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9 Brass (Level IV) In another greasy Thaddian tribute, Drew Zaremba penned Blues for Gabe in 2015, which won him recognition as a JEN Young Composer award
as well as an ASCAP Young Composer honorable mention. Originally written for
Gabe Evens, this was recorded originally by the One O’Clock Lab Band. Named in
the style of many great blues charts, the piece predominantly features the
piano chair, with blowing time given to the bass as well. This slow 16-bar
blues will challenge the band with the complex textures, but holds together in
its melody and attitude.
By purchasing this product, you agree not to reproduce, duplicate, copy, sell, resell, or exploit for any purpose, any portion of the music, use of the music, any data or image or access to the music. This download is intended for use by the purchaser only. Usually one (1) copy for one (1) ensemble.
PDF downloads are intended to be printed 1x by the consumer. It is against copyright law to distribute.
View all charts by Drew Zaremba
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(Level III) A medium swinging blues in the style of Sammy Nestico. The tune features a burning two chorus sax soli and a shout chorus that features drums. Lot’s of solo opportunities.
8 Brass
PDF downloads are intended to be printed 1x by the consumer. It is against copyright law to distribute.
View all charts by Ben Markley
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Fun (9 Brass) (Level 4) Composed by Nat Adderley, Arranged by Eric Richards
This up-tempo Bb blues was commissioned by the USAF Rhythm in Blue jazz ensemble, Langley AFB, VA. It features Alto Saxophone 1, Trumpet 2, and Drums.
FUN makes an outstanding concert opener or closer for mature bands. Trumpet I to written Eb6. No woodwind doubles.
By purchasing this product, you agree not to reproduce, duplicate, copy, sell, resell, or exploit for any purpose, any portion of the music,
use of the music, any data or image or access to the music. This download is intended for use by the purchaser only.
Usually one (1) copy for one (1) ensemble.
PDF downloads are intended to be printed 1x by the consumer. It is against copyright law to distribute.
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View all charts by Eric Richards
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Bump and Grind (Level IV) is a heavy swinging chart that can be played as a Mel Lewis-style shuffle or as a straight-ahead swinger. An Eb blues with a 16-bar bridge centered on the IV chord, this tune will make you want to dance!
Transposed solo changes are included for anyone to solo over, and the opening shout chorus is reminiscent of Thad Jones’s writing. Optional, yet highly recommended, parts for vibes and guitar.
Lead trumpet plays written high F. Recorded by the University of Missouri Concert Jazz Band, Byron Stripling, and Bob Sheppard on HOME (MIzzou Jazz Studies).
8 Brass
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By purchasing this product, you agree not to reproduce, duplicate, copy, sell, resell, or exploit for any purpose, any portion of the music, use of the music, any data or image or access to the music. This download is intended for use by the purchaser only. Usually one (1) copy for one (1) ensemble.
PDF downloads are intended to be printed 1x by the consumer. It is against copyright law to distribute.
View all charts by Arthur White
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South Carolina Blue Law (Level III) I often joke about the law that requires a jazz band to play at least one blues tune per concert (in F or Bb), in order for it to officially be a jazz concert. Here's the chart needed to round out a concert. Plenty of room for solos with options for backgrounds. Works at just about any tempo from medium to fast. 8 Brass
By purchasing this product, you agree not to reproduce, duplicate, copy, sell, resell, or exploit for any purpose, any portion of the music, use of the music, any data or image or access to the music. This download is intended for use by the purchaser only. Usually one (1) copy for one (1) ensemble.
PDF downloads are intended to be printed 1x by the consumer. It is against copyright law to distribute.
