A Night In Tunisia (Saxophone Section Feature): Concert Band Conductor Score & Parts

Paul Murtha's arrangement captures the infectious energy of the original without requiring your band to swing at breakneck bebop tempos. The saxophone section gets genuine solo territory here, not decorative harmony parts, which gives young saxophonists real stakes in the performance and keeps the focus on what makes this tune endure: its irresistible groove and sophisticated melodic logic.

Bright, propulsive energy with a Latin heartbeat that shifts into a sauntering swing groove. The melody floats over lush harmonies, infectious and memorable, with the kind of understated sophistication that makes listeners tap their feet without realizing they are hearing bebop harmony.

Concert bands seeking genuine jazz repertoire that challenges ensembles beyond high school level without demanding classical chamber discipline. Directors who want their saxophonists to experience solo responsibility and their entire band to feel the propulsion of a real jazz standard.

• Separate the Latin and swing sections clearly in rehearsal. Mark exactly where the clave pattern shifts to walking jazz time, and drill the transition several times to nail the stylistic pivot.
• Anchor the rhythm section with a strong bass line; the low register carries the weight in both the Latin groove and the swing passages, so lock the bass and drums before adding upper harmonies.
• Balance the saxophone section so the featured voice cuts through without the tutti chords behind it drowning out the lead line. A quick balance check in the saxophone section alone will pay dividends.
• Pay attention to articulation consistency among the saxophones during unison lines. Jazz phrasing allows for swing eighths, but unity of tonguing makes the section sound like one voice rather than four individual players.

Program this as a contrast piece on a concert that also includes ballads or classical works; its infectious swing and relatively compact duration (2:20) make it an excellent closer or a palate cleanser between longer concert band standards. It also works as a bridge between a classical first half and a pops finale, easing audiences into jazz without requiring specialized instrumentation.

• Reading and executing swing eighth-note feel with precision
• Articulation clarity and consistency within a jazz section
• Stylistic code-switching between Latin and swing grooves
• Balance and blend in featured ensemble sections with solo voices
• Listening for and responding to rhythm section pulse in jazz contexts