Big Band Arrangements

Arrangement notes:

STRAIGHT AHEAD, BUT SLIGHTLY LEFT OF CENTER

• Arioso (Williams/Reeves)
  Solos: trumpet 4, soprano, piano
  Doubles: soprano lead, alto 2 - flute, tenor 1 - flute
  James Williams’ classic burning jazz waltz with a soulful piano interlude. Recorded by the Bill Mobley Big Band - Live at Smoke. Moderate.

• Knepper (Reeves)
  Solos: open sections for brass & sax solos and bass, no doubles
  A tribute to Jimmy Knepper, set in an Art Blakey “Moanin’” groove. Moderate.

• Last Call (Reeves)
  Solos: trombone 4 and bari (a version with trombone 2 & alto 2 solos available on request)
  Doubles: some flute in alto 1 & 2, but parts available without flute on request.
  A blues with a twist – A Basie groove meets Monkish dissonance. The big band version is on Scott Reeves Jazz Orchestra release Portraits & Places, and a small group version on the Scott Reeves Quintet CD Shape Shifter. Moderate.

• New Breed (Liebman, arr. Reeves)
  Solos: tenor 1 & tenor 2, piano. Doubles – soprano lead
  Dave Liebman’s classic line, originally recorded on Elvin Jones’s Live at the Lighthouse. Scott’s arrangement appears on the Dave Liebman Big Band recording, As Always, in a slightly altered format. The melody contains some crunchy intervals and modern chord progressions; the sax soli is an orchestration of a portion of Lieb’s solo on the original recording. Moderately difficult (especially for saxes).

• Para Nascimento (Reeves)
  Solos: trombone 2, tenor 2
  Doubles: alto 1 has some flute
  A catchy 5/4 Brazilian extended blues, in tribute to Milton Nascimento. Moderate.

• Something for Thad (Reeves)
  Solos: trumpet 4, bone 2. No doubles
  A tribute to Thad Jones based on “I Got Rhythm” changes, featuring a 2-chorus sax soli. Recorded on Global Rhythm by the Osaka-based Global Jazz Orchestra and the 2018 Scott Reeves Jazz Orchestra CD Without a Trace. Moderate level, with a more difficult sax soli and shout chorus.

• The Soulful Mr. Williams (Reeves)
  Solos: open section for any sax, open section for any brass, designated piano solo
  Doubles: soprano lead
  A tribute to pianist James Williams. A moderately slow bluesy tone poem. The big band version appears on the 2016 Scott Reeves Jazz Orchestra release Portraits & Places, and a small group version on the Scott Reeves Quintet CD Shape Shifter. Moderately difficult.

• Speak Low (Weill/Reeves)
  Solos: alto 1, trumpet 3, drums. No doubles
  A salsa version of the standard with an exciting shout chorus. From the 2018 Scott Reeves Jazz Orchestra CD “Without a Trace.” Moderately difficult.

CONCERT PIECES

• 3 ‘n 2 (Reeves)
  Solos: tenor, trumpet. No doubles.
  An up-tempo swinger with some bitonal harmonies & a phrygian bridge. A BMI Jazz Composers Workshop showcase selection. The big band version appears on the Scott Reeves Jazz Orchestra release Portraits & Places, and a small group version on Shape Shifter. Moderately difficult.

• Aguas de Março (Jobim, arr. Reeves)
  Solos: alto 2, piano, trumpet 4 (version with tenor 2 & trumpet 2 solos available on request)
  Doubles: soprano lead has flute, alto 2 - flute, tenor 1 - clarinet, tenor 2 - clarinet, bari - bass clarinet. Optional wordless vocal part.
  The Antonio Carlos Jobim classic, also known as “Waters of March.” Commissioned by the Westchester Jazz Orchestra; the big band version appears on the Scott Reeves Jazz Orchestra release “Portraits & Places.”

• Ju Ju (Shorter, arr. Reeves)
  Solos: tenor 1, bone 1, drums. No doubles
  A Westchester Jazz Orchestra commission, this arrangement of Shorter’s classic combines his more recent Afro-Cuban version with the swinging Blue Note version. From the 2018 Scott Reeves Jazz Orchestra CD Without a Trace. Part of Wayne’s Blue Note solo has been orchestrated for saxes. Moderately difficult.

