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Amapola 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-2105). This is the original Helen O'Connell version of Amapola taken from her 1957 album 'Green Eyes,' as recorded with the Marion Evans Orchestra. The original Marion Evans manuscript was used, this is not a transcription. However, it has been modified slightly by the addition the 'as-played' dynamic markings on the instrument parts. In addition, the chart has been written out in full, rather than using the original DS al Coda indications. The chart calls for the entire sax sextion to double clarinets. However, an alternate set of sax parts has been included on the reverse of the originals that avoids the need for clarinet doubles, making the chart playable by an AATTB line-up throughout. The vocal key is F.
$20.00

Instruments: Voice, Vocal
Genres: Swing, Jazz & Blues
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
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
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
It Could Happen To You by Helen O'Connell. Arranged by Frankie Ortega, Myles Collins. For big band with female vocal. Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-2179). Here is another original Helen O'Connell chart as played by her on her many concert tours. The tune was written by Johnny Burke & Jimmy van Heusen for the Paramount film "And the Angels Sing". This arrangement is not a transcription, but a re-score of the original Frankie Ortega chart. To the best of our knowledge this chart was not commercially recorded, hence there is no audio sample. The chart opens colla voce, just voice and piano, joined in tempo (100) by the band for the first chorus. In typical O'Connell style, the chart picks up into swing (180) for the final chorus. The saxes are scored to double clarinets, although alternate parts on the reverse which eliminate the need to double have been provided. The vocal key is C throughout.
$20.00

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
The East Side / The West Side by The Jazz Interactions Orchestra. Edited by Rob DuBoff and Jeffrey Sultanof. Arranged by Oliver Nelson. For big band. Swing, Jazz. Medium. Score. Published by Jazz Lines Publications (JL.JLP-7096S). This arrangement by Oliver Nelson was recorded by the Jazz Interactions Orchestra in 1967, an ensemble led by pianist Billy Taylor. Set in a modal 9/8 groove (with two measures of 4/8 thrown in) this chart features a lengthy alto saxophone solo (played by Phil Woods on the recording) with nice backgrounds. Also featured is vibraphone. Oliver wrote this arrangement (and the others from this recording session) for two bass players (played by Ron Carter and George Duvivier). Throughout this particular arrangement one bass player is arco and the other is pizz. There are no instrument doubles. Ranges: Trumpets 1 & 2: to D6; Trombones 1 & 2: to C5.
$20.00

Genres: Swing, Jazz & Blues
One For Duke by The Jazz Interactions Orchestra. Edited by Jeffrey Sultanof and Rob DuBoff. Arranged by Oliver Nelson. For big band. Swing, Jazz. Medium Difficult. Score. Published by Jazz Lines Publications (JL.JLP-7098S). This arrangement by Oliver Nelson was recorded by the Jazz Interactions Orchestra in 1967, an ensemble led by pianist Billy Taylor. This arrangement features solos for piano, clarinet and trumpet as well as an optional open solo section. Ranges: Trumpet 1: to to G6; Trombone 1: to Bb4.
$20.00

Genres: Swing, Jazz & Blues
Yardbird Suite (Score) edited by Rob DuBoff and Jeffrey Sultanof. Arranged by Med Flory. For saxophone quintet with rhythm section. Recorded by Supersax. Swing. Advanced. Score. Published by Jazz Lines Publications (JL.JLP-8094S). Here is the Supersax version of Yardbird Suite as recorded on the 1974 Salt Peanuts record. Like the other Supersax arrangements that we publish this is not a transcription. The original, hand-written manuscript has been used to produce this arrangement. This has been published with the authorization of Med Flory. An open solo section is included.
$20.00