View all charts by Bert Ligon
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(Level IV) Bump and Grind is a heavy swinging chart that can be played as a Mel Lewis-style shuffle or as a straight-ahead swinger. An Eb blues with a 16-bar bridge centered on the IV chord, this tune will make you want to dance! Transposed solo changes are included for anyone to solo over, and the opening shout chorus is reminiscent of Thad Jones’s writing. Optional, yet highly recommended, parts for vibes and guitar. Lead trumpet plays written high F. Recorded by the University of Missouri Concert Jazz Band, Byron Stripling, and Bob Sheppard on HOME (MIzzou Jazz Studies).
8 Brass
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View all charts by Arthur White
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(Level III) A medium swinging blues in the style of Sammy Nestico. The tune features a burning two chorus sax soli and a shout chorus that features drums. Lot’s of solo opportunities. Level III.
8 Brass
View all charts by Ben Markley
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Fun (9 Brass) (Level 4) Composed by Nat Adderley, Arranged by Eric Richards
This up-tempo Bb blues was commissioned by the USAF Rhythm in Blue jazz ensemble, Langley AFB, VA. It features Alto Saxophone 1, Trumpet 2, and Drums.
FUN makes an outstanding concert opener or closer for mature bands. Trumpet I to written Eb6. No woodwind doubles.
View all charts by Eric Richards
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(Level IV) Alto I/Flute, Alto II, 2 Tenor Saxes, Bari Sax, 4 Trumpets, 4 Trombones, Guitar, Piano, Bass, Drums. An original swinging blues that gives a nod to Quincy Jones, Count Basie and even a bit of Charlie Parker. It begins in F and modulates through the keys of G, Ab, Bb, and C, and concludes in Eb. Contains extended solos with riff backgrounds for trumpet, tenor sax
and bass. .
View all charts by Russell Miller
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(Level IV) Featuring a funky New Orleans second-line groove, Little Gus is a challenging blues-based original that the band will definitely have fun playing. In addition to solos from trombone and tenor there is a section in the middle to feature the drummer. This high energy composition will both players and audience.
8 Brass
View all charts by Paul McKee
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(Level IV) A Vintage Blues is an uptempo blues with a half-time section. The chart will be challenging for the band and also features a great shout soli on the half time section. Alto I double on soprano, alto II double on Piccolo. 8 Brass
View all charts by Frank Amsallem
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(Level 4) This scorching double-time blues was originally written for the Tonight Show Orchestra to feature Doc and Pete Christlieb, so there is plenty of solo space for the trumpet and tenor sax. The tempo is brutally fast and there is an absolutely inhuman modulation at the end of the chart (in other words, this chart has earned its title), but if you have some horses, this chart will close your concert and leave them buzzing. No doubles. 8 Brass
View all charts by Chuck Owen
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(8 Brass) (Level 4) Very fast blues with some contemporary changes. Solos for trombone and trumpet, soli sax section and exciting shout sections.
View all charts by Les Sabina
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Deedles' Blues - (Level 4) Up-tempo blues written by producer, Morgan Ames, for artist. Basie band leader, Frank Foster, won a Grammy for his arrangement. Written for 5 saxes, 4 trombones, 4 trumpets, guitar, piano, bass and drums. Key of Eb.
View all charts by Frank Foster
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(8 or 9 Brass) (Level 4) A straight-ahead blues in Ab! Solo space provides room for baritone sax to stretch and for trombones 1 and 2 to battle. The momentum of this chart builds from the first chorus to the shout with plenty of swinging figures in-between. Originally written for the Woody Herman Band (The score is formatted for the Herman Band set-up but the chart comes complete with parts for standard instrumentation.)
