Blues in the Closet (arr. Mark Taylor): Jazz Ensemble Conductor Score & Parts
By Oscar Pettiford / Arranged by Mark Taylor
Grade: 4
Item: 35-PK00477167
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Description
Here is a swingin' blues from Oscar Pettiford that has been a favorite with jazzers for years. Along with superbly scored ensemble sections, Mark Taylor's chart also features solos for tenor and trombone. You'll have fun with this one!
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00477167
More about this title
About the Composer: Oscar Pettiford
Oscar Pettiford was a legendary bassist and composer who helped shape the sound of modern jazz. Working across bebop, hard bop, and avant-garde contexts, Pettiford brought compositional sophistication to the ensemble while maintaining deep roots in the blues tradition. His writing balances accessibility with genuine musical substance, making his tunes enduring fixtures in jazz education and performance.
Why we love this
Mark Taylor's arrangement captures the sly humor and swagger of Pettiford's original while building in ensemble moments that let your section players feel the music together. The tenor and trombone solos sit naturally for developing improvisers, and the supporting section work is voiced with enough color to stay interesting through multiple run-throughs.
What to expect
Relaxed and conversational, with the kind of forward momentum you get from a well-established blues. The ensemble sections snap with precision while leaving room for the soloists to stretch, creating that classic jazz balance between structure and spontaneity.
Who it's for
Grade 4 jazz ensembles ready to tackle blues vocabulary and small group soloing in a structured setting. This works well for groups with at least one solid tenor saxophonist and trombonist who can handle basic jazz articulation and phrasing.
How to get the most out of it
- Establish a comfortable blues tempo in rehearsal before adding the swing feel; rushing the tempo flattens the groove, so lock into the pocket before solos begin.
- Balance the ensemble backgrounds behind solos so they support without overwhelming. The rhythm section should anchor the sound while the horn fills breathe around the soloist.
- Encourage your soloists to think in two and four bar phrases at first, then expand as confidence builds. This blues form rewards conversational phrasing over technical display.
- Pay attention to the rhythm section voicings during ensemble hits. Clean attacks and controlled releases make the band sound unified.
How to use it
Pair this with another Pettiford composition or a blues standard to build a mini-unit on blues harmony and phrasing. It also works as a strong mid-concert piece that lets your ensemble showcase both ensemble precision and individual musicianship without requiring the extended solo space of a longer jazz feature.
Skills your students will build
- Blues form recognition and 12-bar chord changes
- Swing articulation and groove-based phrasing
- Solo construction over blues changes
- Jazz ensemble balance between solo and section support
- Reading jazz notation and rhythmic figures in swing context