Duly Noted by Jeff Jarvis. For jazz ensemble. Standard jazz ensemble. Jazz Journey Series. Swing. Medium. Score and parts. Published by Kendor Music Inc (KN.61157). While this swing original for advancing groups is a great choice for any concert, it's especially good for festival programs. Starting with a strong introduction and a Neal Hefti inspired melody, this power-packed chart grooves from start to finish. Short soli sections are included to showcase all three horn sections and the rhythm section has notated parts that lend solid support. Abundant articulations make for a very crisp, spirited performance that will get the attention of audiences and adjudicators. A guitar chord chart by Jim Greeson is included in each set. Duration 6:10.

Titmouse edited by Jeffrey Sultanof. Arranged by Benny Carter. For saxophone ensemble with rhythm section. Jazz, Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8232). At long last, Benny Carters arrangements for saxophone ensembles are now available, authorized by Hilma Carter and the Benny Carter Estate. These compositions and arrangements were originally recorded for Impulse on the albums 'Further Definitions' (1961), and 'Additions to Further Definitions' (1966), and for the Musical Heritage Society on 'Over the Rainbow' (1989). These arrangements are not very difficult to play and they provide a lot of solo space for your players.

Now's The Time edited by Jeffrey Sultanof. Arranged by Med Flory. For big band. Written for Supersax With Big Band. Jazz, Swing. Advanced. Score and parts. Published by Jazz Lines Publications (JL.JLP-8147). After almost forty years, these classic arrangements by Med Flory of Charlie Parker solos harmonized for five saxophones are available for students and professionals. The idea for celebrating the creativity of Parker goes back to 1956. According to Flory, he began transcribing the solos from a set of records that were sold to him by the alto saxophonist Joe Maini. He wrote three arrangements and Flory, Maini, Joe Kennedy, Richie Kamuca and Bill Hood ran them down for fun. Bassist Buddy Clark heard them and suggested Flory create a whole book of such solos. But it wasnt until the early 70s that Supersax really came together. Flory and company rehearsed in his home for over a year until Florys wife finally suggested that they play at a club in Los Angeles called Dontes. The reception was phenomenal, and the group soon made its first album, Supersax Plays Bird for Capitol Records. Supersax toured all over the world and has recorded nine albums to date; in 1974, one of them won a Grammy award. The original scores and parts (where available) were used as the main sources for these publications. Med Flory took the arrangement of Now's the Time that was recorded on the 1977 record 'Chasin' the Bird' and added brass parts so that it could be played by a big band. The original Supersax arrangement of Now's the Time as recorded is also available (JLP-8234). This big band version has not been recorded. The brass parts are not difficult but trumpet 1 does go to F#6.

Lonely Moments by Mary Lou Williams. Edited by Jeffrey Sultanof. For big band. Written for Duke Ellington. Jazz, Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8776). Mary Lou Williams left Andy Kirk's band in May of 1942, and traveled with her husband, trumpeter Shorty Baker, who was a member of Duke Ellington's band. She composed and arranged quite a few pieces for Ellington, including an arrangement of 'Blue Skies' that was recorded at Carnegie Hall (for some unknown reason Ellington introduced the piece as 'Trumpets No End'). She also composed several other pieces that were not recorded including Aries Mood (Ben Webster feature), Scorpio, and this arrangement of Lonely Moments, a version of which was recorded by Benny Goodman. Recently this arrangement has been recorded by the Dutch Jazz Orchestra on their tribute to Mary Lou Williams. We are not entirely sure why this arrangement wasn't recorded when it was written, but our guess is that it was a bit 'modern' sounding even for Duke Ellington. This is a great arrangement that features solos for trumpet and tenor saxophone.