Genres: Swing, Jazz & Blues
On The Road To Mandalay (Score) edited by Rob DuBoff and Jeffrey Sultanof. Arranged by Billy Byers. For big band. Recorded by Count Basie. Swing. Medium Difficult. Score. Published by Jazz Lines Publications (JL.JLP-8127S). In 1963 Count Basie recorded an album of Billy Byers arrangements titled 'More Hits of the 50s and 60s.' This was later re-issued as a tribute to Frank Sinatra and titled 'Frankly Speaking: Count Basie Plays the Hits of Frank Sinatra.' This song, written in 1907 by Oley Speaks, was based on a poem by Rudyard Kipling and has become a standard party due to the famous recording by Frank Sinatra on the 'Come Fly with Me' album. This arrangement features alto sax, flute (on reed 2) and trumpet playing the first part of the melody. Piano is then featured for the second half of the melody. Byers wrote this chart as a repeat and fade. An optional ending has been created in the event that you wish to perform this with a hard ending. This is a solid, swinging arrangement by the great Billy Byers, edited and engraved directly from his original score. Ranges: Trumpet 1: to F6; Trombone 1: to C5.
$20.00

Genres: Swing, Jazz & Blues
U.M.M.G. [Upper Manhattan Medical Group] by The Duke Ellington Orchestra. Edited by Rob DuBoff and Jeffrey Sultanof. Arranged by Billy Strayhorn. For big band. Swing, Jazz. Medium. Score. Published by Jazz Lines Publications (JL.JLP-8133S). This arrangement by Billy Strayhorn was written in 1956 for Duke Ellington and recorded during a session for Bethlehem Records. It was later recorded in 1959 for Columbia and then in 1967 for the tribute to Strayhorn entitled And His Mother Called Him Bill. This tune has become a jazz standard over the years. This chart was written to feature clarinetist Jimmy Hamilton, trumpeter Willie Cook (later Clark Terry), and baritone saxophonist Harry Carney. Typical of Strayhorn's arrangements, this chart features interesting dissonance and subtle band interplay. Ranges: Trumpet 1: to E6; Trombone 1: to Cb5.
$20.00

Genres: Swing, Jazz & Blues
T&S (Score) edited by Jeffrey Sultanof and Rob DuBoff. Arranged by Shorty Rogers. For big band. Recorded by the Terry Gibbs Dream Band. Swing. Difficult. Score. Published by Jazz Lines Publications (JL.JLP-8263S). Here is Shorty Rogers' arrangement as written for the Terry Gibbs Dream band and recorded in 1961 live at the Summit Club (released on Vol. 4, Main Stem). This is a brilliant arrangement by Rogers featuring a lot of counterpoint and band interplay. Ranges: Trumpet 1: to G6; Trombone 1: to F5; Trombone 2: to D5.
$20.00

Genres: Swing, Jazz & Blues
My Reverie by The Terry Gibbs Dream Band. Arranged by Bill Holman. For big band. Swing, Jazz. Medium Difficult. Score. Published by Jazz Lines Publications (JL.JLP-8277S). Here is Bill Holman's arrangement as written for the Terry Gibbs Dream band and recorded in 1959 live at the Sundown Club (released on Vol. 2, The Sundown Sessions. Another great Holman arrangement of a classic standard Ranges: Trumpet 1: to E6; Trombone 1: to Bb4.
$20.00

Genres: Swing, Jazz & Blues
Day In, Day Out by The Terry Gibbs Dream Band. Edited by Jeffrey Sultanof and Rob DuBoff. Arranged by Bill Holman. For big band. Swing, Jazz. Difficult. Score. Published by Jazz Lines Publications (JL.JLP-8391S). Here is Bill Holman's arrangement as written for the Terry Gibbs Dream band and recorded in 1961 live at the Summit Club (released on Vol. 4, Main Stem. This is a brilliant and exciting arrangement by Holman featuring a lot of counterpoint and band interplay. This would make a great festival or competition piece!
$20.00

Genres: Swing, Jazz & Blues
I'm Getting Sentimental Over You by The Terry Gibbs Dream Band. Arranged by Marty Paich. For big band. Swing, Jazz. Medium. Score. Published by Jazz Lines Publications (JL.JLP-8393S). Here is Marty Paich's arrangement as written for the Terry Gibbs Dream band and recorded in 1959 live in Hollywood, CA (released on Vol. 3, Flying Home). This ballad arrangement by Paich is only one chorus. It may be opened up for any number of choruses in front of the arrangement. The vibraphone is the only featured instrument in this chart.Ranges: Trumpet 1: D6; Trombone 1: to Ab4.
$20.00

