic from the Harry James Orchestra and a great chart for showcasing one of your Trumpet players. The original arrangement was done with strings, but we have replaced the string lines with saxes, to make the chart playable by a regular line-up. All of the solos (for Trumpet, Trombone and Alto) are fully written out, though we have included the chords should your players wish to improvise. This is a very rare chart, and we are delighted to offer it to you. There are no sax doubles. The Trumpet solo is on the 2nd part & the Trombone solo is on the 2nd part. Trumpets 1-4 D6, Bb5, G5, E5 Trombones 1-4 Bb4, A4, G4, C4.