View all charts by Mike Kamuf
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(9 Brass) The first movement of four movements of the Sweet Home Suite. It is a multi-sectional composition including an introduction that uses a short tone row, followed by a medium-tempo modal section that moves into an up-tempo modal blues. This movement concludes with a restatement of the introduction and a brief solo piano statement. Lots of solo space for trumpet, tenor drums and piano. To purchse the CD Sweet Home Suite recorded by the Greg Runions Big Band please visit the Canadian music Centre at www.musiccentre.ca
View all charts by Greg Runions
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(Level V) A slow, misterioso, quasi-legit intro gives way to up-tempo blues featuring alto and flugel. After the flugel solos, the band uses fugal techniques and shifting meters to build to a huge climax after which the tempo halves to a relaxed swing and an alto solo takes it home. Features an added section of four horns, as well as four flutes (one doubling piccolo, two doubling clarinet) in the woodwind section. 8 Brass plus 4 horns
View all charts by Rolf Johnson
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(Level IV) This high energy Latin/swing chart combines lots of counterpoint with forceful tutti-brass chords. An extended minor blues serves as the harmonic basis for the head and the alto solo before the tutti ensemble trades fours with the drums and congas. Recorded on the University of Texas' Sublime in Time. Alto II, Ten. II, & Bari-clar., Ten. I-fl. Optional vibes and tuba. 8 Brass
View all charts by Richard Lawn
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(Level IV) Burning, contemporary minor blues. The head is not over standard blues changes, and the melody occasionally blurs the distinction between major and minor. Parallel voicings and energy give this chart a contemporary edge. A contrapuntal section follows the head and leads to the first solo by alto 1. A soli is developed over the ostinato using material from the head and first developmental section. The lines develop rhythmically and melodically playing against and then with the ostinato. Finally, the rhythm section breaks the ostinato, and the soli plays another chorus over a swing feel. A trumpet solo follows, and then the main theme is stated in a new setting. Trumpet range is D6, but could play F6, G6 or A6 for a climatic ending! 8 Brass
View all charts by Bert Ligon
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South Carolina Blue Law (Level III) I often joke about the law that requires a jazz band to play at least one blues tune per concert (in F or Bb), in order for it to officially be a jazz concert. Here's the chart needed to round out a concert. Plenty of room for solos with options for backgrounds. Works at just about any tempo from medium to fast. 8 Brass
By purchasing this product, you agree not to reproduce, duplicate, copy, sell, resell, or exploit for any purpose, any portion of the music, use of the music, any data or image or access to the music. This download is intended for use by the purchaser only. Usually one (1) copy for one (1) ensemble.
PDF downloads are intended to be printed 1x by the consumer. It is against copyright law to distribute.
View all charts by Bert Ligon
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(Level IV) Up-tempo blues swing. Solo feature for any chair in the band. Soloist is featured from beginning to end with open sections for stretching out, plus cued backgrounds. More than one soloist can be featured. 10 Brass
View all charts by Rich Matteson
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(Level V) This piece is the last movement of East Coast Blow Out (see Skittish). It's a free-wheeling, up-tempo "blues with bridge" which features guitar and drum solos. The drum solo section is enhanced by a number of collective backgrounds which can be brought in at will by the conductor, to spontaneously spur the drummer on. There are five trumpet parts. 9 Brass
View all charts by Jim McNeely
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(Level IV) Nifty Fifties was composed for the University of Rochester Jazz Ensemble. The piece is blues oriented and contains sections that are reminiscent of the 1950's "West Coast" style as well as sections that are contemporary and unconventional. The entire band is able to solo over a blues progression, and trumpet 2, tenor 1, bari sax, and piano are given featured solos. This chart is designed to make an intermediate level band sound like a professional band, by allowing them to play adventuresome harmonies and extended techniques. 8 Brass
View all charts by Alan D. Neveu
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9 Brass (Level IV) In another greasy Thaddian tribute, Drew Zaremba penned Blues for Gabe in 2015, which won him recognition as a JEN Young Composer award
as well as an ASCAP Young Composer honorable mention. Originally written for
Gabe Evens, this was recorded originally by the One O’Clock Lab Band. Named in
the style of many great blues charts, the piece predominantly features the
piano chair, with blowing time given to the bass as well. This slow 16-bar
blues will challenge the band with the complex textures, but holds together in
its melody and attitude.
View all charts by Drew Zaremba
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