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Rad Dudeski by The Phil Collins Big Band. Arranged by John Clayton. For big band. Swing. Medium Difficult. Published by Jazz Lines Publications (JL.PH-3016). A John Clayton arrangement in a hard driving "shuffle" style which really moves right from bar 1. Key: D to F. Trumpet 1 to C6.
$75.00

Genres: Swing, Jazz & Blues
Don't Lose My Number by The Phil Collins Big Band. Arranged by Sammy Nestico. For big band. Swing. Medium-difficult. Published by Jazz Lines Publications (JL.PH-3014). Sammy Nestico created this chart of the Phil Collins hit title. A mid tempo number in the classic relaxed Basie style. 5/4/4/4 includes full score. This is the original arrangement and not a transcription.
$75.00

Genres: Swing, Jazz & Blues
Milestones by The Phil Collins Big Band. Arranged by John Clayton. For big band. Swing. Medium Difficult. Published by Jazz Lines Publications (JL.PH-3009). Blow the cobwebs away with this great up-tempo jazz number with open section for solos, plus plenty of action for the whole band. From the album "A Hot Night in Paris". Key: F. Trumpet 1 to B5.
$75.00

Genres: Swing, Jazz & Blues
That's All by The Phil Collins Big Band. Arranged by John Clayton. For big band. Swing. Difficult. Published by Jazz Lines Publications (JL.PH-3005). This is a great straight ahead swing arrangement of this Genesis title by John Clayton. with an open section for solos. This is the Genesis song, NOT the standard of the same name.
$75.00

Genres: Swing, Jazz & Blues
I Don't Care Anymore by The Phil Collins Big Band. Arranged by John Clayton. For big band. Swing. Medium. Published by Jazz Lines Publications (JL.PH-3004). A powerful mid-tempo hard-driving number with sections for open solos. Right from bar 1 this chart really shows what excitement can be generated by the sound of the contemporary big band. From the album "A Hot Night in Paris". Key: Eb. Trumpet 1 to D6.
$75.00

Genres: Swing, Jazz & Blues
Invisible Touch by The Phil Collins Big Band. Arranged by Sammy Nestico. For big band. Swing. Medium. Published by Jazz Lines Publications (JL.PH-3003). Sammy Nestico, who wrote many fine scores for the Count Basie Band, has provided this laid-back Basie-style arrangement, starting with the piano and rhythm section, and then gradually building right through to a powerful ending. 5/4/4/4 includes full score. This is the original arrangement and not a transcription.
$75.00

Genres: Swing, Jazz & Blues
White Heat by Jimmie Lunceford. Edited by Jeffrey Sultanof and Rob Duboff. Arranged by Will Hudson. For big band (2 Alto Saxophones (Both Double Clarinet), 2 Tenor Saxophones (Both Double Clarinet), 3 Trumpets, 2 Trombones, Guitar, Piano, Bass, Drums). Swing. Medium Difficult. Published by Jazz Lines Publications (JL.JLP-7115). This Lunceford classic was written by Will Hudson and recorded in January 1934. Lunceforda's band was noted for its high precision in playing such music, and this piece will take some woodshedding to play correctly. Featured are solos for trumpet, trombone, and tenor saxophone. All 4 reeds double on clarinet. Ranges: Trumpet 1: to Ab5; Trombone 1: A4.
$50.00

Genres: Swing, Jazz & Blues
Tishomingo Blues by The Dave Pell Octet. Edited by Rob DuBoff and Jeffrey Sultanof. Arranged by John Williams. For octet (Tenor Saxophone , Baritone Saxophone , Trumpet , Trombone, Guitar , Piano , Bass , Drums). Swing. Medium. Published by Jazz Lines Publications (JL.JLP-8635). This John Williams arrangement for the Dave Pell Octet was written in 1960. Dave re-recorded this arrangement in 1984 for the Dave Pell Octet Play Again album. This has been fully edited and engraved from the original parts and includes a full score.
$40.00

