Jazz contemporain pour big band

Milt Jackson recorded this classic jazz standard in 1971 with Oscar Peterson on an album by the same name, but over the years it been recorded by countless jazz artists. Set in a moderate straight 8th...

Originally a pop hit for The Police in the '80s, Mike Tomaro uses extensive reharmonizations and creative timbral shadings in this marvelous adaptation. The groove is slightly slower than the original...

Featuring a contemporary sounding groove utilizing even 8th notes, this familiar standard is given a unique treatment in the skilled hands of Mike Tomaro. A trio of tenor sax, trombone and guitar take...

Here is a creative new take on the Duke Ellington favorite, set in a New Orleans 'street beat' style. A piano introduction sets up the groove, then a small group takes the initial statement of the the...

Here is a creative new take on the Duke Ellington favorite, set in a New Orleans 'street beat' style. A piano introduction sets up the groove, then a small group takes the initial statement of the the...

Le blues mineur hypnotique de Wayne Shorter (enregistré par Miles Davis) est devenu un véritable classique du jazz et un ouvrage indispensable pour le musicien de jazz. Arrangé ici en utilisant un gro...

This Ellington favorite adapts beautifully to the small band format in the skilled hands of Michael Mossman. The classic tune is still there, but with a contemporary twist.

A big ensemble intro leads into the familiar and hip bass and piano lick followed by a melody stated by alto, tenor, trumpet, and trombone. This chart features great section and ensemble parts through...

As performed by Gordon Goodwin's Big Phat Band - As recorded by Gordon Goodwin's Big Phat Band on the CD That's How We Roll, but minus the woodwind doubles, saxes only. Arranged for flexibility, it's...

As performed by Gordon Goodwin's Big Phat Band - As recorded by Gordon Goodwin's Big Phat Band on the CD That's How We Roll, but minus the woodwind doubles, saxes only. Arranged for flexibility, it's...

This chart is a creative musical voyage! With a Metheny-flavor, the work begins with bari sax and band vocals trading back and forth. Then the swing groove begins at 184 BPM with a soaring ensemble fe...

This chart is a creative musical voyage! With a Metheny-flavor, the work begins with bari sax and band vocals trading back and forth. Then the swing groove begins at 184 BPM with a soaring ensemble fe...

An easy-going chart, with a relaxed straight-eighth groove at about 116 BPM, 'Smiles and Smiles to Go' features an alto solo with a suggested written solo, trumpet 1 range up to G on top of the staff,...

An easy-going chart, with a relaxed straight-eighth groove at about 116 BPM, 'Smiles and Smiles to Go' features an alto solo with a suggested written solo, trumpet 1 range up to G on top of the staff,...

An easy-going chart, with a relaxed straight-eighth groove at about 116 BPM, 'Smiles and Smiles to Go' features an alto solo with a suggested written solo, trumpet 1 range up to G on top of the staff,...

Featuring a contemporary sounding groove utilizing even 8th notes, this familiar standard is given a unique treatment in the skilled hands of Mike Tomaro. A trio of tenor sax, trombone and guitar take...

Here is a creative new take on the Duke Ellington favorite, set in a New Orleans 'street beat' style. A piano introduction sets up the groove, then a small group takes the initial statement of the the...

Le blues mineur hypnotique de Wayne Shorter (enregistré par Miles Davis) est devenu un véritable classique du jazz et un ouvrage indispensable pour le musicien de jazz. Arrangé ici en utilisant un gro...

This Ellington favorite adapts beautifully to the small band format in the skilled hands of Michael Mossman. The classic tune is still there, but with a contemporary twist.

This arrangement calls for a very lazy feel. Keep saxes quietbehind the piano solo (measures 21-25), and work on the split triplets in measures 35-36 since they offer a great opportunity to produce so...

This arrangement calls for a very lazy feel. Keep saxes quiet behind the piano solo (measures 21-25), and work on the split triplets in measures 35-36 since they offer a great opportunity to produce s...

The first 12 measures of this chart require good balance and presence from the rhythm section (preferably electric). A nice and full dynamic change at measures 29 and 61 is necessary, and the saxophon...

The first 12 measures of this chart require good balance and presence from the rhythm section (preferably electric). A nice and full dynamic change at measures 29 and 61 is necessary, and the saxophon...

The first 12 measures of this chart require good balance and presence from the rhythm section (preferably electric). A nice and full dynamic change at measures 29 and 61 is necessary, and the saxophon...