Teenie's Blues (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-8857). 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.

Stolen Moments (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-8858). 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. Teenie's Blues was originally arranged for only 2 altos, piano, bass, and drums. We have included parts for tenor, baritone, and trumpet.

Hoe-Down (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-8859). 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.

Cascades (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-8854). 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.

Butch And Butch (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-8856). 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.

The Blues And The Abstract Truth [Complete Set] by Oliver Nelson. Edited by Rob DuBoff and Jeffrey Sultanof. Arranged by Oliver Nelson. For jazz ensemble (Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet, Piano, Bass, Drums). Swing, Jazz. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8890). This is the complete set of 6 arrangements from the Oliver Nelson 1961 album The Blues and the Abstract Truth . The titles are: Butch and Butch, Cascades, Hoe-Down, Stolen Moments, Teenie's Blues, and Yearnin'. Each individual arrangement is also available separately. 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 StLouis, 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 YorkCity. 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., these six classic compositions are now available, edited using Nelson's original manuscripts. Nelson now joins the legendary names whose music is now available from Jazz Lines Publications. With the lone exception of Teenie's Blues, all are arranged for alto, tenor, and baritone saxophones, trumpet, piano, bass, and drums. Teenie's Blues was originally arranged for only 2 altos, piano, bass, and drums. We have included parts for tenor, baritone, and trumpet.

I Thought About You by Jimmy Van Heusen & Johnny Mercer. Arranged by Vern Sielert. For jazz ensemble (5-4-4-4). Jazz Masters series. Swing. Grade 4. Score and set of parts. Published by Sierra Music (S1.SMP-1113). This chart comes right out of the tradition of Sammy Nestico/Count Basie. It is a marvelous arrangement of a great standard from the American Songbook. Vern Sielert sets this in a medium-swing tempo/feel and starts off with a quiet ensemble statement that leads into the solo section. The solo can be played with the player of your choice. The ensemble enters again with a super-soft chorus that ranks with the best charts out there. A nifty contrapuntal section leads into a strong, swinging ensemble section that roars out to the ending. What a sensational arrangement! 5-4-4-4.

The Daily Dance by Bill Holman. Arranged by Bill Holman. For jazz ensemble (5-5-5-3). Stan Kenton series. Fast Swing. Grade 5-6. Score and set of parts. Published by Sierra Music (S1.SMP-1095). "The Daily Dance" was recorded by the Stan Kenton Orchestra on the CD "Birthday in Britain." The piece is a very fast-swing that features solos for alto saxophone, trumpet, piano (written) and drums. This is one of the many Bill Holman masterpieces he created for the Kenton Band. It does require a mature band and a good amount of rehearsal. All the work put in will be well rewarded with performance of this terrific piece. Well done, Willis! 5-5-5-3.

It Could Happen To You (Pro) by Burke & Van Heusen. Arranged by Willie Maiden. For jazz ensemble (5-5-4-3 or 4-4-2-3). Maynard Ferguson series. Swing. Grade 4-5. Score and set of parts. Published by Sierra Music (S1.SMP-1074). The Pro (original) version of "It Could Happen To You" is absolutely wonderful. But you better have a "Maynard" in your trumpet section to get it done. This is a moderate-swing chart that will bring happiness and light to any program. The audio sample is of the edited version of this chart. 5-4-4-3 or original instrumentation.

It Could Happen To You (Edited) by Burke & Van Heusen. Arranged by Willie Maiden. For jazz ensemble (5-5-4-3 or 4-4-2-3). Maynard Ferguson series. Swing. Grade 4. Score and set of parts. Published by Sierra Music (S1.SMP-1073). "It Could Happen To You" is one of the best known standard tunes, and this arrangement certainly does it justice. Willie arranged this for the Maynard Ferguson band. This version is an edited chart that does away with the extremely high "Maynard" part. It is also a chorus longer than the original (Pro) version (see SMP-1074). The main soloist throughout is trumpet. This is a moderate-swing chart that will bring happiness and light to any program. This is the version on the audio sample. 5-5-4-3 or original instrumentation (4-4-2-3).

Chicago by Fred Fisher. Arranged by Mike Abene. For jazz ensemble (5-4-4-3). Maynard Ferguson series. Swing. Grade 5. Score and set of parts. Published by Sierra Music (S1.SMP-1015). "Chicago" is a high-energy, big band bebop arrangement on the popular standard that Mike wrote for Maynard Ferguson's band. It is a bright-swing chart that features solos by alto saxophone, piano, drums and 2 trumpet players. This is the original chart with added, optional parts to fill things out to a standard big band instrumentation. If you want a "dynamite" opener, this is the chart for you. 5-4-4-3.

The Boy From New York City by Manhattan Transfer. By John Taylor and George Davis. Arranged by Greg Jasperse. SSA. Concert; Jazz; Pop. Choral. 14 pages. Duration 3:08. Published by Hal Leonard - Digital Sheet Music (HX.168225). 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

The Boy From New York City by Manhattan Transfer. By John Taylor and George Davis. Arranged by Greg Jasperse. SATB. Concert; Jazz; Pop. Choral. 14 pages. Duration 3:08. Published by Hal Leonard - Digital Sheet Music (HX.168224). 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

Sing, Sing, Sing by Louis Prima. Arranged by B.C. Belton. For Brass Band (7 parts flexible) and Percussion. Flexible Wind Series. Jazz. Grade 2. Score only. Duration 3 minutes, 40 seconds. Published by Molenaar Edition (ML.043206050-S). Sing, Sing, Sing (With A Swing) was a hit from 1936. The original title was Sing, Bing, Sing, with a nod to Bing Crosby. It's an oldie but a goodie, and still quite popular. Expertly arranged by B. C. Belton as part of Molenaar's Flexible Wind setting concept, this is with 9 voices. Suitable for the larger student bands.