Genres: Swing, Jazz & Blues
Walkin' Shoes by Art Pepper. Arranged by Marty Paich. For little big band. Swing, Jazz. Medium. Score. Published by Jazz Lines Publications (JL.JLP-8410S). 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 Gene Ammons composition 'Gravy' [AKA Walkin']. This arrangement featured Art Pepper on tenor sax. We have included third trumpet and trombone parts as alternates for the horn in F. This has been edited and engraved from the original score and parts as supplied to us by Laurie Pepper.
$20.00

Genres: Swing, Jazz & Blues
Rose Of The Rio Grande (Score) edited by Jeffrey Sultanof and Rob DuBoff. Arranged by Gerry Mulligan. For big band. Recorded by the Claude Thornhill Orchestra. Swing. Medium Difficult. Score. Published by Jazz Lines Publications (JL.JLP-8455S). Rose of the Rio Grande was probably written in 1948, but could have been written a little later. Frankly, it is an amazing score, certainly one of the greatest arrangements Mulligan ever wrote, but also reflective of his maturity as a writer. The introduction alone sounds like it was written twenty years later; it is so unique for its time that the rest of the arrangement almost sounds like an anti-climax, except that Mulligan also wrote one of the great out-choruses in big band history for this setting. He knew how good it was, since he reused it for his own composition Swing House written for Stan Kenton in 1952. This arrangement would not be recorded by Thornhill until 1953 for Albert Marx's Trend label. Alto sax 1 doubles on clarinet. The brass instrumentation is: 3 trumpets, 2 horns in F, 2 trombones, and tuba. We have included optional alternate parts for the horns in F and tuba (see below). Ranges: Trumpet 1: to A6; Trombone 1: to Ab4.
$20.00

Genres: Swing, Jazz & Blues
Bop Bounce [Aka Harlequin Bounce] by Benny Carter. Arranged by Benny Carter. For big band. Swing, Jazz. Advanced. Score. Published by Jazz Lines Publications (JL.JLP-8496S). This brilliant bebop arrangement was written by Benny in 1948 for a broadcast on Armed Forces Radio. The big band featured tenor saxophonist Dexter Gordon. This arrangement is much in the syle of the charts that were recorded by the bebop big bands of Dizzy Gillespie and Billy Eckstine. Sometime after it was recorded Benny changed the title to Harlequin Bounce. It was then recorded in part for a video short, put together with Carter's arrangement of Congero. The reeds are featured playing the melody with the brass providing punching accents. This chart showcases some intricate unison lines in both reeds and brass. These sections will take a considerable amount of work to get it right. If your band can put it together this would make a great festival or concert piece. Solos are for piano, trombone, tenor saxophone, and the solo alto. Ranges: Trumpets 1-3: Eb6; All Trombones: Bb4.
$20.00

Genres: Swing, Jazz & Blues
Stratosphere (Score) edited by Jeffrey Sultanof and Rob DuBoff. Arranged by Eddie Wilcox. For big band. Recorded by Jimmie Lunceford. Swing. Difficult. Score. Published by Jazz Lines Publications (JL.JLP-8732S). Here is one of the most famous and groundbreaking big band arrangements from the early swing era. Written in 1934 by pianist Eddie Wilcox, this arrangement was a novelty number for the band showcasing the reeds and trumpets. The syncopation will require special attention, especially by trumpets 1 and 2 who play against each other. Alto 1 doubles on clarinet. If you're looking for a fast showcase for your band, this is it! Ranges: Trumpet 1: to C6; Trombones 1 and 2: to Bb4.
$20.00

