You And I by Meredith Willson (1902-1984). Arranged by Bill Holman. Jazz Ensemble / Jazz Band. The Bill Holman Big Band Series. From the LP "The Fabulous Bill Holman Band". Fast Swing. Grade 4-5. Score and set of parts. Published by Sierra Music (S1.SMP-233). Holman has a wonderful knack of taking just about any tune and making it swing like crazy. This one sure does! Recorded on The Fabulous Bill Holman LP, this chart is amazing in its simplicity and effectiveness. A great "opener" or "closer!!" Features alto, tenor and baritone saxes, trpt. and dms. (on Demo CD 107).

Yes Indeed by Tommy Dorsey. Arranged by Myles Collins. For big band with male or female vocal. Swing. Medium. Full score and set of parts. Published by Lush Life (JL.LL-2146). A fine Sy Oliver composition for the Tommy Dorsey Orchestra, Yes Indeed is a 'swing spiritual' which Sy Oliver originally sang with the band. Dorsey recorded the chart a few times in a couple of keys, F (earlier) and G (later). This is the G version. Although it is a male/female vocal chart it has been scored to keep it flexible. It can be sung by a single vocalist, or can be played as an instrumental (it has been arranged with trumpet 2 and/or trombone 1 taking solos instead of the vocal lines). There are no sax doubles. This is the same chart as found in the Tommy Dorsey Instrumentals section. Vocal key: G.

Yellow Days by Frank Sinatra With Duke Ellington. Arranged by Billy May. For big band with vocal. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-9059). We are thrilled to present our first offering from the classic meeting between Francis A. and Edward K.

Yearnin' by Oliver Nelson. Arranged by Oliver Nelson. Jazz Ensemble / Jazz Band. Oliver Nelson Big Band Series. Medium Swing Blues. Grade 2-3. Score and set of parts. Published by Sierra Music (S1.SMP-394). As recorded on the wonderful LP "Black, Brown and Beautiful", featuring Johnny Hodges, this nifty blues chart has very reasonable brass ranges, no doubles, and Oliver's sort-of "gospel" feel to it. It is a medium-slow blues, playable by most bands and featuring a trumpet solo (and room for anyone else). 5-4-4-4 (on Demo CD 111).

Yearnin' (Individual Arrangement from The Blues And The Abstract Truth). Edited by Rob Duboff and Jeffrey Sultanof. Arranged by Oliver Nelson. For jazz combo (alto sax, tenor sax, baritone sax, trumpet, piano, bass, and drums). Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8855). This is one title out of 6 arrangements from the Oliver Nelson 1961 album The Blues and the Abstract Truth. In February of 1961, the sessions that later constituted the album Blues and the Abstract Truth were recorded for a new jazz label distributed by ABC-Paramount, Impulse Records. The sessions were produced by Creed Taylor, who would go on to produce classic recordings on the Verve label, and his own CTI label. Oliver Nelson had a career full of highlights by 1961. Originally from St Louis, Missouri, he had played in the bands of Louis Jordan, Louis Bellson, Erskine Hawkins, Wild Bill Davis and Quincy Jones. He had also been a house arranger at the legendary Apollo Theatre in Harlem in New York City. Nelson had made some albums under his own name as well. But it was this album that became his first masterpiece. An all-star ensemble was assembled: with Nelson were Freddie Hubbard, Eric Dolphy, George Barrow, Bill Evans, Paul Chambers, and Roy Haynes. One of the compositions on the album became a standard: Stolen Moments. The album received ecstatic reviews from the jazz press and has rarely been out of print since it’s original release. Nelson went from success to success, making big band and small group albums in a variety of settings under his own name and accompanying jazz and pop artists. He composed symphonic music as well, and toured extensively even after he moved to Los Angeles in 1967 and became established in the film and television world. He also gave workshops and seminars. He was only 43 when he died in 1975. Thanks to an agreement with Oliver Nelson, Jr, this item is now available, edited using Nelson’s original manuscripts. Nelson now joins the legendary names whose music is now available from Jazz Lines Publications. This item is arranged for alto, tenor, and baritone saxophones, trumpet, piano, bass, and drums.

