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April in Paris: Jazz Ensemble Conductor Score

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April in Paris: Jazz Ensemble Conductor Score

Words by E. Y. Harburg, music by Vernon Duke / arr. Bob Mintzer

Grade: 4.5 (Medium Advanced / Difficult)

Item: 00-JEM02018C

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Description
Arranger/composer Bob Mintzer adds brand new life to this dynamic jazz swing tune, as recorded on his recent Grammy winning CD Homage to Count Basie. The bossa nova treatment serves as a perfect blend of Bob's contemporary harmonies with the traditional Basie sound. There is solo space for piano and optional solos for alto or trumpet. The brass range is very accessible with trumpet only to written G on top of the staff. This highly recommended chart belongs in every jazz library. (6:05)

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Additional Details
Series: Premier Jazz Series
Publisher: Alfred Music
Page Count: 20
UPC: 654979026655
SKU: 00-JEM02018C

More about this title

About the Composer: Vernon Duke

Vernon Duke (1903-1969) composed for Broadway, film, and the concert hall with equal facility, creating melodies that balanced sophistication with immediate appeal. His work bridged classical training and popular song, producing standards that have endured across jazz, vocal, and orchestral contexts for nearly a century.

Why we love this

Bob Mintzer's arrangement transforms a classic into something contemporary without abandoning what made the original memorable. The bossa nova harmonies sit perfectly alongside the Basie tradition, and the accessible brass voicings mean your section can focus on swing feel and articulation rather than survival. This is the kind of chart that sounds sophisticated to an audience while remaining genuinely playable.

What to expect

Sophisticated and swinging, with the warmth of a Basie-influenced sound filtered through contemporary harmonic language. The bossa nova pulse brings movement and lightness while the ensemble writing stays grounded and purposeful.

Who it's for

Jazz ensemble directors who want a modern arrangement that respects jazz tradition without sounding dated. Your students will connect with the bossa nova groove and the accessible ranges while still engaging with real harmonic sophistication and strong soloists.

How to get the most out of it

  • Balance the piano soloist's groove against the ensemble's swing feel during the solo section; the rhythm section should lock into a pocket that supports rather than competes with what the pianist is building.
  • Shape the optional alto or trumpet solo space with clear dynamics and phrasing cues so the soloist knows where the ensemble will breathe and return.
  • Lock the brass section into tight articulation on the written lines; the G on top of the staff for trumpet requires clean ensemble voicing, not strain.

How to use it

This works well as a mid-set opener at a jazz concert, especially if you're programming a mix of standards and newer arrangements. It pairs naturally with other Duke compositions or other Mintzer charts, and the clear structure and accessibility make it a strong choice for showcasing soloists without overshadowing the ensemble's development.

Skills your students will build

  • Swing articulation and phrasing in a bossa nova context
  • Listening to and supporting a featured soloist
  • Reading and executing contemporary jazz harmonies rooted in Basie-style voice leading
  • Ensemble balance across brass and rhythm sections in a medium-advanced chart

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