Genres: Blues, Swing, Jazz & Blues
Summit Blues by The Terry Gibbs Dream Band. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by Terry Gibbs and Shorty Rogers. For big band (2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 4 Trumpets, 3 Trombones, Vibraphone, Piano, Bass, Drums). Swing. Difficult. Published by Jazz Lines Publications (JL.JLP-8917). This Terry Gibbs/Shorty Rogers collaboration was first recorded live in 1961 and released on the Dream Band album titled Main Stem. Unlike other titles in the Dream Band library this is a straight forward big band arrangement with no vibraphone part other than a solo section. So, this is playable by a standard big band. Your piano player can take the solo (or any other added soloist). This chart moves between straight-ahead swing and a gospel rock feel. Ranges: Trumpets: G6,E6,D6,Bb5; Trombones 1 & 2: D5,C5.
$75.00

Genres: Blues, Swing, Jazz & Blues
Rose Room [Studio Orchestra] by Artie Shaw. Edited by Jeffrey Sultanof and Rob Duboff. Arranged by Lennie Hayton. For studio orchestra (Solo Clarinet, 2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 4 Trumpets (4th Trumpet Optional), 4 Trombones (4th Trombone Optional), 3 Violins, Viola, Cello, Guitar, Piano, Bass, Drums). Swing. Medium. Published by Jazz Lines Publications (JL.JLP-8306). Artie Shaw had enough of the music business in 1939, so he simply walked out on his band and went to Mexico for a rest. In 1940 he was living in Hollywood after returning from a vacation in Mexico. In need of some money and to fulfill his RCA Victor recording contract, he made some recordings with a studio orchestra (big band and strings). One of those recordings, 'Frenesi,' became a smash hit, and Shaw became a bandleader again. With the power of a hit record, he figured that if he was back in the band business, he would do it his way, with 3 violins, viola and cello added to his big band. He accepted an offer to lead the house band on the Burns & Allen Radio Show during the summer of 1940. During this time, Shaw's new band was playing in San Francisco and he traveled to Hollywood once a week to do the radio show. His studio orchestra book was made up of new arrangements plus adaptations of his past hits. He hired Lennie Hayton to become one of his staff arrangers. One of the projects was the modification of Shaw's 1939 arrangement of 'Rose Room' to fit this ensemble. Shaw served in WWII, and in 1944 he put together a new band without the strings. At this time Harry Rogers added baritone saxophone, trumpet 4 and trombone 4 parts (considered optional). All of these modifications have been put together for this publication of Rose Room. We feel certain that Shaw would approve. Ranges: Trumpet 1: to C6; Trombone 1: to Bb4.
$75.00

Genres: Classical, Swing, Jazz & Blues
Rainbow Rhapsody edited by Rob Duboff and Jeffrey Sultanof. Arranged by Benny Carter. For big band. Swing. Medium. Published by Jazz Lines Publications (JL.JLP-7126). This beautiful Benny Carter melody was originally composed for the Glenn Miller band (arranged by George Williams) and recorded in 1942. Later Benny wrote his own arrangement of this tune for his big band but did not record it. This version features the sax section playing the melody, but the configuration of the reeds is standard: 2 alto saxophones, 2 tenor saxophone, and baritone saxophone. Piano is also featured playing the melody for 8 bars. Similar to other Carter arrangements, this chart features a nice saxophone soli as well as a section with 2 tenors, baritone, trumpet, and trombone (both on cup mute). This is not a difficult arrangement to play and the brass ranges are within reach of less experienced players. Piano chord voicings were supplied by Benny. A midi file has been provided to give you the feel of the arrangement. Ranges: Trumpet 1: to G5; Trombone 1: to G4.
$50.00

Genres: Swing, Jazz & Blues
Portrait Of Edward Kennedy Ellington by Charlie Barnet. Edited by Jeffrey Sultanof and Rob Duboff. Arranged by Dave Matthews. For big band (Solo Alto Saxophone (Doubles Soprano Sax.), 2 Alto Saxophones (Alto 2 doubles Clarinet), 2 Tenor Saxophones, Baritone Saxophone, 5 Trumpets, 4 Trombones, Piano, Bass, Drums). Ballad/Swing. Advanced. Published by Jazz Lines Publications (JL.JLP-8465). The Charlie Barnet band took inspiration from Duke Ellington's band. It was only natural that arranger Dave Matthews would compose a piece in hommage to Ellington and his music. Portait of Edward Kennedy Ellington was written and recorded in 1949. This multi-section work features brass on plungers. Soloists include trombone, alto sax, and soprano sax (the alto sax soloist doubles soprano). The brass ranges are very high; after all, this was a band that had in its trumpet section both Maynard Ferguson and Doc Severinsen! There were several cuts that were made to the music in the recording studio. Some of these cuts may be been made for time reasons due to the overall length of the composition. We have restored the piece to its original length. This is a monumental work that would make a fantastic band showcase for any festival or competition! Ranges: Trumpet 1 & 4: to G6; Trumpet 2: to D6; Trombone 1 & 2: to D5; Trombones 2: to Bb4.
$75.00