No description available. Contact info@musicroom.com for more information.

No description available. Contact info@musicroom.com for more information.

Yardbird Suite by Claude Thornhill. Arranged by Gil Evans. For big band. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-8124). In 1941 Gil Evans went to New York to write for the Claude Thornhill orchestra, which won two successive Billboard polls in the "sweet band" category. Evans, who was a fan of bebop and modern classical music was the first jazz composer/arranger to combine elements of both into his groundbreaking arrangements. This arrangement of Charlie Parker's Yardbird Suite (known at the time as 'What Price Love') is stunning. Evans employs dissonance throughout (often through minor seconds within sections) as well as subtle color and timbre shifts. Arranging for this same Thornhill band was Gerry Mulligan with whom Gil Evans would later break away and form the famous Miles Davis Nonet and record 'The Birth of the Cool.' This arrangement helped establish Gil Evans as a trend-setting, modern jazz composer. This arrangement has been published from the original autograph score and is authorized by the Estate of Gil Evans. This is not a transcription. The original score was arranged for Thornhill's band that included 5 saxophones, 3 trumpets, 2 French horns, 2 trombones, tuba, guitar, piano, bass, and drums. We have modified the original arrangement to make it playable by a standard big band (8 brass) though parts for the original instrumentation are also included allowing for the option of playing it as it was intended. This is a fairly complex arrangement that calls for solos for piano, alto saxophone, and guitar. There are no saxophone doubles. This arrangement was recently recorded by the Dutch Jazz Orchestra on their 2008 CD titled 'Moon Dreams: Rediscovered Music of Gil Evans and Gerry Mulligan.' Ranges: # Trumpet 1: D6 # Trombone 1: B4.

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Writer's Cramp by Bob Curnow. Arranged by Bob Curnow. Jazz Ensemble / Jazz Band. The Bob Curnow Big Band Series. Swing Trombone Section Feature. Grade 4. Score and set of parts. Published by Sierra Music (S1.SMP-102). This is a new edition (Finale computer notation) of this feature for the trombone section. It is available with a full score for the first time. It has also been edited to allow for performance by 8 brass as well as 10. There is solo space for trumpet, and the rhythm section starts things off. This is a happy, swinging chart with lots of full ensemble passages that really roar. You'll enjoy having a full score. 5.5.5.3 (can be played with only 8 brass) (on demo CD 116).

Wrappin' It Up by Benny Goodman. Arranged by Fletcher Henderson. For big band. Swing. Difficult. Full score and set of parts. Published by Lush Life (JL.LL-1279). Wrappin' It Up is a very rare chart from the Benny Goodman book. Like many of his earlier hits, is a Fletcher Henderson composition, and is up-tempo and delightfully bouncy. Great for the dancers. Goodman re-recorded this chart in 1951, and this later version has been transcribed for this publication. The beat is infectious, the riffs are tight, and all of the solos are written out in full, though your players can improvise from the chords provided if you prefer. The reeds are scored for CAATT, with all saxes written to double clarinets for a short 8 measure passage, though the tenors can avoid the double and play 8va if need be. The tenor solo is scored on both tenor parts. Whilst the trombone ranges are not too demanding (lead to Ab4), both trumpets 1 & 2 need to be able to hit Eb6. Swing @ 185 b.p.m.

Works by Bill Holman. Arranged by Bill Holman. Jazz Ensemble / Jazz Band. The Stan Kenton Orchestra Library Series. Swing. Grade 4-5. Score and set of parts. Published by Sierra Music (S1.SMP-564). Here is a terrific medium swing chart, also written for Stan Kenton in the 50s. Although it was never recorded commercially by the band, it was played a great deal in live performances throughout the country and is on a number of "transcription" recordings. It "cooks" from beginning to end, and features solo space for trumpet and tenor sax, and one of those "patented" Holman ensemble shout choruses that just swings like crazy! 5-5-5-3.