Joost At The Roost edited by Jeffrey Sultanof. Arranged by Gerry Mulligan. For big band. Written for Claude Thornhill. Jazz, Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8125). (From the notes by Jeffrey Sultanof) Background: The period from 1948-49 was a period of tremendous growth for Gerry Mulligan. Living in New York City right in the thick of modern jazz pioneers and innovators, Mulligan was encouraged and mentored by Gil Evans, who got him work writing for Claude Thornhill (Mulligan was also writing for fellow Philadelphian Elliot Lawrence, whom he'd worked with before he joined Gene Krupa in 1946). Mulligan became one of the main architects of the Miles Davis Nonet, contributing several arrangements and compositions to the ensemble. The Music: Joost at the Roost was written for both the nonet and the Thornhill big band. The score for the nonet is lost, but all of the parts exist and were the basis for the publication of this composition in the folio of nonet music published by Hal Leonard in 2000. A newly edited and corrected version was published by Jazzlines Publications in 2010. The big band score is dated October 20, 1948. Whereas the nonet version is fairly straightforward as a vehicle for solos (although the out-chorus has some similarities with the Thornhill version), the big band version is an ambitious composition that combines Mulligans continued exploration of contrapuntal ensemble writing and use of time-signature changes as in Jeru. But what is striking is that as early as 1948, Mulligan shows in this score that he had already formulated a concept to turn the big band into an extended small group, with linear give-and-take as in his small group with Chet Baker, and a lighter ensemble approach to orchestration. In fact, it was the only score from this era to be included in the Concert Jazz Band book twelve years later, the two French horn parts transposed to create a third trombone part. It was recorded for Verve Records in July, 1961, but was never issued and apparently rejected; the master no longer exists. Notes to the Conductor: When I was preparing the initial nonet publication of Joost at the Roost, Gerry Mulligan had already passed away, and he and I never had an opportunity to discuss this piece; Id never even heard of it before. There was no tempo listing anywhere, and I decided to contact bassist Bill Crow, who'd recorded the piece with the Concert Jazz Band. Bill came back with a tempo of quarter note = 144. When the Dutch Jazz Orchestra recorded Joost on their 2008 CD Moon Dreams: Rediscovered Music of Gil Evans and Gerry Mulligan (Challenge) the tempo was a bit faster than this. Although it must be said that the tempos on this CD are faster than the Thornhill recordings, this is not meant as a criticism. These performances are excellent and offer a different view of this music. With the knowledge that Mulligan generally did not like his music played very fast, the director must decide how he/she hears this music and can then select a tempo. Between the time changes and the two-beat triplets, realizing a relaxed performance of this piece can be a challenge. Rehearsal at a slow tempo after letter H is recommended so that everything falls into place and the piece sounds spontaneous.

Venus De Milo by The Miles Davis Nonet. Edited by Jeffrey Sultanof. Arranged by Gerry Mulligan. For jazz ensemble (9 players). Jazz, Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8056). (from the performance notes by Jeffrey Sultanof): Except for a rare few, historians now consider The Miles Davis Nonet one of the most important ensembles in the history of jazz. Certainly such composers as Shorty Rogers, Andre Previn, Marty Paich, John Graas, Jack Montrose, Manny Albam and Andre Hodeir were heavily influenced by the nonet, as their music shows. Happily, many of the original parts of the sides recorded, plus parts for other compositions and arrangements for this ensemble, were discovered in three cartons of music that Miles Davis put into storage in Philadelphia and reclaimed after his death. In 2002, my edition of 12 scores from the repertoire of this ensemble was published by the Hal Leonard Corporation. An article detailing the editing process and errata in the folio itself will be published by the Journal of Jazz Studies in 2010. These Jazzlines Publications are extensively re-edited, and I now consider these new editions definitive. Venus De Milo is the only Mulligan composition that he did not subsequently arrange for big band. All of the original parts exist, and they are in Mulligans hand. Except for the trumpet and drums part, they are dated April 20, 1949; this composition was obviously written for the recording session of April 22, 1949. Lastly, alternate parts have been included in the event that you don't have access to a horn in F or tuba. A trumpet 2 part has been included as a substitute for the horn and the tuba part may be played by a bass trombone.

