The following big band charts and small band arrangements are now available. Unless otherwise stated, big band arrangements are scored for male/female vocal (where appropriate), 5 saxes (alto 1+2, tenor 1+2 and baritone), 4 trumpets, 4 trombones, keyboards, guitar, bass and drums; the instrumentation for each small band arrangement is included at the end of the description. To see our drum and percussion notation system explained, click here.
For further information or to place an order, please send an email to: info@cabotmusic.co.uk
DEACON BLUES (BECKER / FAGEN)*
BIG BAND, PRICE £30(GBP) / $60(USD), ORDER NO. CAB008, ISMN: M-708026-07-5
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A note-for-note transcription of this classic Steely Dan track from the album Aja. This version is arranged as a big band instrumental and is based on the original chart by legendary LA session player Tom Scott. It features tenor saxophone, playing both the melody in the first half of the first verse and the improvised solos in the middle section and towards the end of the chart. Trombones also feature in the second half of each verse, and solo trumpet takes the melody in the first half of the second verse. The chorus melody is played by the alto saxes backed by the trumpets. The chart is interesting harmonically, featuring typical Steely Dan chromatic chord changes (Dmaj7 - Asus2/C# - Cmaj7 - Gsus2/B). A male vocal version of this chart will be available soon.
THE MOOD I'M IN (FROM PASSING STRANGERS) (KING / WEBSTER)*
BIG BAND, PRICE £30(GBP) / $60(USD), ORDER NO. CAB009, ISMN: M-708026-08-2
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A note-for-note transcription of the first track on Tony Hadley's album Passing Strangers. The mood and sentiment of the lyrics hark back to an earlier era, but avoid the politically incorrect overtones of other songs from the same period such as 'Girl Talk'. A brisk jazz waltz, this chart features a great piano part which is a fully notated transcription of what is played on the album track. The trombones supply the rhythmic thrust of the arrangement by playing syncopated chords against the walking bass part. Saxes back up the harmony by playing a tastefully adapted psuedo-string backdrop at times, while the whole band is involved in the instrumental interlude in the middle section of the chart and the exciting ending. Colourful chord changes and an up-beat positive feel make this an interesting chart to perform for singer and band members alike. We were amused to see that one line of the lyrics reproduced in the CD booklet read, 'I like to rejoice' instead of 'I like to read Joyce'!
RECIPE FOR MAKING LOVE (FROM WE ARE IN LOVE) (HARRY CONNICK JR)*
BIG BAND, PRICE £30(GBP) / $60(USD), ORDER NO. CAB010, ISMN: M-708026-09-9
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A note-for-note transcription of this classic Harry Connick Jr track from the album We Are In Love, arranged by the brilliant Marc Shaiman. The recorded version features clarinets in the introduction, but we have carefully adapted this for a standard saxophone section. The chart features a cheeky piano solo in C to begin with, which leads into a short instrumental section modulating cleverly into E-flat for the vocal to enter. Muted trumpets and trombones play off each other, joined later by the saxes, leading to a short Shearing-style guitar-piano interlude. After this, the whole band joins in with a rousing instrumental section leading to a modulation to E for the final verse and outro. We particularly like the ending of this arrangement which uses the following unusual chord progression: A#m7-5 / Am6 / C7/G / E/G# / C7/G / F#m7 / F9+11 / E6(9). Our favourite lyric lines are: 'I didn't get it from my grandma's book upon the shelf, I didn't get it from a magical and culinary elf'!
THEME FROM THE ODD COUPLE / GIRL TALK (NEAL HEFTI)*
BIG BAND, PRICE £30(GBP) / $60(USD), ORDER NO. CAB056, ISMN: M-708026-55-6
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A medley for big band of two of the best-known pieces of music by composer/arranger Neal Hefti. The famous harpsichord figure begins the Theme from The Odd Couple at a brisk shuffle tempo and the saxes then play the tune, gradually joined by the trumpet section. The tempo then slows by almost half for a richly orchestrated ensemble version of 'Girl Talk', supported by high strings from the keyboards in the final verse. This chart is relatively easy to play, but uses all the authentic recorded harmonies and chord changes, as illustrated in the two score examples.
*Licence applications pending. For updated information, please send an email to: info@cabotmusic.co.uk
**Currently unavailable.