Work Song by Nat Adderley. Arranged by Geoff Keezer. Jazz Ensemble / Jazz Band. Geoff Keezer Series. Swing. Grade 3-4. Score and set of parts. Published by Sierra Music (S1.SMP-127). Geoff has taken this well-known Nat Adderley tune and given it a breath of fresh thinking, interesting voicings, and very playable phrases. This excellent chart features any soloists you want (chord sheets included for all players), a nifty trombone/bass soli and reasonable ranges for all. (8 brass) Full Score (on Demo CD 104).

Woodchopper's Ball by Woody Herman. Arranged by Myles Collins. For big band. Swing. Medium Easy. Full score and set of parts. Published by Lush Life (JL.LL-1160). Here is the great Woodchoppers Ball. Co-written and first performed by Woody Herman, this chart became a mainstay in the repertoire of all Herman's bands. Our version is based on Woody's, though rescored for regualar sections (Saxes AATTB, 8 brass). This arrangement features solo space for Clarinet (on 1st Alto part), Tenor, Trumpet and Trombone, and has that characteristic chromatic set of key changes at the end that gives the whole chart a thumping climax. A superb swing chart. Ranges: Trumpets 1-4: A5, F5, D5, C5 Trombones 1-4: Bb4, Bb4, Bb4, Bb4.

Wonderful You by Terry Gibbs Dream Band. Arranged by Al Cohn. For big band. Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8262). This arrangement was written by Al Cohn and initially recorded by Med Flory for his1956 recording date for Kapp Records. The same arrangement was subsequently recorded by the Terry Gibbs Dream Band in 1959. Though the recording featured a solo by Terry Gibbs on vibraphone, you may also feature a piano solo or use a guest soloist. There is no written vibe part in this arrangement so it may be excluded. There is an open solo section as well as a separate alto sax solo. This has been edited and engraved from the original parts as obtained and licensed from Terry Gibbs and Al Cohn's family.

Winning The West by Bill Holman. Arranged by Bill Holman. Jazz Ensemble / Jazz Band. The Bill Holman Big Band Series. Rock / Swing / Drums. Grade 4-5. Score and set of parts. Published by Sierra Music (S1.SMP-316). As written for and performed by the Buddy Rich Big Band, here is the long-missing chart that Holman wrote to feature Buddy on Drums and Pat LaBarbera on Tenor Sax. What a great chart! It is set in a quasi Rock Feel which shifts to Swing and back again. This is a very high-energy, exciting chart, and Buddy played it all the time! Your band will eat this one up. 5-4-4-3 (on Demo CD 113).

Wind Chill Factor arranged by Rich Woolworth. For Jazz Band. Jalen Jazz Band. Blues and Swing. Grade 3 (Medium-Easy). Score and parts. Published by Jalen Publishing (JN.JJZ081). This up tempo minor blues is so cool it's on fire from the opening bass solo. Even though the pace is fast, the skillfull writing keeps it playable. The saxes are featured on the melody followed by the trumpets before big brass hits lead into the solo section that vamps on blues changes in A minor and provides space to play written or improvised solos with 1st Tenor Sax or 2nd Trumpet. The drummer get's his fill on during a chorus of soloing before we surprisingly switch up the feel with a funky half time groove. It's back to double time swing as the chart features the melody again followed by more drum solos to build the intensity for a frosty finish.

Arranged for Flugel Horn with Brass Band by Alan Morrison. Score and Parts.