Godchild by The Miles Davis Nonet. Edited by Jeffrey Sultanof. Arranged by Gerry Mulligan. For jazz ensemble (9 players). Jazz, Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8055). (from the performance notes by Jeffrey Sultanof): Except for a rare few, historians now consider The Miles Davis Nonet one of the most important ensembles in the history of jazz. Certainly such composers as Shorty Rogers, Andre Previn, Marty Paich, John Graas, Jack Montrose, Manny Albam and Andre Hodeir were heavily influenced by the nonet, as their music shows. Happily, many of the original parts of the sides recorded, plus parts for other compositions and arrangements for this ensemble, were discovered in three cartons of music that Miles Davis put into storage in Philadelphia and reclaimed after his death. In 2002, my edition of 12 scores from the repertoire of this ensemble was published by the Hal Leonard Corporation. An article detailing the editing process and errata in the folio itself will be published by the Journal of Jazz Studies in 2010. These Jazzlines Publications are extensively re-edited, and I now consider these new editions definitive. Godchild is identified on the parts as Wallington's Godchild. This was a very popular jazz tune in 1949. Several big bands had an arrangement of it in their books. Mulligan not only wrote this version for the nonet, but created a setting for the Claude Thornhill Orchestra in 1948. Mulligan did not like heaviness in his music, a key reason why he led an ensemble without a piano for many years. So lightness is the key word when rehearsing and playing this piece. Gerry also did not like his music played too fast, so please observe the tempo on the original nonet recording. All of the nonet pieces can be opened up for solos, and I encourage the band director to let the musicians blow! Lastly, alternate parts have been included in the event that you don't have access to a horn in F or tuba. A trumpet 2 part has been included as a substitute for the horn and the tuba part may be played by a bass trombone.

Deception by The Miles Davis Nonet. Edited by Jeffrey Sultanof. Arranged by Gerry Mulligan. For jazz ensemble (9 players). Jazz, Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8058). (from the performance notes by Jeffrey Sultanof): Except for a rare few, historians now consider The Miles Davis Nonet one of the most important ensembles in the history of jazz. Certainly such composers as Shorty Rogers, Andre Previn, Marty Paich, John Graas, Jack Montrose, Manny Albam and Andre Hodeir were heavily influenced by the nonet, as their music shows. Happily, many of the original parts of the sides recorded, plus parts for other compositions and arrangements for this ensemble, were discovered in three cartons of music that Miles Davis put into storage in Philadelphia and reclaimed after his death. In 2002, my edition of 12 scores from the repertoire of this ensemble was published by the Hal Leonard Corporation. An article detailing the editing process and errata in the folio itself will be published by the Journal of Jazz Studies in 2010. These Jazzlines Publications are extensively re-edited, and I now consider these new editions definitive. Deception was Miles' take on George Shearing's Conception and was recorded on the last Capitol nonet session. The piece is surrounded by mysteries that will never truly be sorted out. It appears that Miles began arranging and copying the piece; there is a two-stave piano sketch and most of the parts available (there is no horn, piano and drum part extant), and while it has never been confirmed, both the piano sketch and parts are in Miles hand for the beginning of the piece. Mulligans hand takes over at about bar 61 on the parts, but each part has a different starting point for Gerrys portion of the arrangement. I am not aware that Mulligan ever commented on this piece, and probably considered it a favor to help out Miles. A special note on the chord names: since there was no original piano part, it was Rob Duboffs idea to consult the piano part for the Re-birth of the Cool album. Because Mulligan had seen and approved them, many of these chord names were adopted for this publication. Lastly, alternate parts have been included in the event that you don't have access to a horn in F or tuba. A trumpet 2 part has been included as a substitute for the horn and the tuba part may be played by a bass trombone.

