And All That Jazz: SAB Choral Octavo
From the Musical Chicago
Lyrics by Fred Ebb, music by John Kander / arr. Kirby Shaw
Item: 00-PO-0001977
$2.10
Minimum order quantity: 20 copies
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Description
Who can resist this musical theater standard? The opening piano chords, played at a restrained strut tempo, are instantly recognizable---this is Broadway gold! Add some Fosse-esque staging to bring the house down.
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Additional Details
Series:
Alfred Pop Choral Series
Publisher:
Alfred Music
Page Count:
12
SKU:
00-PO-0001977
More about this title
About the Composer: John Kander
John Kander has shaped musical theater for over six decades, creating some of Broadway's most distinctive scores in collaboration with lyricist Fred Ebb. Their partnership produced iconic shows including Cabaret, Chicago, and Zorba, works that redefined how composers could use jazz idioms and unconventional structures on stage. Kander's gift for marrying accessible melodies with sophisticated harmonic language has made his music a staple of both professional and educational theater programs.
Why we love this
Kirby Shaw's arrangement captures the swagger and sass of the original while scaling it smartly for three-part voices. The piano writing remains genuinely theatrical, giving your accompanist real musical material to sink into, and the choral parts sit in a comfortable range that lets singers focus on attitude and style rather than technical survival. This is the kind of number that reminds audiences why they love musical theater in the first place.
What to expect
Sophisticated and playful all at once. The harmonic language is smart and slightly smoky, while the text invites performers to step into a character with confidence and wit. You're not playing it safe on this one; you're performing with knowingness and flair.
Who it's for
Choirs comfortable with jazz idioms and contemporary musical theater language. This works equally well for high school show choirs, community theater ensembles, or college groups building a mixed-voice repertoire with real style and edge.
How to get the most out of it
- Emphasize the rhythmic precision of the opening piano figures. Your accompanist should anchor the groove so that singers can layer the sass on top without rushing or dragging.
- Commit fully to the style cues in the score. Jazz phrasing, syncopation, and the particular vowel placements Kander and Shaw have written into the voicing make all the difference between a good performance and a show-stopping one.
- Use the recorded accompaniment strategically in rehearsal to internalize the groove, but carve out time for singers to perform with a live pianist. The energy changes when there's human interaction at the keyboard.
- Shape the dynamics thoughtfully. The 'restrained strut tempo' mentioned in the description means control and deliberation, not aggressive volume. Let the style and text carry the attitude.
How to use it
Program this as a centerpiece number in a Broadway-focused concert or as the opener to a spring show that needs instant personality and audience engagement. It pairs beautifully with other Kander and Ebb material, or it stands alone as proof that your choir understands modern musical theater idiom.
Skills your students will build
- Jazz phrasing and syncopated rhythmic independence
- Stylized diction and character-driven interpretation
- Harmonic awareness in four-part jazz voicing
- Ensemble precision in arranged popular music
- Dynamic control and restraint in contemporary theater singing