Why Don't You Do Right by Peggy Lee With Benny Goodman. Arranged by Myles Collins. For big band with female vocal. Swing. Medium Easy. Full score and set of parts. Published by Lush Life (JL.LL-2081). This version of Why Don't You Do Right was recorded in 1942 by Peggy Lee during her stay with the Benny Goodman band and Peggy made this song her own. Goodman's chart has been faithfully transcribed here, including all of the Clarinet licks and solos, but the brass has been expanded from the original 6 up to 8. The sax parts are written for Solo Clarinet, Alto, 2 Tenors & Baritone though an an extra Alto sax part (the Tenor 1 part, written for Alto) is included to give you a bit more flexibility in the section. The brass ranges are very moderate, and aside from the Clarinet solos there are no surprises, so the chart is very playable. Ranges: Trumpets 1-4: C6, Bb5, G5, E5 Trombones 1-4: Bb4, F4, D4, D4 Vocal key: F - Female Vocal A3 - D5 (10 steps).

Who? by Judy Garland, Benny Goodman, and Stephanie Baker. For piano, voice, and guitar (chords only). Jazz; Musical/Show; Standards. 3 pages. Published by Hal Leonard - Digital Sheet Music (HX.20332). About Digital Print Sheet Music Digital Print is printable sheet music available anytime, anywhere. Just purchase, print and play! View your online sheet music at home, school, work or anywhere you have a computer connected to the Internet. With Digital Print, you can print your digital sheet music immediately after purchase, or wait until its convenient. And our software installation is easy - we'll guide you through the simple steps to make sure you have Adobe Flash Player, Adobe AIR and the Sheet Music Plus AIR application. Learn more

Who Cares by Helen O'Connell. Arranged by Marion Evans. For big band with female vocal. Fast Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications (JL.JLP-9004). This is a tremendous chart from master arranger Marion Evans, recorded by Helen O'Connell for her 'Here's Helen' album. This is not a transcription, the original handwritten manuscript was used to produce this arrangement. This arrangement moves at brisk pace of approx. 240 b.p.m (quarter note) and features a lot of beautifully crafted, syncopated unison lines. The drummer can really shine on this chart as crisp accents can help carry the band during the shout sections. The trombones open on plungers. There is a brief interlude that originally featured someone in the band calling out "Just one more once, baby!" We have included this part as a 'band yell' as it is a nice break in the action and can provide a bit of humor. There are no doubles. Trumpet 1 goes to a high E once but doesn't get higher than C# otherwise. Vocal Key: F modulating to Gb. Ranges: Trumpet 1: to high E Trombone 1: to high C Vocal Key: F modulating to Gb.

White Cliffs Of Dover arranged by Myles Collins. For big band with female vocal. Swing. Easy. Full score and set of parts. Published by Lush Life (JL.LL-2070). Immortalised by Vera Lynn in the 1940s, this tune came to symbolize hope in troubled times, though it is also a lovely melody in its own right. This arrangement is a smooth, flowing ballad in the '40s style, making full use of dynamic expression, muted and open brass, plus some Miller-voiced sax passages. Slightly nostalgic perhaps, but always popular. In the key of Ab, the vocal range is from Ab below, to C above middle C. Lead Alto doubles Clarinet, Baritone doubles Alto. The complete mp3, taken from a live gig, is courtesy of The Strayhorns, with Nou Nou on vocal. Ranges: Trumpets 1-4: Bb5, G5, F5, D5 Trombones 1-4: Ab4, F4, Eb4, C4 Vocal ke: Ab (Ab3-C5).

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).

Whispering by Les Paul, Benny Goodman, and Frank Sinatra. For easy piano. Country; Jazz; Standards. 2 pages. Published by Hal Leonard - Digital Sheet Music (HX.8218). About Digital Print Sheet Music Digital Print is printable sheet music available anytime, anywhere. Just purchase, print and play! View your online sheet music at home, school, work or anywhere you have a computer connected to the Internet. With Digital Print, you can print your digital sheet music immediately after purchase, or wait until its convenient. And our software installation is easy - we'll guide you through the simple steps to make sure you have Adobe Flash Player, Adobe AIR and the Sheet Music Plus AIR application. Learn more