Now's The Time by Supersax. Edited by Jeffrey Sultanof. Arranged by Med Flory. For saxophone ensemble with rhythm section. Jazz, Swing. Advanced. Score and parts. Published by Jazz Lines Publications (JL.JLP-8234). After almost forty years, these classic arrangements by Med Flory of Charlie Parker solos harmonized for five saxophones are available for students and professionals. The idea for celebrating the creativity of Parker goes back to 1956. According to Flory, he began transcribing the solos from a set of records that were sold to him by the alto saxophonist Joe Maini. He wrote three arrangements and Flory, Maini, Joe Kennedy, Richie Kamuca and Bill Hood ran them down for fun. Bassist Buddy Clark heard them and suggested Flory create a whole book of such solos. But it wasnt until the early 70s that Supersax really came together. Flory and company rehearsed in his home for over a year until Florys wife finally suggested that they play at a club in Los Angeles called Dontes. The reception was phenomenal, and the group soon made its first album, Supersax Plays Bird for Capitol Records. Supersax toured all over the world and has recorded nine albums to date; in 1974, one of them won a Grammy award. The original scores and parts (where available) were used as the main sources for these publications. This arrangement of 'Now's the Time' was recorded on the 1977 record 'Chasin' the Bird.' We also have a big band version of this arrangement. Med Flory adapted it for his big band, though it was never recorded. See catalog number JLP-8147.

Charlie's Other Aunt by Charlie Barnet. Edited by Jeffrey Sultanof. Arranged by Manny Albam. For big band. Jazz, Swing. Difficult. Score and parts. Published by Jazz Lines Publications (JL.JLP-8312). Here is Manny Albam's great fast-swinging arrangement of Charlie's Other Aunt. This arrangement was recorded twice in 1949 and both recordings featured a tenor sax solo. The first recording has Charlie Barnet playing the solo; the second featured Dick Hafer taking the solo. Both versions roll along briskly at about 150 per half note. However, we have reason to believe that Albam preferred the slightly slower tempo that it was recorded at in 1958. So, we've indicated a range of 120 to 150 for the half note. This arrangement was written for 5 trumpets and 3 trombones. We have included an optional 4th trombone part that is an alternate for the 5th trumpet so that this may be played by a band with the standard instrumentation. This arrangement features solo spots for piano, tenor saxophone, trombone, and trumpets 2 and 5 (or trombone 4 instead of trumpet 5). For the recording 24 bars of the piano solo was omitted. We have put these bars back in to lengthen the piano solo to match Manny's original conception. This is a great Manny Albam arrangement that will really showcase the band for a festival or concert. Ranges: Trumpet 1: E6; Trumpet 4: G6; Trombone 1: C5; Trombone 4: C5.

In A Mist by Bunny Berigan. Arranged by Joe Lipman. For jazz combo (6 Horns With Rhythm Section). Jazz, Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8475). In 1938 Bunny Berigan recorded a tribute to Bix Beiderbecke. The arrangements were done by the piano player, Joe Lipman. Joe went on to become a successful commercial arranger and is known to Charlie Parker fans for his string and big band arrangements featuring Bird including Temptation, Night and Day, and What Is This Thing Called Love. Berigan's band featured fellow trumpeter Irving Goodman, Ray Conniff on trombone, Murray Williams, Gus Bivona, and Georgie Auld on reeds, Hank Wayland on bass, and up and coming drummer Buddy Rich. Bix's tune In a Mist was a groundbreaking composition in that it employs impressionistic scales and chord sequences that were not common to popular music at the time. In addition, it was originally a piano piece that featured Beiderbecke on the keyboard. Lipman has brilliantly captured the feel of the composition in this 6 horn arrangement. The original score calls for clarinet, tenor saxophone, bass clarinet, 2 trumpets, trombone, piano, bass, and drums. We have added a guitar part. In addition, the clarinet part may be played by a soprano saxophone and we have included a baritone saxophone part as an alternate for the bass clarinet - though we encourage you to use the bass clarinet part to achieve the proper balance.