• L & T Suite movement 1: Wants to Dance (Reeves)
  Solo: alto 1 (optional tenor saxophone solo on request)
  Doubles: some flute in 2nd alto
  The first movement of the “L & T Suite,” an uptempo motivic adventure in the Brookmeyer tradition. Includes references to works by Copland and Bernstein.
  A BMI Jazz Composers Workshop Concert Premiere and recorded on the Scott Reeves Jazz Orchestra release Portraits & Places. Moderately difficult.

• L & T Suite movement 2: A Trombonist’s Tale (Reeves)
  Solo: 2nd trombone feature
  Doubles: alto 1 & 2 - flute; tenor 1 & 2 - clarinet, baritone - bass clarinet throughout.
  The 2nd movement of the “L & T Suite,” a Spanish dirge in 6/4 with a major bossa section in 4/4 for the trombone solo. A BMI Jazz Composers Workshop showcase selection which includes references to works by Copland and Bernstein. From the Scott Reeves Jazz Orchestra release Portraits & Places. Moderately difficult.

• L & T Suite movement 3: Hip Kitty (Reeves)
  Solo: piano feature. No doubles
  An eccentric swinger based on motives from Bartok’s “Miraculous Mandarin” ballet suite, although the piano solos on the blues form. A BMI Jazz Composers Workshop showcase selection. Recorded on the Scott Reeves Jazz Orchestra release Portraits & Places. Fairly difficult.

• Osaka June (Reeves)
  Solos: soprano sax, guitar or piano
  Doubles: soprano lead, alto 2 - flute, tenor 1 & 2 - clarinet, baritone - bass clarinet. Optional wordless vocal part.
  A Japanese-inspired adventure and a BMI Jazz Composers Workshop showcase selection. Recorded by Scott Reeves Jazz Orchestra release on Portraits & Places. Difficult, with multiple meter & tempo changes.

SOMEWHAT EXPERIMENTAL

• Incandescence (Reeves)
  Solos: vibes (or guitar or piano), soprano sax
  Doubles: soprano lead, alto 2 - flute, tenor 1 - clarinet, tenor 2 - clarinet, bari: bass clarinet. Trumpets double on flugelhorns.
  A tone poem influenced by French impressionism with meter changes. From the 2018 Scott Reeves Jazz Orchestra CD Without a Trace, and small group version appears on the Scott Reeves Quintet CD Shape Shifter. Fairly difficult and requires a chamber music mentality.

• Waltz from Shape Shifter (Reeves)
  Solos: an open section for any horn and a designated piano solo
  Doubles: soprano lead
  A tonal 12-tone based extended composition featuring meter & tempo changes and some free improvisation. The tone row comes from the Alberto Ginastera “Piano Sonata,” along with a vamp from Gil Evans’s “Time of the Barracudas.” A BMI Jazz Composers Workshop showcase selection, the big band version appears on the 2018 Scott Reeves Jazz Orchestra CD Without a Trace. Small group versions recorded on Scott Reeves’s Shape Shifter and Manhattan Bones’ Tribute. Difficult.

VOCAL FEATURES

Optional wordless vocal parts included with “Aguas de Março,” “Incandescence,” and “Osaka June” in the above sections.

• All of You (Porter, arr. Reeves)
  Solo: 4th trumpet, drums
  Porter’s work reimagined and stretched, with material and a fugal section not based on the form, but swinging all the way. Moderate.

• All or Nothing at All (Altman, arr. Reeves)
  Solos: bone 1, alto 2. No doubles
  The standard reinvented as half straight 8th – half swing. Imagine Ahmad Jamal’s “Poinciana” meets Basie. From the 2018 Scott Reeves Jazz Orchestra CD Without a Trace. Moderately difficult.

• I Have Dreamed (Rodgers & Hammerstein, based on a combo arranged by John McLean, orchestrated by Scott Reeves)
  Solos: voice, guitar or designated soloist
  Doubles: 2 flutes, 2 clarinets & bass clarinet in the intro
  A funky groove underpins this beautiful tune from the The King & I. Modeled after the combo version recorded by Kurt Elling. Moderate.

• Tenderly (Gross, arr. Reeves)
  Solos: 1st trombone, 1st alto, no doubles
  A classic standard cast in a new light, with 6/4 – 5/4 vamps, reharmonizations and multiple modulations. Moderate.