Genres: Swing, Jazz & Blues
Paper Doll by Frank Sinatra. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by Billy May. For big band with vocal (Vocal, 4 Trumpets, 4 Horns in F (or 2 Alto Saxophones and 2 Tenor Saxophones), 4 Trombones, Tuba (or Baritone Saxophone), Guitar, Piano, Bass, Drums, Percussion (Bells and Marimba)). Swing. Medium. Published by Jazz Lines Publications (JL.JLP-9344). This Billy May brass arrangement comes from the last album Sinatra did for Capitol Records, Come Swing with Me. The arrangements from this session were strictly brass with rhythm section - no strings or reeds. The other item of interest with this session was that record labels were experimenting with stereo separation. As such, May arranged this for 8 trumpets and 8 trombones that were 'pitted' against each other in left and right channels. In putting together this arrangement for publication some decisions were made as to how to produce a score that would be playable by a big band with a conventional brass section. The end result is a publication that is as close to the original as possible with a couple of very minor modifications (no voicings were changed from May's original). However, recognizing that not all big bands have access to French horns and a tuba optional reed parts have been included as alternates (see below for details). Ranges: Trumpet 1: D6; Trombone 1: C5; Trombone 2: Cb5.
$65.00

Genres: Swing, Jazz & Blues
Oh, Didn't He Ramble by The Dave Pell Octet. Edited by Jeffrey Sultanof and Rob Duboff. Arranged by Bill Holman. For octet (Tenor Saxophone, Baritone Saxophone, Trumpet, Trombone, Guitar, Piano, Bass, Drums,). Swing. Medium. Published by Jazz Lines Publications (JL.JLP-8607). Here is the Bill Holman arrangement written for the Dave Pell Octet recorded on the Old South Wails album in 1960-61. This chart features solos for tenor, trumpet, and baritone. This has been fully edited and engraved from the original parts and includes a full score.
$40.00

Genres: Swing, Jazz & Blues
O.W. edited by Rob Duboff and Jeffrey Sultanof. Arranged by Mary Lou Williams. For big band (2 Alto Saxophones, 2 Tenor Saxophones, 4 Trumpets, 3 Trombones, Guitar, Piano, Bass, Drums). Swing/African Waltz. Medium. Published by Jazz Lines Publications (JL.JLP-8790). This interesting Mary Lou Williams arrangement was written in 1967 for the Duke Ellington Orchestra. Duke never did play it, however. The tune was originally written in 1953 and recorded during a quartet date with Don Byas. Mary Lou later would adapt for chorus recording it in 1970 as "Mary Lou's Mass." This arrangement moves between straight ahead swing and African Waltz. There is a solo section for tenor saxophone that may be opened up for additional solos. For the African Waltz section a sample drum pattern has been supplied by Ndugu Chancler as Mary Lou did not include one in her score. In addition, an optional guitar part has been supplied and piano voicings indicated by Mary Lou have been included. This is not a technically difficult arrangement and the ranges are moderate making this playable by less experienced bands and a great opportunity to expose musicians to Mary Lou Williams's style of writing. Ranges: Trumpet 1 to C#6; Trombone 1 to Bb5.
$65.00

Genres: Swing, African, Jazz & Blues, World
New Girl by The Duke Pearson Big Band. Edited by Jeffrey Sultanof. Arranged by Duke Pearson. For big band. Swing. Advanced. Published by Jazz Lines Publications (JL.JLP-8007). Here is one of Duke Pearson's best compositions, exactly as he arranged it for his big band in 1967. This publication has been engraved directly from the original manuscript, this is not a transcription. This is from the original Blue Note liner notes: "Listen carefully to what New Girl has to say. This composition builds around a number of beautiful choruses on trumpet by Burt Collins. Catch Mickey Roker's accents alongside the wonderful ensemble work of the exciting brass and sax figures. They lead into the tenor work of Lew Tabackin, Duke's fine piano flow, the out choruses of Burt Collins, and finally the backbone of the entire band, Mickey Roker's support. This composition does musically what a new girl would do - bring out the excitement in your musical genes." The chart opens with alto 1 and tenor 1 on flute and baritone on clarinet. There is some alternating between 3/4 and 4/4 for the first 8 bars and towards the end of the arrangement as well. The melody is then picked up by the lead tenor and trumpet 5 - who is the star of the show. In fact, this chart would work great for a guest trumpet player. The whole band then comes in and leads up to the lengthy trumpet solo. After the trumpet solo comes a tenor solo then a one-chorus piano solo. The band then plays the melody out through a great shout chorus. In the original arrangement there was no guitar part; however, we have included one as an option. Ranges:Trumpet 1 to F#6 Trombone 1 to B4.
$65.00