Rock Bottom by Benny Carter. Edited by Jeffrey Sultanof. Arranged by Benny Carter. For saxophone ensemble with rhythm section. Jazz, Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8231). Here is Benny Carter's fabulous sax ensemble arrangement recorded on the 1961 'Further Definitions' album.

Doozy by Benny Carter. Edited by Jeffrey Sultanof. Arranged by Benny Carter. For saxophone ensemble with rhythm section. Jazz, Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8225). Here is Benny Carter's fabulous sax ensemble arrangement first recorded on the 1961 Further Definitions album and then re-recorded in 1966 on the 'Additions to Further Definitions' album.

Sleep by Benny Carter. Edited by Jeffrey Sultanof. Arranged by Benny Carter. For big band. Jazz, Swing. Advanced. Score and parts. Published by Jazz Lines Publications (JL.JLP-8463). Background: In 1940, Benny Carter was acknowledged by the music press to be one of the leading lights on the American big band scene. Several bandleaders had his music in their books, and Benny led his own big band, touring and making records. Unfortunately, Carters band never really caught on despite the fine music it played, partly because it did not have a hit record, but also because Carter himself was not a flashy soloist such as Harry James and Jimmy Dorsey (Carter played and soloed on alto saxophone and trumpet). That did not mean that he wasn't an excellent soloist; he most certainly was, but he was appreciated more by musicians than the public at large. The Music: Sleep (composed and published in 1923 by Earl Lebieg) was then known as the theme for Fred Waring and his Pennsylvanians; Waring began as a bandleader and eventually formed the top choral organization in the United States, with his own radio (and later television) show. Waring was almost totally responsible for the school choral movement beginning in the late forties. He continued to tour, record and give choral workshops until his death in 1984. Sleep was composed as a waltz, but in Carters hands, it becomes an ensemble tour-de-force. In our opinion, it is not only a masterpiece, but is one of the finest arrangements of a song in the history of the big bands. Carter transforms Sleep into a challenging and exciting presentation that really puts a band through its paces. 1972, Carter updated and slightly simplified the original arrangement for an all-star ensemble performance at the Newport Jazz Festival in New York. This became the official version of the arrangement, and Carter would play it with students and professionals all over the world. It is the only one authorized by the Carter estate. Notes to the Conductor: During the mid 1940s, Carters band performed this arrangement at such a blisteringly fast tempo that the band could just barely play the figures properly. Carters biographer and close friend Ed Berger asked him about these performances when he was preparing the two-volume bio-discography of Carter (Scarecrow Press). How did the tempo get so fast? Benny was surprised upon hearing airchecks many years after the fact, and gave the comment: Maybe it was the war. This setting makes an equally effective opener or closer or a terrific festival piece.

When Lights Are Low by Benny Carter. Edited by Jeffrey Sultanof. For big band. Jazz, Swing. Medium. Score and parts. Published by Jazz Lines Publications (JL.JLP-8460). Background: In 1935, Carter left the United States to play and write in Europe, and his presence there had an immediate effect on European jazz and dance musicians. After staying in France for nine months, Carter accepted an invitation to arrange for the BBC Dance Orchestra under the direction of Henry Hall, and while he could not play with the orchestra because of British music union rules, he could play on a series of recordings contracted by the Vocalion (UK) label. The Music: On June 20, 1936, Carter and a quartet (which included Americans Gene Rodgers and Bernard Addison) made the first recording of 'When Lights Are Low' with a vocal by fellow expatriate, vocalist Elisabeth Welch (lyrics were written by Spencer Williams). The first recording of the song for big band was recorded in Holland by the Kai Ewans Orchestra, and the song became the band's theme. Carter took the vocal himself on this recording. 'When Lights Are Low' is Carter's most popular song, recorded many times over the years. Perhaps the most famous version was made by Miles Davis in 1953, who unfortunately used a different bridge than the one Carter wrote, and this 'bridge' has been recorded many times in error. The arrangement presented here was first performed by an all-star big band led by Carter for a concert at Princeton University on December 3, 1973. The parts reveal that Carter made quite a few changes over many performances of this setting; there are cross-outs, paste-overs and rewrites in pencil by several hands. This is the final version of Carter's arrangement. Notes to the Conductor: Benny Carter's arrangements are models of taste, economy and they warrant study by students and professionals alike. They are almost Mozartean with regard to voice-leading and clarity, with not one wasted note. Many have saxophone soli for which Carter was well-known. 'When Lights Are Low' is not difficult and can even be played by many Middle School bands. But like Mozart, this music does present challenges that can test a professional ensemble. The sax soli must sound like one person, and since the baritone saxophone doubles the first alto, both players should practice together to master the intonation challenges in the high register. Articulation should be followed exactly, and the piece should not be played too fast. Finally, please make the distinction between the swing eighth and the dotted eighth-sixteenth figures, but such figures should not sound overly exaggerated. There are no saxophone doubles.