• Without a Trace (Reeves)
  Solos: voice, tenor sax and piano
  From the 2018 Scott Reeves Jazz Orchestra CD Without a Trace. Moderately difficult; requires a skilled vocalist due to wide intervals and non-functional harmony.

FOUR TROMBONES & RHYTHM SECTION ARRANGEMENTS

Arrangements are written for 4 trombones and accompanying rhythm.

*Several of these arrangements may be heard on the Manhattan Bones CD Tribute, available at https://scottreeves.bandcamp.com.

Arrangement notes:

• Caravan*
  A modern reworking of the classic Duke Ellington/Juan Tizol standard.

• Congressional Roll Call*
  An Ornette Coleman inspired line with intricate ensemble passages and space for free improvisation.

• Eta Carina Blue
  A swinging original blues.

• Gone*
  Gil Evans’s classic version re-orchestrated for trombone ensemble.

• Hum*
  A modal composition by Bob Brookmeyer, featuring Clark Terry's solo as a shout chorus.

• In Walked Horace
  J.J. Johnson’s composition with his classical solo as a 4-way shout chorus.

• Knepper
  Reeves original dedicated to master trombonist Jimmy Knepper.

• Last Call
  A slow blues by Reeves with a quirky, Monkish feel.

• Morning Song
  A lovely bossa nova with lush chord changes by Reeves

• My Ship
  Kurt Weill’s classic, adapted from Gil Evans’s arrangement on Miles Ahead.

• Nica’s Dream
  The Horace Silver Latin-jazz standard.

• Pavane*
  French composer Gabriel Faure's masterwork for guitar and chamber orchestra receives a jazz interpretation.

• Shutterbug*
  Shout chorus is J.J.’s solo in 4-part harmony.

• TD’s Dilemma
  A bebop chart based on the Tommy Dorsey theme song.

• Tom Thumb*
  Wayne Shorter’s funky line.

• Three and One
  Thad’s chart re-orchestra for 4 bones, includes sax soli.

• Waltz from Shape Shifter*
  Based on a 12-tone row; includes many time changes.

• Wave
  The classic bossa nova by Antonio Carlos Jobim, arranged for any soloist or vocalist backed by 4 trombones.

• Where Flamingos Fly*
  Evans’ classic featuring Jimmy Knepper.

TENTET ARRANGEMENTS

Tentet arrangements are written for 3 saxes, 2 trumpets, 2 bones & rhythm. 

Arrangement notes:

• All or Nothing at All (Altman/Reeves) – a reduction of the big band chart for 7 horns
  Solos: bone 1, alto 2. No doubles
  The standard reinvented as half straight 8th – half swing. Imagine Ahmad Jamal’s “Poinciana” meets Basie. From the 2018 Scott Reeves Jazz Orchestra CD “Without a Trace.” Moderate.

• In the Now (Reeves)
  Solos: open, no doubles
  A tribute to Woody Shaw, burning modal & chord change. Moderate.

• Knepper (Reeves)
  Solos: open, no doubles – a reduction of the big band chart for 7 horns
  A tribute to Jimmy Knepper, set in an Art Blakey “Moanin’” groove. Moderate.

• Last Call (Reeves) – a reduction of the big band chart for 7 horns
  Solos: bone 1, alto 2. No doubles
  Solos: open
  A blues with a twist – A Basie groove meets Monkish dissonance. The big band version is on Scott Reeves Jazz Orchestra release “Portraits & Places.” Moderate.

• The Soulful Mr. Williams (Reeves) – a reduction of the big band chart for 7 horns
  Solos: open, doubles: soprano lead    
  My tribute to pianist James Williams. A moderately-slow bluesy tone poem. The big band version appears on the 2016 Scott Reeves Jazz Orchestra release “Portraits & Places.” Moderate

• Wants to Dance (Reeves) – a reduction of the big band chart for 7 horns
  Solo: tenor saxophone
  Doubles: some flute in 2nd alto
  The first movement of the “L & T Suite,” an uptempo motivic adventure in the Brookmeyer tradition. Includes references to works by Copland and Bernstein. Appears on the Scott Reeves Jazz Orchestra release “Portraits & Places.” Moderate.

• Without a Trace (Reeves) – a reduction of the big band chart for 7 horns
  Solos: alto sax and trombone
  From the 2018 Scott Reeves Jazz Orchestra CD “Without a Trace.”