Sing, Sing, Sing by Louis Prima. Arranged by B.C. Belton. For Brass Band (7 parts flexible) and Percussion. Flexible Wind Series. Jazz. Grade 2. Score and set of parts. Duration 3 minutes, 40 seconds. Published by Molenaar Edition (ML.043206050). Sing, Sing, Sing (With A Swing) was a hit from 1936. The original title was Sing, Bing, Sing, with a nod to Bing Crosby. It's an oldie but a goodie, and still quite popular. Expertly arranged by B. C. Belton as part of Molenaar's Flexible Wind setting concept, this is with 9 voices. Suitable for the larger student bands.

Hangin' On! by Dean Jones. Arranged by Henk Ummels. For brass band. Swing. Grade 3. Score only. Duration 3 minutes, 24 seconds. Published by Molenaar Edition (ML.043205050-S). This swinging composition from the popular composer Dean Jones is a tribute to the much loved 'Light Walk' from Barry Gott. This is a delightful interlude during a heavy concert, and perfect for a summer evening's performance.

Hangin' On! by Dean Jones. Arranged by Henk Ummels. For brass band. Swing. Grade 3. Score and set of parts. Duration 3 minutes, 24 seconds. Published by Molenaar Edition (ML.043205050). This swinging composition from the popular composer Dean Jones is a tribute to the much loved 'Light Walk' from Barry Gott. This is a delightful interlude during a heavy concert, and perfect for a summer evening's performance.

Sing, Sing, Sing by Louis Prima. Arranged by B.C. Belton. For Fanfare Band (7 parts flexible) and Percussion. Flexible Wind Series. Jazz. Grade 2. Score only. Duration 3 minutes, 40 seconds. Published by Molenaar Edition (ML.023206050-S). Sing, Sing, Sing (With A Swing) was a hit from 1936. The original title was Sing, Bing, Sing, with a nod to Bing Crosby. It's an oldie but a goodie, and still quite popular. Expertly arranged by B. C. Belton as part of Molenaar's Flexible Wind setting concept, this is with 9 voices. Suitable for the larger student bands.

Sing, Sing, Sing by Louis Prima. Arranged by B.C. Belton. For Fanfare Band (7 parts flexible) and Percussion. Flexible Wind Series. Jazz. Grade 2. Score and set of parts. Duration 3 minutes, 40 seconds. Published by Molenaar Edition (ML.023206050). Sing, Sing, Sing (With A Swing) was a hit from 1936. The original title was Sing, Bing, Sing, with a nod to Bing Crosby. It's an oldie but a goodie, and still quite popular. Expertly arranged by B. C. Belton as part of Molenaar's Flexible Wind setting concept, this is with 9 voices. Suitable for the larger student bands.

Hangin' On! by Dean Jones. Arranged by Henk Ummels. For fanfare band. Swing. Grade 3. Score only. Duration 3 minutes, 24 seconds. Published by Molenaar Edition (ML.023205050-S). This swinging composition from the popular composer Dean Jones is a tribute to the much loved 'Light Walk' from Barry Gott. This is a delightful interlude during a heavy concert, and perfect for a summer evening's performance.

Hangin' On! by Dean Jones. Arranged by Henk Ummels. For fanfare band. Swing. Grade 3. Score and set of parts. Duration 3 minutes, 24 seconds. Published by Molenaar Edition (ML.023205050). This swinging composition from the popular composer Dean Jones is a tribute to the much loved 'Light Walk' from Barry Gott. This is a delightful interlude during a heavy concert, and perfect for a summer evening's performance.

Little Rascals by Andrew Pearce. For fanfare band. Swing. Grade 3. Score only. Duration 3 minutes, 29 seconds. Published by Molenaar Edition (ML.023198050-S). While conducting younger groups in the UK, the composer decided to write a funky and accessible piece with a catchy tune that younger musicians would appreciate playing each week. It is aptly called 'Little Rascals' and will keep the younger band entertained and cheerful. It's funky with attitude!

Little Rascals by Andrew Pearce. For fanfare band. Swing. Grade 3. Score and set of parts. Duration 3 minutes, 29 seconds. Published by Molenaar Edition (ML.023198050). While conducting younger groups in the UK, the composer decided to write a funky and accessible piece with a catchy tune that younger musicians would appreciate playing each week. It is aptly called 'Little Rascals' and will keep the younger band entertained and cheerful. It's funky with attitude!

Sing, Sing, Sing by Louis Prima. Arranged by B.C. Belton. For Concert Band (7 parts flexible) and Percussion. Flexible Wind Series. Jazz. Grade 2. Score only. Duration 3 minutes, 40 seconds. Published by Molenaar Edition (ML.013206050-S). Sing, Sing, Sing (With A Swing) was a hit from 1936. The original title was Sing, Bing, Sing, with a nod to Bing Crosby. It's an oldie but a goodie, and still quite popular. Expertly arranged by B. C. Belton as part of Molenaar's Flexible Wind setting concept, this is with 9 voices. Suitable for the larger student bands.