Genres: Swing, Jazz & Blues
Motel by Ray Anthony. Edited by Jeffrey Sultanof and Rob Duboff. Arranged by Gerry Mulligan. For big band (2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 5 Trumpets, 4 Trombones, Guitar, Piano, Bass, Drums). Swing. Medium Difficult. Published by Jazz Lines Publications (JL.JLP-8419). This arrangement was written by Gerry Mulligan in the mid 1950s for the Ray Anthony Band. Previously Gerry had recorded it with his quartet. He then later recorded it with the Concert Jazz Band. This particular arrangement was never recorded by Anthony, but it is a standout chart full of great ensemble writing. It is scored for 5 trumpets: the 5th part would have been played by Anthony and features a solo section. Also featured are solos for tenors 1 and 2 and includes an 8 bar battle between the two. And, as is typical with Gerry's writing, there is a great shout chorus. A midi recording has been provided so that you may get a feel for the arrangement. Ranges: Trumpet 1: C6; Trombone 1: Bb4.
$65.00

Genres: Swing, Jazz & Blues
Monk's Point by The Thelonious Monk Big Band. Edited by Jeffrey Sultanof. Arranged by Oliver Nelson. For big band (1 Alto Saxophone, 2 Soprano Saxophones (1 Doubles Tenor Saxophone; 2 Doubles Baritone Saxophone), 1 Tenor Saxophone, 3 Trumpets, 3 Trombones, Guitar, Piano, Bass, Drums). Swing. Medium-difficult. Published by Jazz Lines Publications (JL.JLP-8365). 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 www. 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.
$65.00

Genres: Swing, Jazz & Blues
Minor League by The Duke Pearson Big Band. Edited by Jeffrey Sultanof. Arranged by Duke Pearson. For big band. Swing. Advanced. Published by Jazz Lines Publications (JL.JLP-8008). Here is another fantastic arrangement from Duke Pearson. The original manuscript has been used to produce this arrangement - this is NOT a transcription. 'Minor League' was recorded in 1968 on the 'Now Hear This' record for Blue Note and featured a cast of incredible players including Frank Foster, Marvin Stamm, Garnett Brown, Jerry Dodgion, Pepper Adams, Bob Cranshaw, and of course, pianist/arranger/conductor Duke Pearson. This up-tempo swing chart is will certainly bring out the best of your players. Based around a C minor blues, this advanced-level arrangement features beautifully contrasting sectional interplay as well as punchy brass. A strong reading drummer is essential to carry this off. Solos are featured for trombone, alto saxophone, and trumpet - on the record they were played by Garnett Brown, Al Gibbons, and Marvin Stamm. It also has an optional open solo section on a C minor blues. The original manuscript and recording did not have a guitarist; however, an optional guitar part has been included. This would make an incredible festival or competition chart and allow you to showcase the entire band. This is a pro-level chart and as such the ranges are demanding: trumpet 1 goes to high G and trombone 1 goes to high C. There are no saxophone doubles. Ranges:Trumpet 1: to high G (4 ledger lines above staff) Trombone 1: to high C (middle of treble staff).
$65.00

