Edition: Jazz Big Band Arrangement

Description: Medium Driving Blues Shuffle - Medium Difficult

Publisher: Kendor Music

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When you Google “driving blues shuffle in E flat” this wailing new arrangement by Dave Hanson should be the result that pops up first. It was originally written to feature the composer, trumpet player Peter Olstad, but Dave has adapted it to work as an fantastic ensemble chart. This is a great piece to open up for soloists…the changes are straight ahead and the various background figures can be cued in to add drama and structure to the solo sections.

From the arranger:

Blues for Rebz is a fun chart with a bit of tongue-in-cheek attitude on display during the statements of the main tune, growing into a more overtly swinging chart as the main melody develops. There is an element of ‘Holman-esque’ counterpoint that grows with the tune, all leading towards a satisfying shout chorus in the Basie tradition.

The melody played by 2nd Trumpet and 1st Alto should be clearly articulated, which will bring out the subtle humor of the head. Even though the 1st Alto part is harmonized underneath the 2nd Trumpet, it should be considered an equal partner and play dynamics accordingly. Any figures without specifically marked articulation should be played with a legato jazz interpretation.

Drums and Bass should take note of bar 21, where the previous ‘2’ feel becomes a ‘4’ feel, as well as the return of the ‘2’ feel in bar 97. When the counter lines are introduced at bar 13, the director may choose to bring those players down a dynamic if there is any danger of the main line being over-matched. Notice that the backgrounds to solos at 49 and 61 have specific 2nd and 3rd time only instructions. Having pointed that out, the director is also free to layer in the backgrounds as needed, or simply bring in all the backgrounds on the last time through each solo.

The band can shift gears into a full-bodied Basie approach with the shout at bar 73, but make sure and leave some ‘juice’ for the full climax at bar 92. When the head comes back in a bar 97, it will have a slightly greater intensity than the beginning of the piece, due to the thicker scoring and greater dynamic.

The director will need to be aware of the last three bars: a slow, conducted finish, with the last chord cued clearly.