Genres: Swing, Jazz & Blues
The One I Love Belongs To Somebody Else by The Jimmie Lunceford Big Band. Arranged by Tadd Dameron. For big band. Swing, Jazz. Medium Difficult. Score. Published by Jazz Lines Publications (JL.JLP-8883S). Tadd Dameron was one of the most influential composer/arrangers in American music. Born in 1917, he wrote for bands led by Jimmie Lunceford, Count Basie, Billy Eckstine (many original compositions later performed by the Dizzy Gillespie Orchestra were originally written for Eckstine), Ted Heath and Tommy Dorsey. He also arranged for Sarah Vaughan, Pearl Bailey and the underrated Kay Penton. Dameron led various groups for live gigs and recordings, and the musicians he played with constituted a who’s who of jazz. At one time or another his ensembles included Fats Navarro, Freddie Webster, Charlie Rouse, Kenny Clarke, Kai Winding, Wardell Gray, J.J. Johnson, Dexter Gordon, Miles Davis, Kenny Dorham, John Coltrane and Clifford Brown. This arrangement of the Isham Jones/Gus Kahn standard was most likely written in 1942 as at that time Tadd Dameron was writing for the Jimmie Lunceford Orchestra. The arrangement was never recorded, but, due to the wear on the parts, it was clearly performed live on numerous occasions. It is not entirely clear as to why the arrangement wasn't recorded, though it is possible that the reason is that it was written during the recording ban. The next time the Lunceford ensemble would be in the studio for a recording date wasn't until February 1944 - almost two years after this arrangement was most likely written. Dameron crafted a swinging, interesting take on the standard. The trombone section states the melody for the first chorus with nice ensemble hits and backgrounds. The arrangement moves through three key centers: G, Eb, and Gb. While there are no lengthy solos (tenor sax has a 4-bar cameo solo), there is a great 1/2 chorus saxophone soli. This arrangement should appeal to medium level groups as the ranges are modest. Ranges: Trumpet 1: to C6; Trombone 1: to Bb4.
$20.00

Genres: Swing, Jazz & Blues
My Blue Heaven by The Jimmie Lunceford Orchestra. Edited by Jeffrey Sultanof and Rob DuBoff. Arranged by Sy Oliver. For big band with vocal trio. Swing, Jazz. Medium. Score. Published by Jazz Lines Publications (JL.JLP-9283S). Sy Oliver was the chief arranger for the Jimmie Lunceford band from 1934 though 1939. Many of Sy’s compositions and arrangements are classics, which he wrote and copied for the princely sum of $2.50! In December of 1935, the Lunceford organization recorded one of the great hits of the swing era, My Blue Heaven, which had been popular several years earlier. Oliver was a master at taking older songs and reinvigorating them for Lunceford, and later the Tommy Dorsey Orchestra. My Blue Heaven stayed in the Lunceford band book until the band broke up in the early fifties. Sometime in the late 1940s, several Lunceford classics were recopied, no doubt because the original parts were worn out, torn up, or simply marked up and unreadable. This edition of My Blue Heaven derives from these new parts, indicating how the band played this classic years after the original recording. Jeff Sultanof transcribed parts that were missing, as well as changing some things back to the way the band originally played this in 1935. The vocal parts were originally sung by members of the band. 3 separate vocal parts have been provided (lead vocal accompanied by a vocal duet). This is a classic arrangement from the Swing Era.
$20.00

Genres: Swing, Jazz & Blues
Softly, As A Morning Sunrise arranged by John Salerno. For jazz combo (tenor saxophone, trombone and rhythm section). Swing, Contemporary, Standard, Jazz, Up Tempo. Score and set of parts. Published by UNC Jazz Press (NC.1168). A contemporary arrangement of this great standard tune. Featuring contrapuntal tenor sax and trombone lines, this chart is a refreshing learning tool which is sure to be a crowd pleaser. Written for tenor saxophone, trombone and rhythm section.
$20.00

Genres: Swing, Jazz & Blues
Uptick by John Salerno. For jazz combo (soprano saxophone and flute with rhythm section). Swing. Score and set of parts. Published by UNC Jazz Press (NC.1169). An original by John written with the "ticker tape" in mind. This up-tempo, multi-metered tune features intricate weaving lines between the flute and soprano sax. It is a very intense and exciting chart. Recorded by Open Interest. Soprano sax and flute with rhythm section.
$20.00

Genres: Swing, Jazz & Blues
Relaxin' At The Casa Del Rio by Tim Walters. For jazz combo (alto saxophone, trumpet and rhythm section). Swing, Jazz. Score and set of parts. Published by UNC Jazz Press (NC.1521). Alto sax, trumpet and rhythm section is the instrumentation of this medium to difficult swing chart. Sounds easy, but the chords are tricky.
$20.00

Genres: Swing, Jazz & Blues