Swing Break by Bert Ligon. Orchestra. Score; String Orchestra. Highland String Alternatives. Jazz; Light Concert; Swing. Grade 3.5. 24 pages. Published by Alfred Music Publishing (AP.33745S). It's not Cancun, but take a break from even eighth notes with a "swing" break. A very accessible improvisation section is included with suggested solos for all sections followed by a swinging recap and a surprise ending. Counterpoint gives each section interesting lines. Playable by a young group yet the change of pace will be appreciated by players of any level. Fully notated piano, bass, and drumset are included.

When The Saints Visit Havana with a Touch of Wolfgang by Traditional. Arranged by Keith Terrett. For trombone & piano. Latin swing style. Intermediate. Solo and piano accompaniment. Published by Cherry Classics (CY.CC2242). A cute tongue in cheek poke at Mozart using the famous Hymn, "When The Saints Go Marching In". In a Latin Swing style. About 3 minutes in length for intermediate performers.

Do Nothin' Till You Hear from Me by Bob Russell and Duke Ellington (1899-1974). Arranged by John Clayton. For Jazz Ensemble (Score & Parts). Professional Ed. Vocal Solo. Grade 5. Published by Hal Leonard (HL.7011575). Adapted from the arrangement that John Clayton did for Dianne Reeves and the WDR radio big band in Cologne, Germany, here is a moderately slow and sultry swing version of the Duke Ellington favorite. According to John, “it's about grooving and having fun.”.

Stringin' at the Juke Joint by Tim Aucoin. Orchestra. Score; String Orchestra. Highland String Alternatives. Blues; Jazz; Light Concert; Swing. Grade 3.5. 24 pages. Published by Alfred Music Publishing (AP.33743S). Closer; Encore; Movement and Staging. About 2010 Midwest Clinic Performance Pieces This title was performed at the 2010 Midwest Clinic, the largest band and choral educational conference in the United States. Over thirty performances are given each year by diverse ensembles of varying levels - elementary school, high school, college, military and more. Each performance title is carefully selected and represents the very best in educational sheet music. The Midwest Clinic aims to raise the standards of music education while supporting teachers and music educators.

8 Jazzy Carols by Keith Terrett. For Cello and Piano. Christmas Swing. Parts. Published by Uetz Music (UZ.BU-8117).

8 Jazzy Carols by Keith Terrett. For Violin and Piano. Christmas Swing. Parts. Published by Uetz Music (UZ.BU-8116).

Swinging Christmas by Ernst-Thilo Kalke. For String Quartet. Christmas Swing. Set of parts. Published by Uetz Music (UZ.BU-8096).

Gershwin-Duets by George Gershwin (1898-1937). Arranged by Ernst-Thilo Kalke. For Piano (No solo parts included). Swing. Piano accompaniment. Published by Uetz Music (UZ.BU-8094K).

Gershwin-Duets by George Gershwin (1898-1937). Arranged by Ernst-Thilo Kalke. For 2 Cellos and Piano. Swing. Solo parts only. Published by Uetz Music (UZ.BU-8094).