Genres: Swing, Jazz & Blues
Minnie The Moocher by Cab Calloway With The Blues Brothers. Arranged by Rob DuBoff. For big band with vocal (2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 4 Trumpets, 4 Trombones, Guitar, Piano, Bass, Drums). Swing. Easy. Published by Jazz Lines Publications (JL.JLP-9056). Anyone who has seen the Blues Brothers movie will immediately remember the scene towards the end where John Candy and the Chicago police force are closing in on Jake and Elwood while they're about to take the stage for a concert at the Palace Ballroom. Cab Calloway does his best to keep the unruly crowd happy by breaking out his classic tune 'Minnie the Moocher.' This is an adaptation that combines elements of the Blues Brothers chart (including Alan 'Mr. Fabulous' Rubin's trumpet licks) with some features of Cab's earlier recordings. The call and response part has been written in and cued in all the parts so that the band can either play or shout the answers. Of course, we do encourage you to get the audience involved in the call and response part. And, the vocal part has been cued in trombone 1 in the event that you'd like to play this as an instrumental. The only tricky part of this arrangement is that it goes into a double time feel towards the end. The drummer doubles the time 2 measures before the rest of the band does. There are no saxophone doubles. Ranges:Trumpet 1: to C#6 Trombone 1: to B4 (optional) Vocal Key: E minor.
$50.00

Genres: Swing, Jazz & Blues
Love Me Or Leave Me by Ella Fitzgerald. Edited by Rob DuBoff and Jeffrey Sultanof. Arranged by Nelson Riddle. For studio orchestra with vocal (Vocal, 2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 4 Trumpets, 2 Trombones, Bass Trombone, 3 Violins, Viola, 3 Cellos, Guitar, Piano, Bass, Drums). Swing. Medium. Published by Jazz Lines Publications (JL.JLP-9447). This Nelson Riddle arrangement was written for Ella Fitzgerald and recorded on her 1961 album "Ella Swings Brightly with Nelson." This publication is based on Riddle's original score. Featured is bass trombone throughout as well as the obligatory harmon muted trumpet fills. An alternate synthesizer part has been included that may be used in place of the strings. This arrangement is not technically difficult and is a great, swinging showcase for your singer. Ranges: Trumpet 1: to C6; Trombone 1: to Bb; Vocal Key: Eb.
$65.00

Genres: Classical, Jazz & Blues, Standards, Swing
Limerick Waltz by The Terry Gibbs Dream Band. Edited by Jeffrey Sultanof and Rob Duboff. Arranged by Bill Holman. For big band (2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 4 Trumpets, 3 Trombones, Vibraphone, Piano, Bass, Drums, Optional Eb Soloist, Optional Bb Soloist). Swing. Difficult. Published by Jazz Lines Publications (JL.JLP-8275). This Bill Holman waltz arrangement was written for the Terry Gibbs Dream Band in 1961. In addition to vibes, this chart features solos for trombone and alto saxophone. Included are solo parts in Eb and Bb so that this arrangement may be played with any featured soloist. Ranges: Trumpet 1: to D6; Trombone 1: to C5.
$75.00

Genres: Swing, Jazz & Blues
The Late, Late Show by Nat "King" Cole. Edited by Jeffrey Sultanof and Rob Duboff. Arranged by Dave Cavanaugh. For big band (Vocal, 2 Alto Saxophones, 2 Tenor Saxophones, Baritones Saxophone, 4 Trumpets, 3 Trombones, Guitar, Piano, Bass, Drums). Swing. Medium Easy. Published by Jazz Lines Publications (JL.JLP-9328). Dave Cavanaugh wrote this arrangement in 1958 for a Nat King Cole recording session with what was essentially Count Basie's orchestra. The song, co-written by Roy Alfred and Dave Cavanaugh (under the pseudonym Murray Berlin) was later recorded by Count Basie and others. Originally the arrangement was written with a short, half chorus tenor sax solo during a shout section. This solo has been extended to a chorus and a half so that the arrangement plays long - and your tenor player gets to shine a little more! Ranges: Trumpet 1: to D6; Trombone 1: to Bb5.
$65.00

Genres: Jazz & Blues, Standards, Swing
Just Friends [Big Band] by Supersax With Big Band. Arranged by Med Flory. For big band (2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 4 Trumpets, 3 Trombones (3rd is Bass Trombone), Piano, Bass, Drums). Swing. Advanced. Published by Jazz Lines Publications (JL.JLP-8272). Here is Med Flory's arrangement of 'Just Friends' as recorded by Supersax on 'Supersax Plays Bird,' (from 1971) and later recorded live in Japan in 1975 on 'Japanese Tour Vol. 1.' This is an expanded version of the original arrangement [JLP-8070] that Med put together to include 4 trumpets and 3 trombones along with the Supersax line-up of 2 altos, 2 tenors, baritone plus rhythm section. This has been performed live on many occasions but never officially recorded. 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.
$75.00

Genres: Swing, Jazz & Blues