An Elusive Man: Jazz Ensemble Conductor Score

Goodwin writes for working ensembles with real people in the chairs, which means every section gets genuine solo space and meaningful parts that feel rewarding to play. The swing at 136 BPM sits in a sweet spot where it's brisk enough to feel energetic but not so fast that a younger ensemble loses control. His voice as a composer comes through immediately in the melodic writing and harmonic sophistication, giving your students a direct line to contemporary professional big band practice.

An Elusive Man swings with the urbane ease of modern LA jazz, sophisticated without being precious. The melody drifts and settles with subtle grace, leaving plenty of room for soloists to stretch while the rhythm section anchors everything in a relaxed, propulsive groove. The writing feels lived in, the kind of chart that sounds effortless until you realize how much craft is holding it together.

Jazz ensembles with solid fundamentals who are ready to tackle contemporary big band writing with real harmonic and rhythmic sophistication. This score demands strong section leaders, reliable soloists, and a rhythm section that can lay down a confident swing groove. Conductors seeking material that mirrors professional jazz standards will find this an ideal bridge between student repertoire and working band repertoire.

• Lock the groove between rhythm section players first. The guitar, piano, and bass need to establish the swing feel before horns enter, especially at this tempo.
• Encourage soloists to listen to the Goodwin Big Phat Band recordings if possible. Hearing how professionals navigate his harmonic language and phrasing conventions will accelerate preparation.
• Balance the unison passages carefully so the trumpet and tenor don't overwhelm the trombone. Goodwin often layers these voices at different dynamic levels, and clarity matters more than volume.
• Give the rhythm section breathing room during solo sections. They're not just timekeepers here; they're conversational partners shaping the form and energy.

This works beautifully as a centerpiece on a jazz concert, particularly if you're mixing classic big band with contemporary material. It also pairs well with other Goodwin Little Phat Band arrangements, allowing you to build a full set that showcases cohesive compositional voice. Consider programming it in the middle of a set where your rhythm section and soloists are fully warmed up and confident.

• Swing feel and groove at medium tempo (136 BPM)
• Comping and responsiveness in the rhythm section during solo sections
• Jazz phrasing and articulation in unison and sectional passages
• Solo construction over contemporary harmonic changes
• Listening and ensemble balance with multiple simultaneous soloists