A Few Good Men: Jazz Ensemble Conductor Score & Parts

Goodwin's original Big Phat Band chart has that infectious swagger that makes audiences sit up and pay attention. Ralph Ford's adaptation for younger ensembles preserves all the attitude and funk of the original while making the voicings, ranges, and demands entirely accessible to solid middle-school or early high-school players. You get to program something that feels genuinely professional and contemporary, not a watered-down version.

A drum solo snapshots you into a high-energy, funky-rock world where the ensemble locks into a tight, driving groove. The music pulses with attitude and modern jazz swagger, balancing the precision of a well-oiled machine with the relaxed cool of players who know exactly what they're doing.

Young jazz ensembles at the middle school or early high school level will find this arrangement perfectly scaled to their abilities. Directors looking for material that sounds contemporary and energetic without requiring advanced soloing or lead trumpet chops beyond the staff will appreciate the accessible writing. This works especially well for groups hungry to program something that feels current and impressive.

• Establish the groove pocket early in rehearsal. The drum cadence leading into the 114 BPM funk-rock feel sets the whole vibe; lock that in before worrying about the horn lines.
• Give your tenor and trumpet 2 soloists space to own their written parts. These aren't suggestions; they're designed to be confident and up front in the mix.
• Balance the vibes so they cut through the ensemble without dominating. The rhythm section definition makes this chart swing, so hear how much space each voice actually occupies.
• Shape the rock-march character by feeling the emphasis on the backbeat. This isn't swing in the traditional sense; it's a modern groove that rewards rhythmic precision from the entire section.

Anchor a concert around this as the opener or a set-defining moment. Its energy and contemporary feel make it an ideal bridge between a classical first half and a full jazz program, or place it strategically to remind audiences why they love hearing young musicians play with this kind of confidence.

• Funk-rock groove interpretation and subdivision feel at 114 BPM
• Balancing ensemble blend while maintaining defined rhythmic roles
• Solo confidence through written-out tenor and trumpet 2 parts
• Lead trumpet reading and intonation in the upper register (written A above staff)
• Vibraphone independence and tone clarity within ensemble texture